{"meta":{"query_hash":"627f29d627cf","filters":{"topic":"Theatre and Performance Studies"},"cohort_total":2690,"direct_labels_cover":2,"predictions_cover":2690,"exported":2690,"export_cap":100000,"truncated":false,"label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12"},"permalink":"https://metacan.xera.ac/q/627f29d627cf","api":"https://metacan.xera.ac/api/v1/cohort?topic=Theatre+and+Performance+Studies"},"results":[{"id":"W1012625990","doi":"","title":"Solo Performance ed. by Jenn Stephenson (review)","year":2013,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Environmental ethics; Philosophy","score_opus":0.0076999801945454764,"score_gpt":0.17427061622894344,"score_spread":0.16657063603439795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1012625990","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47231942,0.0490247,0.000016810976,0.0007596167,0.0005040765,0.00048488882,0.00008302063,0.00011945844,0.476688],"genre_scores_gemma":[0.93388724,0.024625994,0.00007449277,0.0002612879,0.00018373653,0.0000012656454,0.00002344161,0.000011087661,0.040931426],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943894,0.000019261888,0.00011080414,0.00012813671,0.000116384675,0.00018647927],"domain_scores_gemma":[0.99957657,0.000015696396,0.00008068428,0.0001697268,0.00011027224,0.000047059555],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000049037746,0.000114935865,0.00020969524,0.000010939939,0.0002687195,0.000014722069,0.0001921002,0.000024871028,0.019405257],"category_scores_gemma":[6.6364436e-7,0.000108491186,0.00007968199,0.0000060435036,0.00017438267,0.00076489506,0.000017766568,0.000051311425,0.0005504666],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016130565,0.000057267018,0.0002745364,0.00028343927,0.000063608,7.1691863e-7,0.03694505,1.2695442e-7,0.000059924143,0.0007149009,0.8634261,0.09815819],"study_design_scores_gemma":[0.00030194604,0.0006787686,0.0011569111,0.00018888024,0.000051679574,7.4769383e-7,0.025885463,0.000042020383,0.000012590029,0.000014016328,0.9714772,0.00018973948],"about_ca_topic_score_codex":0.020905454,"about_ca_topic_score_gemma":0.008378361,"teacher_disagreement_score":0.46156785,"about_ca_system_score_codex":0.000046539855,"about_ca_system_score_gemma":0.000011013843,"threshold_uncertainty_score":0.9856144},"labels":[],"label_agreement":null},{"id":"W105147250","doi":"","title":"A Midsummer Night's Dream: Presented by the Stratford Festival of Canada at the Festival Theatre, Stratford, Ontario","year":2005,"lang":"en","type":"article","venue":"Shakespeare bulletin","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dream; Art; Art history; Performance art; Procession; Visual arts; Creatures; Dance; Plot (graphics); Banquet; Cartography; History; Archaeology; Geography","score_opus":0.014393178742578009,"score_gpt":0.19317766736845973,"score_spread":0.17878448862588173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W105147250","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48865956,0.004239422,0.0000015713582,0.03088467,0.0005743826,0.0006764651,0.00063124136,0.000061868624,0.4742708],"genre_scores_gemma":[0.7809872,0.00005347371,0.000011470425,0.00095482974,0.00077821285,0.000037592992,0.000056766483,0.000029270239,0.21709119],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982273,0.00007828555,0.00039930054,0.00028904367,0.00045781318,0.00054825173],"domain_scores_gemma":[0.9989592,0.00022433166,0.00015176201,0.0004593219,0.00012265443,0.00008277519],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024864884,0.00031875828,0.00029781036,0.000025390691,0.001232993,0.000120391014,0.0004785183,0.00005025614,0.01659014],"category_scores_gemma":[0.000014179124,0.00016579322,0.00013989111,0.00004583004,0.0005723376,0.00007980289,0.00015713446,0.00037396725,0.00011649229],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016175867,0.0000691077,0.0009778076,0.000023592665,0.0001462619,0.0000055873797,0.01304818,0.000031550917,0.000022604494,0.0018406537,0.9773111,0.006361824],"study_design_scores_gemma":[0.00039662037,0.00011614211,0.00097278564,0.000049685957,0.000058744445,0.00001266804,0.007197356,0.000010451998,0.0004802753,0.00005144242,0.99042845,0.00022537317],"about_ca_topic_score_codex":0.7897485,"about_ca_topic_score_gemma":0.9960404,"teacher_disagreement_score":0.2923276,"about_ca_system_score_codex":0.00021261757,"about_ca_system_score_gemma":0.00039991012,"threshold_uncertainty_score":0.98430884},"labels":[],"label_agreement":null},{"id":"W106793394","doi":"","title":"Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies","year":2014,"lang":"en","type":"article","venue":"Australasian Journal of Paramedicine","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Perception; Art; Computer graphics (images); Aesthetics; Psychology; Computer science","score_opus":0.03779278618378437,"score_gpt":0.2644938047408711,"score_spread":0.22670101855708671,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W106793394","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9295827,0.0005182784,0.00012529205,0.0024027608,0.0010323266,0.00010023373,0.000016513553,0.000027040425,0.066194825],"genre_scores_gemma":[0.99598163,0.00023195184,0.00016431807,0.00022831028,0.002285289,0.0000013396385,0.0000040489567,0.000013267061,0.0010898175],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866295,0.000058355938,0.0006391013,0.00010526928,0.00028042975,0.00025389186],"domain_scores_gemma":[0.9989203,0.00010459976,0.0004779692,0.00014201806,0.00024912253,0.00010595463],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030573065,0.00017303297,0.00048493632,0.00014201379,0.0002679283,0.000028528093,0.00018204127,0.000038873786,0.0012385861],"category_scores_gemma":[0.000085964864,0.000120346805,0.0001325491,0.000053312982,0.00088678906,0.00036023423,0.000024701609,0.0002929918,0.00003264474],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017753438,0.0004053649,0.06538792,0.0005655224,0.0012724778,0.00007291535,0.7987513,0.0002852877,0.0041698124,0.049727887,0.04469899,0.03448499],"study_design_scores_gemma":[0.0065315417,0.006150687,0.051233802,0.002915806,0.0015282287,0.0003349028,0.45000327,0.0001403485,0.0011079429,0.022030363,0.45701042,0.0010127068],"about_ca_topic_score_codex":0.000089105466,"about_ca_topic_score_gemma":0.00009325727,"teacher_disagreement_score":0.4123114,"about_ca_system_score_codex":0.000025453424,"about_ca_system_score_gemma":0.000038312057,"threshold_uncertainty_score":0.99967444},"labels":[],"label_agreement":null},{"id":"W111920812","doi":"","title":"Stage Turns: Canadian Disability Theatre by Kirsty Johnson (review)","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Art; Visual arts; Geology","score_opus":0.02015383245036624,"score_gpt":0.23018965327940355,"score_spread":0.21003582082903732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W111920812","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003510884,0.604432,7.7707e-8,0.022579793,0.0003538184,0.0013518244,0.0010140948,0.00005275729,0.36986458],"genre_scores_gemma":[0.08755968,0.8673104,0.000007845746,0.033352103,0.0006547066,0.00042350183,0.0003204404,0.000070616996,0.010300709],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974086,0.0001688418,0.00060653617,0.00048239512,0.00023082683,0.0011027897],"domain_scores_gemma":[0.9974892,0.00006571744,0.00011407963,0.0008755687,0.00015153112,0.0013039112],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004433654,0.00048983825,0.0008720679,0.00007441375,0.0006949343,0.00013712175,0.0005157407,0.000081387,0.054208808],"category_scores_gemma":[0.000025954821,0.00036035327,0.00032621078,0.0001541529,0.00043595422,0.0004418749,0.000033593566,0.00034470207,0.003329493],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[6.2392223e-7,0.000015181359,0.000772221,0.006075185,0.00006305271,0.0000053634103,0.0006848541,6.175903e-8,2.9625065e-7,0.0010295574,0.81893617,0.17241743],"study_design_scores_gemma":[0.00008845437,0.000042540487,0.00023434094,0.005540481,0.00014126097,0.000005563224,0.00037610813,0.0000017818465,0.0000010540252,0.00014602538,0.99296093,0.0004614834],"about_ca_topic_score_codex":0.94723606,"about_ca_topic_score_gemma":0.9935551,"teacher_disagreement_score":0.3595639,"about_ca_system_score_codex":0.0006394131,"about_ca_system_score_gemma":0.0006122975,"threshold_uncertainty_score":0.99988484},"labels":[],"label_agreement":null},{"id":"W117019302","doi":"","title":"Théâtre sans mur, de Moncton à Vancouver. Spirale : Arts • Lettres • Sciences humaines, no. 186, 2002","year":2002,"lang":"fr","type":"article","venue":"Spirale : Arts • Lettres • Sciences humaines","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.0505672186151522,"score_gpt":0.26239751152099183,"score_spread":0.21183029290583963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W117019302","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16855356,0.04563234,0.000020670906,0.013075521,0.009009481,0.00087911333,0.0004841806,0.00047869704,0.76186645],"genre_scores_gemma":[0.3873752,0.0068409094,0.0011262307,0.011237518,0.018370004,0.00022129147,0.00003278157,0.00019220839,0.57460386],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9907798,0.00024403346,0.0015127689,0.0020706805,0.0018483464,0.0035443478],"domain_scores_gemma":[0.9967195,0.0005105613,0.00074977666,0.0010103089,0.00048441577,0.0005254452],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","insufficient_payload"],"category_scores_codex":[0.0016270182,0.001518966,0.0013500921,0.00080152956,0.015358073,0.0022843976,0.0022266756,0.00034369814,0.03320342],"category_scores_gemma":[0.0002280239,0.0012684775,0.0007341044,0.0010564658,0.017176675,0.0036653292,0.0006406737,0.00079054455,0.002444306],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003563533,0.0006180859,0.007944156,0.00043416972,0.00014090873,0.00012943048,0.008787193,0.0015254663,0.00034760963,0.075082056,0.89861906,0.0063362136],"study_design_scores_gemma":[0.00090120756,0.0017828326,0.000727788,0.0009256536,0.00019446928,0.000043119282,0.006783685,0.0031893312,0.00044497248,0.0027816303,0.980458,0.0017672756],"about_ca_topic_score_codex":0.00790788,"about_ca_topic_score_gemma":0.040346354,"teacher_disagreement_score":0.21882163,"about_ca_system_score_codex":0.00025273697,"about_ca_system_score_gemma":0.00027636712,"threshold_uncertainty_score":0.9997559},"labels":[],"label_agreement":null},{"id":"W1196494917","doi":"10.1007/978-94-6209-254-9_8","title":"The Actor’s Point of View","year":2013,"lang":"en","type":"book-chapter","venue":"SensePublishers eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Point (geometry); Set (abstract data type); Population; Sociology; Line (geometry); Epistemology; Computer science; Philosophy; Mathematics; Demography","score_opus":0.027051866547050864,"score_gpt":0.20179473569826564,"score_spread":0.17474286915121479,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1196494917","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000071824805,0.00181645,1.9059026e-7,0.00048431067,0.001664567,0.00032866816,0.000051094983,0.00006979547,0.9955131],"genre_scores_gemma":[0.0064117764,0.00026395588,0.0000061164988,0.0003283947,0.0012138243,0.00001441165,0.000015404954,0.000066014065,0.9916801],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99870634,0.000016877297,0.00045079875,0.00022684602,0.00030145847,0.00029770812],"domain_scores_gemma":[0.9986443,0.00014532966,0.00031739954,0.00052235957,0.00031023132,0.000060386672],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019526659,0.00035210425,0.00045244,0.00008986851,0.00053441664,0.0004706948,0.0003142893,0.00013500202,0.0049365372],"category_scores_gemma":[0.000010579559,0.00020955032,0.00029591026,0.0000030942874,0.0009990727,0.0001867673,0.00012387299,0.00038413823,0.0003537318],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010562524,0.0000025386755,3.5762616e-7,0.00006155306,0.00021931645,0.0000016895133,0.008563369,3.378903e-8,0.0000016200519,0.616672,0.324833,0.049633954],"study_design_scores_gemma":[0.00010517522,0.000076989345,0.000001356416,0.00014313494,0.00007489779,0.0000023984444,0.0012344763,7.06615e-7,0.000013668654,0.030446822,0.9676534,0.00024699068],"about_ca_topic_score_codex":0.00020748816,"about_ca_topic_score_gemma":0.0013177848,"teacher_disagreement_score":0.64282036,"about_ca_system_score_codex":0.00003175438,"about_ca_system_score_gemma":0.00007223475,"threshold_uncertainty_score":0.9959731},"labels":[],"label_agreement":null},{"id":"W125040631","doi":"10.1007/978-94-6091-332-7_54","title":"Research-Based Theatre in Education","year":2011,"lang":"en","type":"book-chapter","venue":"SensePublishers eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Dissemination; Field (mathematics); Theatre studies; Sociology; Political science; Visual arts; Art; Drama; Law","score_opus":0.0821277382351273,"score_gpt":0.2731886306648102,"score_spread":0.19106089242968288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W125040631","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00015373548,0.00072332897,1.3606333e-7,0.0003736385,0.0015270769,0.00038379154,0.0000342383,0.000091201575,0.99671286],"genre_scores_gemma":[0.04561971,0.000032169843,0.0000131547795,0.0004646589,0.0015635451,0.000040239185,0.00006517003,0.00008721656,0.9521141],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983803,0.00005173411,0.00034486447,0.00039955231,0.000386431,0.0004371139],"domain_scores_gemma":[0.99888676,0.00008160617,0.00010767052,0.0004936908,0.00034515542,0.000085106214],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048146088,0.00033447,0.0003562099,0.0008660075,0.00036663012,0.0003600875,0.0002751475,0.0002284526,0.0045103007],"category_scores_gemma":[0.0000058839432,0.00028835292,0.00015456957,0.00001203165,0.0011496368,0.00020035726,0.00007471932,0.00092134665,0.00041073898],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005015631,0.000028147018,0.000007460034,0.000083227635,0.000044248278,0.000009678611,0.018900495,2.3493489e-7,5.9863623e-7,0.68813854,0.19873004,0.094007164],"study_design_scores_gemma":[0.0001576588,0.00009209991,0.00000474594,0.0002995589,0.000020467416,0.0000011251038,0.0023844212,0.0000010321988,0.0000075145813,0.12196908,0.87477505,0.00028723272],"about_ca_topic_score_codex":0.0012821412,"about_ca_topic_score_gemma":0.012075749,"teacher_disagreement_score":0.676045,"about_ca_system_score_codex":0.00013988587,"about_ca_system_score_gemma":0.00059050205,"threshold_uncertainty_score":0.99995685},"labels":[],"label_agreement":null},{"id":"W1266906500","doi":"10.32469/10355/40117","title":"Women of the northern stage : gender, nationality and identity and the work of Canadian women stage directors","year":2013,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nationality; Gender studies; Stage (stratigraphy); Identity (music); Work (physics); Relation (database); Political science; Sociology; Immigration; Engineering; Law; Art","score_opus":0.029194239927392944,"score_gpt":0.23569809721238355,"score_spread":0.2065038572849906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1266906500","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8826873,0.00056493183,3.331001e-8,0.000052843592,0.00024813158,0.00024324283,0.00021559365,0.000005434241,0.11598253],"genre_scores_gemma":[0.8605265,0.00036164877,7.868731e-7,0.000044602668,0.000063476655,0.000051180694,0.000025777857,0.000009058944,0.13891694],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99922055,0.00005131931,0.00023294866,0.0001187635,0.00019863102,0.00017780675],"domain_scores_gemma":[0.99936455,0.000081668,0.00018726122,0.00015956156,0.00015909922,0.00004783762],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032151415,0.00013903542,0.0002652538,0.00011653041,0.00040442336,0.00007533083,0.00014369484,0.0000457474,0.002324921],"category_scores_gemma":[0.000017953933,0.00007098799,0.000044333712,0.00006978132,0.00036337314,0.00014941308,0.000032406515,0.00011247819,0.0000022316012],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000104119856,0.00002218957,0.05632621,0.00060864567,0.0004678289,1.6519904e-7,0.8092671,0.0000015395824,0.0000035223231,0.13057251,0.00064978097,0.0019763473],"study_design_scores_gemma":[0.0006274266,0.00003149029,0.49175793,0.00006823363,0.000057386897,9.970709e-8,0.40598702,0.0000032557157,0.00004006313,0.0039814655,0.09717393,0.0002716937],"about_ca_topic_score_codex":0.26866013,"about_ca_topic_score_gemma":0.9228975,"teacher_disagreement_score":0.6542374,"about_ca_system_score_codex":0.000047607296,"about_ca_system_score_gemma":0.000113446375,"threshold_uncertainty_score":0.9985871},"labels":[],"label_agreement":null},{"id":"W132952650","doi":"10.14264/275699","title":"Re-imagining citizenry : national identities in Canadian and Australian multicultural drama","year":2011,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; The Imaginary; Drama; Hegemony; Gender studies; Ideology; Identity (music); Sociology; White (mutation); Narrative; National identity; Media studies; Aesthetics; Politics; Political science; Art; Literature; Law; Psychoanalysis; Psychology; Pedagogy","score_opus":0.03551641474412884,"score_gpt":0.26516079340046655,"score_spread":0.22964437865633772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W132952650","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1938876,0.00019869323,3.1807994e-9,0.00020566964,0.0007323444,0.00009382541,0.00006908431,0.000024104307,0.80478865],"genre_scores_gemma":[0.6756355,0.00007296594,0.000009212271,0.000099068646,0.00028904525,0.000017450773,0.00037059534,0.000010321137,0.3234958],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992052,0.000010494878,0.00020492008,0.00016687476,0.00013447135,0.00027805424],"domain_scores_gemma":[0.99966717,0.00001725505,0.000051667634,0.000048424383,0.00014253904,0.00007293211],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008164681,0.00018350908,0.0001866405,0.0002795358,0.0003190235,0.00021130261,0.00007757117,0.00007445766,0.004419177],"category_scores_gemma":[0.000010998541,0.00015154472,0.00004026918,0.000020275469,0.00009409633,0.00029534276,0.000008567009,0.00018568711,0.000066849854],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003151767,0.000016389391,0.0033256244,0.00025421978,0.00011589175,0.000018024622,0.876876,7.1016984e-7,0.0000039364245,0.08382789,0.03379021,0.0017395801],"study_design_scores_gemma":[0.0004102137,0.00004229026,0.027583217,0.0003139006,0.000051159757,0.0000026156285,0.64559495,0.000016532409,0.00003930774,0.0040976494,0.32118645,0.0006616816],"about_ca_topic_score_codex":0.6181963,"about_ca_topic_score_gemma":0.9958577,"teacher_disagreement_score":0.48174793,"about_ca_system_score_codex":0.000063948966,"about_ca_system_score_gemma":0.000120948105,"threshold_uncertainty_score":0.9964909},"labels":[],"label_agreement":null},{"id":"W141305570","doi":"","title":"Practice-as-research in performance and screen","year":2010,"lang":"en","type":"article","venue":"Deakin Research Online (Deakin University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Amateur; Sociology; Media studies; Genius; Homecoming; Visual arts; Public relations; Law; History; Political science; Art; Art history","score_opus":0.11747844861578421,"score_gpt":0.3697507800646105,"score_spread":0.25227233144882627,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W141305570","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7716604,0.000046182442,5.686864e-7,0.0033371248,0.00014530538,0.00028803595,0.0000445998,0.00004249383,0.22443533],"genre_scores_gemma":[0.98743135,0.00058565376,0.0002099694,0.00008606343,0.0006772795,0.000003494042,0.000024878853,0.000023345474,0.010957983],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.997175,0.00039908182,0.00019661324,0.00045921473,0.00085958507,0.0009105033],"domain_scores_gemma":[0.9975716,0.00095259096,0.00004793358,0.0003991451,0.00084589113,0.00018282421],"candidate_categories":["sts","research_integrity"],"consensus_categories":[],"category_scores_codex":[0.002505472,0.00018099755,0.00023280866,0.0017729582,0.0013810971,0.00021266853,0.00058692385,0.000121904544,0.0007332233],"category_scores_gemma":[0.00026489253,0.00017050462,0.000045419634,0.0007041691,0.0017332938,0.0010395694,0.0006607306,0.0024105625,0.00027678715],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007269373,0.0005986544,0.010319708,0.00013073118,0.00007691603,0.00043788078,0.01176365,0.0000055253936,0.00029189416,0.9391598,0.004508131,0.03198019],"study_design_scores_gemma":[0.00068683404,0.00038007932,0.005015193,0.00007650923,0.000008518898,0.000016046402,0.013731509,0.00024661366,0.000052319658,0.0005656097,0.97901714,0.00020364045],"about_ca_topic_score_codex":0.016786609,"about_ca_topic_score_gemma":0.053924408,"teacher_disagreement_score":0.974509,"about_ca_system_score_codex":0.00008931335,"about_ca_system_score_gemma":0.00024447707,"threshold_uncertainty_score":0.999919},"labels":[],"label_agreement":null},{"id":"W141941569","doi":"","title":"The Contradictions of Canadian Theatre Criticism.","year":2000,"lang":"en","type":"article","venue":"Essays on Canadian writing","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Art; Literature","score_opus":0.019542315911632562,"score_gpt":0.20710538296054498,"score_spread":0.18756306704891243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W141941569","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047626134,0.00044417093,4.7624173e-8,0.008600587,0.00026899652,0.000101454294,0.00038031212,0.00002130756,0.942557],"genre_scores_gemma":[0.9862537,0.00020703702,0.0000032058651,0.0014776458,0.0006340982,0.000014776351,0.000008208604,0.000015432888,0.011385913],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904853,0.000028356279,0.00020621975,0.00011512794,0.000101858175,0.0004999285],"domain_scores_gemma":[0.99932414,0.00014089922,0.000022523669,0.000180259,0.000063070234,0.0002690784],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017397966,0.00011210332,0.0001273465,0.00026991597,0.0023785771,0.00012934832,0.0001575929,0.000030445235,0.0044931388],"category_scores_gemma":[0.0000096154445,0.000085356885,0.00006329105,0.000087596265,0.0002747509,0.00008830436,0.0000027962133,0.00015484268,0.00016303553],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010293411,0.000011347681,0.0007408195,0.000017085842,0.00007687229,0.000022534346,0.016719166,0.00002460881,0.00000242676,0.7754248,0.06528138,0.14166868],"study_design_scores_gemma":[0.00010592813,0.00004246639,0.000384748,0.000052740874,0.000012921142,0.0000034104005,0.009195014,0.000037893926,0.000014495075,0.0010968033,0.98894274,0.00011085644],"about_ca_topic_score_codex":0.9314758,"about_ca_topic_score_gemma":0.9989767,"teacher_disagreement_score":0.93862754,"about_ca_system_score_codex":0.00008995986,"about_ca_system_score_gemma":0.00028253882,"threshold_uncertainty_score":0.9989202},"labels":[],"label_agreement":null},{"id":"W1424136759","doi":"","title":"Full Houses: Staging Drama in an Historic Mansion","year":2011,"lang":"en","type":"article","venue":"Queensland's institutional digital repository (The University of Queensland)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Drama; Visual arts; Living room; Welsh; Art; Art history; History; Engineering; Archaeology; Architectural engineering","score_opus":0.027777661547333844,"score_gpt":0.1877864272645819,"score_spread":0.16000876571724804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1424136759","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.736769,0.00014174284,0.00009499374,0.00005390483,0.0004922324,0.00013338783,0.00004445552,0.00006781714,0.2622024],"genre_scores_gemma":[0.9953038,0.00003751165,0.000048656915,0.000031396565,0.00022643436,7.0445924e-7,0.00002552259,0.000009837475,0.004316114],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989996,0.000043453172,0.00022989798,0.00024507585,0.00025463648,0.00022732477],"domain_scores_gemma":[0.99937075,0.000043332617,0.00012591458,0.00024807896,0.00014407455,0.000067864705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008826706,0.0001795897,0.00022693782,0.00016023853,0.0008131928,0.00006272896,0.00030128736,0.000057022367,0.00015766454],"category_scores_gemma":[0.000007815723,0.000144407,0.00011146279,0.00006727508,0.00084613246,0.001083148,0.000086081054,0.00017951311,0.000056479574],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0036310325,0.0014867903,0.3852408,0.0002691028,0.00038181499,0.0009495274,0.32798904,0.00044205997,0.00024075592,0.25958943,0.008010937,0.011768681],"study_design_scores_gemma":[0.00318775,0.0017159964,0.2271428,0.000548302,0.00019654333,0.00013529557,0.045613397,0.00045292667,0.00025420132,0.0051178276,0.7143034,0.00133159],"about_ca_topic_score_codex":0.00239274,"about_ca_topic_score_gemma":0.0027641228,"teacher_disagreement_score":0.70629245,"about_ca_system_score_codex":0.00013213346,"about_ca_system_score_gemma":0.000113039176,"threshold_uncertainty_score":0.6254504},"labels":[],"label_agreement":null},{"id":"W1424626854","doi":"","title":"À louer / For Rent, UMA, various venues, MontrealÀ louer / For Rent, UMA, various venues, Montreal","year":2012,"lang":"en","type":"article","venue":"Ciel variable : Art, photo, médias, culture","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business","score_opus":0.027137218615916663,"score_gpt":0.2470113348284407,"score_spread":0.21987411621252403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1424626854","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009758382,0.022646679,0.00051382557,0.0001474841,0.0066469614,0.0030334375,0.0048676175,0.00047135074,0.95191425],"genre_scores_gemma":[0.18565814,0.0038545213,0.004413878,0.01912261,0.034808487,0.005610657,0.005769809,0.000777362,0.7399845],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99682665,0.00007367327,0.00062870415,0.00066912785,0.0003477967,0.0014540484],"domain_scores_gemma":[0.99804467,0.00019273318,0.0003635539,0.00073337863,0.00035168717,0.00031396872],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004935785,0.0006899907,0.00082200277,0.0001289128,0.0014192169,0.00031361656,0.0004753781,0.00034448758,0.00865228],"category_scores_gemma":[0.00009897185,0.00059096783,0.00042049127,0.0001187583,0.00024284564,0.00070981967,0.00013752277,0.00046215343,0.0002988498],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003471956,0.0004873107,0.00045598656,0.00030711398,0.00044548558,0.0000061120154,0.016089056,0.000043004948,0.00026250447,0.019060837,0.9569935,0.0055018635],"study_design_scores_gemma":[0.0021287769,0.00035514255,0.0003789264,0.00016572102,0.0005042634,0.000019459507,0.0010405546,0.0003822316,0.0001725223,0.0031445299,0.99094087,0.00076698716],"about_ca_topic_score_codex":0.0015918512,"about_ca_topic_score_gemma":0.0004893589,"teacher_disagreement_score":0.21192972,"about_ca_system_score_codex":0.0001662712,"about_ca_system_score_gemma":0.00012069168,"threshold_uncertainty_score":0.9998808},"labels":[],"label_agreement":null},{"id":"W144510472","doi":"10.1007/978-94-6091-332-7_24","title":"Story Drama Structures","year":2011,"lang":"en","type":"book-chapter","venue":"SensePublishers eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Drama; Narrative; Literacy; Innovator; Embodied cognition; Curriculum; Pedagogy; Sociology; Apprenticeship; Visual arts; Psychology; Art; Literature; Linguistics; Political science; Epistemology; Entrepreneurship; Philosophy","score_opus":0.036273585033067705,"score_gpt":0.20023525959243352,"score_spread":0.1639616745593658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W144510472","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010792165,0.0008202742,5.4160876e-7,0.000102635204,0.0032924984,0.0002260546,0.000112478745,0.00026329877,0.9950743],"genre_scores_gemma":[0.011148174,0.000030184321,0.000018209079,0.0006879661,0.003273247,0.000007686511,0.000051259674,0.0001269041,0.9846564],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985638,0.000019082914,0.00030133908,0.0004207598,0.00030465572,0.00039031784],"domain_scores_gemma":[0.9988975,0.000045154822,0.00022224222,0.0005188875,0.00020637267,0.000109846995],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013065516,0.0005416986,0.0005102472,0.00026039453,0.0006371408,0.0004353222,0.00030268083,0.00027242317,0.012777168],"category_scores_gemma":[0.000006696242,0.00044852495,0.0002996904,0.0000026673392,0.0009089742,0.00023262059,0.00012310767,0.0007922217,0.00040490733],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023219764,0.000002434045,7.600788e-7,0.000043211297,0.00022720869,0.000018039433,0.02627414,5.43914e-8,7.558113e-7,0.6535777,0.29174075,0.028091732],"study_design_scores_gemma":[0.00015234196,0.00008619974,0.0000032080661,0.00005887172,0.000111694775,0.00000649388,0.00082915946,1.6827767e-7,0.000007549963,0.11813127,0.8801175,0.000495556],"about_ca_topic_score_codex":0.0001591803,"about_ca_topic_score_gemma":0.0014240487,"teacher_disagreement_score":0.5883767,"about_ca_system_score_codex":0.00005653277,"about_ca_system_score_gemma":0.00009855424,"threshold_uncertainty_score":0.9997966},"labels":[],"label_agreement":null},{"id":"W144808392","doi":"","title":"Jeremy James (Art Forum)","year":2010,"lang":"en","type":"article","venue":"UTAS Research Repository","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Visual arts; Diversity (politics); The arts; Contemporary art; Art; Meaning (existential); Representation (politics); Presentation (obstetrics); Performing arts; Sociology; Art history; Performance art; Humanities; Political science; Psychology; Politics; Law","score_opus":0.05091706787182256,"score_gpt":0.3189066819282707,"score_spread":0.26798961405644817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W144808392","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29469347,0.00039759494,4.4311497e-7,0.0009582152,0.0012691672,0.00013007048,0.00000698822,0.00007772928,0.7024663],"genre_scores_gemma":[0.85034084,0.00005107798,0.00002471215,0.00008814195,0.0023960846,0.000043711683,0.0000050381454,0.000017309556,0.14703307],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985549,0.000067109744,0.00017196553,0.0002163882,0.0004885439,0.00050111784],"domain_scores_gemma":[0.9990924,0.00015455387,0.000027390231,0.00035388573,0.00027014446,0.00010162019],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004401187,0.00011182964,0.00013526149,0.00015907663,0.0014210879,0.00030309957,0.00026453103,0.000051426592,0.0012814903],"category_scores_gemma":[0.00004564855,0.0000849277,0.00007705315,0.000047209836,0.0008101069,0.0002700962,0.00013311919,0.0007000088,0.0012222773],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006029753,0.00010093589,0.003892424,0.000049516948,0.000077137796,0.000044410903,0.01659161,4.1430397e-7,0.0068907333,0.16003162,0.8017118,0.010549111],"study_design_scores_gemma":[0.00012287963,0.00011525826,0.00036108427,0.000014598493,0.0000048261536,0.0000120352315,0.004561485,0.00001835769,0.0052954047,0.0010999852,0.98827904,0.00011503526],"about_ca_topic_score_codex":0.00045966762,"about_ca_topic_score_gemma":0.0016353106,"teacher_disagreement_score":0.5556474,"about_ca_system_score_codex":0.00001987065,"about_ca_system_score_gemma":0.00006660014,"threshold_uncertainty_score":0.99987894},"labels":[],"label_agreement":null},{"id":"W146677949","doi":"10.3138/tric.35.3.330","title":"Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête1","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Scenography; Interculturalism; Performing arts; Martial arts; History; Visual arts; Sociology; Aesthetics; Art","score_opus":0.0477975438496273,"score_gpt":0.27312302520150766,"score_spread":0.22532548135188035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W146677949","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16209666,0.0017855373,0.0000014608944,0.012055662,0.00022442591,0.00033429603,0.00003434088,0.000014574824,0.823453],"genre_scores_gemma":[0.9979793,0.0004976328,0.0000060212737,0.000100488265,0.00030573324,0.00003529285,0.0000046189757,0.000014755338,0.0010561857],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99808365,0.00061858766,0.00021772883,0.00019567192,0.0004364523,0.0004479268],"domain_scores_gemma":[0.9983293,0.0013421015,0.00002988312,0.0001995871,0.00004305012,0.000056107656],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026111677,0.000120705976,0.00021443119,0.0001575846,0.00047213896,0.00012657086,0.00022505352,0.000023243294,0.000106769265],"category_scores_gemma":[0.000025407706,0.00007780128,0.000021675665,0.00010850369,0.0005485018,0.0001872076,0.000127923,0.00049148826,0.000004453367],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00063604506,0.00008510021,0.028899563,0.00036383842,0.000091480724,0.00005940437,0.057033423,0.00023326825,0.000013289694,0.28702235,0.035379943,0.5901823],"study_design_scores_gemma":[0.0017297918,0.000043531552,0.0008008199,0.00013202702,0.000003967608,0.000005491218,0.016254814,0.0014234113,0.000011001124,0.010563622,0.9688744,0.00015715529],"about_ca_topic_score_codex":0.95690715,"about_ca_topic_score_gemma":0.99714583,"teacher_disagreement_score":0.93349445,"about_ca_system_score_codex":0.00018103835,"about_ca_system_score_gemma":0.00051804027,"threshold_uncertainty_score":0.3631359},"labels":[],"label_agreement":null},{"id":"W146880008","doi":"","title":"Nadine Norman : Call Girl","year":2000,"lang":"fr","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Performative utterance; Appropriation; Mythology; Art; Interpretation (philosophy); Theme (computing); Performance art; Art history; Literature; Visual arts; Psychology; Aesthetics; Linguistics; Philosophy; Computer science","score_opus":0.0196228493104168,"score_gpt":0.21307196995587643,"score_spread":0.19344912064545963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W146880008","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00071154925,0.006401662,0.0000012266488,0.0010153742,0.001746639,0.00023978479,0.00038938827,0.00012657877,0.9893678],"genre_scores_gemma":[0.0053452323,0.004873596,0.000024053497,0.0015400748,0.008211451,0.000017669885,0.0001827799,0.0000656473,0.9797395],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982725,0.00002787371,0.0004850537,0.00036027367,0.00024334733,0.000610947],"domain_scores_gemma":[0.99923503,0.00008021048,0.0000999128,0.00036003094,0.00009117257,0.00013362855],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009997647,0.0005786412,0.00061764807,0.00015004865,0.0012923959,0.00017729547,0.00028299083,0.0002343792,0.142478],"category_scores_gemma":[0.0000017635327,0.00046191018,0.00030194822,0.000020593037,0.000996138,0.00022734482,0.00008645149,0.0004933744,0.016400082],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033868746,0.000054189528,0.000079509366,0.00022120368,0.0003187018,0.0000224276,0.0054988903,0.0000043018927,2.633432e-7,0.38807005,0.5823688,0.02332782],"study_design_scores_gemma":[0.0002555737,0.00028614252,0.00009842591,0.00024269511,0.00024691343,0.000013390868,0.0002461505,0.000021284653,0.0000043861223,0.0011388313,0.9968048,0.00064144214],"about_ca_topic_score_codex":0.0031798435,"about_ca_topic_score_gemma":0.015587528,"teacher_disagreement_score":0.41443598,"about_ca_system_score_codex":0.00013367958,"about_ca_system_score_gemma":0.0001650289,"threshold_uncertainty_score":0.9997833},"labels":[],"label_agreement":null},{"id":"W1480194551","doi":"10.3138/tric.30.1_2.129","title":"Fusing the Nuclear Community: Intercultural Memory, Hiroshima 1945 and the Chronotopic Dramaturgy of Marie Clements’s <i>Burning Vision</i>","year":2009,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Dramaturgy; Vision; Politics; Sociology; Identity (music); Exposition (narrative); Relevance (law); Space (punctuation); Aesthetics; Media studies; Visual arts; Literature; Art; Linguistics; Anthropology; Law; Political science; Philosophy","score_opus":0.046449751598947854,"score_gpt":0.292870947779952,"score_spread":0.24642119618100414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1480194551","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81384784,0.0014123681,1.265759e-7,0.013598188,0.0001648534,0.0003200258,0.000017551723,0.000010099792,0.17062894],"genre_scores_gemma":[0.9985638,0.00040850686,0.0000036979036,0.00064410444,0.00018856852,0.000007574722,0.000003949947,0.00000885943,0.00017090216],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99823725,0.0006035496,0.00025010615,0.000106559084,0.00041473494,0.00038777545],"domain_scores_gemma":[0.99876666,0.0007354594,0.000051239094,0.0003347684,0.00006906034,0.000042805354],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0014569021,0.00012096018,0.00022750912,0.00006410396,0.0015052705,0.0001869176,0.00041903162,0.000019257124,0.00021202864],"category_scores_gemma":[0.000011379048,0.00006037992,0.000037884984,0.00008991531,0.00088998873,0.00014124312,0.00023720572,0.0007749508,0.0000022877152],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005623026,0.00007555708,0.00084785064,0.0001575247,0.00012606256,0.000016656832,0.16508435,0.00004860384,0.00017538542,0.019453548,0.016319506,0.7971327],"study_design_scores_gemma":[0.0021314346,0.00035718374,0.002469494,0.00048055837,0.000029583221,0.000009909532,0.2872574,0.0007477028,0.00014010575,0.0063991747,0.6997145,0.00026295212],"about_ca_topic_score_codex":0.894785,"about_ca_topic_score_gemma":0.95190835,"teacher_disagreement_score":0.7968697,"about_ca_system_score_codex":0.00020319832,"about_ca_system_score_gemma":0.00021162162,"threshold_uncertainty_score":0.99979466},"labels":[],"label_agreement":null},{"id":"W1480625123","doi":"","title":"Modernism and Social Condition: A Study on Harold Pinter's The Homecoming","year":2012,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Homecoming; Drama; Modernism (music); The Renaissance; Social position; Sociology; Literature; Relation (database); Aesthetics; Art; Social relation; Art history; Social science","score_opus":0.04223052687696654,"score_gpt":0.31788447108223056,"score_spread":0.275653944205264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1480625123","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9471856,0.03293444,1.5719431e-7,0.0007171615,0.00046192983,0.00018375771,0.000036684793,0.000022131244,0.018458152],"genre_scores_gemma":[0.99586385,0.00022476821,0.0000020852674,0.00088030513,0.0014743926,0.00004271475,0.0000050670583,0.0000076451215,0.0014991553],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99945897,0.00004887939,0.00011102446,0.00011570732,0.00007656896,0.0001888441],"domain_scores_gemma":[0.9997762,0.00008350379,0.000029660112,0.000075882155,0.000020306734,0.0000144603855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017677734,0.00013377148,0.00018655429,0.000052204596,0.000601409,0.00010715541,0.00004528516,0.000021546697,0.000033175536],"category_scores_gemma":[0.0000066911275,0.00007410391,0.000025078616,0.000022913358,0.00024496243,0.00019553737,0.00008037713,0.00018567778,0.000003874529],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026409734,0.00006145312,0.0022813338,0.000043672448,0.0001097448,0.0000074741247,0.9817388,3.818516e-8,0.0000054785096,0.011943758,0.0025059902,0.0012758656],"study_design_scores_gemma":[0.0008138954,0.00027080998,0.012867135,0.00015333931,0.00006166085,0.000008641136,0.90554595,0.0000024611209,0.000012644834,0.00068710005,0.07935365,0.00022273533],"about_ca_topic_score_codex":0.0000146428065,"about_ca_topic_score_gemma":0.00028278705,"teacher_disagreement_score":0.076847665,"about_ca_system_score_codex":0.000008981944,"about_ca_system_score_gemma":0.0000014339271,"threshold_uncertainty_score":0.46256125},"labels":[],"label_agreement":null},{"id":"W1481830046","doi":"10.3138/tric.27.1.123","title":"Queer and Now: The Queer Signifier at Buddies in Bad Times Theatre","year":2006,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Queer; Subjectivity; Meaning (existential); Literal and figurative language; Aesthetics; Interim; NOMINATE; Sociology; Art; History; Gender studies; Computer science; Philosophy; Epistemology","score_opus":0.034849668968620774,"score_gpt":0.26975547329042304,"score_spread":0.23490580432180228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1481830046","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26934245,0.0055520427,1.008294e-7,0.008343335,0.00018199874,0.00034168593,0.0000689543,0.000016381187,0.716153],"genre_scores_gemma":[0.98883146,0.00069295435,0.0000037109446,0.00015770312,0.00047232088,0.00006960277,0.0000073414903,0.000022366421,0.009742555],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979122,0.0002339277,0.00027274402,0.00027260755,0.00056082394,0.0007476594],"domain_scores_gemma":[0.99893856,0.0006123836,0.000026297748,0.00029790617,0.00006438522,0.000060453916],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00081077777,0.00019405427,0.00025508692,0.00018608452,0.0006124045,0.000107209926,0.0002550226,0.000038393086,0.0010628034],"category_scores_gemma":[0.0000026971427,0.00011860267,0.000033852368,0.0001477957,0.0005682224,0.00014288162,0.0002038764,0.0004427619,0.000046328056],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046878634,0.0001124621,0.26535705,0.00030868524,0.00015139839,0.00036297884,0.03424939,0.00037594797,0.000120347955,0.023951916,0.5757727,0.09876835],"study_design_scores_gemma":[0.00043866687,0.00006116387,0.0075703883,0.00011191772,0.000007377533,0.0000059139406,0.014069338,0.000110864334,0.00012965601,0.008555186,0.9686904,0.00024912265],"about_ca_topic_score_codex":0.9758159,"about_ca_topic_score_gemma":0.99941987,"teacher_disagreement_score":0.719489,"about_ca_system_score_codex":0.00051831827,"about_ca_system_score_gemma":0.0005085836,"threshold_uncertainty_score":0.99985033},"labels":[],"label_agreement":null},{"id":"W1484236633","doi":"","title":"Kathleen Gallagher and David Booth, eds. How Theatre Educates: Convergences & Counterpoints","year":2003,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Sociology; Art; Media studies; Visual arts; Art history; Environmental ethics; Philosophy","score_opus":0.06201311686032993,"score_gpt":0.2884709203375415,"score_spread":0.2264578034772116,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1484236633","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23946914,0.007873934,1.408745e-7,0.0054147663,0.0010536757,0.00038130354,0.00007444333,0.000023767892,0.7457088],"genre_scores_gemma":[0.9923736,0.0026331178,0.0000072506623,0.00022441172,0.00036692395,0.000051039602,0.000006187834,0.000025687303,0.0043117953],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997735,0.000259379,0.00021122549,0.0003424589,0.0006318822,0.0008200503],"domain_scores_gemma":[0.99905527,0.00032277155,0.000035522567,0.0003052948,0.000105039966,0.00017611314],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00081470655,0.00022086827,0.0002984088,0.00017670891,0.00054500974,0.00019460487,0.0002611698,0.00003774948,0.0029022396],"category_scores_gemma":[0.000007057587,0.00016668903,0.000035904766,0.00013100916,0.00053485966,0.00025004687,0.000073638585,0.0003985613,0.00005183095],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027339757,0.00027902608,0.18114081,0.0008982091,0.00045350875,0.00029700034,0.0632703,0.000010608261,0.00011187802,0.029424109,0.40593398,0.31790718],"study_design_scores_gemma":[0.00028866477,0.00008514259,0.00039193704,0.00012404629,0.000008098355,0.000008693556,0.038148627,0.000016223697,0.00012623501,0.0022669837,0.9583066,0.00022873894],"about_ca_topic_score_codex":0.86036426,"about_ca_topic_score_gemma":0.9868089,"teacher_disagreement_score":0.7529045,"about_ca_system_score_codex":0.0003515737,"about_ca_system_score_gemma":0.001664669,"threshold_uncertainty_score":0.99800926},"labels":[],"label_agreement":null},{"id":"W1486197857","doi":"10.3138/tric.22.2.124","title":"Sharon Pollock's Portraits of the Artist","year":2001,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Pollock; Portrait; Performativity; Meaning (existential); Identity (music); Art; Character (mathematics); Biography; Power (physics); Aesthetics; Art history; Philosophy; Epistemology","score_opus":0.07766493692621372,"score_gpt":0.29562178101208375,"score_spread":0.21795684408587002,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1486197857","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39348245,0.0005021323,3.9578964e-8,0.0031917202,0.00021771081,0.00013277128,0.00004622428,0.000005025513,0.60242194],"genre_scores_gemma":[0.9967459,0.00017188163,0.0000011628595,0.00009489768,0.00026255273,0.00001203284,0.0000017697594,0.000009159352,0.0027006522],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986337,0.000092606424,0.00019102314,0.00012014711,0.0005361635,0.00042640677],"domain_scores_gemma":[0.9994837,0.00011760184,0.000028295572,0.00025666316,0.00006318801,0.000050551385],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00039586984,0.00008106947,0.00014269458,0.000080106875,0.0002960104,0.000022593218,0.000294823,0.000014149868,0.0011073708],"category_scores_gemma":[0.0000034636853,0.000050304658,0.000034915756,0.00015569177,0.0002848578,0.00006700855,0.000093544906,0.00025956132,0.000010543267],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002795173,0.00018048074,0.36130807,0.00027539695,0.00014793158,0.00017997512,0.024487521,0.0001313397,0.00018642459,0.036986098,0.21190414,0.36393312],"study_design_scores_gemma":[0.00023535326,0.00005414784,0.013651038,0.000121117926,0.0000044266408,0.0000068332383,0.012322355,0.000034130928,0.0002665094,0.0020934786,0.9710965,0.00011410493],"about_ca_topic_score_codex":0.97544897,"about_ca_topic_score_gemma":0.99890536,"teacher_disagreement_score":0.75919235,"about_ca_system_score_codex":0.00024575906,"about_ca_system_score_gemma":0.00094511453,"threshold_uncertainty_score":0.99980575},"labels":[],"label_agreement":null},{"id":"W1486328883","doi":"","title":"Anne Charlotte Leffler and Modernist Drama: True Women and New Women on the Fin-de-Siècle Scandinavian Stage by Lynn R. Wilkinson (review)","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Fin de siecle; Drama; Stage (stratigraphy); Fin; Art; Art history; Sociology; Humanities; Gender studies; History; Literature; Engineering; Geology","score_opus":0.02093102673804427,"score_gpt":0.22282014381683968,"score_spread":0.20188911707879542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1486328883","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95416397,0.009736471,0.00009430446,0.0059324806,0.00015944871,0.00038162657,0.00011449158,0.00009117566,0.029326037],"genre_scores_gemma":[0.9409425,0.003995126,0.000008287062,0.004070329,0.0005334044,0.00010044231,0.000010138709,0.000040804287,0.050298948],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985679,0.00007566171,0.00022382372,0.00034257318,0.00019928424,0.00059078325],"domain_scores_gemma":[0.9992636,0.0000936394,0.000091480106,0.00033262055,0.00003094452,0.00018770597],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040029746,0.00029616975,0.0003895021,0.00004494902,0.00085381593,0.00026080606,0.00018297469,0.000052625477,0.00074044516],"category_scores_gemma":[0.000019778916,0.00019751381,0.000044936958,0.000026918262,0.0003356574,0.00020968076,0.00009074263,0.00021498426,0.000051272207],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033358936,0.00023229579,0.0021249766,0.0009882597,0.00029154963,0.000005235157,0.42736685,0.000025708016,0.00026044503,0.030138591,0.23748687,0.30074564],"study_design_scores_gemma":[0.0009288365,0.0005273313,0.0013907577,0.00028942592,0.000027739268,0.000003573422,0.0024311158,0.0023943407,0.000058697253,0.009289628,0.9822182,0.00044035903],"about_ca_topic_score_codex":0.00035544048,"about_ca_topic_score_gemma":0.00020405158,"teacher_disagreement_score":0.7447313,"about_ca_system_score_codex":0.00008858894,"about_ca_system_score_gemma":0.000023787086,"threshold_uncertainty_score":0.8107355},"labels":[],"label_agreement":null},{"id":"W1486350322","doi":"10.3138/tric.31.1.v","title":"Notes from the Editor’s Desk","year":2010,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Desk; Enthusiasm; Pleasure; Section (typography); Library science; Media studies; Journal editor; Visual arts; History; Art history; Art; Engineering; Sociology; Psychology; Computer science; Advertising; Mechanical engineering; Business","score_opus":0.06587153876365297,"score_gpt":0.29917764317608037,"score_spread":0.23330610441242738,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1486350322","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58482736,0.0006804598,1.5693166e-7,0.017609145,0.007313533,0.00023145393,0.00023071152,0.000021886386,0.38908526],"genre_scores_gemma":[0.98520505,0.00009050257,0.000006630485,0.00021972842,0.014235474,0.000027864942,0.000008340633,0.0000120768045,0.00019433167],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986191,0.0000940182,0.00013515212,0.00015370248,0.0005281256,0.0004699444],"domain_scores_gemma":[0.9980298,0.0014784003,0.000015235475,0.00033826992,0.00007003506,0.00006820521],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005716835,0.000095809526,0.000120051605,0.000046911173,0.0005997575,0.00010313067,0.00040106074,0.000023471932,0.0021014449],"category_scores_gemma":[0.000014392089,0.00005611875,0.00002464054,0.00006951255,0.00036339197,0.00009372425,0.0001039091,0.00079038244,0.00007154795],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006792993,0.000038374757,0.047396056,0.00002114643,0.00006330501,0.00003732467,0.016314454,0.0000066124535,0.00020775679,0.009198571,0.6763835,0.25026494],"study_design_scores_gemma":[0.000114680224,0.000017691802,0.0013526133,0.000020788768,0.0000025553345,4.5621243e-7,0.0072191143,0.000024722834,0.00014160678,0.0036155123,0.9874068,0.00008345036],"about_ca_topic_score_codex":0.99698263,"about_ca_topic_score_gemma":0.9999155,"teacher_disagreement_score":0.40037766,"about_ca_system_score_codex":0.00013016084,"about_ca_system_score_gemma":0.0010343546,"threshold_uncertainty_score":0.99881077},"labels":[],"label_agreement":null},{"id":"W1487354173","doi":"","title":"Books / Lectures: The Still Small Voice","year":2013,"lang":"en","type":"article","venue":"Canadian journal of psychoanalysis","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology; Mathematics education","score_opus":0.024204785579015575,"score_gpt":0.21672654936929026,"score_spread":0.1925217637902747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1487354173","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4930086,0.014208594,0.00012938073,0.028557513,0.0031562531,0.00026490955,0.000049001053,0.000019861118,0.4606059],"genre_scores_gemma":[0.9843526,0.00008027125,0.000034391793,0.0018032851,0.0013361789,0.000003050203,0.0000010155409,0.000011057415,0.012378188],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991928,0.000040455572,0.00030300516,0.000079135854,0.000118801334,0.00026584326],"domain_scores_gemma":[0.99900067,0.00005922758,0.00017305107,0.00019424153,0.00032529203,0.00024749312],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018951458,0.000119414995,0.00021408979,0.00027253013,0.0004875455,0.00029685322,0.00033970008,0.000024097053,0.006448322],"category_scores_gemma":[0.000024415043,0.000066852714,0.00024564486,0.000077502744,0.00022534146,0.00015902965,0.000005148849,0.00021921692,0.00023223937],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019908071,0.000025939516,0.006983021,0.00002663484,0.0028517018,0.000046805013,0.1545727,0.00020098702,0.000035069974,0.009808327,0.7578931,0.06753584],"study_design_scores_gemma":[0.00010620411,0.000057228513,0.0014649575,0.000020431811,0.00024935312,0.000022633798,0.0073144785,0.00002374567,0.0000069386183,0.0020801853,0.9885465,0.000107375],"about_ca_topic_score_codex":0.03896987,"about_ca_topic_score_gemma":0.62351936,"teacher_disagreement_score":0.5845495,"about_ca_system_score_codex":0.00003986396,"about_ca_system_score_gemma":0.00017298381,"threshold_uncertainty_score":0.9944599},"labels":[],"label_agreement":null},{"id":"W1487750924","doi":"10.3138/tric.21.1.70","title":"Helen Gilbert. (Post)Colonial Stages: Critical and Creative Views on Drama, Theatre and Performance","year":2000,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Drama; Dramaturgy; Dance; Colonialism; Ceremony; Theatre director; Political theatre; Commonwealth; Performance studies; Theatre studies; Visual arts; History; Bengali; Realism; Improvisation; Stanislavski's system; Art; Literature; Sociology; Anthropology; Philosophy","score_opus":0.06148434296387881,"score_gpt":0.32091322174933024,"score_spread":0.2594288787854514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1487750924","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6086318,0.0011068981,1.6077792e-8,0.0033904295,0.000073672134,0.00022330906,0.00009509141,0.000011127338,0.38646767],"genre_scores_gemma":[0.9931499,0.002963759,0.000006525847,0.0003615658,0.00041378237,0.000056378423,0.0000071796076,0.000022301181,0.0030186444],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99788606,0.00023721645,0.0002462948,0.00035407653,0.000528053,0.0007483035],"domain_scores_gemma":[0.99877906,0.0007015659,0.000015914084,0.00023765948,0.00007964656,0.00018614651],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005540518,0.00022211803,0.00032529738,0.00015218109,0.0008217999,0.00014167218,0.00017040716,0.000043874872,0.0029174518],"category_scores_gemma":[0.000007786363,0.00016452392,0.000026066778,0.00009395599,0.0007959269,0.00023925635,0.000076403274,0.0005517001,0.000039416816],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00088624435,0.000094103605,0.009172245,0.00030994747,0.00005839129,0.00009166824,0.031031381,0.000010277644,0.000009144924,0.0035376586,0.009030607,0.94576836],"study_design_scores_gemma":[0.0008281065,0.0015382881,0.006310959,0.00044663064,0.000017186927,0.000016792705,0.016891774,0.00024850527,0.00010122152,0.0010401554,0.9721435,0.00041692797],"about_ca_topic_score_codex":0.8471289,"about_ca_topic_score_gemma":0.97574943,"teacher_disagreement_score":0.96311283,"about_ca_system_score_codex":0.0002798253,"about_ca_system_score_gemma":0.00055353716,"threshold_uncertainty_score":0.997994},"labels":[],"label_agreement":null},{"id":"W1488354990","doi":"","title":"Performing the Iranian 2009 Show-Trials in the Theatre of History","year":2012,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"History; Computer science","score_opus":0.10512479253004288,"score_gpt":0.26347219100284636,"score_spread":0.1583473984728035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1488354990","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2409721,0.0063685947,9.629096e-7,0.0012074749,0.00067713275,0.00018805983,0.0000074706104,0.000014805494,0.7505634],"genre_scores_gemma":[0.9919439,0.0001613919,0.0000061419,0.00072478683,0.0012052883,0.0000151252625,0.0000012305735,0.0000059288213,0.005936238],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914366,0.00015788294,0.00029612065,0.00005472985,0.00013672093,0.00021090911],"domain_scores_gemma":[0.9992946,0.00040142974,0.00007989934,0.00019033797,0.000020564907,0.0000131836505],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0023027284,0.00009341657,0.00022876523,0.000045049765,0.00021601244,0.000017435059,0.00019136084,0.00001892179,0.003651099],"category_scores_gemma":[0.000021922902,0.00003631821,0.0001095823,0.000019321411,0.00020266576,0.00020914477,0.00002513907,0.00011246302,0.000051945513],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047910562,0.00011591174,0.013228327,0.00004718074,0.00006249812,4.1048267e-7,0.67250454,0.0000017522638,0.000066658606,0.1957163,0.09191114,0.026297351],"study_design_scores_gemma":[0.00011724113,0.00004009899,0.0029313266,0.000015343596,0.000032228847,0.0000013506728,0.059057273,0.000004749599,0.000052493742,0.00020309877,0.93747616,0.000068658526],"about_ca_topic_score_codex":0.00069019955,"about_ca_topic_score_gemma":0.0024927238,"teacher_disagreement_score":0.845565,"about_ca_system_score_codex":0.000024200092,"about_ca_system_score_gemma":0.000015864262,"threshold_uncertainty_score":0.9972597},"labels":[],"label_agreement":null},{"id":"W1490667311","doi":"10.3138/tric.22.2.139","title":"Staging the Intersections of Time in Sharon Pollock's Moving Pictures and End Dream","year":2001,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Athabasca University","funders":"","keywords":"Pollock; Dream; Art; Studio; Art history; Visual arts; Psychology","score_opus":0.044575233872552286,"score_gpt":0.28517912239185716,"score_spread":0.24060388851930486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1490667311","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7842483,0.00071345177,1.5302926e-7,0.0018892761,0.00007286251,0.00012570684,0.000025254061,0.000004972881,0.21292001],"genre_scores_gemma":[0.9986005,0.00038675702,0.0000011901371,0.00004950486,0.00013805181,0.000012400222,0.0000018595035,0.0000075393464,0.0008021913],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990437,0.00010222278,0.0001572104,0.00011535037,0.00024957114,0.00033191405],"domain_scores_gemma":[0.9994787,0.00029933458,0.000018636552,0.0001397112,0.000029364104,0.00003426116],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004813079,0.00007618863,0.00013210415,0.00018767343,0.0002589239,0.000037935788,0.00014148552,0.000012434041,0.0005351058],"category_scores_gemma":[0.0000045537454,0.00005024414,0.000015228232,0.00011866355,0.0002406282,0.00008890423,0.00009290586,0.00028773394,0.000002392132],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037121572,0.0001337135,0.45387492,0.00029084363,0.00014961253,0.00016486828,0.17458329,0.00065840466,0.00053309166,0.004800057,0.025811823,0.33862817],"study_design_scores_gemma":[0.001417353,0.0003814185,0.052313104,0.00091879774,0.000022311975,0.000030419402,0.39061978,0.0024562099,0.00059002015,0.0068121194,0.5438599,0.0005785226],"about_ca_topic_score_codex":0.977072,"about_ca_topic_score_gemma":0.9974748,"teacher_disagreement_score":0.5180481,"about_ca_system_score_codex":0.00022142177,"about_ca_system_score_gemma":0.00034420483,"threshold_uncertainty_score":0.58590335},"labels":[],"label_agreement":null},{"id":"W1491051426","doi":"","title":"Women performing: creating a bond through harmony","year":2000,"lang":"en","type":"article","venue":"Lincoln University Research Archive (Lincoln University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto; Queen's University; McGill University","keywords":"Harmony (color); Bond; Business; Art; Finance; Visual arts","score_opus":0.058401414412146226,"score_gpt":0.25373249028025235,"score_spread":0.19533107586810614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1491051426","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3051948,0.0000516567,0.00003662475,0.00041914496,0.00010688453,0.00053422264,0.00021255638,0.0001743399,0.6932698],"genre_scores_gemma":[0.5694182,0.0015914006,0.0007919836,0.00015112283,0.0009041029,0.0000038261223,0.000060680086,0.000046783276,0.42703193],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964702,0.00041603876,0.000233152,0.000734056,0.0007244329,0.0014220822],"domain_scores_gemma":[0.9980037,0.0006015735,0.00009158446,0.000526779,0.0003752854,0.00040105748],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00064212276,0.0003635423,0.0004721904,0.0009398713,0.0053795865,0.0002036631,0.001106901,0.00011263895,0.009149958],"category_scores_gemma":[0.000040564195,0.00039733772,0.00023868792,0.00070303655,0.00183152,0.0014497587,0.00063545234,0.001068786,0.0011963194],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.005688108,0.0010935043,0.004055674,0.00031659947,0.00092849764,0.0019882456,0.50007683,0.00023961256,0.0002209207,0.37809741,0.04771939,0.059575226],"study_design_scores_gemma":[0.0014883322,0.0006395345,0.00028081806,0.00009192992,0.000040789757,0.0000057903894,0.10226146,0.00033549409,0.00004023365,0.0021560704,0.8922438,0.0004157653],"about_ca_topic_score_codex":0.0033432688,"about_ca_topic_score_gemma":0.0059281574,"teacher_disagreement_score":0.8445244,"about_ca_system_score_codex":0.00078551384,"about_ca_system_score_gemma":0.0004188525,"threshold_uncertainty_score":0.9998478},"labels":[],"label_agreement":null},{"id":"W1491319466","doi":"10.3138/tric.22.1.32","title":"Trevor Schmidt Retells Tales from the Hospital: A Postmodern Theatrical Experiment","year":2001,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Narrative; Politics; Postmodernism; Compensation (psychology); Power (physics); Aesthetics; Sociology; History; Literature; Art; Psychology; Political science; Law; Psychoanalysis","score_opus":0.07959425297917147,"score_gpt":0.30696187985195994,"score_spread":0.22736762687278847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1491319466","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72466886,0.008811066,5.3093413e-7,0.015724525,0.00043701258,0.00047831275,0.00011702763,0.000030910756,0.24973173],"genre_scores_gemma":[0.9958633,0.0016625616,0.000007695425,0.00029597283,0.0012660484,0.00008713701,0.000015949614,0.000027416454,0.0007738725],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99746823,0.0002585369,0.00028480988,0.0003256878,0.00085749367,0.000805254],"domain_scores_gemma":[0.9984372,0.00081436266,0.00003265386,0.00050764106,0.00007988716,0.00012824486],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048833253,0.00020494367,0.00026336446,0.00009017173,0.0006922267,0.00014821714,0.0005487901,0.000035778277,0.0017490094],"category_scores_gemma":[0.000006897278,0.00012286963,0.00006886639,0.00016558236,0.00043035735,0.00014586166,0.00018308942,0.0005252038,0.00010995528],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00083085825,0.0005052039,0.06293794,0.000063125204,0.0004320168,0.00096151565,0.13423495,0.00006781631,0.00015616581,0.011019331,0.22251019,0.5662809],"study_design_scores_gemma":[0.00041683132,0.00018233071,0.0010413753,0.00008864541,0.0000096174535,0.0000033524925,0.043435656,0.00015270688,0.0001264778,0.0030211206,0.9512826,0.00023924308],"about_ca_topic_score_codex":0.97863686,"about_ca_topic_score_gemma":0.9879077,"teacher_disagreement_score":0.72877246,"about_ca_system_score_codex":0.0006190362,"about_ca_system_score_gemma":0.000857739,"threshold_uncertainty_score":0.9991635},"labels":[],"label_agreement":null},{"id":"W1492095552","doi":"","title":"What The Mind Remembers Without An Audience I - VIII","year":2006,"lang":"en","type":"article","venue":"Postcolonial text","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Aesthetics; History; Philosophy","score_opus":0.022014405906269477,"score_gpt":0.2564941902000724,"score_spread":0.23447978429380295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1492095552","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86111957,0.0005666958,7.926589e-7,0.004144795,0.0016474841,0.00017880804,0.000011856972,0.000046036963,0.13228396],"genre_scores_gemma":[0.97776395,0.00008278562,0.000020661397,0.00057581597,0.0020534052,0.00001959597,0.000007653241,0.000012800766,0.019463308],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917305,0.000033629563,0.00016386637,0.00018049117,0.00016317813,0.000285814],"domain_scores_gemma":[0.9995845,0.00004384755,0.000061697596,0.00021915152,0.00006088463,0.00002995067],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001528662,0.00013822022,0.00013720836,0.000031517116,0.00096910767,0.00038771424,0.00020818603,0.000027458535,0.001258095],"category_scores_gemma":[0.000005408013,0.000084428255,0.000056362172,0.00003345444,0.00045067782,0.00075930567,0.000050548024,0.00010739114,0.00040704466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005718234,0.00057843706,0.016827933,0.00006254849,0.00020285987,0.000033952267,0.5373804,0.00013710502,0.0009527729,0.21459594,0.08275753,0.14589868],"study_design_scores_gemma":[0.00023682082,0.00022819993,0.0048961635,0.00002649927,0.00003582815,0.00000532097,0.009667408,0.000059181897,0.00024314152,0.0013969323,0.98300385,0.00020065214],"about_ca_topic_score_codex":0.0013881348,"about_ca_topic_score_gemma":0.03447368,"teacher_disagreement_score":0.9002463,"about_ca_system_score_codex":0.000020991296,"about_ca_system_score_gemma":0.000022392365,"threshold_uncertainty_score":0.9996549},"labels":[],"label_agreement":null},{"id":"W1492864923","doi":"10.3138/tric.33.1.24","title":"Verbatim Theatre and Social Research: Turning Towards the Stories of Others","year":2012,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; Youth engagement; Context (archaeology); Ethnography; Sociology; Youth studies; Pedagogy; Visual arts; Humanity; Theatre studies; Media studies; Art; Gender studies; Public relations; Political science; History","score_opus":0.23313957889671225,"score_gpt":0.3627096292623979,"score_spread":0.12957005036568567,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1492864923","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58601886,0.00404625,9.008463e-8,0.0049530184,0.00029539157,0.00024207763,0.000063512554,0.00000930059,0.4043715],"genre_scores_gemma":[0.99812824,0.0002968837,0.000003784919,0.00005236651,0.0010101072,0.00003478128,0.000002851765,0.000019311226,0.0004516893],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971695,0.0005664802,0.00021445617,0.00014706368,0.0010057357,0.000896755],"domain_scores_gemma":[0.9987168,0.00080582104,0.00003320207,0.00021517371,0.00014968545,0.00007931767],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033010726,0.00012456582,0.00022620898,0.00017739441,0.0011773703,0.00006747117,0.00030350802,0.00003254612,0.00037410113],"category_scores_gemma":[0.000010465499,0.00007723823,0.000032486794,0.00018853946,0.001252686,0.00020896686,0.00020218494,0.000695926,0.000006294556],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022616284,0.00007146018,0.026229246,0.00033766808,0.00015054792,0.000009383699,0.5435108,0.000006498628,0.000082427454,0.031798497,0.04854441,0.34903294],"study_design_scores_gemma":[0.00020701013,0.00007636278,0.0016904017,0.000061892795,0.0000060867574,0.0000017457662,0.3103652,0.000013406714,0.00019093227,0.0011506323,0.68612486,0.00011148388],"about_ca_topic_score_codex":0.9515158,"about_ca_topic_score_gemma":0.97913575,"teacher_disagreement_score":0.63758045,"about_ca_system_score_codex":0.00040291762,"about_ca_system_score_gemma":0.00096841017,"threshold_uncertainty_score":0.90554994},"labels":[],"label_agreement":null},{"id":"W1493191819","doi":"","title":"Robin C. Whittaker, Ed.: Hot Thespian Action!: 10 Premiere Plays from Walterdale","year":2010,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Context (archaeology); Action (physics); Audience measurement; Art; Art history; Performance art; Visual arts; History; Humanities; Literature; Media studies; Sociology; Law; Political science","score_opus":0.0841033790331565,"score_gpt":0.3112145797120339,"score_spread":0.2271112006788774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1493191819","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57762235,0.00042467518,1.0740569e-7,0.0020964476,0.0009080627,0.00023461107,0.00028356467,0.00003012846,0.41840002],"genre_scores_gemma":[0.9933078,0.00017895678,0.000017994289,0.000106943095,0.0017724232,0.000059554255,0.000041853003,0.00003114486,0.004483291],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99787664,0.00013200118,0.00025508093,0.00032665386,0.0006404801,0.0007691264],"domain_scores_gemma":[0.99862784,0.00040217786,0.00003831969,0.00065187545,0.00010853582,0.00017122619],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005191819,0.00019503167,0.0002540168,0.00016489731,0.0006511891,0.00015099703,0.00058190036,0.00005737523,0.0134688895],"category_scores_gemma":[0.000011874229,0.00015465802,0.000047906535,0.00010999977,0.0002902942,0.000244822,0.00017135148,0.0010037557,0.00021660213],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000504642,0.00015732265,0.012213411,0.00013705273,0.00018101739,0.00013255056,0.016261673,0.000038392936,0.0016850767,0.005321047,0.71476626,0.24860154],"study_design_scores_gemma":[0.0003612447,0.00007160398,0.0008271762,0.000063955784,0.0000067168853,0.0000026015607,0.009619814,0.00007945494,0.0010485185,0.0023277858,0.9853668,0.00022433113],"about_ca_topic_score_codex":0.9745579,"about_ca_topic_score_gemma":0.99922746,"teacher_disagreement_score":0.41568545,"about_ca_system_score_codex":0.00036314313,"about_ca_system_score_gemma":0.0012997587,"threshold_uncertainty_score":0.98743296},"labels":[],"label_agreement":null},{"id":"W1493542782","doi":"","title":"Morrow, Martin. Wild Theatre: The History of One Yellow Rabbit","year":2003,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rabbit (cipher); Art; Art history; Computer science; Computer security","score_opus":0.09564823153409335,"score_gpt":0.2670544336386964,"score_spread":0.17140620210460306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1493542782","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048257697,0.007965746,2.4644092e-7,0.0020745664,0.00080920395,0.00029525923,0.000028998644,0.000012553512,0.94055575],"genre_scores_gemma":[0.9861929,0.00050307706,0.0000065884146,0.00018567588,0.00025501053,0.00004464054,0.0000021603485,0.000023021916,0.012786926],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99763024,0.00039825248,0.00032187565,0.0002116602,0.00077695306,0.00066100206],"domain_scores_gemma":[0.99882126,0.0004421511,0.00005545117,0.0004918255,0.00010235808,0.00008698122],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013067321,0.00015507275,0.000281093,0.00014633065,0.0002856701,0.000022754675,0.0003734251,0.000028850807,0.0032322973],"category_scores_gemma":[0.000010120048,0.000103921295,0.00006129776,0.00013243334,0.0007464846,0.00010697821,0.00006907074,0.000509709,0.000038979044],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023304355,0.00024045397,0.011885615,0.00034522917,0.00021714835,0.000064067994,0.0334315,0.00007874294,0.00020743847,0.04228942,0.82088864,0.090118706],"study_design_scores_gemma":[0.00028088398,0.00007761827,0.00011130945,0.000084415435,0.000009972801,0.00000222103,0.012526013,0.00002866225,0.00022112632,0.0019111073,0.984616,0.00013071501],"about_ca_topic_score_codex":0.9178995,"about_ca_topic_score_gemma":0.99004775,"teacher_disagreement_score":0.9379352,"about_ca_system_score_codex":0.0012701435,"about_ca_system_score_gemma":0.002736926,"threshold_uncertainty_score":0.9976789},"labels":[],"label_agreement":null},{"id":"W1493665496","doi":"","title":"Ginny Ratsoy, ed. Theatre in British Columbia ; Anne Nothof, ed. Theatre in Alberta .","year":2012,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"History; Art","score_opus":0.03647463271736873,"score_gpt":0.2764370332291422,"score_spread":0.23996240051177348,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1493665496","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5577493,0.00829178,6.2016454e-8,0.0023336562,0.00067948375,0.0007108492,0.00024988665,0.000025024217,0.42996],"genre_scores_gemma":[0.992267,0.0021202809,0.0000073416923,0.00026704662,0.0013453917,0.00018933459,0.000047547524,0.00006945109,0.0036866032],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949968,0.0005543871,0.00066470326,0.00052041904,0.0009450441,0.0023186544],"domain_scores_gemma":[0.99805737,0.000856321,0.0000618956,0.000603292,0.00009466411,0.00032644544],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0018251468,0.00030745778,0.0006690325,0.00034746566,0.00058174256,0.0004287962,0.0006444137,0.00011819113,0.0047075595],"category_scores_gemma":[0.000014877897,0.00036535747,0.000090593974,0.0004983069,0.0004951165,0.00064717885,0.00027587748,0.0012312286,0.00010794999],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000103961516,0.0003191817,0.5316302,0.00021402538,0.00005558884,0.0002498684,0.011111222,0.00003316119,0.000014168478,0.00031356944,0.23256765,0.22338739],"study_design_scores_gemma":[0.0013911674,0.00014644684,0.019868318,0.0006147631,0.0000112931,0.000029142255,0.030314006,0.00007806193,0.000030915515,0.0009526038,0.9459077,0.0006555436],"about_ca_topic_score_codex":0.99935824,"about_ca_topic_score_gemma":0.9999837,"teacher_disagreement_score":0.7133401,"about_ca_system_score_codex":0.0014214522,"about_ca_system_score_gemma":0.0016234985,"threshold_uncertainty_score":0.99987984},"labels":[],"label_agreement":null},{"id":"W1495032701","doi":"","title":"Donald Rayfield. Understanding Chekhov: A Critical Study of Chekhov's Prose and Drama","year":2002,"lang":"en","type":"article","venue":"International fiction review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Literature; Art","score_opus":0.12939343808005113,"score_gpt":0.3149837712113125,"score_spread":0.18559033313126136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1495032701","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.106886074,0.11114392,0.00019813448,0.032196205,0.004064256,0.0016572496,0.00008746603,0.0001860916,0.7435806],"genre_scores_gemma":[0.9784085,0.018467331,0.0000078171,0.00047120286,0.00034449776,0.00003165363,0.0000030902497,0.000006021987,0.0022598845],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993056,0.000024504725,0.0002644381,0.00012814799,0.00019526742,0.00008201272],"domain_scores_gemma":[0.9996528,0.00007539199,0.000063337386,0.00007911651,0.000105931606,0.000023404065],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011996389,0.000088353154,0.00017776694,0.000056085042,0.00015147071,0.00005071885,0.00007360678,0.000015852198,0.004635727],"category_scores_gemma":[0.00004881734,0.000069969276,0.000047763035,0.000027868786,0.00009268788,0.0001885509,0.0000347813,0.00008765482,0.000025720063],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008129702,0.002131948,0.0067124707,0.0038778663,0.000825031,0.000016005693,0.08525022,0.000007036062,0.00003452369,0.64517295,0.21817218,0.03771845],"study_design_scores_gemma":[0.0006511213,0.0004251424,0.0008567969,0.0018408211,0.00015712417,0.000019008281,0.00942385,0.00028291234,0.000011315912,0.0011425067,0.9849677,0.00022172047],"about_ca_topic_score_codex":0.00004012953,"about_ca_topic_score_gemma":0.0000936456,"teacher_disagreement_score":0.8715224,"about_ca_system_score_codex":0.000028022172,"about_ca_system_score_gemma":0.0000027157955,"threshold_uncertainty_score":0.9962742},"labels":[],"label_agreement":null},{"id":"W1496731683","doi":"10.3138/tric.26.1.64","title":"TheatrePEI: The Emergence and Development of a Local Theatre","year":2005,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Economic geography; Geography","score_opus":0.07518034763847774,"score_gpt":0.30878283274610946,"score_spread":0.2336024851076317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1496731683","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20752573,0.1607964,0.000016830629,0.046745867,0.0010621288,0.0008887712,0.0002534381,0.000017972437,0.58269286],"genre_scores_gemma":[0.9902328,0.007120311,0.00007911732,0.00012034324,0.0007376301,0.00005056702,0.0000043259947,0.000027745444,0.0016271177],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966471,0.00037807765,0.0006232708,0.00034773964,0.0009397854,0.0010640157],"domain_scores_gemma":[0.9985435,0.00064588676,0.000069655915,0.00043851775,0.0001334101,0.00016900117],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0016701194,0.00028147828,0.0003896273,0.00017018415,0.0011219042,0.000060167735,0.00047359293,0.0000656968,0.0015521984],"category_scores_gemma":[0.0000022419083,0.00018793666,0.000048366008,0.00023645574,0.0017294121,0.00018914821,0.0003138154,0.0007376333,0.000039896197],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007752614,0.00007322392,0.00215822,0.0002822201,0.000101492486,0.000017673521,0.020883262,0.00017263458,0.000007115547,0.004320914,0.011582767,0.960323],"study_design_scores_gemma":[0.00029085018,0.0000803209,0.00058423553,0.00036900875,0.000013593118,0.000011430071,0.08544811,0.00035172372,0.0004145732,0.00041437303,0.9118128,0.00020898138],"about_ca_topic_score_codex":0.95425963,"about_ca_topic_score_gemma":0.9983244,"teacher_disagreement_score":0.96011394,"about_ca_system_score_codex":0.00074857206,"about_ca_system_score_gemma":0.0042904485,"threshold_uncertainty_score":0.9993605},"labels":[],"label_agreement":null},{"id":"W1496944108","doi":"10.1353/mos.2011.a418771","title":"Freedom in Community: Aristotle’s Polis and Linklater’s Actor’s Quartet","year":2011,"lang":"en","type":"article","venue":"Mosaic","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Analogy; Epistemology; Set (abstract data type); Sociology; Philosophy; Theoretical physics; Physics; Computer science","score_opus":0.05834595949898602,"score_gpt":0.2274842163644906,"score_spread":0.16913825686550457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1496944108","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8340207,0.00047678233,6.518107e-7,0.00016771637,0.0003189481,0.00006712118,0.000039792547,0.000047802285,0.16486053],"genre_scores_gemma":[0.9976935,0.00009943818,0.000018621018,0.00018734593,0.00018666971,0.000008718271,0.000012333958,0.000010810142,0.0017826052],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995004,0.000049632567,0.00013610948,0.00007874636,0.000055183904,0.00017995814],"domain_scores_gemma":[0.9997099,0.000032454038,0.000029503932,0.00017765698,0.000018045412,0.00003243238],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012984205,0.00010553744,0.00015243082,0.000075829324,0.000325718,0.000042036965,0.00010474313,0.000032983953,0.00081211445],"category_scores_gemma":[0.0000044187163,0.000084707855,0.000026212558,0.00001993696,0.0002219501,0.00015634521,0.0000664165,0.00023489083,0.00008049132],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005581018,0.0002036375,0.049603265,0.00007744078,0.000055416487,0.000009071019,0.89579046,5.3429443e-7,0.000029019255,0.032704875,0.014663734,0.0068067135],"study_design_scores_gemma":[0.0011639198,0.00062266295,0.07056662,0.00012853523,0.0000476786,0.0000065491695,0.060760792,0.000074206146,0.00014047488,0.017210359,0.84871066,0.00056753133],"about_ca_topic_score_codex":0.018895715,"about_ca_topic_score_gemma":0.05055797,"teacher_disagreement_score":0.8350297,"about_ca_system_score_codex":0.000013617453,"about_ca_system_score_gemma":0.000008066169,"threshold_uncertainty_score":0.9876375},"labels":[],"label_agreement":null},{"id":"W1498294865","doi":"10.3138/tric.35.2.223","title":"Disciplinarity and Dissolution","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Pride; Scrutiny; Discipline; Proposition; Sociology; Field (mathematics); Aesthetics; Media studies; History; Political science; Art; Social science; Law; Epistemology; Philosophy","score_opus":0.07282054243553468,"score_gpt":0.30951111101434026,"score_spread":0.23669056857880558,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1498294865","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48512954,0.00034601576,8.1011905e-7,0.0032954696,0.00016377859,0.00009059808,0.000016530552,0.000009086718,0.5109482],"genre_scores_gemma":[0.99918264,0.00011367549,0.0000031622678,0.000034030018,0.00031014357,0.0000125186425,0.0000029833427,0.000005579036,0.0003352493],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990831,0.00010368517,0.000093700684,0.00012477227,0.00026045294,0.00033430845],"domain_scores_gemma":[0.99958813,0.00018574437,0.000009222286,0.0001258625,0.000028507537,0.000062531275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059142924,0.000061670136,0.00010218472,0.00006946355,0.0004087499,0.000044487944,0.000087021406,0.000010803469,0.00014256767],"category_scores_gemma":[0.0000032138269,0.000046269863,0.000009162934,0.00004603814,0.00021803282,0.000087500244,0.00008902107,0.00019798518,0.00000846317],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010215777,0.000052114072,0.07728934,0.00021501782,0.000029848758,0.000016533482,0.016637687,0.000019943232,0.000023799072,0.111563966,0.023140086,0.7709095],"study_design_scores_gemma":[0.000281908,0.00010290483,0.010427658,0.0000750335,0.0000032459732,0.0000019914578,0.011858889,0.00078758487,0.000025009058,0.019328155,0.95695055,0.00015708823],"about_ca_topic_score_codex":0.97013724,"about_ca_topic_score_gemma":0.99911857,"teacher_disagreement_score":0.9338105,"about_ca_system_score_codex":0.00019667865,"about_ca_system_score_gemma":0.00022109944,"threshold_uncertainty_score":0.3143815},"labels":[],"label_agreement":null},{"id":"W1499919598","doi":"10.31273/eirj.v2i1.107","title":"Literature and Conflict: One Day Postgraduate Conference at the University of Birmingham","year":2014,"lang":"en","type":"article","venue":"Exchanges The Interdisciplinary Research Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"University of Birmingham","keywords":"Drama; Representation (politics); Media studies; Sociology; Library science; Political science; Visual arts; Art; Law","score_opus":0.11130603247680806,"score_gpt":0.3255429677550763,"score_spread":0.21423693527826823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1499919598","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8389457,0.008404984,0.000029642579,0.06290929,0.00050301984,0.00027006058,0.000075904594,0.00001885976,0.088842586],"genre_scores_gemma":[0.96524495,0.0028334733,0.000005816592,0.000048491245,0.0008516921,0.0000013429288,0.0000032645182,0.0000085583,0.031002421],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986183,0.00045784385,0.00013327347,0.00013050527,0.00035845648,0.0003015962],"domain_scores_gemma":[0.9987842,0.0004207339,0.00008880035,0.00023113484,0.0004049071,0.00007026304],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0021520266,0.000107671665,0.0001667373,0.00011109304,0.0034025973,0.00023073274,0.00046459906,0.000030199259,0.0010876479],"category_scores_gemma":[0.000029390207,0.000054840664,0.00006924005,0.000066379274,0.0018196673,0.0001954476,0.0013843176,0.00066726736,0.000042127453],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045951162,0.000061447005,0.00031863022,0.000096761396,0.0001940272,0.000023778226,0.86642754,0.0000015875064,0.00069238606,0.01611039,0.08067744,0.03493651],"study_design_scores_gemma":[0.00059825444,0.0012325929,0.0035085236,0.0008171041,0.000047560552,0.0002049476,0.09424909,0.00027109584,0.00035301887,0.015562408,0.8829577,0.0001977274],"about_ca_topic_score_codex":0.00003621697,"about_ca_topic_score_gemma":0.0019412693,"teacher_disagreement_score":0.80228025,"about_ca_system_score_codex":0.000031311676,"about_ca_system_score_gemma":0.000022950477,"threshold_uncertainty_score":0.9998255},"labels":[],"label_agreement":null},{"id":"W1500136840","doi":"10.3138/tric.35.3.397","title":"D through Z: Politics in the Making","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Materiality (auditing); Politics; Epistemology; Aesthetics; Presentation (obstetrics); Resistance (ecology); Sociology; Art; Political science; Philosophy; Law","score_opus":0.13574337014826232,"score_gpt":0.34713772680526506,"score_spread":0.21139435665700274,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1500136840","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.088109136,0.00036891122,5.2594197e-7,0.009766233,0.00018751128,0.00014270999,0.000013919812,0.00000655285,0.9014045],"genre_scores_gemma":[0.9980228,0.000062648964,0.0000060315215,0.0010584223,0.0006140747,0.000024466504,0.0000020035168,0.000008926201,0.00020060521],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835724,0.0002914723,0.00015815989,0.00012403427,0.00047933767,0.0005897438],"domain_scores_gemma":[0.999211,0.00049892947,0.000013467242,0.00022911851,0.000032250755,0.000015221867],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010357841,0.00008344077,0.00012738063,0.00008539727,0.00035322944,0.00007080238,0.00033054416,0.00001437988,0.00020218718],"category_scores_gemma":[0.0000069399334,0.000052188432,0.00001801234,0.00011580189,0.00019763976,0.000095725576,0.000060917064,0.0003983262,0.00002015909],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040825424,0.0000754649,0.023127839,0.00019675505,0.000028545339,0.000099510355,0.12169728,0.00009373733,0.0000036100764,0.6308666,0.10274696,0.12102291],"study_design_scores_gemma":[0.00013882745,0.00003699748,0.00050443737,0.00006842416,0.000001305466,0.0000020481627,0.034047432,0.00009795286,0.0000066906646,0.019387497,0.94563067,0.00007771968],"about_ca_topic_score_codex":0.9723869,"about_ca_topic_score_gemma":0.998787,"teacher_disagreement_score":0.90991366,"about_ca_system_score_codex":0.00031136157,"about_ca_system_score_gemma":0.00046658173,"threshold_uncertainty_score":0.2716791},"labels":[],"label_agreement":null},{"id":"W1500749476","doi":"","title":"Telling the self, splitting the self: identity construction in Canadian and Australian multicultural theatre","year":2011,"lang":"en","type":"article","venue":"Australasian drama studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Identity (music); Sociology; Multiculturalism; The Imaginary; Narrative; Aesthetics; Subjectivity; Hybridity; Self; Agency (philosophy); Cultural identity; Epistemology; Literature; Negotiation; Psychoanalysis; Psychology; Social science; Philosophy; Anthropology; Art","score_opus":0.044267416260066896,"score_gpt":0.25932033878331434,"score_spread":0.21505292252324745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1500749476","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.958688,0.0006946939,6.990305e-8,0.004789158,0.00069092686,0.00037178482,0.000016721238,0.000087648936,0.034660958],"genre_scores_gemma":[0.9974779,0.00072747,0.00015616251,0.000118067845,0.00046445965,0.000033293716,0.0000017525081,0.000012164047,0.0010087194],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99873406,0.000070436676,0.00029542638,0.00023003841,0.0001326301,0.0005374313],"domain_scores_gemma":[0.99948436,0.00008717217,0.000084949934,0.00018393899,0.00008538344,0.00007418903],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0003391724,0.00023855324,0.000237143,0.00007926799,0.0017879069,0.00021167292,0.00019906854,0.000048212936,0.00010417851],"category_scores_gemma":[0.000016526772,0.0001243383,0.00006713172,0.00008979165,0.00077123626,0.0004907422,0.00007128922,0.00030637477,0.000034710916],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012641139,0.000036608482,0.12676643,0.000095708405,0.0005403558,0.000019826894,0.8236714,0.000003604643,0.0000046023997,0.040792655,0.0018560672,0.0062000807],"study_design_scores_gemma":[0.00040659166,0.00009152725,0.13730967,0.00013700924,0.00023269647,0.000048391546,0.7514403,0.000029808223,0.00008752207,0.002662697,0.10715215,0.00040166962],"about_ca_topic_score_codex":0.09376464,"about_ca_topic_score_gemma":0.6998221,"teacher_disagreement_score":0.6060575,"about_ca_system_score_codex":0.000088409426,"about_ca_system_score_gemma":0.000041364576,"threshold_uncertainty_score":0.99951166},"labels":[],"label_agreement":null},{"id":"W1501162157","doi":"","title":"Don’t Eat the Raw Vegetables: Insights into Research-based Theatre as Methodology","year":2015,"lang":"en","type":"article","venue":"Journal of educational enquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Prince Edward Island","funders":"","keywords":"Practicum; Narrative; Sociology; Aesthetics; Pedagogy; Psychology; Art; Literature","score_opus":0.2625309825576594,"score_gpt":0.41088592982906225,"score_spread":0.14835494727140286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1501162157","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52161247,0.02827468,0.00006911705,0.1376217,0.00973502,0.00037297007,0.0000046893156,0.000016852982,0.30229253],"genre_scores_gemma":[0.9844287,0.00017522942,0.00041839902,0.001163508,0.007226784,0.000018075283,0.0000042336865,0.000013551789,0.0065514906],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983733,0.00047129596,0.00034712837,0.00010060617,0.00050023344,0.00020738714],"domain_scores_gemma":[0.9970357,0.0015440879,0.00017312563,0.0001832736,0.0009490956,0.0001147128],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0017828711,0.00011235942,0.00021352751,0.00023935037,0.00058813544,0.000102694125,0.0003427366,0.000039923834,0.0014581545],"category_scores_gemma":[0.0002802864,0.00006088964,0.00011016253,0.0000840943,0.0011035437,0.00030890986,0.00004598034,0.00039050932,0.00016798053],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039271679,0.00033386736,0.001074822,0.00005327919,0.00023314166,0.0000060996026,0.2716832,0.00034791796,0.00011288277,0.4586549,0.26358858,0.003518602],"study_design_scores_gemma":[0.00032311757,0.0003220868,0.00025657346,0.00004903639,0.00002577033,0.00002120076,0.040130984,0.000012828872,0.000194413,0.17853694,0.78005147,0.00007557031],"about_ca_topic_score_codex":0.00035797572,"about_ca_topic_score_gemma":0.0006052971,"teacher_disagreement_score":0.5164629,"about_ca_system_score_codex":0.00010574302,"about_ca_system_score_gemma":0.0011727078,"threshold_uncertainty_score":0.9994547},"labels":[],"label_agreement":null},{"id":"W1502708397","doi":"","title":"The African American Theatrical Body: Reception, Performance, and the Stage by Soyica Diggs Colbert (review)","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); History; Art; Geology","score_opus":0.009188681660985699,"score_gpt":0.20894294168083083,"score_spread":0.19975426001984514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1502708397","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45570943,0.057809375,0.000054253207,0.057802174,0.00055879354,0.002296601,0.00009550423,0.00024084814,0.425433],"genre_scores_gemma":[0.9123153,0.04151255,0.0000060504967,0.0019254492,0.00031966326,0.00027856842,0.0000087239505,0.00002150138,0.043612204],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988112,0.00009971661,0.0002758151,0.00020654275,0.00023689344,0.00036982147],"domain_scores_gemma":[0.99911726,0.00026407524,0.00012037153,0.0003327539,0.00010108379,0.00006447928],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00029565906,0.00020413562,0.0003059268,0.000022463586,0.0015973025,0.00027545195,0.0002731571,0.000020076292,0.0005876333],"category_scores_gemma":[0.00001976434,0.000092369504,0.00008597611,0.000060619564,0.0017192529,0.00022243771,0.00010491664,0.00021146105,0.00019072305],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012818011,0.000061887906,0.0013197192,0.00012219672,0.00014971218,3.338023e-7,0.03176775,0.0000019641411,0.00001166136,0.013084526,0.6171232,0.33622888],"study_design_scores_gemma":[0.00038288435,0.00011777526,0.0009388881,0.00004196501,0.00004738965,0.000001634402,0.0028788655,0.001515111,0.000005688638,0.00072804594,0.9931651,0.00017668569],"about_ca_topic_score_codex":0.0010053942,"about_ca_topic_score_gemma":0.00033600844,"teacher_disagreement_score":0.45660585,"about_ca_system_score_codex":0.000021779253,"about_ca_system_score_gemma":0.000017883707,"threshold_uncertainty_score":0.99970245},"labels":[],"label_agreement":null},{"id":"W1503066789","doi":"10.3138/tric.29.2.179","title":"Free Fall: the STATE of Interdisciplinary and Experimental Performance: (a netless net)","year":2008,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Meditation; Institutionalisation; State (computer science); Sociology; Political science; Geography; Law","score_opus":0.06517578588314059,"score_gpt":0.3082558734073476,"score_spread":0.243080087524207,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1503066789","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8702834,0.0019191835,3.4969553e-8,0.0007330397,0.00012439083,0.0001492389,0.00004516121,0.0000052782984,0.12674022],"genre_scores_gemma":[0.9985554,0.00072098523,0.0000015931262,0.00003523573,0.00014999996,0.00002761281,0.0000024910125,0.000011103972,0.00049553433],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987852,0.000087011256,0.0001948467,0.00013558882,0.00042086802,0.00037646625],"domain_scores_gemma":[0.99943954,0.00016318954,0.00002609294,0.0002702849,0.000046369623,0.0000545507],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033187366,0.00010359047,0.00016845566,0.00009148008,0.0006158602,0.000020202717,0.00030973542,0.00001034229,0.000121153564],"category_scores_gemma":[9.585649e-7,0.00006453678,0.000019971745,0.00007483213,0.0007999311,0.0001275192,0.00039322095,0.00027555868,0.0000025462143],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012744211,0.0002758874,0.110848054,0.00059058255,0.00025818555,0.00027291878,0.4595976,0.00051631895,0.00028228067,0.0020719378,0.1272417,0.29677013],"study_design_scores_gemma":[0.004840891,0.0026567273,0.057930198,0.0009641028,0.00002701769,0.00018334732,0.46787202,0.0035480238,0.013380997,0.008960887,0.4382628,0.0013730173],"about_ca_topic_score_codex":0.8404164,"about_ca_topic_score_gemma":0.97594523,"teacher_disagreement_score":0.3110211,"about_ca_system_score_codex":0.00017231562,"about_ca_system_score_gemma":0.0004825496,"threshold_uncertainty_score":0.4736761},"labels":[],"label_agreement":null},{"id":"W1505424807","doi":"10.3138/tric.23.1_2.152","title":"Oscar G. Brockett and Franklin J. Hildy. History of the Theatre, Ninth Edition","year":2002,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Ninth; Encyclopedia; Narrative; Minor (academic); Empiricism; Positivism; History; Media studies; Sociology; Humanities; Art; Library science; Literature; Philosophy; Epistemology; Computer science","score_opus":0.07390620265221506,"score_gpt":0.2479431883835681,"score_spread":0.17403698573135304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1505424807","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1404749,0.012518815,1.2501371e-7,0.0038993878,0.0011177589,0.00027964718,0.000090055735,0.0000132020505,0.8416061],"genre_scores_gemma":[0.9946458,0.0012214249,0.0000021132448,0.00016980793,0.00053131656,0.000020620902,0.000002266364,0.000013997555,0.0033926691],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99843645,0.00017552436,0.00021488135,0.00017469356,0.00056704745,0.00043142648],"domain_scores_gemma":[0.9992912,0.00024393387,0.000039466195,0.00028907967,0.00006950406,0.00006682742],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00039117914,0.00011849751,0.00019409753,0.00012333533,0.00026069992,0.000017229708,0.00023903631,0.000028262362,0.0018172434],"category_scores_gemma":[0.0000041848602,0.0000779387,0.000038837603,0.00008541622,0.00056896487,0.00011404577,0.00010762206,0.00038614968,0.000009381461],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053119562,0.00007638942,0.00988968,0.00020655287,0.00006033103,0.000013948386,0.020282244,0.000013244212,0.00005404821,0.0025753726,0.7741154,0.1926597],"study_design_scores_gemma":[0.00028383004,0.00006364934,0.0008749958,0.00011982421,0.0000080434775,0.0000030933004,0.0052141068,0.00014995698,0.00008094768,0.0009999442,0.9920879,0.00011372576],"about_ca_topic_score_codex":0.90473175,"about_ca_topic_score_gemma":0.9828745,"teacher_disagreement_score":0.85417086,"about_ca_system_score_codex":0.0008413732,"about_ca_system_score_gemma":0.00048155783,"threshold_uncertainty_score":0.9990952},"labels":[],"label_agreement":null},{"id":"W1505558402","doi":"","title":"Theater as Representation (TAR) in the Teaching of Teacher and Administrator Preparation Programs.","year":2004,"lang":"en","type":"article","venue":"International electronic journal for leadership in learning","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Representation (politics); Pedagogy; Psychology; Mathematics education; Sociology; Political science","score_opus":0.09576766547669606,"score_gpt":0.3404786056239251,"score_spread":0.24471094014722905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1505558402","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98238254,0.00042882306,0.00006964215,0.005371693,0.00016775151,0.00020239165,5.5569484e-7,0.00000889361,0.011367726],"genre_scores_gemma":[0.99836266,0.00006101544,0.000027690716,0.0000962003,0.00035007158,0.000028361486,0.0000083410205,0.000007783768,0.0010578617],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99913985,0.00008552743,0.00025240512,0.00010020529,0.0001830753,0.00023894668],"domain_scores_gemma":[0.99970156,0.0000788571,0.00012295527,0.00003785933,0.00004743353,0.000011309777],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009917615,0.00007764109,0.00009487507,0.00012216138,0.0002038881,0.00013004644,0.00013084742,0.000025826743,0.000032131662],"category_scores_gemma":[0.00008814682,0.000055164768,0.000047311925,0.000023577331,0.000071525676,0.0003304978,0.000008596618,0.0005969893,0.0000019167119],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00054727803,0.00021109382,0.027541142,0.00004221079,0.00010972799,0.0000038103367,0.38593498,0.0014622455,0.00014008218,0.5704123,0.00005119233,0.013543977],"study_design_scores_gemma":[0.004897502,0.0038356164,0.0058821584,0.00075885537,0.00006537489,0.00034917894,0.6764113,0.00073478115,0.00056521094,0.15997386,0.14607126,0.00045494278],"about_ca_topic_score_codex":0.00018785814,"about_ca_topic_score_gemma":0.0015139009,"teacher_disagreement_score":0.41043842,"about_ca_system_score_codex":0.00012114499,"about_ca_system_score_gemma":0.00007308371,"threshold_uncertainty_score":0.25936547},"labels":[],"label_agreement":null},{"id":"W1506534494","doi":"10.1353/shb.2008.0034","title":"\"Noises, Sounds and Sweet Airs\": Northern Broadsides' The Tempest (review)","year":2008,"lang":"en","type":"article","venue":"Shakespeare bulletin","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tempest; Visual arts; Porch; Art; Art history; Musical; Aristocracy (class); History; Archaeology; Law; Politics","score_opus":0.0229278977280512,"score_gpt":0.2055622634790025,"score_spread":0.1826343657509513,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1506534494","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17245339,0.1732193,0.0000021329904,0.051697098,0.0008116058,0.00083027396,0.00014797764,0.00032198036,0.60051626],"genre_scores_gemma":[0.9138692,0.026934369,0.000013649024,0.004964423,0.001421419,0.000055715278,0.000023465713,0.000038319304,0.05267946],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998995,0.000051703777,0.00023810421,0.00022851826,0.00019846164,0.0002882305],"domain_scores_gemma":[0.9993912,0.00009057495,0.00007299792,0.00029051513,0.00010017003,0.00005455081],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019323525,0.00020702928,0.00025366773,0.000028994013,0.0011602021,0.000058440477,0.00019541517,0.000029267661,0.00550641],"category_scores_gemma":[0.000031657153,0.00012595423,0.00009410686,0.000032859494,0.00056837883,0.00004928189,0.00009323234,0.0001852593,0.0013043397],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022832579,0.00003703763,0.0074394876,0.0002279944,0.000071868475,0.000020101255,0.020534324,0.0000014163418,0.0000018351906,0.0022055672,0.96308905,0.0063484865],"study_design_scores_gemma":[0.00017847476,0.00007197722,0.0033675006,0.00022226121,0.000030910072,0.000037798472,0.001788578,0.000001125659,0.0000043907044,0.00007370143,0.99403197,0.00019130432],"about_ca_topic_score_codex":0.00081700226,"about_ca_topic_score_gemma":0.005714573,"teacher_disagreement_score":0.7414158,"about_ca_system_score_codex":0.00001479303,"about_ca_system_score_gemma":0.00002819204,"threshold_uncertainty_score":0.9994733},"labels":[],"label_agreement":null},{"id":"W1507301920","doi":"","title":"Who Is The Stranger?: The Role of The Monstrous in Judith Thompsons Capture Me","year":2003,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Humanities; Monster; Art; Ethnology; Art history; History","score_opus":0.03728604713737445,"score_gpt":0.2638352256278193,"score_spread":0.22654917849044487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1507301920","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31749934,0.006419501,5.9658404e-8,0.014256889,0.00022318205,0.0005150209,0.00016195487,0.000005180755,0.6609189],"genre_scores_gemma":[0.9982041,0.000338093,0.0000010431697,0.00023039128,0.0001263891,0.000040499675,7.21956e-7,0.000012422773,0.0010463484],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979858,0.00046466055,0.00021068641,0.00015276269,0.0006444432,0.00054164097],"domain_scores_gemma":[0.9988922,0.00047502786,0.000037358135,0.00049255695,0.000065635286,0.00003723287],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096391723,0.0001290577,0.00018934872,0.000065183565,0.00062176905,0.00005211082,0.0005751638,0.000027028193,0.00032019516],"category_scores_gemma":[0.0000090971635,0.000054827404,0.000056988047,0.00024002581,0.0006043326,0.00006229647,0.000084942025,0.0006948177,0.0000042229117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020802635,0.00022847035,0.17835261,0.00020776727,0.00036670736,0.000052706742,0.29663962,0.00057685236,0.00017371448,0.2024145,0.18837547,0.13240357],"study_design_scores_gemma":[0.00021541987,0.00002753973,0.0022541198,0.000109318666,0.000009186502,0.00000440981,0.15195958,0.00007298731,0.00057245034,0.007476772,0.8371868,0.000111394314],"about_ca_topic_score_codex":0.93665403,"about_ca_topic_score_gemma":0.99781126,"teacher_disagreement_score":0.6807048,"about_ca_system_score_codex":0.00022243345,"about_ca_system_score_gemma":0.0011666795,"threshold_uncertainty_score":0.47822076},"labels":[],"label_agreement":null},{"id":"W1507970245","doi":"","title":"Two Hearts that Beat as Two, a villanelle","year":2012,"lang":"en","type":"article","venue":"Postcolonial text","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Beat (acoustics); Linguistics; Philosophy; Physics; Acoustics","score_opus":0.0332328686217839,"score_gpt":0.27551410922660136,"score_spread":0.24228124060481745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1507970245","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58837444,0.0010934025,4.0862926e-7,0.0015488466,0.0015757089,0.00015947348,0.000023760911,0.00009744365,0.40712652],"genre_scores_gemma":[0.9774165,0.00006504679,0.00002346398,0.0013008319,0.0036808562,0.000026139776,0.000011435162,0.000022742615,0.017452978],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990073,0.000032371154,0.00013975396,0.00014273962,0.00017150411,0.000506374],"domain_scores_gemma":[0.99956596,0.000064019834,0.00004638491,0.0001786134,0.000039316106,0.000105734376],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014174198,0.0001763345,0.00021046966,0.000056151257,0.00061883277,0.00009582907,0.00010930052,0.000027607197,0.0064321947],"category_scores_gemma":[0.0000086604905,0.00013633033,0.00009399311,0.000025252342,0.00017078406,0.00030720903,0.00008760642,0.00011990173,0.0044740583],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047395128,0.00055191835,0.06397709,0.00009008458,0.0003653546,0.000028248758,0.3635592,0.000009678934,0.0005764649,0.41514865,0.12229892,0.03292045],"study_design_scores_gemma":[0.0005518174,0.0001636798,0.0018359838,0.000016462776,0.000034349516,0.000020317026,0.0023282906,0.000004596753,0.0005922464,0.00067061343,0.99354917,0.00023244674],"about_ca_topic_score_codex":0.0018869294,"about_ca_topic_score_gemma":0.0029739146,"teacher_disagreement_score":0.8712503,"about_ca_system_score_codex":0.000026726791,"about_ca_system_score_gemma":0.000018642946,"threshold_uncertainty_score":0.99630105},"labels":[],"label_agreement":null},{"id":"W1512962142","doi":"10.3138/tric.21.1.49","title":"Lill in Review: A Working Bibliography","year":2000,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Bibliography; Work (physics); Library science; Sociology; Computer science; Engineering; Mechanical engineering","score_opus":0.09555934683088492,"score_gpt":0.3151789122150139,"score_spread":0.21961956538412897,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1512962142","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06623049,0.044316594,6.6911268e-9,0.0035006125,0.000116065254,0.0002675734,0.000016229433,0.0000126474,0.88553977],"genre_scores_gemma":[0.8557907,0.14280127,0.0000025264235,0.00053715945,0.00024837436,0.000055936103,0.000003909941,0.000011966914,0.0005481543],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982404,0.00016906003,0.00025089757,0.00019409455,0.0005000257,0.0006455043],"domain_scores_gemma":[0.9994537,0.00019010245,0.00001384353,0.00023663873,0.000033063032,0.000072621566],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008767006,0.00011258522,0.00023224282,0.0017755573,0.00020355548,0.000049588067,0.00025142747,0.000016422342,0.005068805],"category_scores_gemma":[0.0000014605894,0.00008938765,0.0000402569,0.0022026026,0.00015062746,0.000113818714,0.000037635367,0.0004374434,0.00005961294],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053030268,0.00003854435,0.03470154,0.00034456622,0.000020405843,0.00012488794,0.0021906875,0.000014539636,8.7398547e-7,0.0004238811,0.25858238,0.7035047],"study_design_scores_gemma":[0.00016564521,0.000029596822,0.0009041692,0.0014918159,0.0000021024202,0.0000014749819,0.0015702229,0.000013451384,0.0000031427808,0.00066017575,0.9950438,0.000114370705],"about_ca_topic_score_codex":0.98047763,"about_ca_topic_score_gemma":0.9988667,"teacher_disagreement_score":0.88499165,"about_ca_system_score_codex":0.00017685871,"about_ca_system_score_gemma":0.00041914344,"threshold_uncertainty_score":0.99584067},"labels":[],"label_agreement":null},{"id":"W1513452964","doi":"10.3138/tric.28.2.120","title":"<i>Transmitting Transactive Pedagogy: A Dilemma of Pre-Service Teacher Education in Drama</i>","year":2007,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Transactive memory; Drama; Dilemma; Perspective (graphical); Pedagogy; Psychology; Service (business); Teacher education; Computer science; Art; Business; Developmental psychology","score_opus":0.046682916155430264,"score_gpt":0.34448601445019666,"score_spread":0.2978030982947664,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1513452964","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.746374,0.00056604494,0.000002341566,0.00095334084,0.00012884,0.00024933554,0.000018889188,0.000006098634,0.2517011],"genre_scores_gemma":[0.99913526,0.00007643838,0.000014082625,0.000103037084,0.00024029503,0.000024946557,0.0000053042127,0.000015401301,0.00038524295],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99839747,0.00012639153,0.00031989304,0.00017862677,0.00044534286,0.0005322921],"domain_scores_gemma":[0.9992652,0.00032631934,0.000035130095,0.00017444046,0.00013109685,0.000067834175],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012988658,0.00011243585,0.00020582079,0.00027384315,0.00013881805,0.00002080871,0.00020293158,0.00003139039,0.0003284289],"category_scores_gemma":[0.0000034535337,0.00009762176,0.000026858885,0.00023188183,0.00012249622,0.0001650552,0.000020274681,0.00046306723,0.000003305646],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004637078,0.0002828257,0.0427617,0.00042398565,0.00003159701,0.000019010246,0.10636864,0.000060398663,0.00015628616,0.0014269071,0.0010648672,0.8469401],"study_design_scores_gemma":[0.001537084,0.0002709703,0.05462765,0.0010678879,0.000022140932,0.0000056989106,0.3298118,0.00025471277,0.002172361,0.0031066274,0.60654926,0.00057380396],"about_ca_topic_score_codex":0.9911458,"about_ca_topic_score_gemma":0.99963164,"teacher_disagreement_score":0.8463663,"about_ca_system_score_codex":0.00047870554,"about_ca_system_score_gemma":0.0033004363,"threshold_uncertainty_score":0.58548325},"labels":[],"label_agreement":null},{"id":"W1517669490","doi":"10.3138/tric.29.1.93","title":"<i>The Bus Project: Technologies, Spectators and Locational Practices</i>","year":2008,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Interactivity; Entertainment; Perception; Identity (music); Field (mathematics); Sociology; Aesthetics; Advertising; Media studies; Multimedia; Visual arts; Computer science; Art; Psychology; Business","score_opus":0.12744474304952294,"score_gpt":0.32486486812076215,"score_spread":0.1974201250712392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1517669490","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31407636,0.010800247,1.6476935e-7,0.022120759,0.0003989978,0.0005950224,0.00005132959,0.00007324761,0.6518839],"genre_scores_gemma":[0.9939228,0.0048811208,0.000007946918,0.00004368106,0.00020501559,0.00006249318,0.0000026158064,0.000008795925,0.0008655085],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99870425,0.00008022368,0.00014502261,0.00016241695,0.0004744605,0.00043363147],"domain_scores_gemma":[0.9989978,0.0006335941,0.000049366532,0.00020186197,0.00008766827,0.000029682795],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0005069455,0.00008751425,0.000102437414,0.00010983886,0.0013305903,0.000060694005,0.00022464781,0.000019111614,0.000033902685],"category_scores_gemma":[0.000029759245,0.00005565252,0.000010797411,0.00015997357,0.00082170666,0.0001354844,0.00010818077,0.00040026804,0.000008709683],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028042664,0.00009331702,0.054320347,0.00016063137,0.00013093773,0.00036111896,0.019694332,0.000007688718,0.000020458803,0.049230106,0.4311807,0.44451994],"study_design_scores_gemma":[0.00012682818,0.000044102377,0.00037181753,0.000019626437,0.0000016880825,0.000025083908,0.033389285,0.000026180573,0.000047217956,0.0014461515,0.9644221,0.00007992421],"about_ca_topic_score_codex":0.9524617,"about_ca_topic_score_gemma":0.9959911,"teacher_disagreement_score":0.67984647,"about_ca_system_score_codex":0.00030792126,"about_ca_system_score_gemma":0.0022661316,"threshold_uncertainty_score":0.99996954},"labels":[],"label_agreement":null},{"id":"W1518383479","doi":"","title":"Performance and Community: Commentary and Case Studies ed. by Caoimhe McAvinchey (review)","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.0627585980416094,"score_gpt":0.2806361644166887,"score_spread":0.21787756637507932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1518383479","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83446527,0.15492268,9.237748e-7,0.0026061924,0.00015288904,0.00016519919,0.00006594134,0.00004785159,0.0075730733],"genre_scores_gemma":[0.92792946,0.06556377,0.000017141014,0.0048216167,0.00014618888,0.000028973818,0.000021120384,0.000015428504,0.0014563049],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926305,0.000108480905,0.00018506632,0.00012840655,0.00011074008,0.00020423428],"domain_scores_gemma":[0.99946284,0.000093092945,0.000051545623,0.0002123428,0.00009355723,0.00008659858],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004092754,0.00018591601,0.00030682425,0.000028554978,0.0010991757,0.000056339777,0.00008285458,0.000022694583,0.000031101135],"category_scores_gemma":[0.000015580363,0.00014136932,0.000022980648,0.000014301883,0.0004557408,0.00028599877,0.00023745329,0.00026549632,0.0000140743905],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002368445,0.00008282266,0.0030831725,0.00074720517,0.00015968841,0.000036465077,0.14174263,8.415628e-7,0.0000033001704,0.00010907468,0.80132574,0.05268537],"study_design_scores_gemma":[0.00089966384,0.0005164093,0.000075552955,0.0005237183,0.00018409271,0.0003958277,0.052692626,0.00065276347,0.00002332581,0.0005043707,0.9431086,0.00042306146],"about_ca_topic_score_codex":0.0009362563,"about_ca_topic_score_gemma":0.0013837278,"teacher_disagreement_score":0.14178284,"about_ca_system_score_codex":0.000027322558,"about_ca_system_score_gemma":0.000008131287,"threshold_uncertainty_score":0.84540814},"labels":[],"label_agreement":null},{"id":"W1518485234","doi":"10.7202/1121178ar","title":"Radical Ambivalence: Engaging Poststructurally with Performance, (Re)Envisioning the Political","year":2006,"lang":"en","type":"article","venue":"Atlantis Critical Studies in Gender Culture & Social Justice","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ambivalence; Politics; Intervention (counseling); Sociology; Work (physics); Political science; Gender studies; Epistemology; Social psychology; Psychology; Law; Philosophy; Engineering","score_opus":0.048338713776863544,"score_gpt":0.3132622329726651,"score_spread":0.26492351919580154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1518485234","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4408959,0.0076048006,0.000037858983,0.013330305,0.003092435,0.00047658608,0.00006657502,0.0002512571,0.5342443],"genre_scores_gemma":[0.99151295,0.00040596706,0.00014927558,0.0023004175,0.0048613665,0.00003499941,0.0000115424855,0.000026966354,0.0006965043],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9974903,0.00014570386,0.00042381848,0.00039646312,0.000553484,0.0009902256],"domain_scores_gemma":[0.99893844,0.0005166161,0.00005243112,0.00015318384,0.0002696513,0.000069670146],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.00025620096,0.00036253562,0.0004496217,0.000049900413,0.0034006028,0.00018636635,0.00029291754,0.000095577874,0.000179572],"category_scores_gemma":[0.00015202319,0.00020113685,0.000109670196,0.0001415727,0.0032142415,0.00032604026,0.00018945795,0.00075440493,0.00003245373],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007435868,0.000066375695,0.003112414,0.00039846022,0.00014737465,0.00005744525,0.0727582,0.000009574821,0.000016066506,0.90678656,0.015581934,0.0009912624],"study_design_scores_gemma":[0.0015028107,0.0003709474,0.032679114,0.00039163406,0.0013588317,0.00013319596,0.71460813,0.00012281297,0.000075884745,0.012272012,0.23525618,0.0012284396],"about_ca_topic_score_codex":0.0002369795,"about_ca_topic_score_gemma":0.00076477707,"teacher_disagreement_score":0.8945145,"about_ca_system_score_codex":0.00011031318,"about_ca_system_score_gemma":0.00003319942,"threshold_uncertainty_score":0.9994984},"labels":[],"label_agreement":null},{"id":"W1519140477","doi":"","title":"Soliloques : texte dramatique écrit à partir d'improvisations filmées dans des lieux non théâtraux suivi d'une réflexion sur la sensation comme lien entre le jeu et l'écriture","year":2009,"lang":"fr","type":"article","venue":"Archipelago (Université du Québec à Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.012000484075975908,"score_gpt":0.20033257672739943,"score_spread":0.18833209265142353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1519140477","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84886533,0.0074882167,0.0008538545,0.08996414,0.0002728506,0.0005386743,0.00032686762,0.00026843863,0.05142163],"genre_scores_gemma":[0.9715861,0.0073099197,0.00032742313,0.0013082158,0.00050681544,0.000011118234,0.00015008448,0.00005298172,0.018747305],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99748677,0.00038914196,0.00045783588,0.00051380653,0.0003185159,0.00083391095],"domain_scores_gemma":[0.9982364,0.0005490501,0.00024920207,0.00043083893,0.0002607782,0.000273695],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00037163188,0.0005895344,0.00056705327,0.00024953435,0.0029205536,0.00034012817,0.0003921321,0.00023552314,0.00027645536],"category_scores_gemma":[0.000065792374,0.00060159893,0.00034442818,0.0001971012,0.001095131,0.001682183,0.00017491271,0.00065366155,0.00012474638],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020389726,0.0005560637,0.0006409477,0.00017870478,0.00018042699,0.00008274138,0.7772319,0.00045257932,0.0005045408,0.146505,0.014233843,0.05922936],"study_design_scores_gemma":[0.0021065108,0.0012462233,0.030923726,0.00080021255,0.00060426607,0.00009127046,0.31257242,0.0045942757,0.0005959452,0.034698576,0.610476,0.0012905617],"about_ca_topic_score_codex":0.42575774,"about_ca_topic_score_gemma":0.8604649,"teacher_disagreement_score":0.5962422,"about_ca_system_score_codex":0.0003427298,"about_ca_system_score_gemma":0.00083735556,"threshold_uncertainty_score":0.99964356},"labels":[],"label_agreement":null},{"id":"W1520478848","doi":"10.4324/9780203805114","title":"Second Language Learning through Drama","year":2013,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":36,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Linguistics; Computer science; Art; Literature; Philosophy","score_opus":0.01900157308777136,"score_gpt":0.22076471432437098,"score_spread":0.2017631412365996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1520478848","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029602196,0.0021040856,0.0000011188883,0.000081317725,0.0005738081,0.00012526802,0.000026123178,0.00017903473,0.9966132],"genre_scores_gemma":[0.0017704192,0.00016919684,0.000018182653,0.0005161675,0.0032520168,0.0000151626155,0.00010298134,0.000042026943,0.99411386],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993097,0.000010429196,0.00016750507,0.00017782759,0.000117785516,0.00021674426],"domain_scores_gemma":[0.9996454,0.00004529262,0.000078995,0.00015676938,0.000051317522,0.000022213917],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000038095273,0.0002343,0.00029047104,0.000041894145,0.0003675221,0.00018719885,0.00012309836,0.00009188103,0.21983163],"category_scores_gemma":[0.0000024537785,0.00016799037,0.000116115545,0.0000043778123,0.0001692044,0.00022164453,0.00007260982,0.00039525857,0.007830391],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000015826319,0.0000042273796,0.0000016309212,0.00008222863,0.000084572064,0.0000031862094,0.093756765,2.1044099e-7,6.5488643e-7,0.19823478,0.70425445,0.003575744],"study_design_scores_gemma":[0.000083261395,0.000059205966,0.0000013874528,0.00005469119,0.000028159706,0.0000012033884,0.0094978865,0.0000017642819,0.000006280066,0.0033074203,0.98670727,0.00025149525],"about_ca_topic_score_codex":0.0002371822,"about_ca_topic_score_gemma":0.0024553954,"teacher_disagreement_score":0.28245282,"about_ca_system_score_codex":0.000028936178,"about_ca_system_score_gemma":0.000042311593,"threshold_uncertainty_score":0.99294215},"labels":[],"label_agreement":null},{"id":"W1523784571","doi":"10.3138/tric.23.1_2.119","title":"Theatre-in-Education: Expanding the Parameters","year":2002,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.11569815134074782,"score_gpt":0.32866309967103996,"score_spread":0.21296494833029214,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1523784571","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.120186746,0.09811751,8.5814406e-8,0.05329488,0.0025827293,0.00051316794,0.000072589915,0.00001014343,0.7252222],"genre_scores_gemma":[0.96960664,0.017910417,0.000008193005,0.0004025938,0.0011563414,0.00014081463,0.0000042594,0.000031515992,0.010739212],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964737,0.00061366725,0.00043476003,0.0003551272,0.0008014181,0.0013213148],"domain_scores_gemma":[0.9980035,0.0011737006,0.000046599656,0.00054078223,0.0000811071,0.00015429952],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012488168,0.00025987724,0.00032417322,0.00031963253,0.0010182501,0.00024425896,0.00056248443,0.00006309686,0.0026531406],"category_scores_gemma":[0.000007679589,0.00018761076,0.00007220204,0.00048130986,0.0008231791,0.0002835563,0.00013859246,0.0011240441,0.00018151617],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003611416,0.0001734815,0.0122283995,0.00021645323,0.00005497904,0.00008979968,0.020984448,0.00015948844,0.000001393623,0.007530774,0.10615475,0.8523699],"study_design_scores_gemma":[0.0002777748,0.00008137251,0.00037402223,0.00060935743,0.0000104709925,0.00001405891,0.08979057,0.00036988757,0.00002261792,0.0024700107,0.9057481,0.00023173941],"about_ca_topic_score_codex":0.9922057,"about_ca_topic_score_gemma":0.9978934,"teacher_disagreement_score":0.85213816,"about_ca_system_score_codex":0.0022567245,"about_ca_system_score_gemma":0.0017907368,"threshold_uncertainty_score":0.9982586},"labels":[],"label_agreement":null},{"id":"W1525584207","doi":"","title":"Wendelien van Oldenburgh: The Past is Never Dead","year":2010,"lang":"en","type":"article","venue":"Research Online (Goldsmiths University of London)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Punitive damages; Agency (philosophy); Politics; Resistance (ecology); Sociology; Space (punctuation); Art history; Art; Media studies; Visual arts; Law; Political science; Social science; Philosophy","score_opus":0.04931754972515205,"score_gpt":0.2873497736360548,"score_spread":0.23803222391090273,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1525584207","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8606829,0.0002139589,0.000007943096,0.016863221,0.00033346206,0.00027933516,0.00026338815,0.00005918049,0.12129664],"genre_scores_gemma":[0.9340447,0.00090747897,0.00013874898,0.00021390674,0.0010300146,5.674777e-7,0.00001574903,0.000016684995,0.063632116],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983937,0.00009470109,0.00014698587,0.0002445362,0.0006504209,0.0004696697],"domain_scores_gemma":[0.99853927,0.00026705422,0.00006691994,0.0004664171,0.0005563869,0.000103962],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00060084066,0.00014399215,0.00021787746,0.00021759243,0.0012195847,0.000060574726,0.00074682996,0.000068701214,0.0058101406],"category_scores_gemma":[0.000028812114,0.00010678703,0.00014280136,0.00015345248,0.0015272025,0.0005101899,0.00037553272,0.00081850967,0.00025622288],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005490609,0.00110031,0.027525015,0.00022753103,0.0005946987,0.00009597021,0.13186924,0.000014570254,0.0009638652,0.16873208,0.60775137,0.060576282],"study_design_scores_gemma":[0.0004744246,0.00014799331,0.0043231635,0.0000274761,0.000026085203,0.0000028327624,0.02425376,0.00008619874,0.0000893114,0.00085972244,0.9695807,0.00012829454],"about_ca_topic_score_codex":0.001984292,"about_ca_topic_score_gemma":0.0109625505,"teacher_disagreement_score":0.36182937,"about_ca_system_score_codex":0.000028388742,"about_ca_system_score_gemma":0.00011764412,"threshold_uncertainty_score":0.9950987},"labels":[],"label_agreement":null},{"id":"W1525887073","doi":"10.3138/tric.35.3.403","title":"R. Darren Gobert. <i>The Mind-Body Stage: Passion and Interaction in the Cartesian Theater</i>","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Passion; Cartesian coordinate system; Stage (stratigraphy); Art; Psychology; Aesthetics; Social psychology; Mathematics; Geometry; Geology","score_opus":0.054907412489378284,"score_gpt":0.3060628408940571,"score_spread":0.2511554284046788,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1525887073","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6368268,0.00037578502,4.790622e-7,0.020133981,0.0003518663,0.00036559967,0.000027569376,0.0000065267595,0.34191138],"genre_scores_gemma":[0.99855673,0.00017254645,9.3111214e-7,0.00036506544,0.00042054668,0.000053131193,0.0000061259134,0.000010346407,0.00041454667],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981359,0.0005767745,0.00019080579,0.00018330097,0.0004514748,0.00046172077],"domain_scores_gemma":[0.99885076,0.00074019877,0.00002607663,0.00029777613,0.000037649876,0.000047557776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001585531,0.0001205733,0.00014590437,0.00011167573,0.00053503277,0.00015070863,0.00028781046,0.000021253638,0.00020636903],"category_scores_gemma":[0.0000074964114,0.000060695602,0.000020267587,0.00011368149,0.00024076927,0.00014782412,0.000081118254,0.00054296065,0.000010257257],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002682549,0.00009459911,0.03604068,0.00017503202,0.000047379803,0.000057493056,0.09560972,0.000053535114,0.00009600874,0.0103049865,0.047007963,0.8102444],"study_design_scores_gemma":[0.0002272769,0.00009407057,0.002315519,0.00008111698,0.000003417017,0.000004155637,0.045719717,0.0004376273,0.00009209691,0.0006418759,0.9502823,0.00010082248],"about_ca_topic_score_codex":0.9389201,"about_ca_topic_score_gemma":0.99605703,"teacher_disagreement_score":0.90327436,"about_ca_system_score_codex":0.00017461594,"about_ca_system_score_gemma":0.0002230901,"threshold_uncertainty_score":0.41150936},"labels":[],"label_agreement":null},{"id":"W1526997710","doi":"","title":"The. Women. The Subject(s) of The Unnatural and Accidental Women and Unnatural and Accidental","year":2010,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Performative utterance; Accidental; Politics; Subject (documents); Humanities; Philosophy; Aesthetics; Political science; Computer science; Law","score_opus":0.018577342273015097,"score_gpt":0.2650717031966194,"score_spread":0.24649436092360427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1526997710","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9808387,0.0023701317,1.9180713e-9,0.0041803014,0.00044426814,0.00026084366,0.000034753804,0.0000048552297,0.01186613],"genre_scores_gemma":[0.99812,0.00081591896,5.177526e-7,0.000121954516,0.00025031285,0.00004239672,9.1254043e-7,0.000011374956,0.00063663046],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9983935,0.00015269367,0.0001843062,0.00017552,0.0004728502,0.00062113616],"domain_scores_gemma":[0.99889123,0.0006523705,0.000041480464,0.0002662531,0.00005173004,0.000096944226],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0010104711,0.0001401586,0.00017220601,0.00005703923,0.0013483053,0.00020561591,0.00035911048,0.000031633026,0.00009442905],"category_scores_gemma":[0.000015105499,0.00006317247,0.000019874087,0.00009737131,0.0014099302,0.0001670149,0.0004182783,0.00083240494,7.8623157e-7],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008496163,0.00005430264,0.3606153,0.0002215448,0.0003283092,0.000036562473,0.21467897,0.0000014953212,0.0012343539,0.021048993,0.014064794,0.38686574],"study_design_scores_gemma":[0.0015013323,0.00029338355,0.23492797,0.00010439812,0.000015095629,0.00010446898,0.39279622,0.00010279475,0.0006439462,0.016325936,0.3527361,0.00044837178],"about_ca_topic_score_codex":0.59746975,"about_ca_topic_score_gemma":0.98671967,"teacher_disagreement_score":0.3892499,"about_ca_system_score_codex":0.00018643875,"about_ca_system_score_gemma":0.00036475668,"threshold_uncertainty_score":0.9999518},"labels":[],"label_agreement":null},{"id":"W1527967466","doi":"10.3138/tric.27.1.56","title":"Women in Theatre: Here, There, Everywhere, and Nowhere","year":2006,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Mount Saint Vincent University; University of Toronto","funders":"","keywords":"Mainstream; Government (linguistics); Work (physics); Political science; Public relations; Gender studies; Sociology; Engineering","score_opus":0.045870629053870945,"score_gpt":0.26908282068777734,"score_spread":0.22321219163390638,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1527967466","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5295427,0.0027891109,2.172731e-8,0.00071390206,0.00010085886,0.0001703458,0.000037573787,0.0000115763,0.46663395],"genre_scores_gemma":[0.9959631,0.00062451005,0.0000038973194,0.00007634042,0.00043529895,0.00009079936,0.0000060036946,0.000028095023,0.002771976],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99744856,0.00021285916,0.00030861056,0.00031151203,0.00053814217,0.0011803128],"domain_scores_gemma":[0.9991953,0.0003274549,0.000028337667,0.000280626,0.000050233357,0.00011809767],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00094634976,0.00020171198,0.00032500926,0.00025258507,0.00029969256,0.00010653946,0.00025071666,0.00004269187,0.0010231626],"category_scores_gemma":[0.0000020383657,0.00015856382,0.000024439752,0.00021718706,0.0003159612,0.00019349795,0.00012346427,0.0005083306,0.000026417352],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004179267,0.0002561658,0.53560895,0.00047588788,0.000089627516,0.000561081,0.016394634,0.000112090594,0.000046007935,0.014534678,0.04908196,0.38242102],"study_design_scores_gemma":[0.0011827727,0.000165611,0.01876885,0.00022566479,0.000003825759,0.000008402758,0.057283405,0.00009351741,0.00004947561,0.02472929,0.8970577,0.00043145844],"about_ca_topic_score_codex":0.99031764,"about_ca_topic_score_gemma":0.9993453,"teacher_disagreement_score":0.8479758,"about_ca_system_score_codex":0.0011379389,"about_ca_system_score_gemma":0.00097048265,"threshold_uncertainty_score":0.99989},"labels":[],"label_agreement":null},{"id":"W1528337047","doi":"","title":"Susan Bennett, ed. Feminist Theatre and Performance ; Maureen Moynagh, ed. African-Canadian Theatre .","year":2012,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Waterloo","funders":"","keywords":"Performance art; Art history; Art; Sociology; Gender studies; Media studies","score_opus":0.04679869612603705,"score_gpt":0.2719959936458627,"score_spread":0.22519729751982565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1528337047","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21451534,0.0064839628,7.8124934e-8,0.0028537686,0.0005118778,0.0004437661,0.0003250362,0.000031798943,0.77483433],"genre_scores_gemma":[0.99365467,0.003055549,0.000018054325,0.0003285935,0.0017647002,0.00008952942,0.00003517119,0.0000623241,0.0009913993],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99577093,0.00023601211,0.00041621405,0.00043138347,0.00083031703,0.0023151524],"domain_scores_gemma":[0.9980214,0.00039280948,0.000055349577,0.000595581,0.00009480556,0.00084002665],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001351495,0.000403092,0.00047459346,0.0004706296,0.0014345207,0.00019781783,0.0005563878,0.00009373175,0.002192156],"category_scores_gemma":[0.0000033424294,0.00032391888,0.0000658643,0.00025915235,0.0007078237,0.0004667955,0.00021493716,0.0008946319,0.00011911215],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002814248,0.00013254433,0.30098942,0.00042790055,0.00020096946,0.00009090364,0.025388733,0.000021997657,0.000010266054,0.004954042,0.19625773,0.47124407],"study_design_scores_gemma":[0.0004051024,0.00018508788,0.0030788688,0.00014558887,0.00002087651,0.000022375387,0.042335365,0.00013278934,0.000035945886,0.0002414489,0.95294756,0.00044901783],"about_ca_topic_score_codex":0.9918563,"about_ca_topic_score_gemma":0.9988311,"teacher_disagreement_score":0.77913934,"about_ca_system_score_codex":0.001124548,"about_ca_system_score_gemma":0.0020939521,"threshold_uncertainty_score":0.99992126},"labels":[],"label_agreement":null},{"id":"W1528590612","doi":"10.3138/tric.23.1_2.1","title":"Reconfiguring Home: Geopathology and Heterotopia in Margaret Hollingsworth's The House That Jack Built and It's Only Hot For Two Months In Kapuskasing","year":2002,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Humanities; Art; Art history; Sociology","score_opus":0.10626776505010369,"score_gpt":0.3091308648540916,"score_spread":0.2028630998039879,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1528590612","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9309171,0.03590269,3.4723766e-7,0.016183969,0.00044910712,0.0011041627,0.00016686587,0.000010654101,0.015265093],"genre_scores_gemma":[0.9794782,0.018668942,0.00001555577,0.00025770537,0.00040661116,0.00015072204,0.0000035150542,0.00004978612,0.000968966],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969741,0.0004489722,0.00044650998,0.00048079746,0.00035861725,0.0012909984],"domain_scores_gemma":[0.9982271,0.0011916088,0.00006511779,0.0003314336,0.0000552201,0.0001294842],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016427749,0.00029861677,0.0005057541,0.00039508197,0.0006456048,0.00022112539,0.00027996587,0.00009397579,0.00016870513],"category_scores_gemma":[0.000016917922,0.00024299823,0.000041572675,0.00019237607,0.0008584242,0.0002757193,0.00018854291,0.0009475359,0.000003321993],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043780197,0.00013156321,0.43278,0.0009963072,0.00007139379,0.0006568939,0.03977908,0.00017255689,0.000012229377,0.0026249497,0.005772613,0.5165646],"study_design_scores_gemma":[0.006331938,0.00084060436,0.075384185,0.0033177899,0.000044936183,0.00019264748,0.071909614,0.0047096107,0.00013971784,0.0050046616,0.8308897,0.0012345675],"about_ca_topic_score_codex":0.9461267,"about_ca_topic_score_gemma":0.9990043,"teacher_disagreement_score":0.8251171,"about_ca_system_score_codex":0.0005577129,"about_ca_system_score_gemma":0.00039836732,"threshold_uncertainty_score":0.99091804},"labels":[],"label_agreement":null},{"id":"W1529225972","doi":"10.5204/mcj.192","title":"Participation Cartography: The Presentation of Self in Spatio-Temporal Terms","year":2009,"lang":"en","type":"article","venue":"M/C Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Argument (complex analysis); Presentation (obstetrics); Poetics; Participant observation; Narrative; Power (physics); Performativity; Subject (documents); Relation (database); Self; Aesthetics; Sociology; Visual arts; Psychology; Social psychology; Art; Computer science; Social science; Gender studies; Literature; World Wide Web","score_opus":0.028321060148790895,"score_gpt":0.2714328985791842,"score_spread":0.24311183843039327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1529225972","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9803879,0.00016165615,0.0000082600045,0.0010912346,0.0002101039,0.000065606226,0.0000023234784,0.000008784263,0.018064078],"genre_scores_gemma":[0.9992188,0.00007327185,0.000020487349,0.000091483795,0.00043116143,0.0000025377565,0.0000029244468,0.0000022616616,0.00015707631],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9995167,0.000035608522,0.00019439471,0.000037329708,0.00011441188,0.00010155769],"domain_scores_gemma":[0.9997802,0.000016286327,0.000092981136,0.00005129734,0.00004466062,0.000014608078],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016036286,0.00004862237,0.00007655131,0.000071033166,0.00019185891,0.000054741453,0.000056379573,0.0000101058695,0.00019127448],"category_scores_gemma":[0.0000035349747,0.000028776836,0.000045042616,0.00003398337,0.000045578203,0.00020633289,0.0000044831354,0.00009456263,0.000004258393],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019685818,0.00033685102,0.39865416,0.000026808211,0.000100438316,0.000008664423,0.4903664,0.00033364224,0.00010000483,0.03150156,0.009643812,0.06873079],"study_design_scores_gemma":[0.0010905715,0.0007987973,0.81535965,0.00008860619,0.00007419716,0.000010671731,0.011206345,0.0005113489,0.0006081554,0.018056026,0.15199336,0.00020228315],"about_ca_topic_score_codex":0.00009117166,"about_ca_topic_score_gemma":0.0015435742,"teacher_disagreement_score":0.47916007,"about_ca_system_score_codex":0.000008340009,"about_ca_system_score_gemma":0.000009987231,"threshold_uncertainty_score":0.20943214},"labels":[],"label_agreement":null},{"id":"W1529251440","doi":"","title":"Stay the Night: Meera Margaret Singh at the Gladstone Hotel","year":2012,"lang":"en","type":"article","venue":"MediaTropes","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Liminality; Exhibition; Sociology; Space (punctuation); Object (grammar); Media studies; Architecture; Gender studies; Visual arts; Art history; History; Anthropology; Art; Philosophy","score_opus":0.02137316192076386,"score_gpt":0.2126228659750796,"score_spread":0.19124970405431574,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1529251440","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8919686,0.013857762,0.0000021873025,0.0070756655,0.0028586558,0.00020065682,0.00006271113,0.000074828946,0.083898924],"genre_scores_gemma":[0.97141975,0.00047953756,0.000008177935,0.0013044229,0.004669901,0.000030612795,0.000012922032,0.000019578283,0.022055112],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990455,0.0000648102,0.00015350764,0.00010194536,0.00024172655,0.0003925066],"domain_scores_gemma":[0.9994159,0.00015666871,0.000058734964,0.00028018095,0.000039933162,0.00004858305],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031827763,0.0001543896,0.00014786437,0.000023194556,0.0013373418,0.00009198134,0.00023606796,0.000023572034,0.005054939],"category_scores_gemma":[0.000014489227,0.0000630874,0.00008729995,0.000024965828,0.0004738949,0.00020880075,0.00014044819,0.00015019183,0.0011862393],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000870537,0.00011000049,0.030047847,0.00004097363,0.0002962593,0.0000048945485,0.34640765,0.0000040119075,0.000057885507,0.042031106,0.57031655,0.010595746],"study_design_scores_gemma":[0.00012342611,0.000042941552,0.0065952362,0.0000055699397,0.00006395663,0.000005225372,0.0065539354,0.0000016549258,0.00017556832,0.0002145814,0.98609567,0.00012225092],"about_ca_topic_score_codex":0.00022832549,"about_ca_topic_score_gemma":0.0034926625,"teacher_disagreement_score":0.41577908,"about_ca_system_score_codex":0.000028639271,"about_ca_system_score_gemma":0.000011515777,"threshold_uncertainty_score":0.9999628},"labels":[],"label_agreement":null},{"id":"W1529774135","doi":"10.3138/tric.27.2.289","title":"Canadian Theatre and the Tragic Experience of Evil","year":2006,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McMaster University","funders":"","keywords":"Tragedy (event); Good and evil; Adventure; Depiction; Philosophy; Politics; Shadow (psychology); Moral evil; Literature; Art; History; Law; Art history; Psychoanalysis; Theology; Psychology; Political science","score_opus":0.04376511979789219,"score_gpt":0.2751861858699619,"score_spread":0.23142106607206972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1529774135","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42125255,0.0028270204,3.547469e-8,0.0041208593,0.000102375874,0.0001935474,0.000048297185,0.0000038946173,0.5714514],"genre_scores_gemma":[0.9987763,0.000294393,0.0000016644959,0.00008495425,0.00021536478,0.0000379447,0.0000027149256,0.000008788026,0.0005778419],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99860746,0.00014945176,0.00020525794,0.00014512952,0.00038480727,0.00050790596],"domain_scores_gemma":[0.9992785,0.000338251,0.00002181662,0.00022059758,0.000058352503,0.000082499384],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006053385,0.00010086564,0.00019788319,0.0001433186,0.00044213195,0.00004752004,0.00023801906,0.000017151826,0.00038365283],"category_scores_gemma":[0.0000021063886,0.000059910675,0.000025195757,0.00012005784,0.0008309328,0.00008211879,0.00004370581,0.00023346051,0.000003436607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006303688,0.000091471775,0.12491567,0.00043252934,0.0001318936,0.00021458748,0.14156406,0.00016371625,0.00005045893,0.2713388,0.0706591,0.38980737],"study_design_scores_gemma":[0.0011004372,0.00006277623,0.0026560733,0.00013186314,0.000008991101,0.000008783776,0.084599234,0.00018755464,0.00014390725,0.011701188,0.8991769,0.00022230855],"about_ca_topic_score_codex":0.9999253,"about_ca_topic_score_gemma":0.9999923,"teacher_disagreement_score":0.8285178,"about_ca_system_score_codex":0.00035643802,"about_ca_system_score_gemma":0.0015454488,"threshold_uncertainty_score":0.42007294},"labels":[],"label_agreement":null},{"id":"W1531432897","doi":"","title":"Puppetry: A Reader in Theatre Practice","year":2012,"lang":"en","type":"article","venue":"Australasian drama studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Puppetry; Comedy; MAGIC (telescope); Theatre studies; Visual arts; Art; Art history; Literature; History; Drama","score_opus":0.058128662489652,"score_gpt":0.3140950146688467,"score_spread":0.2559663521791947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1531432897","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16507037,0.012769487,5.686621e-7,0.018331049,0.0019814535,0.00032324498,0.000023326758,0.00016777453,0.8013327],"genre_scores_gemma":[0.98583573,0.00083909737,0.00008973419,0.0005252445,0.0016309345,0.000053943382,0.0000037441312,0.000021187705,0.011000411],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866873,0.00006251742,0.0002779156,0.00018393483,0.00017941603,0.0006275084],"domain_scores_gemma":[0.9993649,0.00020078354,0.0000818051,0.00020475831,0.000083277955,0.00006444539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028786506,0.00023496267,0.00032326725,0.00012193793,0.00037174282,0.00007218745,0.00011776467,0.00004438132,0.0003773129],"category_scores_gemma":[0.00007130253,0.00017546842,0.00007324501,0.00008442578,0.00038821736,0.0010298673,0.00008745971,0.0002420949,0.0004705457],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010463819,0.00047559713,0.06025837,0.00017107335,0.00075827265,0.000033314063,0.6542686,0.00000313979,0.000012379875,0.13929175,0.12425836,0.020364493],"study_design_scores_gemma":[0.00028154775,0.00007589959,0.0071711163,0.0000690947,0.00006620646,0.000013300918,0.2557722,4.9952814e-7,0.00003591115,0.00045825337,0.735835,0.00022094676],"about_ca_topic_score_codex":0.00021052406,"about_ca_topic_score_gemma":0.0010980743,"teacher_disagreement_score":0.8207653,"about_ca_system_score_codex":0.000057093963,"about_ca_system_score_gemma":0.000013501174,"threshold_uncertainty_score":0.71553946},"labels":[],"label_agreement":null},{"id":"W1532305341","doi":"10.3138/tric.26.1.142","title":"The Development of Professional Theatre in St. John’s 1967 - 1982: A Personal Perspective","year":2005,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Perspective (graphical); Personal development; Personal account; Sociology; Professional development; Psychology; Engineering ethics; Visual arts; Pedagogy; Art; Engineering; Literature; Psychotherapist","score_opus":0.05857403175330873,"score_gpt":0.33233497542116797,"score_spread":0.27376094366785925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1532305341","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38219282,0.05247995,2.3289957e-7,0.051496655,0.0011900361,0.0008540564,0.00049961946,0.0000094131465,0.5112772],"genre_scores_gemma":[0.9856693,0.0020575041,0.00003887114,0.000068549874,0.0010300927,0.00012537089,0.000010691427,0.000030249112,0.010969344],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99559784,0.0005943298,0.0006803506,0.0003803502,0.0013978815,0.0013492615],"domain_scores_gemma":[0.9980564,0.001146426,0.00008665866,0.0002809449,0.000273213,0.00015633786],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0023860955,0.00029488106,0.00040951459,0.00030262713,0.0014930941,0.000076704244,0.0005101125,0.00008256132,0.0012560027],"category_scores_gemma":[0.000010800031,0.0002027549,0.00007562147,0.00033801259,0.0010716715,0.00021069642,0.00027243112,0.0012664985,0.000033906057],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.000720698,0.00045455917,0.0112338755,0.0003933294,0.00026110272,0.00007061473,0.2659426,0.00010291816,0.000011591456,0.03295601,0.037812658,0.65004003],"study_design_scores_gemma":[0.0005200319,0.00007369988,0.0019686702,0.0006645151,0.0000061252867,0.0000041050503,0.27617326,0.00029256425,0.000067757115,0.0010156628,0.7190148,0.0001987998],"about_ca_topic_score_codex":0.94971895,"about_ca_topic_score_gemma":0.99959075,"teacher_disagreement_score":0.6812022,"about_ca_system_score_codex":0.0052074944,"about_ca_system_score_gemma":0.013421605,"threshold_uncertainty_score":0.9998068},"labels":[],"label_agreement":null},{"id":"W1535958637","doi":"10.3138/tric.29.2.284","title":"\"A Condor in the Andes of the Seats\": Guthrie at Stratford, 1954","year":2008,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Memoir; Art; Art history; Shrew; Zoology; Biology","score_opus":0.15549792003955998,"score_gpt":0.30335873812671005,"score_spread":0.14786081808715007,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1535958637","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7170644,0.00079510105,9.646705e-9,0.002329143,0.000111682435,0.00022898254,0.00006196542,0.0000028623895,0.27940586],"genre_scores_gemma":[0.99845916,0.000463607,8.037828e-7,0.00012576049,0.00016180598,0.00003203167,0.000003108987,0.000008220863,0.000745517],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99828357,0.00023667452,0.00021972734,0.0001333689,0.00067169534,0.00045495812],"domain_scores_gemma":[0.999066,0.00046919123,0.00002988263,0.00034652476,0.00005722251,0.00003117685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069673563,0.000102885075,0.00017835885,0.00008261699,0.00061501056,0.000020620831,0.00047337532,0.00001951568,0.0005384895],"category_scores_gemma":[0.0000060086422,0.00005182408,0.00003984408,0.00018129029,0.00072173774,0.00007979499,0.00012567652,0.000364788,0.000006847116],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005192027,0.00025908984,0.54751676,0.0003907119,0.00011782393,0.0003685878,0.17551096,0.00015984138,0.00019669415,0.02097416,0.20098573,0.053000443],"study_design_scores_gemma":[0.0013419159,0.00020177907,0.04512672,0.00023272232,0.000010171874,0.000038006885,0.12462769,0.00006443489,0.0012023358,0.0035098176,0.82332873,0.000315666],"about_ca_topic_score_codex":0.9364666,"about_ca_topic_score_gemma":0.99841356,"teacher_disagreement_score":0.622343,"about_ca_system_score_codex":0.0002950894,"about_ca_system_score_gemma":0.0010848303,"threshold_uncertainty_score":0.58960825},"labels":[],"label_agreement":null},{"id":"W1537225402","doi":"10.1108/rr-05-2013-0102","title":"Canadian Theatre Encyclopedia","year":2013,"lang":"en","type":"article","venue":"Reference Reviews","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Encyclopedia; Art; Library science; Computer science","score_opus":0.05332363735164048,"score_gpt":0.24792079857851895,"score_spread":0.19459716122687848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1537225402","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005758123,0.013645483,4.1168843e-7,0.00088219595,0.00026626923,0.00034142507,0.000013660704,0.00003145756,0.97906095],"genre_scores_gemma":[0.7080824,0.16073842,0.00011559735,0.002213564,0.0017896141,0.0004291437,0.000044966306,0.000029932638,0.1265564],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992655,0.000033176217,0.00021316788,0.00013324806,0.000063926425,0.00029096642],"domain_scores_gemma":[0.9995502,0.000015483922,0.000043863427,0.00021539608,0.000048015892,0.00012699785],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001037192,0.00013297543,0.00023770319,0.000057306414,0.00029137076,0.00009455822,0.00015314217,0.000025346375,0.022352688],"category_scores_gemma":[0.0000072540142,0.00008243404,0.00006037364,0.000028612933,0.00005796355,0.00024560277,0.000018459996,0.000108089145,0.016459303],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[5.3736386e-7,0.000008984838,0.0011338599,0.0000724152,0.000012695878,7.8537124e-7,0.007263481,4.666476e-8,0.0000027184235,0.037112456,0.20247991,0.7519121],"study_design_scores_gemma":[0.000028563698,0.000020391533,0.00041512778,0.00006330381,0.000010398134,8.301433e-7,0.0005009534,0.0000017954311,0.0000011508139,0.0008541878,0.9979794,0.00012390854],"about_ca_topic_score_codex":0.1581222,"about_ca_topic_score_gemma":0.51057905,"teacher_disagreement_score":0.8525046,"about_ca_system_score_codex":0.00004069882,"about_ca_system_score_gemma":0.00005716103,"threshold_uncertainty_score":0.9843065},"labels":[],"label_agreement":null},{"id":"W1538427996","doi":"","title":"Cirque Du Soleil: An Innovative Culture of Entertainment","year":2014,"lang":"en","type":"article","venue":"Journal of the International Academy of Case Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cirque; Entertainment; Menagerie; Dance; Entertainment industry; Teamwork; Visual arts; Sociology; Art; Management; Media studies; Art history; Law; Political science; Geography","score_opus":0.03684067735913664,"score_gpt":0.3053098428199372,"score_spread":0.2684691654608006,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1538427996","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98077416,0.0010075035,0.000011103975,0.0064961486,0.001056075,0.000067288485,0.0000364727,0.0000035719083,0.010547673],"genre_scores_gemma":[0.9968531,0.00039358798,0.000055558125,0.00054460985,0.0013379145,0.0000019230183,3.5049962e-7,0.000005464257,0.00080747827],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99891156,0.00004860018,0.00053542707,0.000063379965,0.0003588755,0.0000821314],"domain_scores_gemma":[0.9983837,0.00009770185,0.0007396166,0.000046730416,0.00071427407,0.000017948396],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043492025,0.00010795099,0.0002891272,0.00009284066,0.00019596059,0.000018464272,0.0003067917,0.00002506296,0.00006257048],"category_scores_gemma":[0.00011730642,0.000057144418,0.00013458011,0.000036449845,0.00045881473,0.0002618667,0.00013761916,0.00020793056,0.0000010695935],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00066753785,0.0006001265,0.009435833,0.00025522723,0.007178411,0.000049257767,0.6205664,0.0003001297,0.004446523,0.24556594,0.100383505,0.0105510745],"study_design_scores_gemma":[0.0018538325,0.00119266,0.002790001,0.00079615886,0.0003125569,0.0013222102,0.10709293,0.0001274263,0.030798232,0.019434769,0.8339684,0.00031080295],"about_ca_topic_score_codex":0.000016830285,"about_ca_topic_score_gemma":0.000043683438,"teacher_disagreement_score":0.73358494,"about_ca_system_score_codex":0.000034768378,"about_ca_system_score_gemma":0.000013401781,"threshold_uncertainty_score":0.23302817},"labels":[],"label_agreement":null},{"id":"W1538569275","doi":"","title":"Marie Clements's The Unnatural and Accidental Women : \"Denaturalizing\" Genre","year":2003,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Capilano University","funders":"","keywords":"Humanities; Art","score_opus":0.05122356500783275,"score_gpt":0.29487913030682333,"score_spread":0.24365556529899057,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1538569275","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8008482,0.00371405,2.360474e-8,0.002336364,0.00037893976,0.00023855691,0.000029972856,0.000009921021,0.19244395],"genre_scores_gemma":[0.9974285,0.0004513274,0.0000024866256,0.0003022255,0.00018587756,0.000045901084,0.0000035312692,0.0000125475235,0.0015676087],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982408,0.00021953094,0.00016126053,0.00017879643,0.0004929011,0.0007067043],"domain_scores_gemma":[0.99931103,0.00032369938,0.000020395462,0.00020452074,0.00004763601,0.00009271679],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008221243,0.00012420783,0.00014393925,0.00008642981,0.0007454661,0.00017366958,0.00022278812,0.000019461308,0.0010830218],"category_scores_gemma":[0.000008763608,0.000075271644,0.000018676184,0.000102840626,0.00029459287,0.00015435886,0.00011305749,0.00048060267,0.000011721605],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034489686,0.00009605888,0.118374094,0.00027031955,0.00040967684,0.00031059032,0.121674255,0.000022056875,0.000067399254,0.0986489,0.10560136,0.5541804],"study_design_scores_gemma":[0.0003148328,0.00005162452,0.0015661421,0.000027263266,0.000003127401,0.000006547159,0.0968906,0.000013669106,0.00004346926,0.0033865047,0.8975609,0.00013534009],"about_ca_topic_score_codex":0.8815659,"about_ca_topic_score_gemma":0.98837066,"teacher_disagreement_score":0.7919595,"about_ca_system_score_codex":0.0006177024,"about_ca_system_score_gemma":0.0005541311,"threshold_uncertainty_score":0.9998301},"labels":[],"label_agreement":null},{"id":"W1538697963","doi":"10.3138/ctr.162.011","title":"The Ballad of __________B","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ballad; Narrative; Newspaper; Character (mathematics); Art; Visual arts; Literature; Sociology; Media studies","score_opus":0.0497315737874682,"score_gpt":0.24534371226504872,"score_spread":0.19561213847758052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1538697963","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032999867,0.36366978,2.919037e-7,0.0067145173,0.00059014093,0.00026001182,0.000051521503,0.000021178632,0.62836254],"genre_scores_gemma":[0.64954567,0.31454116,0.000031360898,0.008327379,0.0020928767,0.00013013303,0.00004091633,0.00007830584,0.02521218],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989587,0.00006512869,0.00031866573,0.00012826643,0.00017205595,0.00035720132],"domain_scores_gemma":[0.99895865,0.00006923307,0.000087570654,0.00039646422,0.00018742103,0.00030066475],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00053075387,0.00015349386,0.00031842414,0.000054063214,0.00040140413,0.00004923662,0.00032453128,0.000023945282,0.00060735655],"category_scores_gemma":[0.000037696707,0.00008908655,0.00013207036,0.00007618253,0.00032867127,0.00010163854,0.00002718797,0.000104929844,0.00039120382],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007381466,0.000010775945,0.00026623145,0.0006947224,0.00011142564,0.0000069115895,0.0053058458,6.8666134e-7,4.9870283e-7,0.14896196,0.5810063,0.26362726],"study_design_scores_gemma":[0.00008560639,0.000049156093,0.000018695797,0.00067384256,0.000061503604,0.0000054788707,0.0012759202,0.0000018546563,0.00000375711,0.0009952601,0.9967104,0.00011852851],"about_ca_topic_score_codex":0.038360965,"about_ca_topic_score_gemma":0.50712854,"teacher_disagreement_score":0.6492157,"about_ca_system_score_codex":0.00007887331,"about_ca_system_score_gemma":0.00043950786,"threshold_uncertainty_score":0.9680427},"labels":[],"label_agreement":null},{"id":"W1539404330","doi":"10.3138/tric.24.1.147","title":"Radical Stroytelling: Performing Process in Canadian Popular Theatre","year":2003,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Process (computing); Computer science; Operating system","score_opus":0.06687359032950173,"score_gpt":0.31811947099363136,"score_spread":0.2512458806641296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1539404330","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39674255,0.035083953,1.4154993e-7,0.00766304,0.0011390992,0.0006006095,0.00020881112,0.000010628279,0.5585512],"genre_scores_gemma":[0.99283475,0.0038944602,0.000012352589,0.00014986008,0.0007139547,0.00007065919,0.000019360616,0.00006229303,0.0022423065],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99379057,0.00068080047,0.0006389928,0.0005647468,0.0010946854,0.0032302213],"domain_scores_gemma":[0.9982203,0.00031861462,0.000047312446,0.00045288418,0.00012993188,0.00083095144],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002645174,0.00040953353,0.00056902465,0.00084937614,0.0012076866,0.00018481252,0.00052478927,0.00016820442,0.0024138344],"category_scores_gemma":[0.000021452875,0.0003873797,0.00007855709,0.00063758245,0.0007398202,0.00034557193,0.000051858875,0.0019482394,0.0000663998],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00024925708,0.00038716383,0.47689295,0.0024544687,0.00022837198,0.0040234947,0.041975565,0.0032119497,0.000005182576,0.094762586,0.016852211,0.35895678],"study_design_scores_gemma":[0.00058102905,0.00012767648,0.00028330783,0.0008024518,0.000012842264,0.00003401034,0.047864087,0.00066828594,0.00006563598,0.0032177062,0.9459031,0.0004398358],"about_ca_topic_score_codex":0.99985874,"about_ca_topic_score_gemma":0.9999926,"teacher_disagreement_score":0.9290509,"about_ca_system_score_codex":0.005817868,"about_ca_system_score_gemma":0.020466357,"threshold_uncertainty_score":0.9998578},"labels":[],"label_agreement":null},{"id":"W1539510133","doi":"10.1080/17400300500213495","title":"BETWEEN BRECHT AND ARTAUD","year":2005,"lang":"en","type":"article","venue":"New Review of Film and Television Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Cruelty; Irrational number; Carnivalesque; Aesthetics; Art; Sign (mathematics); Literature; Psychoanalysis; Psychology; Criminology","score_opus":0.061639696259692504,"score_gpt":0.3173473893459019,"score_spread":0.2557076930862094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1539510133","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026968582,0.9391562,0.0000019848426,0.004475808,0.00010659733,0.00017793664,0.000021049516,0.000027025913,0.02906486],"genre_scores_gemma":[0.17494966,0.81850845,0.00014219758,0.00090514694,0.00089016766,0.0000053620165,0.0000029419225,0.00000742631,0.0045886417],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926066,0.000020763175,0.00031654493,0.00015143395,0.00012180308,0.00012879077],"domain_scores_gemma":[0.9995108,0.00014096728,0.0001004611,0.00011110598,0.00008935774,0.00004730081],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020720417,0.00014342034,0.00054214563,0.000041697796,0.00023980647,0.000019430168,0.000049932907,0.000017149534,0.00029239355],"category_scores_gemma":[0.000045938083,0.00009072882,0.00005812248,0.000030117146,0.00023986654,0.00015360724,0.00009761565,0.000066059874,0.000026912916],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000032634011,0.00000791429,0.0012771029,0.002667131,0.00011493409,2.875245e-7,0.0057441015,2.7630382e-8,0.0000015598071,0.0031437173,0.14064921,0.8463907],"study_design_scores_gemma":[0.00018253067,0.00009879551,0.0013392168,0.0037209257,0.00011699474,0.0000016961023,0.0009655158,6.0180224e-7,0.00002837783,0.0003439789,0.9930898,0.00011159755],"about_ca_topic_score_codex":0.00002730932,"about_ca_topic_score_gemma":0.00007614597,"teacher_disagreement_score":0.85244054,"about_ca_system_score_codex":0.0000048199645,"about_ca_system_score_gemma":0.000010533347,"threshold_uncertainty_score":0.36998138},"labels":[],"label_agreement":null},{"id":"W1540366781","doi":"10.3138/tric.22.1.46","title":"Glace Bay to Hollywood: A Political Journey","year":2001,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Prince Edward Island","funders":"","keywords":"Hollywood; Politics; Privilege (computing); Bay; Sociology; Media studies; Aesthetics; Art; Art history; Political science; History; Law; Archaeology","score_opus":0.12401281603709624,"score_gpt":0.34745537876579596,"score_spread":0.22344256272869972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1540366781","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26222134,0.00025597253,4.8070035e-7,0.018207252,0.00026041316,0.00017942775,0.000036353158,0.00001552815,0.71882325],"genre_scores_gemma":[0.99493194,0.00009960062,0.00000876023,0.0007858191,0.0009510171,0.000033699813,0.0000027748995,0.00001790259,0.0031684805],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975859,0.00014198029,0.00020476506,0.00021190976,0.0006769729,0.00117845],"domain_scores_gemma":[0.99899113,0.00027372543,0.000010795571,0.0002702022,0.00009758761,0.00035653106],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006306462,0.00012807075,0.0002024308,0.00024178743,0.0004062183,0.00010144703,0.00029479593,0.000021394275,0.0018964552],"category_scores_gemma":[0.000010263734,0.00010069669,0.000031650998,0.00020345741,0.00015848452,0.00011151638,0.00012479293,0.00042088056,0.00017844628],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00064655306,0.00023260847,0.0940787,0.00017605785,0.00015191296,0.001791966,0.026551126,0.00007323166,0.00004421459,0.23400804,0.43034932,0.21189626],"study_design_scores_gemma":[0.0002268083,0.00010616025,0.00079500297,0.000068591195,0.0000026071555,0.000015208516,0.01928489,0.000023104894,0.000031080846,0.0025361911,0.9767642,0.00014617614],"about_ca_topic_score_codex":0.9773632,"about_ca_topic_score_gemma":0.99905634,"teacher_disagreement_score":0.7327106,"about_ca_system_score_codex":0.00088438,"about_ca_system_score_gemma":0.0014385716,"threshold_uncertainty_score":0.9990159},"labels":[],"label_agreement":null},{"id":"W1540583222","doi":"10.1353/tj.2010.a401774","title":"Practice-as-Research in Performance and Screen , and: Mapping Landscapes for Performance as Research: Scholarly Acts and Creative Cartographies (review)","year":2010,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Skepticism; Practice research; Sociology; Diversity (politics); Media studies; Art; Visual arts; Epistemology; Humanities; Anthropology; Philosophy","score_opus":0.1114780299960651,"score_gpt":0.3682310454332199,"score_spread":0.2567530154371548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1540583222","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8848281,0.02536965,3.6251248e-7,0.0046002963,0.00014452844,0.00047926625,0.000013893027,0.00001715508,0.08454675],"genre_scores_gemma":[0.8055199,0.19246711,0.00013890637,0.00021258733,0.0007614145,0.000046470126,0.0000028601783,0.000020345256,0.00083043333],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979489,0.0002477632,0.00034278192,0.00027603612,0.0005321222,0.000652434],"domain_scores_gemma":[0.9980416,0.00077330065,0.000108322754,0.00017388318,0.00071800593,0.00018484714],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.005587492,0.00021348833,0.00035786102,0.00072767475,0.002456043,0.000711613,0.00019605126,0.00007835641,0.00016971315],"category_scores_gemma":[0.0002311292,0.00015247836,0.000045554913,0.00019800357,0.0008482366,0.002600467,0.0001783312,0.0019283057,0.000018043906],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018622453,0.0002715467,0.05527466,0.0032939075,0.00044983416,0.000051520172,0.2473866,0.0000018115176,0.0008120096,0.017554885,0.014152608,0.6588884],"study_design_scores_gemma":[0.0016587457,0.001973112,0.019862447,0.0031359342,0.00007378723,0.0007033492,0.077677935,0.0001486741,0.00015722285,0.0024626532,0.89172906,0.00041705946],"about_ca_topic_score_codex":0.0005632384,"about_ca_topic_score_gemma":0.0016115794,"teacher_disagreement_score":0.8775765,"about_ca_system_score_codex":0.000019396144,"about_ca_system_score_gemma":0.00010571738,"threshold_uncertainty_score":0.9988426},"labels":[],"label_agreement":null},{"id":"W1541684371","doi":"10.3138/tric.32.1.107","title":"The Casting and Makeup of Drama, Theatre, and Performance Studies in Canada: A Report on the Discipline by the Numbers (and Letters)","year":2011,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Graduation (instrument); Population; Public relations; Psychology; Political science; Sociology; Engineering; Art; Demography","score_opus":0.1370339185907424,"score_gpt":0.30494044918687574,"score_spread":0.16790653059613334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1541684371","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94376457,0.0045222733,2.0569038e-8,0.008921557,0.00013081571,0.00028345443,0.0000383554,0.0000026915304,0.042336244],"genre_scores_gemma":[0.9967237,0.0027148775,0.0000012051396,0.00017615942,0.00008283517,0.000041789237,0.0000011781078,0.0000120592285,0.0002461761],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99835354,0.00018105328,0.00031271594,0.00020942619,0.0004575987,0.0004856868],"domain_scores_gemma":[0.9982074,0.0013312694,0.00006996424,0.00028967022,0.000050711806,0.000051015915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014936146,0.00015594071,0.0002303552,0.00004855844,0.001129347,0.00004508313,0.00021593599,0.000012831449,0.000020498166],"category_scores_gemma":[0.000018220953,0.00006943062,0.000012937829,0.000101271115,0.0011852549,0.000079260506,0.00022657024,0.00043164074,2.5330883e-7],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00070978445,0.000054870157,0.52285093,0.00057859,0.0004635021,0.00041234618,0.13152067,0.000021952716,0.000042187803,0.0040058936,0.07426061,0.2650787],"study_design_scores_gemma":[0.0012474754,0.0004570469,0.07138118,0.0012474782,0.000057662553,0.00023492545,0.6811006,0.00068888447,0.00041921774,0.0017990873,0.24066222,0.0007042213],"about_ca_topic_score_codex":0.99796426,"about_ca_topic_score_gemma":0.99992496,"teacher_disagreement_score":0.5495799,"about_ca_system_score_codex":0.00032536968,"about_ca_system_score_gemma":0.0006723645,"threshold_uncertainty_score":0.86861384},"labels":[],"label_agreement":null},{"id":"W1542616684","doi":"10.3138/tric.31.2.v","title":"Introduction: Marie Clements","year":2010,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Politics; Poetry; Allusion; Presentation (obstetrics); Drama; Visual arts; History; Art; Sociology; Literature; Law","score_opus":0.05569411665262292,"score_gpt":0.3027718337214523,"score_spread":0.24707771706882936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1542616684","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2589565,0.00016855508,9.2841816e-8,0.016863747,0.0023108982,0.00017875557,0.000039335682,0.000018009625,0.7214641],"genre_scores_gemma":[0.99341905,0.00006562975,0.00000893642,0.00009441681,0.003980443,0.000027893504,0.000008550426,0.000010690566,0.0023844116],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986902,0.000058236616,0.00014839481,0.00017299838,0.0004579457,0.0004722642],"domain_scores_gemma":[0.9994389,0.00013116063,0.000013944981,0.00026500982,0.00007523719,0.000075768185],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005981519,0.00008308981,0.00011298291,0.000121424346,0.00040086117,0.000081476566,0.00020248702,0.000016622187,0.008858281],"category_scores_gemma":[0.00000545421,0.00006662965,0.000016941112,0.000091754875,0.00022573041,0.00012500277,0.00008180721,0.00059739366,0.00010218003],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007545411,0.000053526575,0.013376093,0.00006183041,0.000045110228,0.000047120797,0.0036047923,0.000008339119,0.00013390458,0.037653163,0.4492821,0.49565855],"study_design_scores_gemma":[0.00013994703,0.000028947714,0.0002758513,0.000006973663,0.0000014970071,0.000001408674,0.0040255073,0.00001604917,0.00010482614,0.0016968778,0.9936227,0.000079393365],"about_ca_topic_score_codex":0.9685793,"about_ca_topic_score_gemma":0.99935997,"teacher_disagreement_score":0.7344625,"about_ca_system_score_codex":0.00021098882,"about_ca_system_score_gemma":0.000836136,"threshold_uncertainty_score":0.9920477},"labels":[],"label_agreement":null},{"id":"W1544563719","doi":"10.1353/tj.2009.a380382","title":"Theatre: The Rediscovery of Style and Other Writings (review)","year":2009,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"SAINT; Style (visual arts); Theatre director; Art history; Art; Improvisation; Performance art; Reading (process); Theatre studies; Literature; History; Visual arts; Drama; Philosophy","score_opus":0.019552885615597343,"score_gpt":0.24142886266074937,"score_spread":0.22187597704515202,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1544563719","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08078316,0.12602106,0.0000090630865,0.015408615,0.0004402067,0.0002362041,0.000045353827,0.000037454512,0.7770189],"genre_scores_gemma":[0.9679492,0.024145123,0.00002681024,0.004315687,0.0018629504,0.000002044697,7.1350917e-7,0.000012964698,0.0016845068],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919385,0.000054528315,0.00029253482,0.000082478175,0.00018104709,0.00019554833],"domain_scores_gemma":[0.9995532,0.0000624967,0.00014633071,0.00014870905,0.000049299655,0.000039966555],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045507727,0.00013120129,0.0002452883,0.00003999473,0.00047883033,0.00006808377,0.00015636302,0.000018437006,0.0007605705],"category_scores_gemma":[0.0000044705744,0.00006617478,0.00011133577,0.000028849161,0.00023743765,0.00018497325,0.000024249495,0.00022301938,0.000016302609],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001678111,0.00016834991,0.0015579661,0.00028523986,0.0002585501,0.0000111230365,0.05646387,0.0000024361368,0.00025926906,0.038319822,0.17747173,0.7250338],"study_design_scores_gemma":[0.00037378987,0.00036304604,0.000524591,0.0008952806,0.00014127069,0.00017296405,0.008764833,0.000005844193,0.00008156224,0.0057921247,0.9827239,0.0001607769],"about_ca_topic_score_codex":0.00003893977,"about_ca_topic_score_gemma":0.00005733163,"teacher_disagreement_score":0.887166,"about_ca_system_score_codex":0.000008408083,"about_ca_system_score_gemma":0.000019837655,"threshold_uncertainty_score":0.83277136},"labels":[],"label_agreement":null},{"id":"W1546393100","doi":"10.3138/tric.30.1_2.175","title":"Michael McKinnie. <i>City Stages: Theatre and Urban Space in a Global City</i>","year":2009,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Space (punctuation); Urban space; Geography; Art history; Visual arts; Sociology; Art; Economic geography; Philosophy; Linguistics","score_opus":0.05122022178609364,"score_gpt":0.2988776468040144,"score_spread":0.24765742501792076,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1546393100","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6000011,0.0027727531,1.8371442e-7,0.0065764664,0.0001279518,0.0002760705,0.00014861625,0.000019412155,0.39007744],"genre_scores_gemma":[0.9981622,0.0005672341,0.0000078524945,0.00032806626,0.0003571934,0.00001691187,0.000006707429,0.000010830226,0.00054300425],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976321,0.0001861411,0.00027399123,0.00035657804,0.0006163007,0.00093489187],"domain_scores_gemma":[0.9992345,0.00019052354,0.000030480154,0.00031208264,0.00006605106,0.00016637018],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00074193045,0.00022139089,0.00034142437,0.0001785259,0.00035590076,0.00011591129,0.00028556798,0.00004689442,0.00023847818],"category_scores_gemma":[0.0000052863475,0.00018163507,0.000034514884,0.00027854048,0.00031555747,0.00021073438,0.00011462726,0.00053453277,0.00000690998],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003952001,0.00019342262,0.7437469,0.00015231187,0.000056142144,0.00042555624,0.018990012,0.00002370636,0.000019985138,0.015772576,0.06654428,0.15367994],"study_design_scores_gemma":[0.0016375263,0.0004517173,0.04750957,0.00041176003,0.000011737963,0.000015968162,0.029228566,0.00009178009,0.00007960713,0.015325631,0.9046098,0.00062631647],"about_ca_topic_score_codex":0.9548236,"about_ca_topic_score_gemma":0.99838763,"teacher_disagreement_score":0.83806556,"about_ca_system_score_codex":0.00084760395,"about_ca_system_score_gemma":0.0009841585,"threshold_uncertainty_score":0.7406863},"labels":[],"label_agreement":null},{"id":"W1548475778","doi":"10.20360/g20w3k","title":"Drama and Writing: Complementary Meaning-making Processes","year":2003,"lang":"en","type":"article","venue":"Language and Literacy","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Focus (optics); Meaning (existential); Process (computing); Literacy; Writing process; Literature; Art; Sociology; History; Psychology; Computer science; Pedagogy","score_opus":0.01872064250967245,"score_gpt":0.27397117335349924,"score_spread":0.2552505308438268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1548475778","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8483139,0.009146236,0.0000042715214,0.00013347634,0.00007903818,0.00007001665,0.000022525672,0.000043483713,0.142187],"genre_scores_gemma":[0.9971183,0.00013453703,0.00016893144,0.0007422579,0.00029228034,0.0000057480756,0.000010684616,0.000008065344,0.0015191793],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955976,0.000015649233,0.00010997948,0.0001172778,0.00005393658,0.00014341003],"domain_scores_gemma":[0.9997945,0.000058594378,0.000029596913,0.000060420294,0.000033972563,0.000022916995],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006811845,0.00009106108,0.00010418995,0.00003456751,0.00035314902,0.00023409788,0.000023746079,0.000009593414,0.0007774722],"category_scores_gemma":[0.000011637417,0.00007043169,0.000012420633,0.000019262616,0.00007322343,0.00029304027,0.000024751427,0.000055011238,0.000005633863],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012100501,0.000027215177,0.010351526,0.0003399426,0.0000404866,0.00003049949,0.85952216,1.01275106e-7,0.000023539504,0.096591495,0.0009115197,0.03214938],"study_design_scores_gemma":[0.00040636747,0.00008923742,0.000572129,0.00018744306,0.00003422344,0.000027649032,0.11771168,0.000008868424,0.00011872212,0.0017937903,0.87881947,0.00023042147],"about_ca_topic_score_codex":0.000076681754,"about_ca_topic_score_gemma":0.0002266438,"teacher_disagreement_score":0.87790793,"about_ca_system_score_codex":0.0000026754844,"about_ca_system_score_gemma":0.0000058405444,"threshold_uncertainty_score":0.85127753},"labels":[],"label_agreement":null},{"id":"W1548624771","doi":"","title":"Gender Disintegration: Performance, Context and the Body","year":2012,"lang":"en","type":"article","venue":"Aporia","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Context (archaeology); Computer science; Geography","score_opus":0.029042085565289612,"score_gpt":0.22880271056042795,"score_spread":0.19976062499513833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1548624771","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5588832,0.0028973524,0.0000040600416,0.0006201714,0.0015674366,0.00011704526,0.000005198421,0.000033008208,0.43587255],"genre_scores_gemma":[0.99050814,0.00031732046,0.0000038951525,0.00045424586,0.001988654,0.0000175969,0.0000042586366,0.0000057220213,0.006700178],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996134,0.000016031128,0.00009460186,0.000054790507,0.00007070801,0.00015046199],"domain_scores_gemma":[0.99977636,0.00004595714,0.000028255688,0.00009600815,0.000028548466,0.000024876517],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018359258,0.00007667454,0.00009711144,0.000015246629,0.00046860307,0.00006031017,0.00004678543,0.00001303502,0.00081967714],"category_scores_gemma":[0.000004498237,0.00003800904,0.000028588662,0.000011252231,0.00030704835,0.00030584322,0.000024814488,0.000066513756,0.00014979331],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005262429,0.000013824911,0.009155469,0.000013743269,0.000045342254,7.864494e-8,0.08876524,4.8141032e-8,0.0000018090523,0.8740943,0.01840199,0.00945555],"study_design_scores_gemma":[0.0005321837,0.00002205319,0.008857708,0.0000066472917,0.0000342766,0.0000031343752,0.010701794,0.000030832703,0.000028358596,0.0009398968,0.9787557,0.000087380286],"about_ca_topic_score_codex":0.00007791107,"about_ca_topic_score_gemma":0.00012092541,"teacher_disagreement_score":0.96035373,"about_ca_system_score_codex":0.00000452612,"about_ca_system_score_gemma":0.0000053728195,"threshold_uncertainty_score":0.897489},"labels":[],"label_agreement":null},{"id":"W1549090186","doi":"10.3138/tric.34.2.254","title":"North-South Theatre Exchanges: Sistren’s Tours of Canada in the 1980s and Early 1990s","year":2013,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Outreach; Alliance; Grassroots; Agency (philosophy); Political science; Postmodern theatre; Media studies; Political theatre; Sociology; Social science; Art; Politics","score_opus":0.052227089117727596,"score_gpt":0.24929343191383987,"score_spread":0.1970663427961123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1549090186","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8282208,0.0012796983,1.3936909e-8,0.0036666475,0.00011824068,0.00036400888,0.00011530536,0.000004153795,0.16623114],"genre_scores_gemma":[0.9988806,0.00020492262,0.0000017546012,0.0001484228,0.00022254504,0.00009942375,0.0000055392097,0.000014519409,0.0004222693],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977609,0.00023097187,0.00029474002,0.00021935711,0.0007654072,0.00072862324],"domain_scores_gemma":[0.99894404,0.0004880896,0.000045234498,0.00033327081,0.00008630757,0.00010307731],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005376778,0.00017049188,0.00028463703,0.00016710494,0.0003074314,0.00007577282,0.00039442172,0.000024766245,0.00036819643],"category_scores_gemma":[0.0000054975103,0.000108949745,0.000025553501,0.00019418063,0.00030450922,0.00013281901,0.00010093866,0.0004395053,0.0000032692233],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011725845,0.00008620509,0.59595233,0.00047032678,0.000112018985,0.00016472119,0.13730422,0.000043592765,0.000007189895,0.001569429,0.11446756,0.14970517],"study_design_scores_gemma":[0.0010612903,0.00034653916,0.20927091,0.00037818743,0.000019264462,0.000008602202,0.33842131,0.00007456197,0.00005944898,0.0015675634,0.44820815,0.00058416213],"about_ca_topic_score_codex":0.99988014,"about_ca_topic_score_gemma":0.99999666,"teacher_disagreement_score":0.3866814,"about_ca_system_score_codex":0.00039825257,"about_ca_system_score_gemma":0.0019247716,"threshold_uncertainty_score":0.44428417},"labels":[],"label_agreement":null},{"id":"W1549721158","doi":"","title":"Metatheatre and Modernity: Baroque and Neobaroque by Mary Ann Frese Witt (review)","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Baroque; Modernity; History; Aesthetics; Art history; Sociology; Art; Philosophy; Epistemology","score_opus":0.013777677751846781,"score_gpt":0.20858100382650788,"score_spread":0.1948033260746611,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1549721158","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63216686,0.27459174,0.00009066159,0.005719588,0.00020371842,0.0009035651,0.00016074316,0.00025437964,0.08590872],"genre_scores_gemma":[0.945563,0.03842294,0.00009915813,0.0029126268,0.00029198037,0.0001368971,0.000027840591,0.000040081024,0.012505435],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989949,0.00004645399,0.00021485271,0.0002895436,0.0001489074,0.00030534144],"domain_scores_gemma":[0.9994782,0.00004991178,0.000050864488,0.00023284058,0.00007372666,0.00011444122],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011134917,0.0002487315,0.0003571982,0.000045431836,0.00039982353,0.00017586372,0.000110509674,0.000048328704,0.00097295654],"category_scores_gemma":[0.0000063535617,0.00018599462,0.00005462946,0.00001858471,0.00023307974,0.00051559473,0.00012395071,0.00016691831,0.00012557395],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038062823,0.00027553568,0.004878995,0.002255199,0.00060809136,0.000015692262,0.07706992,0.000006144046,0.0003768012,0.0051355264,0.6237437,0.2855963],"study_design_scores_gemma":[0.0009132804,0.0002663316,0.0017449129,0.00049550243,0.00028779474,0.00003209305,0.0020238953,0.006001879,0.000098518714,0.031341836,0.955897,0.00089697813],"about_ca_topic_score_codex":0.00084924424,"about_ca_topic_score_gemma":0.0004724759,"teacher_disagreement_score":0.33215326,"about_ca_system_score_codex":0.000011754657,"about_ca_system_score_gemma":0.000013848494,"threshold_uncertainty_score":0.9999403},"labels":[],"label_agreement":null},{"id":"W1552848258","doi":"","title":"Natalie Rewa, ed. Design and Scenography. Vol. 15 ; Michael McKinnie, ed. Space and the Geographies of Theatre. Vol. 9 ; Andrew Houston, ed. Environmental and Site-Specific Theatre. Vol. 8","year":2012,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scenography; Art history; Art; Environmental ethics; Media studies; Sociology; Philosophy","score_opus":0.027492626761745104,"score_gpt":0.23753983609944254,"score_spread":0.21004720933769744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1552848258","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73171127,0.2440396,0.000004477363,0.0012353571,0.0008110011,0.0014670523,0.0005177919,0.000037309463,0.020176122],"genre_scores_gemma":[0.9114838,0.08712046,0.000058558726,0.000097260294,0.0008865721,0.00008884195,0.000020477204,0.000056298446,0.00018768692],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960851,0.00062364276,0.00051387405,0.0005463691,0.0009256061,0.0013054023],"domain_scores_gemma":[0.9975437,0.0012636723,0.00012695731,0.00059236813,0.0001412245,0.00033209354],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0022624226,0.000492262,0.0007037949,0.00051955524,0.0012424539,0.00017860641,0.00036091925,0.0001073333,0.0005015157],"category_scores_gemma":[0.000012523358,0.00033206693,0.00010343386,0.0002312167,0.004446191,0.00041428767,0.00042399028,0.0007375556,0.000010626536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004034317,0.0005158671,0.36914837,0.0009723398,0.0008764331,0.000073937175,0.055831358,0.00003550573,0.0006733022,0.009909734,0.4012129,0.15671594],"study_design_scores_gemma":[0.0041535613,0.0006413574,0.00783266,0.0004629775,0.00016045458,0.000055993045,0.07857051,0.00016181874,0.00082777784,0.0028777728,0.9031688,0.0010863013],"about_ca_topic_score_codex":0.4449943,"about_ca_topic_score_gemma":0.48816216,"teacher_disagreement_score":0.5019559,"about_ca_system_score_codex":0.00015108731,"about_ca_system_score_gemma":0.00020312998,"threshold_uncertainty_score":0.99991316},"labels":[],"label_agreement":null},{"id":"W1553658384","doi":"10.3138/tric.27.2.227","title":"The Impossible Theatre: Roy Mitchell and <i>The Chester Mysteries:</i> Experience, Initiation and Brotherhood","year":2006,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Theosophy; Revelation; Immortality; Witness; Soul; Doctrine; Philosophy; Art; Sympathy; Conviction; Literature; Art history; Aesthetics; Law; Theology; Psychology","score_opus":0.03347908624031385,"score_gpt":0.2657668744032051,"score_spread":0.23228778816289128,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1553658384","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5084512,0.006775367,5.098643e-7,0.007889905,0.00021134918,0.0004858154,0.000029647763,0.000014607379,0.47614157],"genre_scores_gemma":[0.99696666,0.0011163616,0.0000024460169,0.00021833261,0.0004417587,0.00013211576,0.00000285746,0.000014864687,0.0011045829],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99839216,0.00023442337,0.00024995764,0.0001974605,0.0004118061,0.0005141733],"domain_scores_gemma":[0.9988309,0.0007741405,0.000037764265,0.00025101285,0.000054402528,0.000051775936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085620617,0.00014465321,0.00018225156,0.00006083775,0.0012821128,0.00034514585,0.00020109626,0.00002506977,0.000058625184],"category_scores_gemma":[0.0000032135476,0.00007439442,0.000023213088,0.00010118154,0.0011892004,0.00019438054,0.000114595176,0.00027529386,0.0000040323334],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0027969368,0.00015187144,0.1206905,0.0005873095,0.00023863347,0.00009416626,0.22052619,0.000048545156,0.00024747296,0.114865124,0.092039086,0.44771418],"study_design_scores_gemma":[0.0015146354,0.000083327264,0.0020538555,0.00008817536,0.0000106891675,0.000013727249,0.062385112,0.00018566137,0.00025297093,0.011691024,0.92149293,0.00022788858],"about_ca_topic_score_codex":0.8745565,"about_ca_topic_score_gemma":0.9884108,"teacher_disagreement_score":0.8294538,"about_ca_system_score_codex":0.0001362914,"about_ca_system_score_gemma":0.0003509522,"threshold_uncertainty_score":0.9861105},"labels":[],"label_agreement":null},{"id":"W1553765764","doi":"","title":"ABOUT BRECHT'S \"ALIENATION\"","year":2011,"lang":"es","type":"article","venue":"Revista Digital Palabra (Universidad Pontificia Bolivariana)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Alienation; Rest (music); Presentation (obstetrics); Aesthetics; Art; Psychoanalysis; Visual arts; Art history; Psychology; Political science; Law; Medicine","score_opus":0.02545622115660655,"score_gpt":0.21578693787184677,"score_spread":0.1903307167152402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1553765764","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07413784,0.0033593082,0.000083206076,0.00052152964,0.0012010685,0.0005108264,0.001757017,0.0002806504,0.9181486],"genre_scores_gemma":[0.938196,0.0010045113,0.000056759935,0.00022204897,0.001070656,0.0000072397984,0.00030420875,0.000096357995,0.059042197],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99712884,0.00008286538,0.0006104593,0.0007778023,0.0005111438,0.00088887016],"domain_scores_gemma":[0.99781156,0.000106418185,0.00044720378,0.0008234937,0.00045074723,0.00036058386],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021837668,0.0007047627,0.00080084207,0.00053775194,0.0014170364,0.0042835358,0.0007566896,0.00022545963,0.004130971],"category_scores_gemma":[0.000058873018,0.0007163299,0.00049274426,0.0003155413,0.00077382,0.0034617009,0.00030788456,0.0004129073,0.0032098156],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001822607,0.00031964012,0.0023131273,0.0003834001,0.0005665843,0.00009409901,0.03337427,4.8622996e-7,0.000017196508,0.91001236,0.027296051,0.025440546],"study_design_scores_gemma":[0.0005571235,0.00025880887,0.002669234,0.00056181836,0.00028963646,0.000014167082,0.030675797,0.00003596293,0.000023306135,0.0015153451,0.96245414,0.00094463147],"about_ca_topic_score_codex":0.00041993198,"about_ca_topic_score_gemma":0.00009974609,"teacher_disagreement_score":0.93515813,"about_ca_system_score_codex":0.00014361793,"about_ca_system_score_gemma":0.00020787795,"threshold_uncertainty_score":0.999883},"labels":[],"label_agreement":null},{"id":"W1556185433","doi":"","title":"J. M. Barrie and the Theatre","year":2003,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.013496557096790651,"score_gpt":0.18594573396919306,"score_spread":0.1724491768724024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1556185433","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000005878861,0.006746523,2.567426e-7,0.000863801,0.00045378724,0.00014910752,0.000024762556,0.00003490444,0.991721],"genre_scores_gemma":[0.0005672936,0.0017747681,0.0000023167295,0.0014049739,0.0011080385,0.000012292822,0.000008181075,0.000017837297,0.9951043],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995357,0.000018065351,0.00011755734,0.000118095246,0.00008772791,0.000122892],"domain_scores_gemma":[0.9996598,0.000092872164,0.00003729375,0.00016434777,0.000026120544,0.00001960327],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000112221234,0.00017133172,0.00024015606,0.000025461639,0.0004823557,0.00011311905,0.00008161698,0.00004706065,0.0082910955],"category_scores_gemma":[0.000001620294,0.000076460245,0.00008116846,0.000002930708,0.0008470037,0.000045323613,0.000038136703,0.00016667348,0.00022217439],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007559325,9.139519e-7,7.163481e-7,0.000014035753,0.000047280584,3.6142868e-7,0.0050549437,1.386072e-8,2.7727383e-9,0.5421477,0.45086327,0.0018631724],"study_design_scores_gemma":[0.00028507717,0.000017119306,3.8266404e-7,0.000022568887,0.00006701897,0.0000019641752,0.00086064485,7.092466e-7,2.980875e-7,0.063266926,0.9353605,0.00011681255],"about_ca_topic_score_codex":0.000030434932,"about_ca_topic_score_gemma":0.00077966374,"teacher_disagreement_score":0.4844972,"about_ca_system_score_codex":0.000009232827,"about_ca_system_score_gemma":0.000047792255,"threshold_uncertainty_score":0.99261546},"labels":[],"label_agreement":null},{"id":"W1559253357","doi":"","title":"Dramatic tales stir the suburb: Melbourne's location theatre movement, 1979-1990","year":2014,"lang":"en","type":"article","venue":"Queensland's institutional digital repository (The University of Queensland)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Happening; Greenwich; Media studies; Art history; Advertising; Visual arts; Sociology; History; Art; Performance art","score_opus":0.011288478053467594,"score_gpt":0.18253522589476026,"score_spread":0.17124674784129268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1559253357","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44266206,0.00046704497,0.0012150405,0.0019032473,0.00092061766,0.00045102977,0.00012289012,0.00013247269,0.5521256],"genre_scores_gemma":[0.9898813,0.0000441817,0.000017219483,0.00017145298,0.00058722217,0.0000018312497,0.000052806583,0.000010412031,0.009233599],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998759,0.00008310574,0.00027070512,0.00023384069,0.0004048658,0.0002485406],"domain_scores_gemma":[0.99890226,0.00023650337,0.00020632263,0.0003585221,0.00023536426,0.000061049774],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00018822256,0.0002250514,0.0002504422,0.00007663889,0.002110999,0.0001921093,0.00044149556,0.00005733333,0.00009582194],"category_scores_gemma":[0.000026796684,0.00013980485,0.00017576292,0.00008184637,0.0016683193,0.0006078471,0.00011949938,0.00019721336,0.00012374432],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00053930393,0.00044541626,0.03998333,0.00034686094,0.0009582029,0.000039922088,0.04564947,0.003082247,0.00010644586,0.85623074,0.032951325,0.019666735],"study_design_scores_gemma":[0.0010496124,0.00028676217,0.025027687,0.00028118762,0.00021298286,0.000039157407,0.0112522105,0.0012618313,0.0001521212,0.008421528,0.9515472,0.00046773694],"about_ca_topic_score_codex":0.0012507797,"about_ca_topic_score_gemma":0.0012624197,"teacher_disagreement_score":0.91859585,"about_ca_system_score_codex":0.000069024456,"about_ca_system_score_gemma":0.0001247301,"threshold_uncertainty_score":0.9991881},"labels":[],"label_agreement":null},{"id":"W1560214357","doi":"10.3138/tric.28.2.81","title":"<i>Drama, Role Theory, and Youth: Implications for Teacher Education</i>","year":2007,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Drama; Performative utterance; Agency (philosophy); Sociology; Identity (music); Negotiation; Psychodrama; Performativity; Pedagogy; Psychology; Gender studies; Aesthetics; Art; Visual arts; Psychoanalysis; Social science","score_opus":0.059848166436004074,"score_gpt":0.3353656084947947,"score_spread":0.2755174420587906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1560214357","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17056854,0.0036606959,0.000008694625,0.0033452983,0.0002341956,0.00051360216,0.00022590555,0.000016920949,0.82142615],"genre_scores_gemma":[0.99719256,0.0001158421,0.000015288348,0.0001854644,0.00056235323,0.00006863114,0.000023290486,0.000013674168,0.0018229019],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904746,0.00006521317,0.00015101486,0.00015519523,0.00014971502,0.00043139685],"domain_scores_gemma":[0.9991206,0.00048773133,0.000017557899,0.0001851986,0.000098168544,0.00009073394],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00147929,0.000081771745,0.0001060799,0.00011961959,0.00048635536,0.000055096225,0.00013877297,0.000018327019,0.00012051602],"category_scores_gemma":[0.000008938118,0.00006634712,0.00001820823,0.00006940883,0.00018369367,0.000084495536,0.000042467993,0.00017309036,0.0000039231913],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010929817,0.00007364991,0.014214173,0.000041771527,0.000022777349,3.9907198e-7,0.021028655,8.476747e-7,0.000026450572,0.22090022,0.015026795,0.72855496],"study_design_scores_gemma":[0.00022060984,0.000053616703,0.004815405,0.000037888476,0.000009340883,0.0000016851643,0.12514256,0.0000035522228,0.0000616988,0.057929978,0.8115807,0.00014298176],"about_ca_topic_score_codex":0.8787724,"about_ca_topic_score_gemma":0.99241287,"teacher_disagreement_score":0.82662404,"about_ca_system_score_codex":0.00024786257,"about_ca_system_score_gemma":0.0011216373,"threshold_uncertainty_score":0.37407014},"labels":[],"label_agreement":null},{"id":"W1560953817","doi":"","title":"Entangled Discursivity: Women's Social Relations in a Collaborative Filmmaking Process","year":2002,"lang":"en","type":"article","venue":"Resources for feminist research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Sociology; Gender studies; Media studies; Aesthetics; Visual arts; Movie theater; Art","score_opus":0.08382603853468366,"score_gpt":0.3541403544422434,"score_spread":0.2703143159075597,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1560953817","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6851501,0.00026050524,5.873167e-7,0.0015293659,0.00007083275,0.00049975776,0.00015408611,0.000037149202,0.3122976],"genre_scores_gemma":[0.9681404,0.000022615539,0.00000801577,0.000042875028,0.00069920055,0.0006868051,0.0000084950325,0.000020640777,0.030370945],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983927,0.000104546474,0.00022231234,0.0002442041,0.00040372295,0.0006325136],"domain_scores_gemma":[0.9991488,0.00040766393,0.00005550819,0.000111037945,0.00022331408,0.00005370559],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00067215046,0.00012534934,0.00021874782,0.00027833926,0.0019528164,0.00025823212,0.000200298,0.000052309446,0.0019459958],"category_scores_gemma":[0.000104509905,0.00010463558,0.00005407265,0.00031009174,0.0006082639,0.00016513834,0.000065554545,0.00030499947,0.00008676308],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001499913,0.00018636981,0.00273501,0.00011248392,0.00004454443,0.000005287282,0.9570613,0.0000036848437,0.000010192612,0.021561721,0.014294523,0.0038348776],"study_design_scores_gemma":[0.00051866623,0.00023493187,0.0003136246,0.000049323466,0.000005141128,6.0887544e-7,0.26760876,0.0002036936,0.000019157786,0.0022111845,0.72869444,0.00014045577],"about_ca_topic_score_codex":0.000034658475,"about_ca_topic_score_gemma":0.0014119445,"teacher_disagreement_score":0.71439993,"about_ca_system_score_codex":0.00016259342,"about_ca_system_score_gemma":0.000033720295,"threshold_uncertainty_score":0.9993465},"labels":[],"label_agreement":null},{"id":"W1562803170","doi":"10.26522/tl.v7i3.400","title":"Expanding Educators’ Awareness of Youth Homelessness through Critical Dramatic Inquiry","year":2013,"lang":"en","type":"article","venue":"Teaching and Learning","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brock University; University of British Columbia","funders":"","keywords":"Drama; Social justice; Citizen journalism; Poverty; Pedagogy; Sociology; Equity (law); Critical pedagogy; Psychology; Political science; Social science; Law","score_opus":0.05665938089474371,"score_gpt":0.3141980135621442,"score_spread":0.2575386326674005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1562803170","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98209244,0.00056182157,0.00012214997,0.0001193541,0.00041653734,0.000058262438,0.0000016034458,0.00007758331,0.01655024],"genre_scores_gemma":[0.99848795,0.000026322048,0.000116447976,0.000050401064,0.0006320359,0.000007249471,0.000005564787,0.000016363689,0.00065765384],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99915683,0.00016925606,0.00019973045,0.00014419411,0.000108025095,0.0002219386],"domain_scores_gemma":[0.9994627,0.00030730828,0.0000609077,0.00009044641,0.000042416184,0.000036191057],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00034626192,0.000128217,0.00025986435,0.000060884602,0.0013362084,0.00015628897,0.000073187686,0.000029909683,0.0003074008],"category_scores_gemma":[0.00013728638,0.00009993635,0.000041480245,0.000018095727,0.00028826593,0.00043399044,0.00005532388,0.00050044636,0.000024420804],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005530771,0.00003711267,0.008355393,0.00022732334,0.000027775557,3.6617755e-7,0.96388847,0.00001625884,0.00007099463,0.016518386,0.00009508306,0.010757281],"study_design_scores_gemma":[0.00019922665,0.00010065648,0.002984082,0.00038593393,0.000055592398,0.000002372203,0.98937047,0.00013635439,0.00007039334,0.0012717564,0.0051731877,0.00024997917],"about_ca_topic_score_codex":0.0018865484,"about_ca_topic_score_gemma":0.00002245587,"teacher_disagreement_score":0.025481971,"about_ca_system_score_codex":0.000008875173,"about_ca_system_score_gemma":0.000014450321,"threshold_uncertainty_score":0.99996394},"labels":[],"label_agreement":null},{"id":"W1564282070","doi":"10.3138/tric.31.1.78","title":"Meditation in Two Parts and One Aphorism: Personal Experience, State Dirigisme, and New Play Development","year":2010,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Creativity; Context (archaeology); Public relations; Identity (music); Action (physics); Sociology; Meditation; Aesthetics; Political science; Law; History","score_opus":0.09044799025049571,"score_gpt":0.32931743470543756,"score_spread":0.23886944445494185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1564282070","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9677568,0.00043411454,2.8188143e-7,0.0011360373,0.00020544887,0.0001563807,0.00001227535,0.000005547144,0.030293105],"genre_scores_gemma":[0.9985957,0.00025568504,0.000055209337,0.00004669713,0.00022442167,0.000037949278,0.00000633229,0.000008273604,0.0007697391],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99874955,0.000048828602,0.0001756068,0.00019198009,0.0004276266,0.0004064324],"domain_scores_gemma":[0.99955624,0.00017077947,0.00001785152,0.00007726973,0.000035693367,0.00014214712],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045355316,0.0000998437,0.00014678448,0.00017292211,0.00026835554,0.00007465761,0.000078028475,0.000013803626,0.00026651166],"category_scores_gemma":[0.0000039994497,0.00008292638,0.000005810733,0.00007734701,0.00025426244,0.0001695317,0.000064904474,0.00035449307,0.0000029100265],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010570694,0.000040291936,0.089050435,0.00007720856,0.000026818163,0.00005827071,0.35492995,0.0000026754722,0.00011813869,0.0015812166,0.0050341813,0.5489751],"study_design_scores_gemma":[0.0013458465,0.000093250324,0.03080436,0.00018145691,0.0000030405124,0.000007095245,0.068563215,0.0002060106,0.00047158764,0.0042466386,0.89371,0.00036750158],"about_ca_topic_score_codex":0.91716915,"about_ca_topic_score_gemma":0.99939364,"teacher_disagreement_score":0.8886758,"about_ca_system_score_codex":0.00013447303,"about_ca_system_score_gemma":0.0013059397,"threshold_uncertainty_score":0.33816397},"labels":[],"label_agreement":null},{"id":"W1564694832","doi":"10.3138/tric.21.1.77","title":"Jeremy Long. The Final Performance of Nijinsky, St Moritz-Dorf, 1919","year":2000,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Simon Fraser University","funders":"","keywords":"History","score_opus":0.09337783557769636,"score_gpt":0.2945828102821327,"score_spread":0.20120497470443632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1564694832","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65181845,0.0009169954,2.072057e-8,0.0014315943,0.00013450136,0.00016713302,0.00007739946,0.0000076128417,0.34544632],"genre_scores_gemma":[0.9923158,0.0016303583,0.0000023873272,0.00009588963,0.0004941193,0.000034329565,0.00000829298,0.000015724987,0.0054030395],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.997944,0.00014353712,0.00028991757,0.00019205204,0.0007727023,0.0006577893],"domain_scores_gemma":[0.9991445,0.0002764339,0.000030298836,0.00038488102,0.000091587004,0.000072279276],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007610257,0.00014805578,0.00023331027,0.000111238536,0.0005636198,0.000048417776,0.00048679532,0.000022983386,0.00552389],"category_scores_gemma":[0.0000021239412,0.00009421023,0.000044342694,0.00018355774,0.00052889436,0.00016774701,0.00007514899,0.00048617658,0.00005966559],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041538107,0.00009123387,0.03171439,0.0002710268,0.00008432031,0.000052396917,0.008715472,0.00032498478,0.000007779151,0.0013703572,0.057484,0.89946866],"study_design_scores_gemma":[0.00045103024,0.000247172,0.0058122594,0.00018038916,0.000009267917,0.000008169363,0.0067211236,0.00048135268,0.00018958146,0.00036878837,0.9853257,0.00020515578],"about_ca_topic_score_codex":0.92189234,"about_ca_topic_score_gemma":0.990013,"teacher_disagreement_score":0.9278417,"about_ca_system_score_codex":0.0002655081,"about_ca_system_score_gemma":0.001047297,"threshold_uncertainty_score":0.99538517},"labels":[],"label_agreement":null},{"id":"W1566254247","doi":"10.3138/tric.21.1.84","title":"Linda Griffiths. Sheer Nerve: Seven Plays","year":2000,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Alien; Art history; Performance art; History; Art; Visual arts; Law; Political science; Politics","score_opus":0.06725597160671512,"score_gpt":0.2957353508399589,"score_spread":0.22847937923324377,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1566254247","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3362248,0.00070661004,2.5729504e-8,0.00218443,0.00017970862,0.00015185912,0.00008114687,0.000018680677,0.6604527],"genre_scores_gemma":[0.9884578,0.00041429643,0.0000046181226,0.00018380387,0.00089270837,0.000039314724,0.000013009338,0.000022514598,0.009971946],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99793136,0.00013796543,0.00023186929,0.00023754996,0.00066710653,0.0007941725],"domain_scores_gemma":[0.99928075,0.00020888323,0.000014487354,0.00030174048,0.0000626142,0.00013154728],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00056723144,0.00015125814,0.00021892508,0.00013731742,0.0004998993,0.00009068993,0.00032666564,0.000031586384,0.014933756],"category_scores_gemma":[0.0000018831784,0.00011808614,0.000039370418,0.00014699549,0.00022678229,0.00016312543,0.000059016304,0.0005268602,0.00029011542],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020563712,0.00007494685,0.005508764,0.00010710951,0.00007883721,0.0002877442,0.016338209,0.00023519869,0.000007875406,0.002814608,0.20588838,0.7684527],"study_design_scores_gemma":[0.00029773242,0.00006751813,0.0005387379,0.000068888796,0.0000036133117,0.0000048721254,0.006238191,0.0000965643,0.000045092766,0.0010304071,0.9914329,0.00017545719],"about_ca_topic_score_codex":0.98029554,"about_ca_topic_score_gemma":0.99782896,"teacher_disagreement_score":0.7855446,"about_ca_system_score_codex":0.0004616012,"about_ca_system_score_gemma":0.0011861414,"threshold_uncertainty_score":0.98596674},"labels":[],"label_agreement":null},{"id":"W1567771433","doi":"10.3138/tric.31.2.xvi","title":"Présentation: Marie Clements","year":2010,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Art; Humanities","score_opus":0.06896833299647297,"score_gpt":0.34398335359256627,"score_spread":0.2750150205960933,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1567771433","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13592531,0.0054584616,1.9642755e-7,0.03664094,0.011663912,0.00042284428,0.00035634285,0.000012560411,0.8095194],"genre_scores_gemma":[0.9759281,0.001710028,0.000022619359,0.00020715484,0.0051779887,0.000053130596,0.000025406835,0.000028844524,0.016846672],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972909,0.00020388937,0.00032492902,0.0002757631,0.00086471677,0.0010397864],"domain_scores_gemma":[0.9987564,0.00051921373,0.000036033573,0.0003546758,0.00014148148,0.00019217306],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009926122,0.00018406736,0.00022359047,0.00018748827,0.0008555122,0.00020417925,0.0003313978,0.00006171865,0.010153818],"category_scores_gemma":[0.000007224415,0.0001706417,0.00004136707,0.00019264693,0.0006768752,0.00024464188,0.00016217577,0.0012674311,0.0002100224],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008272852,0.00011122091,0.027652837,0.00032530082,0.00008985286,0.00021754998,0.0039320993,0.00001592552,0.000033121374,0.042937014,0.3084501,0.6161522],"study_design_scores_gemma":[0.00037396935,0.00007592056,0.0010833227,0.000114795424,0.000008571723,0.000004586501,0.010684084,0.00008694052,0.00008291741,0.0033026284,0.98399884,0.00018344166],"about_ca_topic_score_codex":0.99667156,"about_ca_topic_score_gemma":0.9997839,"teacher_disagreement_score":0.84000283,"about_ca_system_score_codex":0.00066328386,"about_ca_system_score_gemma":0.0033858009,"threshold_uncertainty_score":0.990751},"labels":[],"label_agreement":null},{"id":"W1568412972","doi":"","title":"Convergence and Creativity in Telematic Performance: The Adding Machine","year":2008,"lang":"es","type":"paratext","venue":"RACO (Revistes Catalanes amb Accés Obert) (Consorci de Serveis Universitaris de Catalunya)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Humanities; Art; Telematics; Computer science; Rendering (computer graphics); Visual arts; Multimedia; Computer graphics (images); Art history; Telecommunications","score_opus":0.017288100317467765,"score_gpt":0.22571818670983204,"score_spread":0.20843008639236427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1568412972","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90384114,0.049006056,0.00000748021,0.0008628861,0.0006983667,0.0013653305,0.0020991848,0.000115853705,0.042003695],"genre_scores_gemma":[0.8385151,0.11537296,0.00005193325,0.0003762835,0.000604743,0.000058920723,0.0016536635,0.00012363258,0.043242734],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99498093,0.00058948784,0.0010958654,0.0011703986,0.0005531603,0.0016101662],"domain_scores_gemma":[0.9960263,0.0013338627,0.0008258917,0.0011805028,0.00028112662,0.00035232003],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0009986483,0.0014383042,0.0018473422,0.0006749285,0.0027197802,0.0005951713,0.0014152352,0.00060049107,0.0028625785],"category_scores_gemma":[0.00010780914,0.0011905656,0.0004456068,0.00042408644,0.0018444712,0.0013651015,0.00093054224,0.0018508775,0.0008541031],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014798142,0.0009124115,0.64342535,0.019866943,0.0032346703,0.0010813326,0.18121257,0.0012429638,0.00015502796,0.008112437,0.12260099,0.016675461],"study_design_scores_gemma":[0.0028661808,0.00069672003,0.097742856,0.004857981,0.001665537,0.0010944651,0.033901215,0.0074054827,0.00026045254,0.000059555292,0.8460839,0.003365674],"about_ca_topic_score_codex":0.011907506,"about_ca_topic_score_gemma":0.005486722,"teacher_disagreement_score":0.7234829,"about_ca_system_score_codex":0.0008669249,"about_ca_system_score_gemma":0.000595295,"threshold_uncertainty_score":0.9999238},"labels":[],"label_agreement":null},{"id":"W1572109352","doi":"10.3968/j.css.1923669720130906.2877","title":"Angry Young Playwrights With Respect of Three Representatives","year":2013,"lang":"en","type":"article","venue":"Canadian social science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Frustration; Subject matter; Mood; Element (criminal law); Psychology; Subject (documents); Class (philosophy); Psychoanalysis; Spanish Civil War; Movement (music); Sociology; Literature; Gender studies; Social psychology; Art; Aesthetics; Law; Political science; Epistemology; Pedagogy; Philosophy; Library science; Computer science","score_opus":0.02699302783756229,"score_gpt":0.24227479583176126,"score_spread":0.21528176799419896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1572109352","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41549787,0.000035581677,6.6355614e-7,0.00023427415,0.000100406614,0.00007255901,0.000014964684,0.0000072700695,0.5840364],"genre_scores_gemma":[0.9979093,0.0000031852283,0.000017606799,0.00007811373,0.00027788803,0.0000057835214,7.959815e-7,0.0000028315421,0.0017044685],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9993732,0.000006811984,0.0000734706,0.0001254419,0.00016611758,0.00025495913],"domain_scores_gemma":[0.9996359,0.000012892408,0.000035883673,0.00008036213,0.00013791835,0.00009706436],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000083307066,0.00005870968,0.00008765011,0.000098041826,0.00097231,0.000099756115,0.00018013018,0.000010969629,0.0013895633],"category_scores_gemma":[0.0000064264095,0.000040445546,0.000019113031,0.000114295355,0.0019517273,0.00042134448,0.000011846809,0.000045666675,0.00004289836],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013293309,0.000012134257,0.23840272,0.000017893462,0.00004031793,0.000009464853,0.251574,5.269251e-7,0.00016460213,0.48411337,0.015339651,0.010312004],"study_design_scores_gemma":[0.00046056035,0.0003112464,0.70466596,0.00006616091,0.00003260352,0.0000047347785,0.15051597,0.000042877047,0.0009052394,0.015194676,0.12716873,0.00063122506],"about_ca_topic_score_codex":0.20819607,"about_ca_topic_score_gemma":0.75912595,"teacher_disagreement_score":0.58241147,"about_ca_system_score_codex":0.00004518019,"about_ca_system_score_gemma":0.00020593977,"threshold_uncertainty_score":0.9995233},"labels":[],"label_agreement":null},{"id":"W1573071445","doi":"","title":"The beat goes on","year":2012,"lang":"en","type":"article","venue":"Sight & sound/Sight and sound","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Enthusiasm; Beat (acoustics); Art; Art history; Visual arts; Psychology; Optics; Physics; Social psychology","score_opus":0.03346993814928021,"score_gpt":0.2350386776264328,"score_spread":0.2015687394771526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1573071445","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57968146,0.011224099,0.00000522288,0.00089162006,0.002043062,0.00016315155,0.000019611196,0.00008494972,0.4058868],"genre_scores_gemma":[0.9657981,0.00063006184,0.0000044297003,0.0004420935,0.0034906117,0.000027499806,0.000008968236,0.000022137498,0.029576138],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988423,0.00004477981,0.00020300428,0.00017805814,0.00021461425,0.0005172641],"domain_scores_gemma":[0.99922305,0.00031576492,0.00006025872,0.00025233827,0.000046951125,0.00010165879],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0002329176,0.00023884034,0.0002065205,0.00004586754,0.0027062523,0.00045980708,0.00015332585,0.00005003977,0.00078558596],"category_scores_gemma":[0.00001144202,0.00012740793,0.00009485191,0.00003193201,0.00058920414,0.0003773693,0.000064223284,0.00018655286,0.0004946121],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000117112235,0.00012285411,0.012847257,0.000040287254,0.00021778962,0.0000026771352,0.1297743,5.357058e-7,0.000020289326,0.82530963,0.025208324,0.006338909],"study_design_scores_gemma":[0.00023465155,0.00013036467,0.0015784845,0.000013601245,0.000046624526,0.000004200348,0.006174423,0.0000029341127,0.00006206071,0.034765396,0.95675033,0.00023690252],"about_ca_topic_score_codex":0.00007475311,"about_ca_topic_score_gemma":0.0014958433,"teacher_disagreement_score":0.93154204,"about_ca_system_score_codex":0.000023264512,"about_ca_system_score_gemma":0.000008762341,"threshold_uncertainty_score":0.9985921},"labels":[],"label_agreement":null},{"id":"W1574786623","doi":"10.3138/tric.35.2.252","title":"Applied Theatre and Performance Research in Canada?","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; Citizen journalism; Politics; Ethnography; Sociology; Media studies; Human sexuality; Pedagogy; Gender studies; Art; Visual arts; Political science; Law","score_opus":0.08769224201270591,"score_gpt":0.29800303841750947,"score_spread":0.21031079640480355,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1574786623","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5293746,0.0004935831,3.8244515e-8,0.0018006563,0.00013833372,0.0002501212,0.000021819875,0.000006699264,0.46791413],"genre_scores_gemma":[0.9982765,0.0006924298,0.0000043374484,0.00014109953,0.00043197747,0.00009864402,0.000006867386,0.000027100676,0.00032109628],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99625725,0.00037018833,0.0003321843,0.0003989586,0.0012631393,0.0013782746],"domain_scores_gemma":[0.99836546,0.00089351553,0.000024616798,0.00041474556,0.000105820116,0.00019581443],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026784674,0.0001964431,0.0003424753,0.00042621378,0.0006921924,0.00009223125,0.00041827667,0.000035814453,0.0002877408],"category_scores_gemma":[0.000005031124,0.00015923848,0.000015241769,0.000349247,0.00042903062,0.0001383238,0.00023674637,0.0011041074,0.000018935372],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030043372,0.000042542542,0.12627243,0.0004878259,0.000033636505,0.00006847967,0.0072236494,0.00011468502,0.00001980751,0.009325485,0.02268419,0.83342683],"study_design_scores_gemma":[0.0009952029,0.0002013204,0.015864052,0.00033933253,0.000003849754,0.0000063985003,0.0431869,0.0014581584,0.00015890796,0.0028462482,0.93449074,0.00044886975],"about_ca_topic_score_codex":0.99988383,"about_ca_topic_score_gemma":0.99999714,"teacher_disagreement_score":0.9118066,"about_ca_system_score_codex":0.0022431982,"about_ca_system_score_gemma":0.0061994647,"threshold_uncertainty_score":0.9994345},"labels":[],"label_agreement":null},{"id":"W1574971803","doi":"10.3138/tric.30.1_2.58","title":"Navigating the Prague-Toronto-Manitoulin Theatre Project: A Postmodern Ethnographic Approach to Collaborative Intercultural Theatre","year":2009,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Postmodernism; Postmodern theatre; Ethnography; Semiotics; Context (archaeology); Experiential learning; Sociology; Aesthetics; Dimension (graph theory); Media studies; Epistemology; Art; Pedagogy; History; Literature; Anthropology; Philosophy; Archaeology","score_opus":0.06908822074399264,"score_gpt":0.34147230756726793,"score_spread":0.2723840868232753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1574971803","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30609238,0.004730194,0.0000016685725,0.01331522,0.00040934858,0.0024610814,0.0002460818,0.00012351327,0.67262053],"genre_scores_gemma":[0.99723655,0.0003349878,0.000059110625,0.0008890516,0.000975103,0.00026333306,0.00003185809,0.00004590242,0.00016411937],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99575704,0.0006656196,0.00050448766,0.00057912624,0.0011847442,0.0013089675],"domain_scores_gemma":[0.9983538,0.000418583,0.00007865763,0.0006172242,0.0003458889,0.00018584727],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0013374833,0.00042406496,0.00047550155,0.000111215544,0.001556394,0.00037313695,0.00091262185,0.00007487624,0.00007180457],"category_scores_gemma":[0.000009408483,0.00025115072,0.00010461022,0.00066007813,0.00041377102,0.0004475285,0.00019668325,0.0015554471,0.000019079078],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046780682,0.00024049505,0.0010394752,0.00010945916,0.00017822601,0.000058415295,0.40900394,0.00017266668,0.00007160705,0.002929612,0.026173642,0.55955464],"study_design_scores_gemma":[0.0006401215,0.00068972027,0.0003455079,0.0004708411,0.00002605102,0.000019710398,0.6896859,0.0006639484,0.00007711108,0.001321634,0.30546463,0.0005948636],"about_ca_topic_score_codex":0.9590675,"about_ca_topic_score_gemma":0.99498934,"teacher_disagreement_score":0.69114417,"about_ca_system_score_codex":0.001094312,"about_ca_system_score_gemma":0.0016545749,"threshold_uncertainty_score":0.9999941},"labels":[],"label_agreement":null},{"id":"W1575640004","doi":"10.47925/2007.260","title":"Discourse, Theatrical Performance, Agency: The Analytic Force of “Performativity” in Education","year":2007,"lang":"en","type":"article","venue":"Philosophy of education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":29,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Performativity; Performative utterance; Sociology; Identity (music); Agency (philosophy); Aesthetics; Epistemology; Subject (documents); Gender studies; Queer; Queer theory; Social science; Art; Philosophy; Computer science","score_opus":0.02919082585587775,"score_gpt":0.28942637126594417,"score_spread":0.26023554541006644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1575640004","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74411505,0.00069075177,0.0000058360492,0.000860909,0.0006621123,0.00018299978,0.0000040172326,0.000006700536,0.2534716],"genre_scores_gemma":[0.99790275,0.00017990264,0.00003282778,0.00010348668,0.0008878961,0.000020865014,0.000014600456,0.00000782648,0.00084986456],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.99913335,0.000024068262,0.00040108865,0.00010324863,0.00018042848,0.00015782139],"domain_scores_gemma":[0.9993287,0.00008946295,0.00019869412,0.00021633756,0.00014108929,0.00002574668],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043165285,0.00011120415,0.00018064966,0.00026798953,0.00016523157,0.00001281367,0.00016109028,0.00002677223,0.00014288061],"category_scores_gemma":[0.000016757782,0.000074528696,0.000070658294,0.00017025485,0.00028911576,0.0003669169,0.000021520367,0.00011728085,0.000011909611],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017543702,0.0017666345,0.0681214,0.00067288167,0.00007409164,8.036958e-8,0.18767035,0.000038596165,0.0001447247,0.40596324,0.002214843,0.33315772],"study_design_scores_gemma":[0.001158828,0.0012713905,0.6351303,0.0012955037,0.0003923808,0.000010319337,0.11733806,0.00091356586,0.0048496877,0.18968849,0.04691009,0.0010414171],"about_ca_topic_score_codex":0.00021312902,"about_ca_topic_score_gemma":0.00019388284,"teacher_disagreement_score":0.56700885,"about_ca_system_score_codex":0.000042102536,"about_ca_system_score_gemma":0.00022333626,"threshold_uncertainty_score":0.3039192},"labels":[],"label_agreement":null},{"id":"W1575702597","doi":"10.3138/tric.34.2.162","title":"The Feminist Spectator As Blogger: Creating Critical Dialogue About Feminist Theatre On The Web","year":2013,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Mainstream; Criticism; Sociology; Blogosphere; Media studies; Ideology; Hegemony; Feminism; Aesthetics; Political science; The Internet; Art; Gender studies; Politics; Literature; Law","score_opus":0.05560681512032269,"score_gpt":0.3127229767960867,"score_spread":0.257116161675764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1575702597","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13246995,0.00091089,2.3040927e-8,0.026807869,0.0005509109,0.0005333755,0.00012220911,0.000029662759,0.8385751],"genre_scores_gemma":[0.99460536,0.0004387114,0.0000025081456,0.001165637,0.0015593184,0.00032927174,0.000005627357,0.000039995433,0.0018535896],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963441,0.00050910254,0.00041930648,0.00036431834,0.0010677302,0.0012954245],"domain_scores_gemma":[0.991548,0.0073717632,0.000046119247,0.00068591884,0.00014423723,0.00020393575],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014312436,0.00028389136,0.00030163233,0.00010106593,0.0038359764,0.0007184296,0.00082789885,0.000049554706,0.002535643],"category_scores_gemma":[0.000101142636,0.00014422312,0.00008734928,0.00017841511,0.0017349788,0.00010444834,0.00021645373,0.0010788648,0.00054550724],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024977027,0.00016605586,0.010332412,0.0001388625,0.00018581684,0.00018376087,0.026868757,0.000007380066,0.00005124205,0.4388714,0.3941427,0.12880184],"study_design_scores_gemma":[0.00021786765,0.00022767507,0.00031539978,0.00018871529,0.000009767839,0.000011278492,0.0899751,0.00013226498,0.000098988115,0.009377499,0.89920074,0.00024472823],"about_ca_topic_score_codex":0.9032035,"about_ca_topic_score_gemma":0.9782634,"teacher_disagreement_score":0.8621354,"about_ca_system_score_codex":0.00053132826,"about_ca_system_score_gemma":0.0018146044,"threshold_uncertainty_score":0.9983762},"labels":[],"label_agreement":null},{"id":"W1576566005","doi":"","title":"Reviews of the Critical Perspectives on Canadian Theatre in English Series","year":2012,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Series (stratigraphy); Sociology; Linguistics; History; Philosophy; Geology","score_opus":0.08694794620157682,"score_gpt":0.3249631392780397,"score_spread":0.2380151930764629,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1576566005","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14243473,0.0076272143,6.7965202e-9,0.0056022056,0.0006863009,0.00038240617,0.00010604746,0.0000060007847,0.8431551],"genre_scores_gemma":[0.99766713,0.0011968763,0.0000024060496,0.00011528395,0.0006753663,0.00004600813,0.0000013422089,0.000012765319,0.00028282337],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99793595,0.00041619287,0.00025506492,0.00015166005,0.00041647122,0.00082467136],"domain_scores_gemma":[0.998992,0.00038960448,0.000020396741,0.0003401241,0.00010017937,0.00015769852],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001200729,0.00013187277,0.00027057822,0.00021720292,0.00032667976,0.000028934279,0.00031036176,0.000028843997,0.00094495586],"category_scores_gemma":[0.00005966687,0.00008165034,0.00004999975,0.00020857366,0.0005216617,0.00021098663,0.00006450893,0.0005333346,0.000011849306],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019100281,0.00024187991,0.20090984,0.00051136245,0.000053053704,0.00003090264,0.4357004,0.000016149294,0.000011139716,0.22054432,0.067110084,0.07467986],"study_design_scores_gemma":[0.00010999298,0.000054028915,0.0034342008,0.00023807514,0.000003312488,0.000001201659,0.14941415,0.000001902023,0.000052474723,0.0005989996,0.84598047,0.00011119394],"about_ca_topic_score_codex":0.9959662,"about_ca_topic_score_gemma":0.99993414,"teacher_disagreement_score":0.8552324,"about_ca_system_score_codex":0.001009639,"about_ca_system_score_gemma":0.001473056,"threshold_uncertainty_score":0.9999683},"labels":[],"label_agreement":null},{"id":"W1578425014","doi":"10.1353/tj.2010.a413953","title":"Footpaths and Bridges: Voices from the Native American Women Playwrights Archive (review)","year":2010,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Miami; Native american; Indigenous; Framing (construction); Directory; Queer; History; Performance art; Library science; Art history; Media studies; Sociology; Gender studies; Genealogy; Computer science; Archaeology","score_opus":0.010683565035835386,"score_gpt":0.22815869181749554,"score_spread":0.21747512678166014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1578425014","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92339116,0.008693079,0.0000042824727,0.003963308,0.00066456123,0.0001410422,0.00016446649,0.00002944344,0.06294864],"genre_scores_gemma":[0.97542155,0.01783574,0.00004263172,0.001807056,0.004064581,0.00001592802,0.000006433219,0.000016970149,0.000789121],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991187,0.00008141163,0.00021180842,0.00013035985,0.00018444729,0.0002732835],"domain_scores_gemma":[0.9991946,0.00032762636,0.00016996442,0.0001532453,0.000058832524,0.000095711664],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003015211,0.00016797126,0.00027360892,0.00003626296,0.0010304484,0.00015106998,0.00023269399,0.000013182005,0.0012210798],"category_scores_gemma":[0.000012267662,0.00008232193,0.00007301216,0.000024245775,0.00075880927,0.0001860127,0.000059984362,0.0005725485,0.00004681049],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017966192,0.00010542986,0.005227074,0.000070761125,0.00064164697,0.000026467467,0.4988802,6.512304e-7,0.00015900498,0.010792844,0.0883168,0.39559945],"study_design_scores_gemma":[0.0002776354,0.00022944223,0.0071784025,0.00022470314,0.00007566333,0.000054932967,0.030913686,0.000014541629,0.000021073854,0.009245915,0.95157003,0.00019395248],"about_ca_topic_score_codex":0.0008830907,"about_ca_topic_score_gemma":0.007924743,"teacher_disagreement_score":0.86325324,"about_ca_system_score_codex":0.000014381573,"about_ca_system_score_gemma":0.000029926114,"threshold_uncertainty_score":0.99969196},"labels":[],"label_agreement":null},{"id":"W1579538402","doi":"10.3138/tric.21.2.149","title":"The Sterndale Bennetts: The Masquers Years (1933-1940)","year":2000,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Club; Management; Performance art; Art history; Art; Sociology; Visual arts; History; Media studies; Medicine","score_opus":0.05645831119495127,"score_gpt":0.283561475743759,"score_spread":0.22710316454880775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1579538402","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3482305,0.002508029,1.9935392e-8,0.012044771,0.00032686486,0.00028621597,0.000053218595,0.000015508065,0.63653487],"genre_scores_gemma":[0.9862358,0.0015698351,8.313487e-7,0.0003431327,0.00055628625,0.000053654978,0.0000029432135,0.000016966142,0.011220572],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99808466,0.0002196842,0.0001901398,0.00016522392,0.0006326361,0.0007076472],"domain_scores_gemma":[0.99887,0.0006000714,0.000016751115,0.0004042026,0.000040872244,0.000068100904],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00091665634,0.00011204138,0.00012398725,0.00005012537,0.0012867013,0.00018584549,0.0005680504,0.000017294518,0.0032143937],"category_scores_gemma":[0.0000024212445,0.000059104827,0.000037075104,0.00012190844,0.0005953829,0.000098431236,0.00007465534,0.00046577668,0.00017195378],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009927101,0.000016011778,0.0018034977,0.00001722145,0.000056601395,0.00004975824,0.011312363,0.00006961705,0.0000013434352,0.004812701,0.1346081,0.8471535],"study_design_scores_gemma":[0.00014635977,0.00004051373,0.0008433916,0.000027791148,0.0000031034838,0.0000021255282,0.01642765,0.000053183576,0.000006938923,0.0018092514,0.980554,0.00008569231],"about_ca_topic_score_codex":0.9565805,"about_ca_topic_score_gemma":0.99793667,"teacher_disagreement_score":0.84706783,"about_ca_system_score_codex":0.0003437311,"about_ca_system_score_gemma":0.0007033219,"threshold_uncertainty_score":0.9976968},"labels":[],"label_agreement":null},{"id":"W1580222458","doi":"10.3138/tric.35.1.103","title":"Women’s Theatre Festivals as Counterpublics: Groundswell, FemFest, and The Riveter Series","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Theatre director; History; Theatre studies; Art history; Visual arts; Performance art; Event (particle physics); Art; Media studies; Sociology; Drama","score_opus":0.04308112689210245,"score_gpt":0.2733385941985901,"score_spread":0.23025746730648763,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1580222458","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33658218,0.0009109589,3.418367e-7,0.011959089,0.0003462045,0.0003231577,0.000040373394,0.000024870931,0.6498128],"genre_scores_gemma":[0.99466646,0.0007700463,0.0000031189045,0.0007799953,0.00076410064,0.00017545297,0.000004776224,0.000026365244,0.0028097],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99728596,0.0005576882,0.00027434243,0.00029294248,0.00070345076,0.0008855971],"domain_scores_gemma":[0.9982079,0.0010932242,0.00004190443,0.00040987312,0.000099066885,0.00014799839],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022770932,0.00021732335,0.0003578934,0.0001521854,0.000975007,0.00035534514,0.00039325448,0.00003422742,0.0007874735],"category_scores_gemma":[0.0000171288,0.00012679615,0.00003758632,0.00011644629,0.0014753055,0.0003555716,0.0002196561,0.0005192377,0.000041973974],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0022920258,0.00010075312,0.014914012,0.00047899975,0.00036451372,0.00009740607,0.15664645,0.000024966019,0.00001353861,0.31671405,0.08190351,0.4264498],"study_design_scores_gemma":[0.0008951255,0.0001863729,0.0002766663,0.00007769954,0.0000061217766,0.000019235893,0.049234148,0.000083536455,0.000010187576,0.02448474,0.9245407,0.0001854625],"about_ca_topic_score_codex":0.93667644,"about_ca_topic_score_gemma":0.98458993,"teacher_disagreement_score":0.8426372,"about_ca_system_score_codex":0.00055307965,"about_ca_system_score_gemma":0.0007704224,"threshold_uncertainty_score":0.8622283},"labels":[],"label_agreement":null},{"id":"W1581148092","doi":"10.3138/tric.29.2.239","title":"From Performing Wholeness to Providing Choices: Situated Knowledges in <i>Afrika Solo</i> and <i>Harlem Duet</i>","year":2008,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Situated; Performative utterance; Agency (philosophy); Objectivism; Subjectivity; Sociology; Identity (music); Aesthetics; Rubric; Epistemology; Gender studies; Art; Social science; Philosophy; Computer science; Pedagogy","score_opus":0.09826839089733146,"score_gpt":0.2942710386794167,"score_spread":0.1960026477820852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1581148092","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90452564,0.0020572157,2.2176248e-7,0.001407108,0.0002338627,0.00035563094,0.00008303213,0.000021363627,0.09131595],"genre_scores_gemma":[0.9977607,0.00072919537,0.000013820014,0.0001587805,0.0006227032,0.00008215363,0.000012665821,0.000025433277,0.0005945154],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99784493,0.00015330545,0.00031061037,0.00037748096,0.0004915962,0.00082208565],"domain_scores_gemma":[0.9989956,0.00047024287,0.00002762997,0.0002412111,0.00009522771,0.00017011273],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005924942,0.00020177603,0.0003431053,0.0003159553,0.00067482615,0.000085891144,0.00027981465,0.00003864641,0.00019591102],"category_scores_gemma":[0.000011090578,0.00016901539,0.000022983959,0.0002535964,0.00023027058,0.00031249042,0.00021813824,0.00047740407,0.00002663431],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007370709,0.00025597884,0.29242885,0.0006569278,0.00015441034,0.00092538464,0.33805454,0.0002849299,0.0012522716,0.00079347263,0.03444807,0.3300081],"study_design_scores_gemma":[0.0015435505,0.00024480073,0.0041209585,0.0010310842,0.000010996728,0.000014282324,0.06849239,0.0006055947,0.0021772634,0.0010725352,0.91996825,0.00071828853],"about_ca_topic_score_codex":0.96628743,"about_ca_topic_score_gemma":0.9971638,"teacher_disagreement_score":0.88552016,"about_ca_system_score_codex":0.00053796236,"about_ca_system_score_gemma":0.0011505714,"threshold_uncertainty_score":0.6892247},"labels":[],"label_agreement":null},{"id":"W1581229290","doi":"10.3138/tric.21.1.72","title":"Anton Wagner, editor. Establishing Our Boundaries: English-Canadian Theatre Criticism","year":2000,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Dominion; Presentation (obstetrics); Class (philosophy); Elite; Reading (process); Politics; Commonwealth; Curriculum; Visual arts; Sociology; Cartography; Mathematics education; Geography; History; Art; Pedagogy; Psychology; Law; Political science; Archaeology; Epistemology","score_opus":0.04165462114782914,"score_gpt":0.28513911009195875,"score_spread":0.2434844889441296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1581229290","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056587785,0.0018143825,4.8317542e-8,0.008209699,0.005209011,0.00032920056,0.0005197226,0.000053958534,0.9272762],"genre_scores_gemma":[0.98035157,0.00050127314,0.000006854444,0.0004771102,0.014023705,0.00005598291,0.000034747023,0.000048168877,0.0045006075],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9961518,0.00025653333,0.0003788247,0.00042964134,0.0010444407,0.0017387698],"domain_scores_gemma":[0.9984288,0.00030285443,0.000022702614,0.0005128477,0.00025021817,0.0004825697],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011340793,0.00028511832,0.0003684031,0.0004212918,0.0021474294,0.001035422,0.0006211367,0.00007832324,0.004800874],"category_scores_gemma":[0.000018414814,0.0002443002,0.00006432197,0.00028265375,0.00043238865,0.00069672236,0.00007034718,0.0009878362,0.00010599811],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000784655,0.000041142197,0.0017532504,0.0001241378,0.000050608505,0.00022013541,0.026062848,0.000030593746,0.0000023410187,0.0026776907,0.7129993,0.2559595],"study_design_scores_gemma":[0.00029299918,0.00007442274,0.00005750323,0.00013696909,0.000006759796,0.0000031011302,0.053139266,0.000049758695,0.000021160702,0.0014904102,0.94444835,0.00027932],"about_ca_topic_score_codex":0.9991538,"about_ca_topic_score_gemma":0.9999483,"teacher_disagreement_score":0.92376375,"about_ca_system_score_codex":0.0015599978,"about_ca_system_score_gemma":0.0072148377,"threshold_uncertainty_score":0.99915165},"labels":[],"label_agreement":null},{"id":"W1581741755","doi":"10.3138/tric.25.1_2.24","title":"Stepping on <i>Stiletto:</i> Kaleidoscope, CAPP, and Controversy","year":2004,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Kaleidoscope; Humanities; Political science; Art; Visual arts","score_opus":0.053855194233818696,"score_gpt":0.29595960234766105,"score_spread":0.24210440811384237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1581741755","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18371889,0.03918359,4.3207976e-7,0.036699962,0.0015320448,0.00054192985,0.00041693804,0.00001687232,0.73788935],"genre_scores_gemma":[0.9843356,0.010249075,0.000007060354,0.0008950132,0.0012385544,0.000022126304,0.0000070790284,0.00003427491,0.0032112205],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99708724,0.00021125095,0.00031790318,0.0003909249,0.0007725212,0.0012201534],"domain_scores_gemma":[0.9986637,0.00064024853,0.000040492298,0.00031567022,0.000095335476,0.00024452855],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00076029176,0.00027436164,0.0003925677,0.00021761646,0.0009300789,0.0001740216,0.00023579597,0.000068443616,0.0004013896],"category_scores_gemma":[0.000009057642,0.00024801568,0.00004022446,0.00017987087,0.0006830889,0.00021081966,0.00013982058,0.0009560568,0.00007058251],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010785599,0.00044344834,0.0068344153,0.0021786403,0.0004578857,0.0020260117,0.021464376,0.0023385163,0.00010760261,0.46587744,0.16036764,0.33682546],"study_design_scores_gemma":[0.0015853033,0.0004009052,0.0002345455,0.0013030774,0.000016579641,0.000012279783,0.013409376,0.00004117113,0.0001506704,0.0036023841,0.9789437,0.00030001815],"about_ca_topic_score_codex":0.99367857,"about_ca_topic_score_gemma":0.9970682,"teacher_disagreement_score":0.81857604,"about_ca_system_score_codex":0.0019519781,"about_ca_system_score_gemma":0.0028397567,"threshold_uncertainty_score":0.9999972},"labels":[],"label_agreement":null},{"id":"W1582663116","doi":"","title":"Desdemona, Juliet and Constance Meet the Third Wave","year":2006,"lang":"en","type":"article","venue":"Resources for feminist research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feminism; Context (archaeology); Sociology; Grassroots; Postmodernism; Politics; Popularity; Gender studies; Media studies; Art history; Art; History; Literature; Political science; Law","score_opus":0.07728033197414186,"score_gpt":0.31110972529903497,"score_spread":0.2338293933248931,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1582663116","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28907147,0.0034030462,0.0000022560398,0.0023723948,0.00010514237,0.0004128698,0.000121699115,0.00004189185,0.70446926],"genre_scores_gemma":[0.9570434,0.0001242198,0.000033400087,0.00014405909,0.001176781,0.00010870414,0.000005577945,0.000016802549,0.04134703],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99868065,0.000070218266,0.00018800779,0.00022320915,0.00035035374,0.00048757976],"domain_scores_gemma":[0.9987126,0.00083444227,0.000039263527,0.00022219466,0.00014847703,0.00004299905],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0009846383,0.0001245386,0.00016489215,0.00007391396,0.0022970417,0.00036642872,0.00019798802,0.000039600167,0.00011209365],"category_scores_gemma":[0.000034400684,0.000075149015,0.000062109015,0.000058607307,0.0019185187,0.00006450823,0.0001172695,0.00020236002,0.000030327908],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001689335,0.00004709584,0.0016036791,0.00011636901,0.000049965452,0.0000051012926,0.047247823,0.0000013536039,0.00005830958,0.6238195,0.32304186,0.003840047],"study_design_scores_gemma":[0.00024192728,0.0001577958,0.00046057356,0.000030455742,0.000010573625,0.0000057625525,0.017135091,0.00007293409,0.0001150502,0.0142963845,0.9673659,0.000107520566],"about_ca_topic_score_codex":0.00048187375,"about_ca_topic_score_gemma":0.0030180148,"teacher_disagreement_score":0.66797197,"about_ca_system_score_codex":0.0000210134,"about_ca_system_score_gemma":0.000026672205,"threshold_uncertainty_score":0.99900186},"labels":[],"label_agreement":null},{"id":"W1584125603","doi":"10.3138/tric.30.1_2.v","title":"Introduction: Performing Intercultural Canada","year":2009,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Interculturalism; Negotiation; Public space; Sociology; Ethnology; Geography; Gender studies; Political science; Aesthetics; Social science; Art; Engineering; Law","score_opus":0.05230857350667252,"score_gpt":0.2822050921544353,"score_spread":0.22989651864776278,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1584125603","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42096707,0.0007681127,7.3380455e-8,0.03993006,0.0011385911,0.0001780065,0.000030037814,0.000017842518,0.5369702],"genre_scores_gemma":[0.9948957,0.000095129784,0.0000035667917,0.00034407657,0.0028506604,0.000009312524,0.000010189751,0.0000070980236,0.0017842423],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983239,0.000072740026,0.00020355388,0.00020235733,0.00058034435,0.0006170628],"domain_scores_gemma":[0.9994973,0.00007729576,0.000018953217,0.00020796488,0.00010163998,0.000096850315],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003495252,0.00012422496,0.00017375933,0.00009559884,0.00050184224,0.000067507106,0.00022713155,0.000014016826,0.0014756046],"category_scores_gemma":[0.000004133541,0.0000936899,0.0000207084,0.00012215099,0.00010005545,0.00018450385,0.00004030425,0.00044933055,0.00001258181],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007486818,0.000021987496,0.0012069052,0.00004140234,0.00002869837,0.000099246485,0.007944339,0.00006301007,0.000026835854,0.004814075,0.56059885,0.4250798],"study_design_scores_gemma":[0.00013317056,0.0000670868,0.00039227,0.00003532875,0.0000022066629,0.000009083514,0.029651232,0.000060514314,0.00011040398,0.00038014984,0.9690245,0.00013406941],"about_ca_topic_score_codex":0.99980235,"about_ca_topic_score_gemma":0.99999624,"teacher_disagreement_score":0.57392865,"about_ca_system_score_codex":0.0017837015,"about_ca_system_score_gemma":0.0029651823,"threshold_uncertainty_score":0.99943715},"labels":[],"label_agreement":null},{"id":"W1585537967","doi":"","title":"Applied theatre as a decolonizing research method","year":2014,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Indigenous; Sociology; Solidarity; Context (archaeology); Pedagogy; Visual arts; Political science; Art; History; Politics","score_opus":0.09297097725222138,"score_gpt":0.3604345598995088,"score_spread":0.2674635826472874,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1585537967","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0150657715,0.00006236071,0.00014200028,0.00093772844,0.00016043027,0.00010883735,0.0000010968389,0.000090730544,0.98343104],"genre_scores_gemma":[0.9648798,0.000021310987,0.0008930311,0.00054248737,0.0009947921,0.000038574963,0.0000017890811,0.000013048506,0.03261516],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991822,0.00007334577,0.000108015316,0.0001543926,0.00018442587,0.00029757665],"domain_scores_gemma":[0.9993887,0.0003139798,0.00001452572,0.000172701,0.000071780276,0.000038304748],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0009677027,0.00008298166,0.00013000835,0.00009249832,0.0008189686,0.00012213696,0.00012941934,0.000023590967,0.004134782],"category_scores_gemma":[0.000012705091,0.000055787394,0.00003765469,0.000037675603,0.00014502842,0.000073701754,0.00007833275,0.00015585995,0.0016873403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001784042,0.000017243477,0.00006463088,0.000012907459,0.000021615575,3.3801524e-7,0.025282828,0.0000015003803,0.000059903257,0.86968535,0.014925997,0.08990984],"study_design_scores_gemma":[0.00014622562,0.00009405871,0.000042486594,0.0000066584585,0.000006536298,9.18809e-7,0.011500233,0.00007174297,0.000551515,0.02840077,0.95908636,0.000092474496],"about_ca_topic_score_codex":0.0005091535,"about_ca_topic_score_gemma":0.0023797941,"teacher_disagreement_score":0.9508159,"about_ca_system_score_codex":0.000013169589,"about_ca_system_score_gemma":0.000015741589,"threshold_uncertainty_score":0.99908996},"labels":[],"label_agreement":null},{"id":"W1586343429","doi":"","title":"Goldberg, Lea. Selected Poetry and Drama. Poetry selected, translated and with an introduction by Rachel Tzvia Back. Drama translated by T. Carmi. London: The Toby Press, 2005.","year":2014,"lang":"en","type":"article","venue":"Women in Judaism A Multidisciplinary e-Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Poetry; Art; Literature","score_opus":0.006553099436938743,"score_gpt":0.2078834295773329,"score_spread":0.20133033014039417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1586343429","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9850728,0.009213143,0.00007931717,0.0035555975,0.0005149939,0.0004517852,0.000113430004,0.00009238715,0.00090658106],"genre_scores_gemma":[0.99158525,0.0013808821,0.00013499448,0.000074233,0.0014915062,0.000043603915,0.00013261412,0.00008659848,0.0050703343],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99690634,0.0003950032,0.00067515776,0.0005720319,0.00038514446,0.0010663498],"domain_scores_gemma":[0.9987501,0.00010942104,0.0002621933,0.00029451106,0.00023883142,0.00034496383],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0008929881,0.0005503661,0.00061426044,0.00018935879,0.0017521544,0.00057705113,0.00029184352,0.00018506005,0.00038975963],"category_scores_gemma":[0.00001740387,0.00036928063,0.00005559284,0.0002654851,0.0007329973,0.0012088335,0.000052217085,0.0013178827,0.000007637744],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0090674935,0.0016863121,0.023815097,0.0004847842,0.0014269706,0.00008383742,0.77846825,0.0003091243,0.012782492,0.00034019043,0.13007414,0.04146133],"study_design_scores_gemma":[0.024535082,0.010448059,0.020576414,0.0005412976,0.0006781068,0.0034857658,0.049343236,0.010089452,0.0016404315,0.0012045567,0.87394637,0.0035112505],"about_ca_topic_score_codex":0.00024033966,"about_ca_topic_score_gemma":0.0011387496,"teacher_disagreement_score":0.7438722,"about_ca_system_score_codex":0.00012212465,"about_ca_system_score_gemma":0.000095723364,"threshold_uncertainty_score":0.9998759},"labels":[],"label_agreement":null},{"id":"W1588560550","doi":"","title":"Devenir de l’esthétique théâtrale. Tangence, no. 88, 2008","year":2008,"lang":"fr","type":"article","venue":"Tangence","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.027667868647253815,"score_gpt":0.23039304216402492,"score_spread":0.2027251735167711,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1588560550","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1658642,0.07274688,0.00007328239,0.0031276606,0.003817097,0.00032808905,0.00029046182,0.00017466789,0.75357765],"genre_scores_gemma":[0.45831046,0.074356124,0.00083383557,0.0010942653,0.00532895,0.000074141295,0.000015661133,0.00005955946,0.45992702],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99792236,0.00008643725,0.00038275812,0.0003829625,0.00029367072,0.0009318103],"domain_scores_gemma":[0.9989331,0.00011008706,0.00012732939,0.00037973106,0.0002578984,0.00019188334],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002183496,0.00039109343,0.00038007722,0.00009323331,0.0014912146,0.00007608637,0.00039226576,0.00016141364,0.0057054353],"category_scores_gemma":[0.00004309383,0.0003723868,0.00018030954,0.00013627176,0.001387544,0.000508115,0.00010109235,0.00039092897,0.004831145],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013326222,0.00043264814,0.014118606,0.0004706101,0.00029328393,0.0008163326,0.081880264,0.000056070363,0.0003010072,0.16185528,0.716941,0.02270164],"study_design_scores_gemma":[0.00019090199,0.00024346914,0.0027497972,0.00018735066,0.00006433763,0.00022529977,0.0009683436,0.0000986616,0.0005342481,0.00059466134,0.99363834,0.00050460134],"about_ca_topic_score_codex":0.0018882919,"about_ca_topic_score_gemma":0.0020136244,"teacher_disagreement_score":0.29365066,"about_ca_system_score_codex":0.00012845582,"about_ca_system_score_gemma":0.00026742404,"threshold_uncertainty_score":0.9998728},"labels":[],"label_agreement":null},{"id":"W1590191276","doi":"10.1111/j.1478-0542.2012.00848.x","title":"Scenography, Portraiture, and <i>The Rover</i> on the 17th Century English Stage","year":2012,"lang":"en","type":"article","venue":"History Compass","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Portrait; Scenography; nobody; Performance art; Aphra; Sister; White (mutation); Drama; Art; Literature; History; Visual arts; Art history; Biology; Sociology; Computer science; Anthropology","score_opus":0.025883743884343516,"score_gpt":0.18855128291921702,"score_spread":0.16266753903487352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1590191276","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09609289,0.023417251,0.0000011145152,0.0009395904,0.005601462,0.0002731267,0.00004353022,0.00010499986,0.87352604],"genre_scores_gemma":[0.9868792,0.00034083452,0.0000020484458,0.0028692184,0.0018415583,0.000024420431,0.000004447655,0.000012876464,0.00802536],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992842,0.000070670765,0.00012942696,0.00010233409,0.00016225206,0.0002510939],"domain_scores_gemma":[0.9994677,0.00014637911,0.00006868895,0.00022750993,0.000042396907,0.00004732904],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031523872,0.0001427502,0.00016459587,0.000039044284,0.0006440501,0.000040963656,0.00013870085,0.00002043217,0.001157891],"category_scores_gemma":[0.000008784713,0.00007189225,0.000089849214,0.000016377484,0.00083539065,0.00015708481,0.00003929436,0.00020790038,0.00003996433],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006652674,0.000044782093,0.0006139177,0.000014403813,0.00004193024,3.9464666e-7,0.11001377,4.3550128e-7,0.0000011257996,0.5174382,0.3712691,0.0004954107],"study_design_scores_gemma":[0.00036976996,0.000028076971,0.0015952024,0.000011486081,0.000029663208,4.89086e-7,0.0065900427,0.0000031601826,0.000003482748,0.000098784054,0.991157,0.00011285434],"about_ca_topic_score_codex":0.000121618075,"about_ca_topic_score_gemma":0.00022709255,"teacher_disagreement_score":0.89078635,"about_ca_system_score_codex":0.000046764028,"about_ca_system_score_gemma":0.00001263043,"threshold_uncertainty_score":0.9997552},"labels":[],"label_agreement":null},{"id":"W1590400611","doi":"10.3138/tric.30.1_2.152","title":"Building a Canadian Disability Arts Network: an Intercultural Approach","year":2009,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Rubric; Scholarship; The arts; Disability studies; Metaphor; Diversity (politics); Sociology; Identity (music); Pedagogy; Gender studies; Public relations; Psychology; Political science; Aesthetics; Anthropology; Law; Linguistics","score_opus":0.11918859128470849,"score_gpt":0.33077753382148833,"score_spread":0.21158894253677984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1590400611","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49179056,0.00030473544,6.315607e-7,0.0041046254,0.00025345536,0.00028325667,0.00004458447,0.000022165104,0.503196],"genre_scores_gemma":[0.9981205,0.000024049265,0.00006355115,0.0002747637,0.0013584798,0.000019768646,0.000018249744,0.000009930641,0.0001107311],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99782825,0.00016920996,0.00021068989,0.0002823597,0.000402814,0.0011066792],"domain_scores_gemma":[0.99918973,0.0000817402,0.000016242077,0.00031345044,0.00006528466,0.00033352908],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000838675,0.00015098228,0.00021449669,0.000088654975,0.0007121985,0.00014320742,0.00033190977,0.000028892046,0.0002925024],"category_scores_gemma":[0.0000032292023,0.000115323375,0.000033250566,0.00015360782,0.00026449308,0.00027284314,0.000040185918,0.0004818536,0.0000061011733],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014983062,0.00017192861,0.013958043,0.00009502447,0.00006294052,0.00008551114,0.034800358,0.0017325282,0.00001400198,0.05641947,0.07355039,0.81895995],"study_design_scores_gemma":[0.00034382616,0.00026614877,0.0051738406,0.00012278806,0.0000076175284,0.000009286073,0.045443952,0.0019572866,0.000016781365,0.012321921,0.9338646,0.00047197155],"about_ca_topic_score_codex":0.9994047,"about_ca_topic_score_gemma":0.9999726,"teacher_disagreement_score":0.8603142,"about_ca_system_score_codex":0.0016468997,"about_ca_system_score_gemma":0.0012526922,"threshold_uncertainty_score":0.5477727},"labels":[],"label_agreement":null},{"id":"W1590616593","doi":"10.3138/tric.28.2.130","title":"<i>Performing Academic Spaces: An Ethnodramatic Exploration of Drama Curriculum Design in Teacher Education</i>","year":2007,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Drama; Ideology; Performative utterance; Pedagogy; Sociology; Curriculum; Teacher preparation; Process (computing); Teacher education; Reflection (computer programming); Mathematics education; Psychology; Aesthetics; Art; Computer science; Visual arts; Political science; Politics","score_opus":0.1356742167179803,"score_gpt":0.36632475277450677,"score_spread":0.23065053605652647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1590616593","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88891786,0.001078633,0.00002077296,0.00089742563,0.00028507697,0.0004977088,0.000005745071,0.000013409772,0.10828338],"genre_scores_gemma":[0.9988944,0.00021849264,0.00008249819,0.0000548432,0.0003448041,0.000050332124,0.00000824506,0.000016678498,0.00032969218],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9980544,0.00024242474,0.00041596353,0.00018532194,0.0005521792,0.0005497519],"domain_scores_gemma":[0.9992256,0.00028204868,0.000061553124,0.0002199667,0.00011746823,0.00009332682],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029305443,0.00012607854,0.0002118648,0.00042965575,0.0002005662,0.000036694397,0.00025505925,0.000050552324,0.00019569558],"category_scores_gemma":[0.000015533671,0.000105078376,0.000018539376,0.0002972102,0.00017718447,0.0007305377,0.00004408835,0.00066262,0.000007694191],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015149833,0.00041163125,0.069128014,0.00042726513,0.000024654317,0.000020648105,0.13160123,0.0006826272,0.00022435204,0.008227224,0.00536115,0.7837397],"study_design_scores_gemma":[0.0009113084,0.00043222643,0.0019231403,0.0012982342,0.00001548361,0.000005200092,0.8563642,0.0029809084,0.0020464733,0.01318915,0.12021577,0.00061790395],"about_ca_topic_score_codex":0.92490363,"about_ca_topic_score_gemma":0.9896707,"teacher_disagreement_score":0.7831218,"about_ca_system_score_codex":0.00066645665,"about_ca_system_score_gemma":0.002100859,"threshold_uncertainty_score":0.42849717},"labels":[],"label_agreement":null},{"id":"W1590644816","doi":"","title":"Into the wilderness; Gilgul's 'physical' theatre 1994","year":2002,"lang":"en","type":"article","venue":"Deakin Research Online (Deakin University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wilderness; Project commissioning; Publishing; Sociology; Art; Media studies; Visual arts; Literature","score_opus":0.08529564458475965,"score_gpt":0.2968461642246323,"score_spread":0.21155051963987265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1590644816","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6884326,0.0002801856,0.00000883975,0.008434727,0.00027438358,0.00038721977,0.00009382215,0.00017017414,0.3019181],"genre_scores_gemma":[0.9598572,0.0003276452,0.000035634777,0.00015733294,0.0016704442,0.0000037290133,0.000024617559,0.000029594617,0.037893787],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99774355,0.00029911392,0.00016255685,0.00040280411,0.00068408315,0.0007078911],"domain_scores_gemma":[0.99856514,0.00045019164,0.000060225688,0.0005673243,0.00023129921,0.00012579624],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003431836,0.00024606456,0.00027375887,0.00047334886,0.0023479385,0.00018945415,0.0009589358,0.000062811196,0.0017467189],"category_scores_gemma":[0.00002591368,0.00017117082,0.00018662354,0.00049364776,0.0014457424,0.00041367882,0.0004818349,0.00079121086,0.0005232934],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012520424,0.0008288605,0.0009847891,0.000078562625,0.00026211306,0.00018616974,0.06468836,0.0000355257,0.000058659654,0.8164779,0.04968488,0.06658896],"study_design_scores_gemma":[0.0003938226,0.00019472507,0.0001914614,0.00004441538,0.000032919987,0.0000025598104,0.014060728,0.0007783287,0.00002946215,0.0017311581,0.9823151,0.00022528386],"about_ca_topic_score_codex":0.005091371,"about_ca_topic_score_gemma":0.011848835,"teacher_disagreement_score":0.93263024,"about_ca_system_score_codex":0.00012242957,"about_ca_system_score_gemma":0.00004386944,"threshold_uncertainty_score":0.99916583},"labels":[],"label_agreement":null},{"id":"W1592453015","doi":"10.1353/mos.2011.a418759","title":"Re-imagining the Actor’s Quartet","year":2011,"lang":"en","type":"article","venue":"Mosaic","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.06917687260124224,"score_gpt":0.23234012365178636,"score_spread":0.16316325105054413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1592453015","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040634308,0.00040293307,0.0000028586182,0.00092076807,0.00070465537,0.000057715737,0.000012515496,0.000077410834,0.9571868],"genre_scores_gemma":[0.9890608,0.000025129562,0.000011125995,0.0005482474,0.0005400649,0.000010890752,0.0000032278085,0.000008050693,0.009792424],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996133,0.000014126261,0.00008297267,0.00007567821,0.000065928085,0.00014802127],"domain_scores_gemma":[0.9997587,0.000023083214,0.000025546095,0.0001565156,0.000020601245,0.000015512389],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000081919534,0.00007253054,0.000072267285,0.000017439474,0.00040567003,0.00004400423,0.000119493954,0.000009715814,0.004207884],"category_scores_gemma":[0.0000031701488,0.000040570616,0.00003999097,0.000013804419,0.000155503,0.00012298401,0.000026631236,0.00008164597,0.0004703212],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016942433,0.000028956614,0.0014777395,0.000011365695,0.000054073516,0.000003125947,0.83103454,2.1205825e-7,0.000009634527,0.06918969,0.086907536,0.011266169],"study_design_scores_gemma":[0.00007501864,0.00004931192,0.00048013576,0.000008490474,0.000014975461,4.949352e-7,0.04981779,0.000010051923,0.00011091228,0.001758555,0.94759303,0.00008120623],"about_ca_topic_score_codex":0.00063019834,"about_ca_topic_score_gemma":0.0025246611,"teacher_disagreement_score":0.94842654,"about_ca_system_score_codex":0.000005337211,"about_ca_system_score_gemma":0.0000066769667,"threshold_uncertainty_score":0.99670243},"labels":[],"label_agreement":null},{"id":"W1592489399","doi":"10.5204/mcj.728","title":"Pianos: Playing, Value, and Augmentation","year":2013,"lang":"en","type":"article","venue":"M/C Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Canada Council for the Arts; University of Regina","funders":"","keywords":"Piano; Value (mathematics); Economics; Mathematics; Management; Statistics","score_opus":0.018767443288725396,"score_gpt":0.22151921718008286,"score_spread":0.20275177389135746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1592489399","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86921304,0.0007261983,0.00001694839,0.001517495,0.00057382305,0.000055288652,0.0000022474183,0.000016935113,0.127878],"genre_scores_gemma":[0.99087554,0.00020589924,0.000076558725,0.00040989477,0.0009826017,0.0000037245366,9.317572e-7,0.0000051858688,0.007439659],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996668,0.000011400438,0.000098176795,0.000042124993,0.000074976655,0.0001065348],"domain_scores_gemma":[0.9998449,0.000011935173,0.000040115963,0.000029166507,0.000038469727,0.000035401423],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000063118314,0.000052717853,0.000059875136,0.00003843858,0.00057602645,0.0002637982,0.000033107,0.000009476291,0.003677886],"category_scores_gemma":[0.0000025101504,0.000036757097,0.00002061778,0.0000064666565,0.000056960125,0.0003800715,0.000012720779,0.000090266825,0.0001885913],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052485735,0.00009726607,0.030342689,0.0000649728,0.00029170528,0.000013793667,0.24032712,0.0000131941815,0.00093872467,0.12503533,0.40663663,0.1961861],"study_design_scores_gemma":[0.00084975106,0.000295842,0.029229462,0.00006245327,0.00004390675,0.00010188615,0.020059835,0.00017534531,0.00012074331,0.012588058,0.93624055,0.00023216254],"about_ca_topic_score_codex":0.00009700059,"about_ca_topic_score_gemma":0.00005975069,"teacher_disagreement_score":0.52960396,"about_ca_system_score_codex":0.0000088434845,"about_ca_system_score_gemma":0.0000063430402,"threshold_uncertainty_score":0.9972329},"labels":[],"label_agreement":null},{"id":"W1593702691","doi":"10.3138/tric.29.1.1","title":"<i>The Line, the Crack, and the Possibility of Architecture: Figure, Ground, Feminist Performance</i>","year":2008,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Architecture; Feminist theory; Space (punctuation); Performance studies; Aesthetics; Citizen journalism; Sociology; Line (geometry); Visual arts; Feminism; Art; Gender studies; Computer science; Anthropology; Geometry","score_opus":0.0550998670675062,"score_gpt":0.2706879436576272,"score_spread":0.21558807659012102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1593702691","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77785087,0.004557786,1.7605512e-7,0.008622407,0.00022979693,0.00045074095,0.00004660173,0.0000075452913,0.20823409],"genre_scores_gemma":[0.9953997,0.002966898,0.0000018605409,0.0002277055,0.00039575284,0.000056467736,0.0000020945563,0.000011134284,0.0009383828],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99795103,0.00036761543,0.000316056,0.0001768471,0.0006679988,0.00052047544],"domain_scores_gemma":[0.9971407,0.002136712,0.00005593006,0.0005088525,0.000102621714,0.000055158514],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.002079069,0.00014152168,0.00022588306,0.000040967174,0.0026227967,0.00007442551,0.00051878777,0.000021272122,0.000064533415],"category_scores_gemma":[0.000019936364,0.00005665872,0.000048780523,0.00015097989,0.003964147,0.000063269006,0.00017001295,0.00067226856,0.0000039757297],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004430849,0.00016232255,0.09875223,0.00066987996,0.0004017142,0.000064703076,0.17128931,0.00021239574,0.000015623385,0.04014358,0.06930288,0.6145545],"study_design_scores_gemma":[0.0011826518,0.0002108949,0.0076527456,0.000090066154,0.000015558122,0.00004195962,0.03005281,0.0003094643,0.00010716316,0.005919278,0.95422274,0.00019467354],"about_ca_topic_score_codex":0.8661899,"about_ca_topic_score_gemma":0.9846708,"teacher_disagreement_score":0.8849199,"about_ca_system_score_codex":0.00012700609,"about_ca_system_score_gemma":0.00091958174,"threshold_uncertainty_score":0.9987465},"labels":[],"label_agreement":null},{"id":"W1594900983","doi":"10.3138/tric.21.1.62","title":"Anne Nothof, editor. Ethnicities: Plays from the New West","year":2000,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Ethnic group; Norm (philosophy); White (mutation); Gender studies; Geography; Sociology; Ethnology; Anthropology; Political science; Law","score_opus":0.0650554862165842,"score_gpt":0.29666685124343134,"score_spread":0.23161136502684715,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1594900983","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14621736,0.0052910736,1.511141e-7,0.01980665,0.0021525582,0.00030271563,0.00044855307,0.000033413497,0.82574755],"genre_scores_gemma":[0.9682658,0.0012291393,0.0000052623855,0.00074149785,0.01981904,0.000028744433,0.000025715655,0.000026190553,0.009858639],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979397,0.00018018583,0.0002258333,0.0002291946,0.00072709314,0.0006979857],"domain_scores_gemma":[0.9984054,0.0009935498,0.000018398661,0.00040217853,0.00004885581,0.00013162616],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00047060064,0.0001573672,0.00020648487,0.000058979647,0.0006788895,0.0001254266,0.0005081311,0.000033202894,0.02129628],"category_scores_gemma":[0.000004698226,0.0000999785,0.000039931394,0.00012390631,0.00034198162,0.00015896339,0.00006693124,0.0006141679,0.0002837951],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000074782285,0.0000132161285,0.00092167786,0.000009534903,0.00003167029,0.000022605087,0.016596533,0.00004097482,0.0000030119677,0.000575921,0.8460495,0.13566059],"study_design_scores_gemma":[0.00025491754,0.00004965428,0.00043452476,0.00008213484,0.0000046815517,7.9852595e-7,0.01863295,0.000042303003,0.000025614318,0.0019786186,0.97836137,0.00013242659],"about_ca_topic_score_codex":0.99761134,"about_ca_topic_score_gemma":0.9994607,"teacher_disagreement_score":0.8220484,"about_ca_system_score_codex":0.00037709216,"about_ca_system_score_gemma":0.001785197,"threshold_uncertainty_score":0.9795984},"labels":[],"label_agreement":null},{"id":"W1597260298","doi":"10.3138/tric.31.1.84","title":"Sherrill Grace. <i>Making Theatre: A Life of Sharon Pollock</i>%","year":2010,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pollock; Theatre director; Biography; Art; Art history; Performance art; Political theatre; Theatre studies; Visual arts; Media studies; Sociology; Drama","score_opus":0.06874749837414772,"score_gpt":0.31156788099891025,"score_spread":0.24282038262476252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1597260298","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43906003,0.00079489127,1.4722461e-7,0.0025520935,0.00074307673,0.00024869177,0.00011152671,0.000020668882,0.55646884],"genre_scores_gemma":[0.9984562,0.00014910135,0.000016135675,0.00017423696,0.000751607,0.00003095458,0.000005480998,0.000028562536,0.00038773502],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977027,0.00012661089,0.00035827557,0.00026303282,0.0007777388,0.00077165326],"domain_scores_gemma":[0.9988637,0.00036416136,0.000057496527,0.0004462067,0.000120990066,0.00014742572],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00089061697,0.00018167979,0.0003345677,0.00025626656,0.00039534364,0.000061091,0.00044865705,0.000046983514,0.0019734185],"category_scores_gemma":[0.0000121587345,0.00014144431,0.00006421103,0.00019627868,0.00042951616,0.00016918768,0.00016250013,0.0008472711,0.000024096535],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009026913,0.00043215553,0.23617238,0.0011686358,0.0004599166,0.00021776701,0.06245017,0.00012828756,0.00220614,0.057452474,0.18888018,0.44952923],"study_design_scores_gemma":[0.0005692676,0.00016155552,0.0017217302,0.000210022,0.000013793871,0.0000061936144,0.024393175,0.00017713361,0.00047843094,0.0030731708,0.9688567,0.00033885837],"about_ca_topic_score_codex":0.95760876,"about_ca_topic_score_gemma":0.99841887,"teacher_disagreement_score":0.7799765,"about_ca_system_score_codex":0.00019776124,"about_ca_system_score_gemma":0.0019103986,"threshold_uncertainty_score":0.9989389},"labels":[],"label_agreement":null},{"id":"W1597498648","doi":"","title":"The Mirror Game: Reflections of Young Canadians in Dennis Foon's Child Advocacy Drama","year":2007,"lang":"fr","type":"article","venue":"Canadian Children's Literature / Littérature canadienne pour la jeunesse","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Drama; Reputation; Sociology; Art; Art history; Media studies; Visual arts; Social science","score_opus":0.005762705906296263,"score_gpt":0.2125911247504585,"score_spread":0.20682841884416223,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1597498648","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3393042,0.25540486,0.0000068824897,0.19743238,0.009928459,0.001994186,0.009074157,0.00011829543,0.18673658],"genre_scores_gemma":[0.9488502,0.0044929273,0.00007341027,0.0014939669,0.0032723446,0.000063415915,0.0004817908,0.00017392627,0.04109798],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9936369,0.00033730117,0.0012166633,0.0009874003,0.00035164852,0.0034700546],"domain_scores_gemma":[0.99503917,0.000471258,0.000410798,0.001162624,0.0008510686,0.0020650686],"candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":[],"category_scores_codex":[0.0014039462,0.0010970503,0.0009510197,0.0014390595,0.002733171,0.0009854069,0.001025206,0.0009826996,0.00024511962],"category_scores_gemma":[0.0002851145,0.0009512318,0.00047267217,0.00183904,0.0014734019,0.0006320734,0.0000755778,0.0027538869,0.00003325127],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018015035,0.00015208898,0.011916026,0.00032218941,0.0006865665,0.0012417128,0.15833093,0.000018302422,0.000022353759,0.7987118,0.017823683,0.010594203],"study_design_scores_gemma":[0.0009337689,0.00013740291,0.05255427,0.0016170761,0.00021031241,0.0008501082,0.018184312,0.000007755553,0.00004419984,0.0012301074,0.92321545,0.0010152198],"about_ca_topic_score_codex":0.9169579,"about_ca_topic_score_gemma":0.99974245,"teacher_disagreement_score":0.9053918,"about_ca_system_score_codex":0.0016466143,"about_ca_system_score_gemma":0.0028131397,"threshold_uncertainty_score":0.9995468},"labels":[],"label_agreement":null},{"id":"W1598901502","doi":"10.3138/tric.32.2.207","title":"Crossing Over: Theatre Beyond Borders / Telematic Performance","year":2011,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Cyberspace; The Internet; Embodied cognition; Globalization; Sociology; Identity (music); Virtual world; Media studies; Cosmopolitanism; Aesthetics; World Wide Web; Visual arts; Computer science; Political science; Art; Human–computer interaction; Politics; Law","score_opus":0.08881913779834694,"score_gpt":0.3058613762545281,"score_spread":0.21704223845618115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1598901502","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46677762,0.00060742866,1.6020978e-7,0.00025387562,0.00025967555,0.00018355863,0.000025081183,0.000020859105,0.53187174],"genre_scores_gemma":[0.9984427,0.0002955906,0.000025213714,0.00014740006,0.00032913664,0.000047696645,0.000005596284,0.00003180536,0.0006748472],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975212,0.00013365636,0.0003414913,0.0002848603,0.0007195371,0.0009992147],"domain_scores_gemma":[0.9991265,0.00020113005,0.000045242632,0.00040695517,0.00008470136,0.0001354608],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007957373,0.00021479465,0.00029782567,0.00025599808,0.0011720872,0.00016254891,0.00040930722,0.00003507981,0.0026093186],"category_scores_gemma":[0.000002839808,0.00016690613,0.00004842433,0.00020483497,0.0006823759,0.00036444064,0.00013189184,0.00054422853,0.000060314364],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034991157,0.00017906848,0.11992673,0.0009642767,0.00017572593,0.00018571701,0.13128453,0.00003459195,0.000031627966,0.006233908,0.030919384,0.70971453],"study_design_scores_gemma":[0.0012716065,0.00045334417,0.009168156,0.000695989,0.000027294871,0.000018190232,0.09095507,0.00083696854,0.00064325257,0.007923828,0.8871179,0.00088837266],"about_ca_topic_score_codex":0.9623231,"about_ca_topic_score_gemma":0.9940476,"teacher_disagreement_score":0.85619855,"about_ca_system_score_codex":0.0005536644,"about_ca_system_score_gemma":0.0019618443,"threshold_uncertainty_score":0.99830246},"labels":[],"label_agreement":null},{"id":"W1599438797","doi":"10.1353/mdr.2001.0020","title":"No Longer in Search of an Author, a Character Defines Herself: Pirandello's Six Characters in Search of an Author and Eugenio Barba's Experimental Performance Methodology","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.10789592574417234,"score_gpt":0.32756365683981553,"score_spread":0.2196677310956432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1599438797","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9960557,0.00041360778,0.000008281398,0.00015091876,0.00018872597,0.00028472926,0.000025301824,0.000023960449,0.0028487274],"genre_scores_gemma":[0.9970962,0.00013338412,0.00028752311,0.00007866518,0.00023159674,0.00003351229,0.000027865963,0.000032273085,0.0020790014],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9980989,0.00029888217,0.00047600394,0.0003735603,0.0002657879,0.0004868774],"domain_scores_gemma":[0.9993393,0.00009220339,0.000083152394,0.0002779038,0.00011564589,0.0000918035],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000938327,0.00024745383,0.0005486309,0.00036313204,0.00015010011,0.00005625108,0.00020891023,0.00011357205,0.0004322735],"category_scores_gemma":[0.000009766355,0.00021362535,0.00006300403,0.00009041409,0.0004323449,0.0007236147,0.00010943673,0.00030321832,0.000014132094],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0038511297,0.0017250461,0.16056606,0.0005624545,0.00016489784,0.00007154074,0.71116084,0.00021926677,0.0507443,0.002736441,0.000031491498,0.06816653],"study_design_scores_gemma":[0.011192523,0.0071873525,0.6937961,0.0006916127,0.00012547913,0.000119882454,0.08034694,0.11804949,0.072946995,0.000574084,0.01255825,0.0024112859],"about_ca_topic_score_codex":0.0014964782,"about_ca_topic_score_gemma":0.002374101,"teacher_disagreement_score":0.6308139,"about_ca_system_score_codex":0.000038224516,"about_ca_system_score_gemma":0.000043242137,"threshold_uncertainty_score":0.8711389},"labels":[],"label_agreement":null},{"id":"W1599609350","doi":"10.7202/029753ar","title":"Vers un dialogisme hétéromorphe","year":2009,"lang":"fr","type":"article","venue":"Tangence","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.030211333623678362,"score_gpt":0.23223365997197298,"score_spread":0.20202232634829462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1599609350","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.043517727,0.09457169,0.000027198814,0.01883641,0.0043982156,0.00018166221,0.00018257908,0.0001185855,0.83816594],"genre_scores_gemma":[0.9167118,0.011786201,0.000088910594,0.0015648118,0.002635604,0.00000531525,0.000009988823,0.000011330089,0.06718603],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900913,0.0000319277,0.0001830906,0.00019998848,0.00015646977,0.0004193623],"domain_scores_gemma":[0.99955547,0.000042664135,0.000059062466,0.00021331455,0.00005517839,0.00007430038],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011289484,0.00019332134,0.00019979871,0.000037174555,0.00064879056,0.00006495368,0.00018751372,0.00006116088,0.008853892],"category_scores_gemma":[0.000010107284,0.00017404946,0.000091316906,0.000056696572,0.00047382465,0.00026212065,0.00002936788,0.00016150688,0.0020154144],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003830284,0.00013646155,0.00027493123,0.000040228813,0.00006829038,0.000063737265,0.024351256,0.000011524645,0.000056361125,0.5431654,0.08922419,0.34256932],"study_design_scores_gemma":[0.00017533136,0.00036939062,0.0019563783,0.000074906304,0.00006906014,0.000008133565,0.001592543,0.000027770368,0.00018138859,0.0055314563,0.9897624,0.00025119403],"about_ca_topic_score_codex":0.00050196954,"about_ca_topic_score_gemma":0.00032835925,"teacher_disagreement_score":0.90053827,"about_ca_system_score_codex":0.0000478613,"about_ca_system_score_gemma":0.000032282464,"threshold_uncertainty_score":0.99876165},"labels":[],"label_agreement":null},{"id":"W1599704816","doi":"","title":"Of Walls and Veils","year":2005,"lang":"en","type":"article","venue":"Postcolonial text","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Geology","score_opus":0.016924541809788866,"score_gpt":0.23807627150337898,"score_spread":0.22115172969359012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1599704816","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82276607,0.0005928022,3.3113952e-7,0.004004908,0.00015918052,0.00006483438,0.000019545367,0.000021484902,0.17237087],"genre_scores_gemma":[0.99354655,0.000082912265,0.000040214643,0.0002416567,0.00059805735,0.0000036180074,0.0000011974303,0.0000048590055,0.005480934],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996672,0.0000065778454,0.000103085025,0.00006446454,0.00005420635,0.00010445939],"domain_scores_gemma":[0.9998354,0.00002745841,0.000029757017,0.000059327074,0.000029181116,0.000018901479],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000047655347,0.000057516456,0.0001068584,0.000027631304,0.00011940565,0.00001937298,0.000042644646,0.000014616945,0.00094588456],"category_scores_gemma":[0.0000046913924,0.00004456339,0.000024443163,0.0000093367535,0.00014695125,0.00010411982,0.000028560291,0.000036610625,0.00008493759],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016760417,0.00018092825,0.0038471455,0.00009936308,0.00013146516,0.0000024896187,0.21798746,0.0000037943755,0.0010620947,0.33270818,0.02947649,0.41433296],"study_design_scores_gemma":[0.00021629668,0.00014353466,0.0033212346,0.000009248448,0.000013326842,0.0000013491068,0.0005971349,0.000009837023,0.00067152403,0.00031956864,0.99462354,0.00007339217],"about_ca_topic_score_codex":0.000089920606,"about_ca_topic_score_gemma":0.0013368222,"teacher_disagreement_score":0.9651471,"about_ca_system_score_codex":0.0000053322233,"about_ca_system_score_gemma":0.000007352015,"threshold_uncertainty_score":0.9999674},"labels":[],"label_agreement":null},{"id":"W1602779661","doi":"","title":"Disability Culture and Community Performance: Find a Strange and Twisted Shape by Petra Kuppers (review)","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Criticism; Sociology; Performance practice; Media studies; Aesthetics; Gender studies; Visual arts; Literature; Art","score_opus":0.02488490271384394,"score_gpt":0.23198365059145049,"score_spread":0.20709874787760654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1602779661","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96287286,0.01758967,6.119305e-7,0.00067585683,0.00005605868,0.00031919434,0.000093145754,0.000051936782,0.01834065],"genre_scores_gemma":[0.98644173,0.009337103,0.000010507438,0.00056066096,0.00008883488,0.000047967096,0.000042081236,0.00001244404,0.0034586943],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992355,0.00007763063,0.00017991808,0.00016099848,0.00011611456,0.00022985552],"domain_scores_gemma":[0.9995567,0.00004655441,0.000042827254,0.00022265666,0.000058478003,0.00007273503],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001601716,0.00019343826,0.00025981432,0.000012541537,0.0008947188,0.00012466923,0.00011291748,0.000045437457,0.0012226754],"category_scores_gemma":[0.000008996927,0.00013777909,0.00004112306,0.000018528965,0.00063341134,0.00038833846,0.00008133835,0.00037405777,0.00003249189],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063764164,0.00068712304,0.063408196,0.0056787473,0.00023374555,9.885201e-7,0.36625472,0.0000011603427,0.0003709195,0.000635896,0.09090004,0.47176468],"study_design_scores_gemma":[0.0024791977,0.0014634865,0.2800336,0.0015601116,0.00034495586,0.000028313869,0.039125737,0.0077155842,0.00009671237,0.0022085998,0.6632078,0.0017359054],"about_ca_topic_score_codex":0.0007608009,"about_ca_topic_score_gemma":0.0006086035,"teacher_disagreement_score":0.57230777,"about_ca_system_score_codex":0.000016571583,"about_ca_system_score_gemma":0.000005602674,"threshold_uncertainty_score":0.99969035},"labels":[],"label_agreement":null},{"id":"W1603063222","doi":"","title":"\"You're only putting it on\"- dressing up, identity and subversion in Northern Irish drama.","year":2007,"lang":"en","type":"article","venue":"Postcolonial text","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subversion; Identity (music); Irish; Ideology; Drama; Aesthetics; Politics; Sociology; Art; Visual arts; Political science; Law; Linguistics; Philosophy","score_opus":0.033026006282883436,"score_gpt":0.28911159622860905,"score_spread":0.2560855899457256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1603063222","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94126123,0.00019514478,0.0000027529732,0.0021592511,0.0006384226,0.00012439508,0.000010070902,0.000042525342,0.055566184],"genre_scores_gemma":[0.9962111,0.000044714765,0.00002012816,0.0005756812,0.000721842,0.0000020378557,0.0000057238744,0.000015187234,0.002403597],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99902904,0.000022985281,0.00022668227,0.00020559698,0.00018157928,0.00033409434],"domain_scores_gemma":[0.9996144,0.00010157658,0.00007456884,0.00010754854,0.000053922067,0.000047958078],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003800265,0.00014494226,0.00018059996,0.00012454881,0.0006266271,0.00019335466,0.00010300676,0.000052835734,0.00024057689],"category_scores_gemma":[0.000030063695,0.0001277187,0.000046265854,0.000054501175,0.00015503606,0.0004354308,0.00008932038,0.00019214021,0.00013357805],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005323049,0.00023037149,0.57469314,0.00014155958,0.00007472158,0.00010926654,0.25062555,0.000012816183,0.00017757251,0.008922945,0.007958616,0.15652111],"study_design_scores_gemma":[0.0028580315,0.00077701826,0.47445655,0.0006148903,0.000080547194,0.000017676599,0.045226518,0.000082539176,0.00048485282,0.0022709747,0.47223127,0.00089913263],"about_ca_topic_score_codex":0.0015536022,"about_ca_topic_score_gemma":0.18384025,"teacher_disagreement_score":0.46427268,"about_ca_system_score_codex":0.00006084029,"about_ca_system_score_gemma":0.000028310285,"threshold_uncertainty_score":0.83105254},"labels":[],"label_agreement":null},{"id":"W1603755565","doi":"10.3138/tric.22.2.240","title":"Glen Nichols. From Around the World &amp; at Home: Translations and Adaptations in Canadian Theatre","year":2001,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Prince Edward Island","funders":"","keywords":"Geography; History; Art; Art history","score_opus":0.10348395348891322,"score_gpt":0.3110580253033782,"score_spread":0.20757407181446502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1603755565","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5489707,0.003290894,1.3546139e-7,0.017110413,0.00014447974,0.00029612335,0.00035394993,0.000008585283,0.4298247],"genre_scores_gemma":[0.9941235,0.0010725358,0.0000073600404,0.00021762334,0.00031572705,0.00007240574,0.000052393745,0.000017967166,0.004120484],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981697,0.00019284672,0.00023751307,0.00023701767,0.0003867622,0.00077611994],"domain_scores_gemma":[0.998765,0.0006546196,0.00001815562,0.000311976,0.000045645662,0.00020463314],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00050567155,0.00014605798,0.0001867056,0.00038627366,0.0010362427,0.00012469449,0.00025397795,0.000026641752,0.0016529184],"category_scores_gemma":[0.0000030113486,0.000105275285,0.000027067434,0.00036040414,0.000322574,0.00016770272,0.0000480533,0.00046987177,0.000032469572],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017910599,0.000063889005,0.5374847,0.000037382226,0.00014040033,0.00013097179,0.06790076,0.00046945404,0.000017942033,0.007059708,0.039792083,0.3467236],"study_design_scores_gemma":[0.00031384907,0.000013399809,0.02503538,0.000063158666,0.0000071734507,0.0000028964419,0.012510732,0.00016238549,0.0000015696043,0.003647347,0.95809734,0.00014477111],"about_ca_topic_score_codex":0.9998128,"about_ca_topic_score_gemma":0.9999998,"teacher_disagreement_score":0.9183053,"about_ca_system_score_codex":0.0011143887,"about_ca_system_score_gemma":0.0017133575,"threshold_uncertainty_score":0.9992597},"labels":[],"label_agreement":null},{"id":"W1608238618","doi":"10.37119/ojs2013.v19i1.118","title":"Theatre as Representation (TAR) and the Teaching of a Graduate Administration of Inclusive Schools Course","year":2013,"lang":"en","type":"article","venue":"in education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"St. Francis Xavier University","funders":"","keywords":"tar (computing); Representation (politics); Administration (probate law); Sociology; Pedagogy; Participant observation; Mathematics education; Psychology; Political science; Social science; Computer science","score_opus":0.02376431693781967,"score_gpt":0.31963183684467283,"score_spread":0.29586751990685317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1608238618","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95834947,0.0002707545,0.0000012316398,0.00377645,0.00018722318,0.0002647005,0.0000023035257,0.000004265705,0.0371436],"genre_scores_gemma":[0.99918205,0.00010204018,0.000030075766,0.00006440489,0.00016436774,0.000057759622,0.000009463594,0.0000030868598,0.00038677506],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995758,0.000059959708,0.00017502072,0.00006142889,0.00007972734,0.000048041762],"domain_scores_gemma":[0.99961585,0.000082083425,0.00011477889,0.000087554145,0.00009070758,0.000009002468],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017194769,0.0000457625,0.000089727226,0.000042277035,0.000113739945,0.000028684848,0.00004117819,0.000011834913,0.00004887677],"category_scores_gemma":[0.000027864626,0.00002989252,0.000018270614,0.00002025239,0.00013827684,0.00025344067,0.000015392037,0.000075289245,0.000008011664],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017573714,0.00034056645,0.02212573,0.00010032892,0.00005247089,1.12784015e-7,0.58227706,0.000009044417,0.00024624285,0.19363059,0.003889343,0.1971528],"study_design_scores_gemma":[0.0013691057,0.0003006075,0.11205559,0.00032784656,0.00010093938,0.0000069328985,0.7212647,0.00033412545,0.0019233896,0.15542562,0.006689799,0.00020131677],"about_ca_topic_score_codex":0.00676862,"about_ca_topic_score_gemma":0.00084052136,"teacher_disagreement_score":0.19695148,"about_ca_system_score_codex":0.000011304587,"about_ca_system_score_gemma":0.00007812062,"threshold_uncertainty_score":0.9998454},"labels":[],"label_agreement":null},{"id":"W1608479106","doi":"10.3138/tric.21.2.207","title":"Chris Johnson. <i>Essays on George F. Walker: Playing with Anxiety</i>","year":2000,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"George (robot); Psychoanalysis; Anxiety; Psychology; Art; Art history; Psychiatry","score_opus":0.04123990105225027,"score_gpt":0.2635422774569442,"score_spread":0.2223023764046939,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1608479106","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27250415,0.00066772156,3.7311924e-8,0.001592968,0.000091876296,0.00018676744,0.000066544984,0.000022501321,0.72486746],"genre_scores_gemma":[0.99279064,0.00213836,0.000005943817,0.00036766613,0.00051992794,0.00004956377,0.000010737698,0.000030901483,0.0040862733],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99770105,0.00012553285,0.00019641528,0.00029572425,0.00080708874,0.0008741868],"domain_scores_gemma":[0.9992319,0.00021582015,0.000019187924,0.0003423369,0.000057448644,0.0001333271],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00050630944,0.00019134514,0.00024115099,0.00015534123,0.0007636547,0.00009589254,0.00027972207,0.000027947895,0.0054385383],"category_scores_gemma":[0.0000011740595,0.00013383562,0.00003112653,0.00017518629,0.00024327508,0.00015188288,0.000038326696,0.0005877911,0.00016619769],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00084425404,0.00012428148,0.0113628,0.0001504115,0.00010626395,0.0002646351,0.009916247,0.0003103886,0.000014426556,0.003827179,0.17085804,0.80222106],"study_design_scores_gemma":[0.00044859594,0.00020015996,0.000291765,0.00016709577,0.000004633843,0.0000061698224,0.0041002748,0.00007263728,0.000086464905,0.00030416998,0.9941083,0.00020971216],"about_ca_topic_score_codex":0.96442586,"about_ca_topic_score_gemma":0.9947959,"teacher_disagreement_score":0.8232503,"about_ca_system_score_codex":0.00046026366,"about_ca_system_score_gemma":0.0008801961,"threshold_uncertainty_score":0.99547064},"labels":[],"label_agreement":null},{"id":"W1625914040","doi":"10.3138/ctr.163.012","title":"Matter Matters: Performing a Stone in the Woods","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Foregrounding; Conversation; Visual arts; Art; Art history; History; Aesthetics; Sociology; Literature","score_opus":0.048871710302404524,"score_gpt":0.25614322617437524,"score_spread":0.2072715158719707,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1625914040","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005363151,0.17810723,2.7064627e-7,0.07235607,0.00042114867,0.0005421494,0.000040851544,0.000020295573,0.74314886],"genre_scores_gemma":[0.7941004,0.022957217,0.000020981966,0.17465825,0.0014526418,0.00021162869,0.000039356713,0.000050058916,0.0065094647],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991079,0.00007675167,0.00021084012,0.000130176,0.00012353424,0.00035077514],"domain_scores_gemma":[0.9994831,0.000027577951,0.00003450883,0.00028050816,0.000033536377,0.00014073981],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000519873,0.0001463812,0.00025178047,0.00009456262,0.00019980987,0.00008012396,0.00025558198,0.000019894438,0.0030573928],"category_scores_gemma":[0.000004509214,0.000087004104,0.000071994946,0.000075455384,0.00010712867,0.00017543978,0.000016228752,0.00015326665,0.0017327911],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000035476,0.000016190219,0.0031027508,0.0010001176,0.000032475826,0.00003733962,0.05004099,6.412629e-7,1.2464388e-7,0.004942939,0.85237944,0.08844344],"study_design_scores_gemma":[0.00009253357,0.000023689268,0.00019283128,0.0011011211,0.000036113674,0.000023061328,0.005188552,0.0000014996644,2.328571e-7,0.00020808289,0.99300104,0.00013122805],"about_ca_topic_score_codex":0.06044038,"about_ca_topic_score_gemma":0.46319965,"teacher_disagreement_score":0.78873724,"about_ca_system_score_codex":0.00009975943,"about_ca_system_score_gemma":0.00014372973,"threshold_uncertainty_score":0.9990445},"labels":[],"label_agreement":null},{"id":"W1634346575","doi":"10.19173/irrodl.v4i1.117","title":"Videoconferencing in Theatre and Performance Studies","year":2003,"lang":"en","type":"article","venue":"The International Review of Research in Open and Distributed Learning","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Videoconferencing; Teleconference; The Internet; Distance education; Integrated Services Digital Network; Multimedia; Computer science; Educational technology; Interactive video; Telecommunications; World Wide Web; Sociology; Pedagogy","score_opus":0.17025759410012414,"score_gpt":0.42552765163788253,"score_spread":0.2552700575377584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1634346575","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7534439,0.09785301,8.906146e-7,0.00473663,0.000094931056,0.0004495862,0.000013828931,0.0000054652437,0.14340177],"genre_scores_gemma":[0.83399785,0.16544352,0.000006301064,0.00008055243,0.000027054875,0.00003573524,0.0000066508264,0.0000028916247,0.00039946593],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904263,0.0002280707,0.00023319507,0.00012063072,0.00021969278,0.00015578799],"domain_scores_gemma":[0.9992202,0.00047374176,0.000051962652,0.00007433416,0.00016185275,0.000017913875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031729003,0.000069018395,0.000203883,0.00008852427,0.00022541593,0.0000947994,0.00023463492,0.000010580676,0.00016619361],"category_scores_gemma":[0.00040645307,0.000041693504,0.00001485435,0.00008849062,0.00030785985,0.00022254436,0.00025470983,0.0003172534,0.000004203259],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002118979,0.00013024957,0.43338874,0.006898051,0.00018170428,0.000014767718,0.0271103,0.0000636992,0.000020328926,0.36660585,0.0034562296,0.16191818],"study_design_scores_gemma":[0.0011504401,0.00027933693,0.015441163,0.026776647,0.000015546624,0.000015927446,0.11373616,0.00039030772,0.00008550373,0.006879875,0.83500445,0.00022461808],"about_ca_topic_score_codex":0.00025152395,"about_ca_topic_score_gemma":0.0004251507,"teacher_disagreement_score":0.8315483,"about_ca_system_score_codex":0.000034258795,"about_ca_system_score_gemma":0.0000441997,"threshold_uncertainty_score":0.18197036},"labels":[],"label_agreement":null},{"id":"W1645024007","doi":"10.3138/ctr.163.005","title":"A Multicultural Stage","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Representation (politics); Diversity (politics); Stage (stratigraphy); Aesthetics; Visual arts; Absolute (philosophy); Sociology; Gender studies; Art; Political science; Anthropology; Law; Epistemology; Philosophy; Pedagogy; Politics","score_opus":0.06520328340273461,"score_gpt":0.2600187636727369,"score_spread":0.19481548027000228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1645024007","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014142746,0.25184277,9.9425044e-8,0.0045564217,0.00052222726,0.0002816862,0.00010836621,0.000048940197,0.74122524],"genre_scores_gemma":[0.82792366,0.06849851,0.0000570974,0.020820927,0.0025026845,0.00011726645,0.00008912724,0.000055481207,0.079935245],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934614,0.000028022048,0.0001476421,0.00011395007,0.00008960039,0.00027464383],"domain_scores_gemma":[0.99933875,0.000009996367,0.000029271667,0.00017720828,0.00008634374,0.00035841353],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012444629,0.00012441649,0.00022361438,0.000042102158,0.0001911693,0.000051029223,0.00012309654,0.000016140006,0.002281549],"category_scores_gemma":[0.000011893032,0.00008247902,0.00007670617,0.000035932873,0.00009331563,0.00013750659,0.00001269628,0.00007621148,0.0012933306],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000045370953,0.000014366882,0.00021004531,0.0012925933,0.00008827842,0.0000419935,0.03281448,0.0000011671445,6.094398e-7,0.03284462,0.78381723,0.1488701],"study_design_scores_gemma":[0.00009254092,0.000025060706,0.0000111159725,0.0005394454,0.000035719848,0.0000044158473,0.0025097476,0.0000024436908,9.719738e-7,0.0000476594,0.99659896,0.00013193037],"about_ca_topic_score_codex":0.07048062,"about_ca_topic_score_gemma":0.59149927,"teacher_disagreement_score":0.8265094,"about_ca_system_score_codex":0.00009386972,"about_ca_system_score_gemma":0.0001740165,"threshold_uncertainty_score":0.9994843},"labels":[],"label_agreement":null},{"id":"W1649175881","doi":"10.55016/ojs/ajer.v51i4.55184","title":"Contingent Conditions of Change: An Exploration of Feminist Theatre Practice","year":2005,"lang":"en","type":"article","venue":"Alberta Journal of Educational Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Psychology; Feminism; Sociology; Pedagogy; Gender studies; Social psychology","score_opus":0.33764221373252407,"score_gpt":0.46112535101483454,"score_spread":0.12348313728231047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1649175881","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52857697,0.0014692221,8.3357025e-7,0.044803463,0.0003909283,0.00019335715,0.000037035523,5.822967e-7,0.4245276],"genre_scores_gemma":[0.9911362,0.0003876844,0.000083491715,0.00012136476,0.0021716051,0.0000157493,0.000015623165,0.000007194429,0.006061091],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988431,0.00012908275,0.00040278258,0.00006689244,0.000418679,0.00013947439],"domain_scores_gemma":[0.99425745,0.0038020657,0.0003085067,0.000113449794,0.0014564523,0.00006208555],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006908667,0.000061011357,0.00015076547,0.00022228864,0.00026185726,0.000036946454,0.00016267864,0.000020428779,0.007194374],"category_scores_gemma":[0.00072629703,0.00004765508,0.00005964757,0.00007220438,0.000319153,0.0016388827,0.000022421455,0.00017232855,0.00004691569],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003858311,0.0020688658,0.005955037,0.00011254097,0.00029863944,3.1747993e-7,0.28455514,0.000028980408,0.0005103895,0.664414,0.034922946,0.0067473203],"study_design_scores_gemma":[0.00036692436,0.00085518544,0.0015931333,0.00016008783,0.00006600422,0.000019165102,0.07143967,0.00001620862,0.00092442316,0.0019237711,0.92254615,0.00008930489],"about_ca_topic_score_codex":0.0009051085,"about_ca_topic_score_gemma":0.0047939983,"teacher_disagreement_score":0.8876232,"about_ca_system_score_codex":0.000035152727,"about_ca_system_score_gemma":0.00027168286,"threshold_uncertainty_score":0.9937132},"labels":[],"label_agreement":null},{"id":"W1657086187","doi":"10.3138/tric.35.2.247","title":"\"Theatre Research in Canada\"","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"ECW Press (Canada)","funders":"","keywords":"Desk; Variety (cybernetics); Reading (process); Publishing; Publication; Visual arts; Plan (archaeology); Media studies; History; World Wide Web; Computer science; Art; Sociology; Literature; Political science; Law; Artificial intelligence","score_opus":0.12724863282567062,"score_gpt":0.3327555478298247,"score_spread":0.20550691500415408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1657086187","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25248837,0.00089485757,8.9827395e-8,0.006631286,0.0004450846,0.00033473107,0.00006796851,0.000011993266,0.7391256],"genre_scores_gemma":[0.9977154,0.0002961383,0.000004161638,0.00020001891,0.0008085844,0.00008930178,0.000011204881,0.000035057223,0.0008401357],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99456286,0.0009190317,0.0004191501,0.0004384667,0.0018520713,0.0018084212],"domain_scores_gemma":[0.99754333,0.0014088323,0.000027618902,0.0005853989,0.00018505946,0.00024974978],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003425941,0.0002156228,0.00039243815,0.00057657756,0.00068330736,0.00010590371,0.0006805547,0.000041629297,0.00088602287],"category_scores_gemma":[0.00001138012,0.00017899758,0.00003368757,0.0005065919,0.00039528444,0.00016453126,0.0002463897,0.0014046354,0.00007272018],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00025286456,0.00009425634,0.09722542,0.0004007391,0.000061015427,0.00042970537,0.008390851,0.00024182527,0.000020796402,0.013558447,0.1907459,0.6885782],"study_design_scores_gemma":[0.0004708952,0.000097865886,0.0016754572,0.00022760702,0.000002000861,0.0000034577856,0.028699819,0.00039089468,0.00006409302,0.0039547426,0.9641643,0.00024885384],"about_ca_topic_score_codex":0.99998736,"about_ca_topic_score_gemma":0.99999976,"teacher_disagreement_score":0.7734184,"about_ca_system_score_codex":0.0049070935,"about_ca_system_score_gemma":0.013122744,"threshold_uncertainty_score":0.9989129},"labels":[],"label_agreement":null},{"id":"W1658575142","doi":"","title":"Encounters with the Abject: Kiki Smith’s Vulnerable Bodies","year":2013,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Intersubjectivity; Subjectivity; Sociology; Narrative; Feminism; Aesthetics; Ambiguity; Feminist theory; Epistemology; Gender studies; Philosophy; Art; Literature; Social science","score_opus":0.011633886345834807,"score_gpt":0.18377630418837979,"score_spread":0.17214241784254497,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1658575142","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.101272285,0.00040376955,0.0000078668,0.004937265,0.00020441413,0.00015078233,0.0000033048,0.00008170019,0.8929386],"genre_scores_gemma":[0.80643326,0.00006715796,0.000016765656,0.0012491943,0.00036098668,0.00006133271,8.5463074e-7,0.000008099143,0.19180237],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949974,0.00001446579,0.00007804923,0.00009743595,0.00010577037,0.0002045484],"domain_scores_gemma":[0.99967664,0.000056942878,0.00002462819,0.00014840243,0.00007322263,0.0000201565],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000074170115,0.000110668014,0.0001021849,0.000024181925,0.00088061707,0.00022598794,0.00011503855,0.00001050846,0.008412597],"category_scores_gemma":[0.0000018262414,0.000045990477,0.000031761203,0.000012001151,0.0002857625,0.00031346438,0.000027792588,0.00010512448,0.0008433914],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000167814,0.000026315562,0.0012200527,0.000025803993,0.00013315282,0.0000010028723,0.12792943,0.00001000957,0.000013701093,0.049098913,0.81641924,0.005105593],"study_design_scores_gemma":[0.00013171544,0.00011065939,0.0006012291,0.00001403155,0.000016465907,0.0000016506851,0.057695344,0.000028146009,0.00008470003,0.00045712266,0.94073325,0.00012565474],"about_ca_topic_score_codex":0.0025881487,"about_ca_topic_score_gemma":0.0077543277,"teacher_disagreement_score":0.705161,"about_ca_system_score_codex":0.00000814053,"about_ca_system_score_gemma":0.000012461329,"threshold_uncertainty_score":0.99993455},"labels":[],"label_agreement":null},{"id":"W1660182138","doi":"10.3138/ctr.163.016","title":"The Metacritical Work of Autobiography in Performance","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Biography; Drama; Art; Work (physics); Performance art; History; Literature; Visual arts; Art history; Sociology; Engineering","score_opus":0.04229411686731463,"score_gpt":0.24239863101191866,"score_spread":0.20010451414460403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1660182138","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009879289,0.5430323,1.2266176e-7,0.0060304794,0.00047524786,0.00032856088,0.000025974916,0.000017016133,0.440211],"genre_scores_gemma":[0.90012,0.09764956,0.0000096598005,0.0010955643,0.00019495322,0.000042308613,0.000004991052,0.000012123037,0.00087083055],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991732,0.000053839056,0.00026612054,0.0000962252,0.00010682937,0.00030375292],"domain_scores_gemma":[0.9994376,0.00005727027,0.000033246637,0.0002311144,0.00007777795,0.00016300472],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050784595,0.0001085637,0.0002694071,0.00009535478,0.000183421,0.00002774569,0.00019854399,0.000018821616,0.00017400896],"category_scores_gemma":[0.000017616008,0.00006416426,0.00009777104,0.0001743242,0.0003014988,0.00009108864,0.000015420666,0.00011055799,0.00008381214],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025107713,0.000039172413,0.022553466,0.0019379355,0.00014472994,0.0000126572295,0.009670595,0.000002347398,1.5931806e-7,0.122455284,0.147049,0.69610953],"study_design_scores_gemma":[0.00007180886,0.0000361258,0.0005641413,0.0011855282,0.000037443395,0.0000016571964,0.0005776593,0.000002102841,0.000001398407,0.00027754568,0.99715686,0.00008770828],"about_ca_topic_score_codex":0.011236803,"about_ca_topic_score_gemma":0.25338784,"teacher_disagreement_score":0.8902407,"about_ca_system_score_codex":0.00004676561,"about_ca_system_score_gemma":0.00019609412,"threshold_uncertainty_score":0.99534744},"labels":[],"label_agreement":null},{"id":"W1669772799","doi":"10.3138/ctr.163.010","title":"The Futures of Theatre Criticism","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Mainstream; Media studies; Sociology; Political science; Aesthetics; Art; Law","score_opus":0.04174799063743946,"score_gpt":0.25567962164942454,"score_spread":0.2139316310119851,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1669772799","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031465216,0.42993882,1.5785643e-7,0.00812196,0.00056340214,0.00020775839,0.0000691228,0.00001701159,0.5607671],"genre_scores_gemma":[0.7098759,0.25928432,0.000019967205,0.010208112,0.0029051132,0.00010555959,0.00002895524,0.00006375238,0.017508328],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990694,0.00006704378,0.00026978785,0.00011639415,0.00014807694,0.00032929613],"domain_scores_gemma":[0.99912536,0.00007395086,0.000056226392,0.00035273915,0.00014739677,0.00024433716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003869059,0.00014734558,0.00030041402,0.000047674133,0.0005242251,0.000050425027,0.00027616476,0.000024289542,0.0005473601],"category_scores_gemma":[0.000018008739,0.00008163216,0.00012949965,0.000054215725,0.0003167495,0.00008943305,0.00002131839,0.00010670925,0.00017160732],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005808738,0.000009271549,0.00011968092,0.000850643,0.00008600391,0.000007368578,0.00792019,3.2425268e-7,4.1154942e-7,0.12526534,0.51135695,0.35437799],"study_design_scores_gemma":[0.00007085111,0.00004470815,0.0000114852855,0.0007243608,0.000066505294,0.000006203194,0.003997253,8.963142e-7,0.000006086979,0.0017430384,0.99322,0.000108612825],"about_ca_topic_score_codex":0.031184008,"about_ca_topic_score_gemma":0.55048823,"teacher_disagreement_score":0.7095612,"about_ca_system_score_codex":0.000052616353,"about_ca_system_score_gemma":0.00030629666,"threshold_uncertainty_score":0.9752674},"labels":[],"label_agreement":null},{"id":"W1677983093","doi":"10.37119/ojs2013.v19i1.115","title":"Taking it to the Tweet Seats: Using New Technology to Create \"Theatre Knowledge-Building Communities\" in the English Language Arts and Drama Classrooms","year":2013,"lang":"en","type":"article","venue":"in education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Honeywell (Canada); University of Calgary","funders":"","keywords":"Drama; Citizen journalism; Pedagogy; Sociology; The arts; Language arts; Digital culture; Knowledge building; Psychology; Visual arts; Art; Computer science; Media studies","score_opus":0.03490934951865625,"score_gpt":0.3151483362296963,"score_spread":0.28023898671104003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1677983093","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95528483,0.0012392154,0.000007832274,0.008622643,0.00052606536,0.0004025339,0.0000025773827,0.00002609219,0.033888236],"genre_scores_gemma":[0.9969555,0.000040457362,0.00016853694,0.0011373971,0.0008478398,0.00010467139,0.0000040547075,0.000010670218,0.0007308425],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99941593,0.00005850022,0.00015942936,0.00010140481,0.000059207217,0.00020554749],"domain_scores_gemma":[0.999517,0.000119817174,0.000040045747,0.00024013495,0.000057473553,0.000025518219],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022649636,0.00010619558,0.0001141214,0.00023816967,0.00033452117,0.0002133243,0.00021366774,0.00003518592,0.00020980847],"category_scores_gemma":[0.00003467218,0.00006784844,0.000015161977,0.00016494674,0.00007438263,0.00019250716,0.00008183765,0.00018281997,0.000030143125],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000348512,0.000042398253,0.0056784283,0.000012765845,0.000005764977,1.8180707e-7,0.8421467,0.000033943503,0.00002377641,0.004826061,0.0056357305,0.14159076],"study_design_scores_gemma":[0.00007558714,0.000032279,0.001941852,0.00017561099,0.0000077025625,0.0000021146195,0.6638367,0.00005081247,0.00002215083,0.00081475155,0.33295107,0.00008937251],"about_ca_topic_score_codex":0.012194545,"about_ca_topic_score_gemma":0.05324441,"teacher_disagreement_score":0.32731533,"about_ca_system_score_codex":0.00006434245,"about_ca_system_score_gemma":0.00005729807,"threshold_uncertainty_score":0.99438334},"labels":[],"label_agreement":null},{"id":"W1678012555","doi":"10.55016/ojs/ajer.v48i3.54932","title":"Drama as Arts-Based Pedagogy and Research: Media Advertising and Inner-City Youth","year":2002,"lang":"en","type":"article","venue":"Alberta Journal of Educational Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Drama; The arts; Psychology; Pedagogy; Sociology; Inner city; Advertising; Language arts; Visual arts; Art","score_opus":0.28475580426972963,"score_gpt":0.44127620536211576,"score_spread":0.15652040109238613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1678012555","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8212954,0.004306659,1.03268604e-7,0.025061544,0.00022115023,0.00007383785,0.000006522468,6.6321775e-7,0.14903414],"genre_scores_gemma":[0.9761503,0.0011465581,0.000023424489,0.0001431478,0.0015483426,0.000005118208,0.0000051152174,0.000012479086,0.020965524],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99811107,0.00021350796,0.00030901234,0.0001614559,0.00080380274,0.00040114133],"domain_scores_gemma":[0.98850846,0.010012505,0.0000772407,0.0001262823,0.0010633878,0.00021211154],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014132907,0.0001028159,0.00018471168,0.0005389425,0.001057592,0.0002675714,0.00018098632,0.000041105857,0.014851247],"category_scores_gemma":[0.0033594978,0.000078744466,0.000043115313,0.00012755998,0.0010766946,0.00038616618,0.00008391254,0.0006443553,0.00013285619],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004896261,0.0008902933,0.06861618,0.00020239173,0.00025892217,0.0000082109655,0.585861,0.0000064515193,0.000127452,0.22509515,0.09260068,0.025843587],"study_design_scores_gemma":[0.0016128966,0.0014374394,0.03160192,0.00058499415,0.000067770925,0.00013061982,0.09218239,0.00015904564,0.00019121512,0.015475499,0.8561482,0.00040799985],"about_ca_topic_score_codex":0.0028255433,"about_ca_topic_score_gemma":0.008186347,"teacher_disagreement_score":0.76354754,"about_ca_system_score_codex":0.000058033693,"about_ca_system_score_gemma":0.0002863815,"threshold_uncertainty_score":0.9860493},"labels":[],"label_agreement":null},{"id":"W169212528","doi":"","title":"Where Is Here? the Drama of Immigration","year":2006,"lang":"en","type":"article","venue":"Canadian ethnic studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Homeland; Immigration; Media studies; History; Population; Sociology; Gender studies; Political science; Literature; Law; Art","score_opus":0.07037178773476631,"score_gpt":0.2886045923777705,"score_spread":0.21823280464300415,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W169212528","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15531974,0.5472892,9.1113145e-7,0.020278249,0.0012783955,0.00029004825,0.0001939711,0.0000454076,0.27530408],"genre_scores_gemma":[0.96634585,0.007483981,0.0000035681408,0.0007279425,0.0007829577,0.000023619948,0.000004098997,0.000010045671,0.024617948],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994009,0.000018421475,0.00017282277,0.000100128826,0.00009170673,0.0002160103],"domain_scores_gemma":[0.9995505,0.00006532983,0.000054625183,0.00015459786,0.0001468444,0.000028063367],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000101434634,0.000106995336,0.0001659737,0.000059349837,0.00038858777,0.000011706611,0.00010437719,0.000022610955,0.00045055815],"category_scores_gemma":[0.000007474039,0.00006666074,0.000065729335,0.000050154395,0.00045222737,0.00007734429,0.000018696695,0.0000749425,0.000061655446],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006317886,0.000011406229,0.001445059,0.00009841829,0.00026638928,0.0000029059865,0.16657548,0.0000056724607,0.000011733173,0.073785424,0.7016521,0.056139085],"study_design_scores_gemma":[0.00017286064,0.00006772709,0.029081063,0.000087232766,0.00008007786,0.0000013059553,0.14157355,0.000008945144,0.00014265192,0.005021626,0.8235578,0.00020514688],"about_ca_topic_score_codex":0.20851058,"about_ca_topic_score_gemma":0.9725486,"teacher_disagreement_score":0.8110261,"about_ca_system_score_codex":0.00004969187,"about_ca_system_score_gemma":0.000059323014,"threshold_uncertainty_score":0.79676},"labels":[],"label_agreement":null},{"id":"W1692736668","doi":"10.1344/regac2014.1.09","title":"PERFORMING TRANSLOCAL MEMORY: TESTAMENT AND TESTIMONY IN CONTEMPORARY THEATRE AND PERFORMANCE","year":2014,"lang":"en","type":"article","venue":"REGAC - Revista de Estudios Globales y Arte Contempor�neo","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"New Testament; History; Art; Literature","score_opus":0.027654284012745643,"score_gpt":0.22917691489348643,"score_spread":0.2015226308807408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1692736668","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.914878,0.018115489,0.000022988559,0.0011501417,0.00016000721,0.0006311609,0.000035082467,0.000121803285,0.06488532],"genre_scores_gemma":[0.99622655,0.0020218606,0.00007688606,0.0004733551,0.0003994253,0.000071325245,0.000013700014,0.000038605376,0.0006783093],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977987,0.00015288641,0.00063325925,0.0005570338,0.00027406664,0.00058409036],"domain_scores_gemma":[0.9989538,0.00023889559,0.00017333869,0.00035627087,0.00008796432,0.00018969859],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0009210483,0.00049307494,0.0007932073,0.00014155825,0.00065671257,0.00031252115,0.0002037821,0.000092532704,0.00003634213],"category_scores_gemma":[0.0000466525,0.00040387083,0.0000997669,0.000097294804,0.00075442245,0.0005793195,0.000120645425,0.00032159121,0.000020146093],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006155958,0.00035770357,0.6547282,0.0019118721,0.00034740713,0.00010427887,0.046959434,0.000020470558,0.0001305024,0.06285827,0.008778994,0.22318733],"study_design_scores_gemma":[0.0044043506,0.0018590265,0.04583863,0.002434121,0.00016462112,0.00018107463,0.016206363,0.004280175,0.00007988542,0.00044171925,0.9226619,0.0014481542],"about_ca_topic_score_codex":0.00027700854,"about_ca_topic_score_gemma":0.0007560622,"teacher_disagreement_score":0.9138829,"about_ca_system_score_codex":0.00009572136,"about_ca_system_score_gemma":0.00009677491,"threshold_uncertainty_score":0.99984133},"labels":[],"label_agreement":null},{"id":"W172019471","doi":"10.1515/9780748646340","title":"The Edinburgh Companion to Scottish Drama","year":2011,"lang":"en","type":"book","venue":"Edinburgh University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":34,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; History; Art; Visual arts","score_opus":0.03483750554041598,"score_gpt":0.2008682800226127,"score_spread":0.16603077448219672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W172019471","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013229279,0.0004255192,0.0000066556236,0.00010456805,0.0042003617,0.00053227437,0.00017088329,0.00020474434,0.9942227],"genre_scores_gemma":[0.0013618774,0.00040116438,0.000008572337,0.00015280987,0.004454645,0.000004403439,0.00002890923,0.000038533723,0.9935491],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99833906,0.000032907094,0.00025340714,0.00044560776,0.0003882688,0.0005407677],"domain_scores_gemma":[0.99860036,0.0001589003,0.0001999232,0.00058010395,0.0002795946,0.00018110946],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020600074,0.00045664032,0.00046656388,0.00016451749,0.0021134373,0.00026960782,0.00094955735,0.00019239953,0.0011988543],"category_scores_gemma":[0.000007382075,0.00037094334,0.00025957287,0.000009412908,0.0007566904,0.00016914906,0.0006335649,0.0005715186,0.000041035833],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009595159,0.000012245316,0.000003881082,0.000018602454,0.00020741508,0.000021200616,0.020478098,8.991638e-7,5.6593177e-7,0.16386034,0.811131,0.0041697905],"study_design_scores_gemma":[0.00027914706,0.00013307498,0.0000030086956,0.00020652782,0.00020068444,0.0000022058248,0.0018560042,0.0000036716945,0.00001830986,0.0012645154,0.9955523,0.00048054918],"about_ca_topic_score_codex":0.0008487403,"about_ca_topic_score_gemma":0.00084671297,"teacher_disagreement_score":0.18442129,"about_ca_system_score_codex":0.00018826826,"about_ca_system_score_gemma":0.00016018246,"threshold_uncertainty_score":0.99987423},"labels":[],"label_agreement":null},{"id":"W1733791593","doi":"10.3138/ctr.163.015","title":"Charting Incommunicable Truths: The Ghosts of the Franklin Expedition","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Performance studies; Test (biology); Environmental ethics; History; Art history; Aesthetics; Sociology; Art; Anthropology; Philosophy; Ecology; Biology","score_opus":0.05571686578925199,"score_gpt":0.2510767320317957,"score_spread":0.1953598662425437,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1733791593","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006952755,0.37475318,5.9777403e-7,0.024542438,0.0010937834,0.00069855043,0.00008764545,0.000031418615,0.5918396],"genre_scores_gemma":[0.9743258,0.01942587,0.0000055749406,0.004387806,0.0006788457,0.000048915444,0.000009638863,0.00001586788,0.0011016893],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991947,0.00012922513,0.00025068503,0.00008153125,0.00013028926,0.00021358472],"domain_scores_gemma":[0.9991115,0.00006121094,0.00010455889,0.00053059973,0.00009210381,0.000100073536],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005233779,0.00010908198,0.00022820543,0.000029463281,0.0005025742,0.000032041415,0.00042305203,0.000020990221,0.00061761524],"category_scores_gemma":[0.000033238925,0.000053270458,0.00011585202,0.00007680468,0.00023602076,0.000103543214,0.000041956977,0.00014471101,0.00011718612],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000922171,0.000040083447,0.0018061688,0.001848998,0.00017407472,0.0000032580267,0.08248268,0.0000053225235,0.000005518692,0.06508642,0.49280003,0.35573822],"study_design_scores_gemma":[0.00007124998,0.000020582625,0.0000604556,0.0014830789,0.00005712893,0.0000026370956,0.0035135671,0.0000062225463,0.000014493219,0.00066779734,0.99402505,0.00007771283],"about_ca_topic_score_codex":0.038390808,"about_ca_topic_score_gemma":0.23780623,"teacher_disagreement_score":0.967373,"about_ca_system_score_codex":0.000055201,"about_ca_system_score_gemma":0.00020210296,"threshold_uncertainty_score":0.96801263},"labels":[],"label_agreement":null},{"id":"W1755472644","doi":"10.7202/1025780ar","title":"Drama and Theatre Education in Canada: A snapshot","year":2014,"lang":"en","type":"article","venue":"McGill Journal of Education / Revue des sciences de l éducation de McGill","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Drama; Snapshot (computer storage); Happening; Curriculum; Sociology; Media studies; Political science; Pedagogy; History; Visual arts; Art; Art history; Performance art; Computer science","score_opus":0.1769771120969148,"score_gpt":0.3420054908029689,"score_spread":0.16502837870605408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1755472644","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85152495,0.0006398744,0.0000082184515,0.002749757,0.0023043065,0.00009926503,0.000012986451,0.0000057062043,0.14265497],"genre_scores_gemma":[0.9955978,0.0003080911,0.0009291417,0.0016091709,0.0005666997,0.00001289173,0.000004004526,0.000008681673,0.00096352375],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998835,0.00013699458,0.0004272678,0.00016240295,0.00017886945,0.00025945387],"domain_scores_gemma":[0.99895597,0.00014940722,0.0003243459,0.00011577484,0.0003248878,0.00012963465],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00095118035,0.0001292825,0.00019521783,0.0003118036,0.00095583044,0.00008467709,0.00023086155,0.000027934419,0.00027304247],"category_scores_gemma":[0.00015149474,0.00011123568,0.000042459764,0.00016773299,0.0003185972,0.000552818,0.000020684774,0.00015140779,0.0000036791216],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000072595045,0.00081081834,0.049562015,0.0004320686,0.0000554772,0.0000020573511,0.07576949,0.0007164891,0.00019594627,0.3032525,0.03758483,0.53154576],"study_design_scores_gemma":[0.00025871184,0.00028118087,0.03286427,0.00046982476,0.000051838106,0.0003566052,0.07858571,0.00050711434,0.0002229566,0.02695117,0.8591268,0.00032383006],"about_ca_topic_score_codex":0.15155071,"about_ca_topic_score_gemma":0.64814335,"teacher_disagreement_score":0.82154197,"about_ca_system_score_codex":0.0012452779,"about_ca_system_score_gemma":0.0029288495,"threshold_uncertainty_score":0.85409915},"labels":[],"label_agreement":null},{"id":"W176126470","doi":"","title":"Drama and theatre as experiential learning tools for Canadian classrooms","year":2007,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Experiential learning; Drama; Experiential education; Pedagogy; Psychology; Mathematics education; Visual arts; Art","score_opus":0.032760346898148635,"score_gpt":0.284914718656648,"score_spread":0.2521543717584994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W176126470","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4510058,0.00031786846,0.0000010093908,0.000114655086,0.0010384572,0.00040257812,0.00002421174,0.0000466402,0.5470488],"genre_scores_gemma":[0.68008536,0.00022164614,0.0000023352497,0.000009194866,0.0013649961,0.000008172101,0.00018867181,0.00003829216,0.31808132],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978052,0.00013438964,0.00020894883,0.00053220097,0.00039270768,0.0009265963],"domain_scores_gemma":[0.99867404,0.00031611696,0.00009910595,0.00024339181,0.0003120489,0.00035530617],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0003608987,0.0002960581,0.0003579426,0.0012572174,0.00400203,0.0007279857,0.0003337656,0.00025470054,0.00051855494],"category_scores_gemma":[0.000042570107,0.00030983012,0.00018258512,0.00015958445,0.00046696214,0.0005210138,0.00006210107,0.0009307628,0.000042625936],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0073693413,0.00025246243,0.018280823,0.0018297511,0.002391089,0.0025421525,0.39215043,0.000013135187,0.0011707539,0.43223703,0.027993271,0.11376977],"study_design_scores_gemma":[0.00038351992,0.00051449524,0.0010391994,0.00009114056,0.000059038462,0.0000060779557,0.1517333,0.000009277461,0.0007795989,0.00029197286,0.84477293,0.00031946908],"about_ca_topic_score_codex":0.38345358,"about_ca_topic_score_gemma":0.9169069,"teacher_disagreement_score":0.8167796,"about_ca_system_score_codex":0.0004473967,"about_ca_system_score_gemma":0.0009477821,"threshold_uncertainty_score":0.9999354},"labels":[],"label_agreement":null},{"id":"W1775206158","doi":"10.3138/md.2015.58.3.408","title":"Tzachi Zamir, <i>Acts: Theatre, Philosophy, and the Performing Self</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Trope (literature); Aesthetics; Work (physics); Psychology; Art; Literature; Engineering","score_opus":0.031092724372056516,"score_gpt":0.21883709591114314,"score_spread":0.18774437153908663,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1775206158","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15581901,0.0034879865,0.00001929198,0.003759186,0.00046469975,0.00022205063,0.00001569427,0.00015760376,0.83605444],"genre_scores_gemma":[0.9944492,0.00021852949,0.000034457447,0.0009059968,0.001312744,0.000024570028,0.000003979807,0.000021070282,0.0030294247],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991814,0.000041148738,0.00016594338,0.00017260967,0.00019175926,0.00024714347],"domain_scores_gemma":[0.9995257,0.00006886316,0.000048322094,0.00022879527,0.000059767215,0.00006852609],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002864115,0.00017273554,0.00021415239,0.00003690339,0.000629563,0.00020013002,0.00015315297,0.000030833788,0.00006841198],"category_scores_gemma":[0.000007234675,0.00009659139,0.00006307857,0.000019418223,0.00039979347,0.00029645645,0.0001108232,0.00016234803,0.000092227776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032601503,0.000096953205,0.0011136705,0.000075830525,0.00020251445,0.0000059654576,0.49606356,0.000027753602,0.0000048963134,0.46019876,0.006665853,0.035218224],"study_design_scores_gemma":[0.002943805,0.00016772367,0.00005699749,0.00005006654,0.00011609888,0.000019753435,0.010211572,0.0057497253,0.000029006756,0.13611884,0.844182,0.00035440704],"about_ca_topic_score_codex":0.0001475085,"about_ca_topic_score_gemma":0.00024312337,"teacher_disagreement_score":0.8386302,"about_ca_system_score_codex":0.00001938277,"about_ca_system_score_gemma":0.000024951496,"threshold_uncertainty_score":0.48421535},"labels":[],"label_agreement":null},{"id":"W177880787","doi":"","title":"If I Had a Hammer: Retraining that Really Works","year":2007,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Retraining; Hammer; Psychology; Political science; Engineering; Structural engineering; Law","score_opus":0.040274850761970724,"score_gpt":0.2464114314461923,"score_spread":0.20613658068422158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W177880787","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4526945,0.0034752972,0.0000025550644,0.00079834246,0.0016221481,0.00017119573,0.0000410025,0.00011531252,0.54107964],"genre_scores_gemma":[0.977084,0.0005557103,0.000028465565,0.002580003,0.0014984672,0.00003994273,0.0000063165103,0.000030082454,0.018177055],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981886,0.000016583488,0.0002509092,0.00026914227,0.00018272681,0.0010919998],"domain_scores_gemma":[0.99911356,0.0001286412,0.00007245736,0.00022543472,0.00014141494,0.0003184699],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005335278,0.00026118846,0.00037463705,0.00029452806,0.0014675958,0.00013941547,0.0001744382,0.000054982993,0.0009438408],"category_scores_gemma":[0.000044253637,0.00022137443,0.00007692667,0.000089606554,0.0005325204,0.00025633076,0.000053546544,0.00022947152,0.00014835052],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000514325,0.000017709172,0.0036922307,0.000080533195,0.0007810554,0.00015401664,0.8692348,0.0000018630727,0.0000026146115,0.043381143,0.049315646,0.033286933],"study_design_scores_gemma":[0.00020144062,0.00009277306,0.00061902055,0.000096443706,0.00002099613,0.0000027320007,0.5009699,0.00000169715,0.00000663313,0.0020978749,0.49561784,0.00027265798],"about_ca_topic_score_codex":0.0024370814,"about_ca_topic_score_gemma":0.3940491,"teacher_disagreement_score":0.52438945,"about_ca_system_score_codex":0.00043698537,"about_ca_system_score_gemma":0.00012404771,"threshold_uncertainty_score":0.9999694},"labels":[],"label_agreement":null},{"id":"W17848585","doi":"10.1023/a:1010983820521","title":"\"The Morality of it All:\" The Educational Value of Canadian Drama for Moral Education","year":2001,"lang":"en","type":"article","venue":"Interchange","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moral disengagement; Social cognitive theory of morality; Moral psychology; Epistemology; Moral authority; Moral development; Sociology; Moral reasoning; Moral agency; Dialogical self; Perspective (graphical); Moral philosophy; Agency (philosophy); Philosophy of education; Drama; Environmental ethics; Social psychology; Psychology; Philosophy; Law; Higher education; Political science","score_opus":0.10833077290321096,"score_gpt":0.30833617801889124,"score_spread":0.20000540511568027,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W17848585","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66092086,0.00132503,0.0000034491159,0.15173806,0.0025749435,0.00062481134,0.00027656823,0.000009133573,0.18252715],"genre_scores_gemma":[0.9878276,0.000116390824,0.000014482341,0.0007642861,0.0007206386,0.000086149266,0.00002138803,0.0000051007646,0.010443954],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995864,0.000019401561,0.00014546438,0.000056865574,0.0000652491,0.00012661601],"domain_scores_gemma":[0.99950427,0.00011155723,0.000061001432,0.00013105923,0.0001671078,0.000025024226],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016718193,0.000055490447,0.000075054355,0.000073679024,0.00024201786,0.00002555318,0.00015524967,0.0000136140425,0.000420478],"category_scores_gemma":[0.000019309375,0.000031902196,0.00005694579,0.000030186548,0.00021328978,0.00006432226,0.000015180448,0.00003961026,0.000011257423],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041636125,0.00006503224,0.0021675162,0.00004419757,0.00007743755,4.4056065e-8,0.09968978,0.0000012190488,0.000011669614,0.70831394,0.1717022,0.017885288],"study_design_scores_gemma":[0.000055083652,0.000059568247,0.0036991583,0.000024264047,0.00001936108,9.679799e-7,0.01276951,0.0000252709,0.000058116788,0.00862328,0.974621,0.000044444725],"about_ca_topic_score_codex":0.16189207,"about_ca_topic_score_gemma":0.67333096,"teacher_disagreement_score":0.8029188,"about_ca_system_score_codex":0.000030473733,"about_ca_system_score_gemma":0.00014416673,"threshold_uncertainty_score":0.84368896},"labels":[],"label_agreement":null},{"id":"W1786714479","doi":"10.21083/csieci.v2i1.87","title":"Dominant Positions: John Coltrane, Michel Foucault, and the Politics of Representation","year":2006,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Michel foucault; Rhetorical question; Politics; Power (physics); Aesthetics; Epistemology; Identity (music); Critical discourse analysis; Philosophy; Law; Linguistics; Political science","score_opus":0.04082913306709951,"score_gpt":0.34205397009481164,"score_spread":0.30122483702771213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1786714479","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90187573,0.013172326,0.0015269368,0.039071247,0.0022725512,0.0033843766,0.00033768595,0.0002873113,0.03807184],"genre_scores_gemma":[0.99638337,0.0010983032,0.00043133137,0.0005824055,0.0008034151,0.0002947687,0.000048105914,0.000023510267,0.00033478378],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99775666,0.00028493733,0.00088183046,0.0003382406,0.0003194143,0.00041889588],"domain_scores_gemma":[0.9970189,0.0019540903,0.00015231525,0.00022371588,0.00060800306,0.000043013853],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00087844464,0.00026100277,0.00048241287,0.00018924609,0.00068872224,0.0001408638,0.00013347802,0.00008629224,0.00003774599],"category_scores_gemma":[0.0010438132,0.00019268737,0.00010635917,0.00011245351,0.0029340792,0.00067355356,0.00009815913,0.0002116492,0.0000033633255],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015296314,0.00015025833,0.0007067112,0.00049569836,0.000060591352,0.000002393599,0.037672166,0.000009668526,0.00088767096,0.95603526,0.0012174933,0.0026091142],"study_design_scores_gemma":[0.011006171,0.001593534,0.02503058,0.0010826932,0.0010582267,0.000061047765,0.33927736,0.004543076,0.01935012,0.57098323,0.02427598,0.0017379385],"about_ca_topic_score_codex":0.0035272837,"about_ca_topic_score_gemma":0.0028713767,"teacher_disagreement_score":0.38505203,"about_ca_system_score_codex":0.00017308016,"about_ca_system_score_gemma":0.00005595823,"threshold_uncertainty_score":0.99977934},"labels":[],"label_agreement":null},{"id":"W1800444551","doi":"10.14288/acme.v2i1.705","title":"Performing Nursing: BC Nurses’ Union Theatre Project","year":2015,"lang":"en","type":"article","venue":"Open Collections","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":29,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Embodied cognition; Space (punctuation); Context (archaeology); Politics; Representation (politics); Political theatre; Theatre studies; Sociology; Visual arts; Art; Political science; History; Drama; Law; Computer science; Archaeology","score_opus":0.07413948972146785,"score_gpt":0.31034651141690767,"score_spread":0.23620702169543983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1800444551","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00193233,0.00009230152,0.00000899243,0.0005252002,0.0017950725,0.00049566204,0.000026170863,0.00008085986,0.9950434],"genre_scores_gemma":[0.17164528,0.000031814176,0.00009041204,0.000067881534,0.0008870137,0.00013063068,0.000015472522,0.000019623625,0.82711184],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929404,0.00004690441,0.00014597966,0.000167057,0.00012439193,0.00022162325],"domain_scores_gemma":[0.9995743,0.000024625364,0.000042767137,0.00017279266,0.00013011224,0.000055410375],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017966666,0.0001261358,0.00015923264,0.00007988026,0.0041905204,0.0012971597,0.00020757232,0.000028231543,0.0011717427],"category_scores_gemma":[0.00000812281,0.000100166144,0.000049879294,0.00019996848,0.00015877708,0.0005412646,0.00006064358,0.00011975127,0.0000859335],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003557051,0.00012693989,0.00007231271,0.000004363307,0.00003674941,9.823724e-7,0.052434485,0.000009628176,0.000001104751,0.004619133,0.93004775,0.012610983],"study_design_scores_gemma":[0.00041367637,0.00024024624,0.000009759597,0.00005758911,0.00003778554,0.00001068625,0.061902896,0.000114056835,0.00003367992,0.0020988896,0.9349282,0.00015258668],"about_ca_topic_score_codex":0.014265505,"about_ca_topic_score_gemma":0.014516824,"teacher_disagreement_score":0.16971296,"about_ca_system_score_codex":0.00011600047,"about_ca_system_score_gemma":0.00022667374,"threshold_uncertainty_score":0.9997413},"labels":[],"label_agreement":null},{"id":"W181323954","doi":"","title":"Dramatic Arenas for Ethical Stories. (Reflections on Feminist Critical Practices)","year":2002,"lang":"en","type":"article","venue":"Resources for feminist research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Sociology; Feminism; Nothing; Ethnography; Aesthetics; Art; Gender studies; Humanities; Art history; Visual arts; Philosophy; Anthropology; Epistemology","score_opus":0.35490915241973525,"score_gpt":0.4773967169301523,"score_spread":0.12248756451041704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W181323954","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020228952,0.0008238436,0.00005199048,0.025557654,0.0010503889,0.0015148743,0.00055858475,0.00020417382,0.9500095],"genre_scores_gemma":[0.95361286,0.00008167569,0.00026822032,0.0009303872,0.0037272577,0.001102873,0.00001842661,0.000059900005,0.040198393],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973175,0.00017279289,0.00039183602,0.000466018,0.00073601294,0.00091584696],"domain_scores_gemma":[0.99123496,0.007564454,0.00011981102,0.0004079952,0.00048546397,0.00018733615],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0016997443,0.00023174094,0.0003354281,0.00026354325,0.0044231187,0.0007051591,0.00039969356,0.00020909327,0.0012800973],"category_scores_gemma":[0.0032662903,0.00018841038,0.00020637183,0.00014825906,0.0015814548,0.00011160078,0.00009625403,0.0011145303,0.0002988466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005735818,0.0004981222,0.00009191913,0.00068372965,0.00012351526,0.0000055896794,0.1706991,0.0000022771612,0.000032178887,0.5447022,0.27830082,0.0042870194],"study_design_scores_gemma":[0.00045585362,0.0018957211,0.000012504549,0.000106037085,0.00004152141,0.000007325745,0.03817573,0.00032505774,0.00006789349,0.0038375985,0.9548477,0.00022708315],"about_ca_topic_score_codex":0.000116009636,"about_ca_topic_score_gemma":0.0007902004,"teacher_disagreement_score":0.93338394,"about_ca_system_score_codex":0.000113411,"about_ca_system_score_gemma":0.000053618678,"threshold_uncertainty_score":0.9996329},"labels":[],"label_agreement":null},{"id":"W1820298879","doi":"","title":"Peace of Mind: Contemporary Art Forum, Kitchener and Area","year":2005,"lang":"en","type":"article","venue":"Espace Sculpture","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aesthetics; Art","score_opus":0.021201560609767585,"score_gpt":0.21693723966676806,"score_spread":0.19573567905700048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1820298879","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22869635,0.016158545,0.000028192386,0.021821875,0.00042488961,0.0002751368,0.000088896326,0.000071342925,0.73243475],"genre_scores_gemma":[0.9293469,0.00013372915,0.0001413488,0.0005104183,0.0004885662,0.000006044656,0.000010279224,0.00001130969,0.0693514],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994562,0.000013388578,0.00012734957,0.00013740822,0.00011112267,0.00015449585],"domain_scores_gemma":[0.99968094,0.00002096224,0.000061904815,0.00014424007,0.000051569285,0.000040413746],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007103122,0.00013207598,0.00019660048,0.000048112637,0.0001529884,0.00003672313,0.00006691131,0.000042616903,0.00065859314],"category_scores_gemma":[0.000005571584,0.000094285264,0.00006323743,0.00001951017,0.00017931098,0.0002209101,0.000041156833,0.00010924086,0.00006692611],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013430092,0.00010234752,0.0074533327,0.00010060959,0.00015905303,0.0000043022574,0.20368381,0.000011836336,0.00030355362,0.040181074,0.73314476,0.014721051],"study_design_scores_gemma":[0.00028136242,0.00005814128,0.00039846115,0.00003877976,0.000016621603,0.0000020569037,0.012577963,0.00002247371,0.00041647366,0.00007050063,0.98599046,0.00012670866],"about_ca_topic_score_codex":0.000029078417,"about_ca_topic_score_gemma":0.0018433079,"teacher_disagreement_score":0.7006506,"about_ca_system_score_codex":0.000007097543,"about_ca_system_score_gemma":0.000018156092,"threshold_uncertainty_score":0.72111326},"labels":[],"label_agreement":null},{"id":"W1821591893","doi":"10.21083/csieci.v6i2.1358","title":"“Wild notes” … Improvisioning","year":2010,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Jargon; Improvisation; Narrative; Aesthetics; Meaning (existential); Sociology; Embodied cognition; Homecoming; Context (archaeology); Musical; Sign (mathematics); Oppression; Linguistics; Literature; History; Art; Epistemology; Politics; Visual arts; Law; Philosophy; Political science","score_opus":0.06858571125164506,"score_gpt":0.3690543441108222,"score_spread":0.30046863285917713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1821591893","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9207234,0.0012244474,0.00069468806,0.019394042,0.010611326,0.0016888151,0.00013531634,0.0011050826,0.044422872],"genre_scores_gemma":[0.9931839,0.00034294341,0.001571378,0.0014301594,0.0026915793,0.00035404472,0.000045625336,0.0000663245,0.00031401982],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99665856,0.00016270674,0.000990478,0.00072047557,0.0005078709,0.00095989247],"domain_scores_gemma":[0.99669564,0.0017921146,0.00014148101,0.00044595927,0.0007536922,0.00017112728],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.001381435,0.00050556444,0.0005933846,0.0003807459,0.0010053319,0.00038778916,0.00033853753,0.0002206304,0.0004595689],"category_scores_gemma":[0.004540645,0.00045179352,0.00016982143,0.00016111696,0.0016411202,0.0016702133,0.00025566225,0.0009573252,0.00007943037],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008681131,0.0002797491,0.0015792658,0.00058644667,0.00008698658,0.0000143392135,0.07021721,0.0000061447963,0.010288876,0.81814843,0.0007931751,0.09791257],"study_design_scores_gemma":[0.0070162537,0.0044923825,0.018734904,0.0014838543,0.00077297626,0.000111338275,0.22903794,0.008444949,0.0263675,0.1925881,0.5041291,0.0068206536],"about_ca_topic_score_codex":0.0006582736,"about_ca_topic_score_gemma":0.0073514273,"teacher_disagreement_score":0.62556034,"about_ca_system_score_codex":0.00027691066,"about_ca_system_score_gemma":0.00013155895,"threshold_uncertainty_score":0.9997934},"labels":[],"label_agreement":null},{"id":"W1824142607","doi":"","title":"Deconstructing the \"Fourth Wall\": Metatheatricality in Plautus' Miles Gloriosus and Osofisan's Tegonni","year":2014,"lang":"en","type":"article","venue":"Canadian social science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Comedy; Literature; Art; Hermeneutics; Reading (process); Character (mathematics); History; Philosophy; Theology","score_opus":0.018683652925073957,"score_gpt":0.22455489544382817,"score_spread":0.20587124251875422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1824142607","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7161896,0.00016018972,0.000001419395,0.0020716758,0.00031528098,0.000081591286,0.000011881403,0.0000136373465,0.28115472],"genre_scores_gemma":[0.9986224,0.000015026874,0.00001638316,0.00070678646,0.00047598005,0.000005797281,4.2648904e-7,0.0000036562485,0.00015351041],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991264,0.000039194125,0.00012303506,0.00017634679,0.00013891293,0.0003961116],"domain_scores_gemma":[0.9996138,0.00010480657,0.000033756813,0.00008172978,0.000042920045,0.00012297278],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0006867151,0.000084948646,0.0001232028,0.000097090815,0.0021252043,0.00021201436,0.0002227055,0.000021424576,0.00008973986],"category_scores_gemma":[0.00007037323,0.00005792761,0.000026822516,0.00015242235,0.0018341121,0.00022147172,0.0000343923,0.000116064366,0.000009575473],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000044059825,0.000006124851,0.06993087,0.000012099752,0.000011033947,0.000003010891,0.136697,6.675598e-7,0.000012047385,0.7091729,0.00067849277,0.08347131],"study_design_scores_gemma":[0.0003002309,0.0000451067,0.053667646,0.000018162631,0.000023855804,0.0000055450555,0.08462744,0.00019373708,0.00002807447,0.010158458,0.85057503,0.00035670341],"about_ca_topic_score_codex":0.055968653,"about_ca_topic_score_gemma":0.62734526,"teacher_disagreement_score":0.84989655,"about_ca_system_score_codex":0.000101715064,"about_ca_system_score_gemma":0.0001707803,"threshold_uncertainty_score":0.9991739},"labels":[],"label_agreement":null},{"id":"W1824278058","doi":"10.22329/celt.v6i0.3764","title":"8. Visualizing Boundaries and Embodying Conflicts: Lessons Learned From a Theatrical Professional Development Program","year":2013,"lang":"en","type":"article","venue":"Collected Essays on Learning and Teaching","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Context (archaeology); Professional development; Unit (ring theory); Sociology; Psychological resilience; Resilience (materials science); Pedagogy; Theatre studies; Psychology; Public relations; Visual arts; Political science; Mathematics education; Drama; Social psychology; Art","score_opus":0.05151488972307878,"score_gpt":0.3152123982437535,"score_spread":0.26369750852067475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1824278058","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9354716,0.0006660425,0.000018275352,0.0014113673,0.0003322023,0.0003552724,0.000004324652,0.00037467133,0.06136628],"genre_scores_gemma":[0.9862895,0.00007360331,0.00044499326,0.0001372728,0.0002943047,0.0001530715,0.00003197351,0.000029515206,0.012545747],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985948,0.00021359525,0.00026221926,0.00035437188,0.0002091644,0.00036582464],"domain_scores_gemma":[0.99927014,0.00038316858,0.00010119286,0.000078260564,0.00006835527,0.00009885647],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.00028647127,0.00024533653,0.0003041319,0.00014168178,0.006108871,0.0012504458,0.00007303833,0.0000747833,0.0002867768],"category_scores_gemma":[0.00014689332,0.00018717028,0.000034183962,0.000040273102,0.00033275032,0.00023612092,0.00011901385,0.000821279,0.000029386469],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000110927685,0.00026384435,0.007879729,0.000083591716,0.00024080357,0.0000049270498,0.31617984,0.0000068266268,0.00019213781,0.043500695,0.002186208,0.6293505],"study_design_scores_gemma":[0.0007865863,0.00029742275,0.0058853338,0.00036631434,0.00003882131,0.0000033039305,0.025849286,0.0014285252,0.000042312273,0.0013188926,0.9635753,0.00040790442],"about_ca_topic_score_codex":0.0007421839,"about_ca_topic_score_gemma":0.00019976201,"teacher_disagreement_score":0.96138906,"about_ca_system_score_codex":0.000034932313,"about_ca_system_score_gemma":0.00007627487,"threshold_uncertainty_score":0.9997864},"labels":[],"label_agreement":null},{"id":"W1828529702","doi":"10.33137/rr.v31i1.11388","title":"The Sexual Identities of Moll Cutpurse in Dekker and Middleton’s &lt;i&gt;The Roaring Girl&lt;/i&gt; and in London","year":2009,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Girl; Prerogative; Ideal (ethics); Human sexuality; Gender studies; Sociology; Hermaphrodite; Art; Psychoanalysis; Psychology; Philosophy; Developmental psychology; Law; Political science; Politics; Epistemology","score_opus":0.014861530902408344,"score_gpt":0.21852985433514965,"score_spread":0.2036683234327413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1828529702","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9742258,0.013440819,0.00000192398,0.00066946377,0.00008476601,0.00014069742,0.0000042595434,0.00001044192,0.011421784],"genre_scores_gemma":[0.9926121,0.0061309873,0.000005082834,0.00006504373,0.000098493474,0.00000933712,0.000003511156,0.0000041275275,0.0010712803],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9993504,0.000027558432,0.00025935954,0.00009327818,0.00010708684,0.00016226192],"domain_scores_gemma":[0.99972856,0.000037506674,0.000089842906,0.000098091354,0.000029244175,0.000016769814],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002785402,0.00010375474,0.00014760111,0.00008398226,0.00038972843,0.00009753633,0.0000576734,0.000032423468,0.0000048398965],"category_scores_gemma":[0.000008072262,0.000055560075,0.000013953918,0.000045515073,0.00029319385,0.00058041106,0.000033119846,0.00008950292,0.0000014879918],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005983921,0.00016486306,0.031005193,0.0008592908,0.00011470256,0.00001019434,0.45493206,0.00019839821,0.0048026782,0.18899906,0.0073003364,0.31101483],"study_design_scores_gemma":[0.0035688246,0.0008209653,0.62199664,0.0011154474,0.00009113532,0.00006260472,0.044906612,0.0038566552,0.0021250297,0.017086921,0.3035299,0.000839299],"about_ca_topic_score_codex":0.00008545339,"about_ca_topic_score_gemma":0.0062897378,"teacher_disagreement_score":0.59099144,"about_ca_system_score_codex":0.000015998745,"about_ca_system_score_gemma":0.000007716266,"threshold_uncertainty_score":0.35098213},"labels":[],"label_agreement":null},{"id":"W1840626959","doi":"10.3968/j.ccc.1923670020060201.012","title":"Beyond the Stage Colors: an Analysis of light colors in Death of a Salesman","year":2010,"lang":"en","type":"article","venue":"Cross-cultural communication","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theme (computing); Drama; Humanities; Art; Perspective (graphical); Art history; Literature; Visual arts; Computer science","score_opus":0.03056814904773846,"score_gpt":0.3195159282593896,"score_spread":0.28894777921165116,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1840626959","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9638286,0.00018421836,1.5060455e-7,0.0003447062,0.000060780767,0.00012508298,0.000060484428,0.000016351856,0.0353796],"genre_scores_gemma":[0.9986422,0.00012342374,0.00003316878,0.000047470458,0.000036342186,0.000020770298,0.00012350734,0.0000049495684,0.0009681392],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9993125,0.00006593217,0.0003150196,0.000089826775,0.000106512554,0.00011018633],"domain_scores_gemma":[0.99879396,0.0000972766,0.00020186213,0.0005910463,0.00029837515,0.000017457605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003245685,0.00009285655,0.0002319656,0.00009435433,0.00043585847,0.000109316774,0.00047315835,0.000042141288,0.0002644302],"category_scores_gemma":[0.000025019872,0.00005487335,0.000092809685,0.00013955293,0.0008069049,0.00048607096,0.00010028822,0.00019832932,0.0000036069557],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013320611,0.00025606397,0.21689913,0.000045122524,0.00043459225,2.6601325e-7,0.2549467,0.00016390278,0.008591657,0.51686376,0.00020989521,0.0014557098],"study_design_scores_gemma":[0.00086054316,0.0003498511,0.7453215,0.00004358671,0.0006101462,7.697991e-7,0.063336544,0.0013285993,0.0081143975,0.0028316882,0.17681141,0.00039095388],"about_ca_topic_score_codex":0.0018523576,"about_ca_topic_score_gemma":0.08909802,"teacher_disagreement_score":0.52842236,"about_ca_system_score_codex":0.000014611807,"about_ca_system_score_gemma":0.000012994321,"threshold_uncertainty_score":0.92752355},"labels":[],"label_agreement":null},{"id":"W1853994123","doi":"10.3968/j.css.1923669720110706.139","title":"Healing the Hole in the Soul: Colored Girls in Search for Agency and Self-Affirmation","year":2011,"lang":"en","type":"article","venue":"Canadian social science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Soul; Colored; Silence; Agency (philosophy); Victory; Motif (music); Gender studies; Dance; Solidarity; Aesthetics; Psychology; Sociology; Politics; Literature; Art; Law; Philosophy; Political science; Theology","score_opus":0.06699165387035137,"score_gpt":0.2689194186014477,"score_spread":0.2019277647310963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1853994123","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8725066,0.00007635742,8.300463e-7,0.0013655092,0.0001095513,0.00025379373,0.00001388704,0.0000051646425,0.1256683],"genre_scores_gemma":[0.99920887,0.000015556943,0.0000073291767,0.0005375019,0.00014102389,0.00002874356,6.541079e-7,0.0000018168635,0.000058519698],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995035,0.000024358442,0.00006965207,0.00007584603,0.00008376086,0.00024290844],"domain_scores_gemma":[0.99985075,0.00003066589,0.000013491635,0.000041961634,0.000032433418,0.000030725547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076194823,0.000037092195,0.00004610692,0.000070565,0.0012564214,0.000089383444,0.00017257522,0.000012530877,0.000026095355],"category_scores_gemma":[0.000007973344,0.000022745597,0.000010982447,0.000118210264,0.00045297996,0.00016350891,0.000011484193,0.00005874181,0.0000033697747],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000026446476,0.000006843674,0.0066442518,0.0000071719946,0.0000012949123,6.6772725e-7,0.8627327,4.0546846e-7,0.0000044698695,0.12520748,0.00048316002,0.004908909],"study_design_scores_gemma":[0.0005234107,0.00015653107,0.32431135,0.000028048198,0.000013315655,0.0000012431508,0.45481873,0.000717823,0.00007578182,0.0059062466,0.2131447,0.00030282777],"about_ca_topic_score_codex":0.049771685,"about_ca_topic_score_gemma":0.55523884,"teacher_disagreement_score":0.5054672,"about_ca_system_score_codex":0.00006708464,"about_ca_system_score_gemma":0.00016211809,"threshold_uncertainty_score":0.96635056},"labels":[],"label_agreement":null},{"id":"W1861319988","doi":"","title":"Power From Pinteresque Discourse in The Birthday Party","year":2013,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Power (physics); Hegemony; Theme (computing); Politics; Terminology; Element (criminal law); Literature; Period (music); Michel foucault; Sociology; Philosophy; Aesthetics; Law; Political science; Art; Linguistics","score_opus":0.01593511400324034,"score_gpt":0.2814284055138688,"score_spread":0.26549329151062845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1861319988","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8939027,0.05306974,1.0037477e-7,0.0015668098,0.00039103284,0.00017480648,0.00005864577,0.000016053607,0.050820094],"genre_scores_gemma":[0.9950694,0.00096990814,0.0000075503226,0.0013960925,0.00050212105,0.000070321126,0.000014583483,0.000007108158,0.0019629335],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99935144,0.000059303704,0.00015591289,0.00015807497,0.00007828547,0.0001969565],"domain_scores_gemma":[0.99964154,0.0001296171,0.000026698955,0.00016107266,0.000027093221,0.000013971279],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000114599185,0.00014389696,0.00019666755,0.000063843625,0.00014522125,0.00016328323,0.00010978659,0.000027968686,0.00046872307],"category_scores_gemma":[0.000018092167,0.00007150822,0.000034468885,0.000053731354,0.00030154758,0.00027156202,0.00006692031,0.0002232243,0.000028117018],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000111657255,0.000032871467,0.0025170257,0.00002584426,0.00004385705,0.000037163576,0.9654124,1.14078496e-7,0.000011799379,0.010831093,0.01952077,0.0015559379],"study_design_scores_gemma":[0.0005545753,0.00011197327,0.013620263,0.00048158623,0.000014957806,0.0000038048845,0.7922174,0.0000032822775,0.000015966622,0.006104364,0.18661217,0.00025967814],"about_ca_topic_score_codex":0.00057004543,"about_ca_topic_score_gemma":0.0068351612,"teacher_disagreement_score":0.17319499,"about_ca_system_score_codex":0.0000085143465,"about_ca_system_score_gemma":0.0000029447117,"threshold_uncertainty_score":0.5132189},"labels":[],"label_agreement":null},{"id":"W186530694","doi":"10.55016/ojs/ajer.v48i3.54931","title":"Your Story/My Story/Our Story: Performing Interpretation in Participatory Theatre","year":2002,"lang":"en","type":"article","venue":"Alberta Journal of Educational Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Interpretation (philosophy); Citizen journalism; Humanities; Sociology; Participatory culture; Art; Media studies; Computer science; Linguistics; Philosophy; World Wide Web","score_opus":0.18832317215607983,"score_gpt":0.3896198163981802,"score_spread":0.2012966442421004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W186530694","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83383256,0.003673848,4.2305234e-7,0.024938507,0.0008792286,0.00012405447,0.0000038401786,0.0000012789983,0.13654624],"genre_scores_gemma":[0.95058346,0.00029457672,0.000011848422,0.000118221906,0.001824557,0.000024227904,0.0000027735882,0.000018907802,0.04712144],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980494,0.00044505092,0.00034380733,0.00015601158,0.0005892334,0.00041653574],"domain_scores_gemma":[0.9959601,0.0030986166,0.00016135117,0.00016089962,0.00048740307,0.00013160217],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001631704,0.0001385081,0.00023122855,0.0005889364,0.0007746641,0.000101001075,0.00030159307,0.000043672328,0.011367511],"category_scores_gemma":[0.0008032516,0.00011247313,0.00010761955,0.000117071766,0.00020867832,0.00074646034,0.00004538092,0.0010330733,0.0005894651],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004215947,0.0011512976,0.08763912,0.00018858798,0.00032926007,0.0000059793974,0.56896204,0.00019351946,0.00013891424,0.03496804,0.28165382,0.024347812],"study_design_scores_gemma":[0.00087777653,0.000723344,0.01337094,0.00045398838,0.00006297956,0.000036840815,0.15421154,0.00066575495,0.000055393226,0.00062343647,0.8285795,0.0003385506],"about_ca_topic_score_codex":0.00032540088,"about_ca_topic_score_gemma":0.0060728923,"teacher_disagreement_score":0.54692566,"about_ca_system_score_codex":0.00030336462,"about_ca_system_score_gemma":0.00028113922,"threshold_uncertainty_score":0.9895362},"labels":[],"label_agreement":null},{"id":"W188324398","doi":"10.1353/tj.2013.0128","title":"Reading Modern Drama ed. by Alan Ackerman (review)","year":2013,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Interculturalism; Reading (process); Literature; Sociology; Discipline; History; Aesthetics; Art; Philosophy; Social science; Linguistics","score_opus":0.013682926523545512,"score_gpt":0.23033564800704903,"score_spread":0.2166527214835035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W188324398","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.087415524,0.09639165,0.000051628445,0.009687771,0.0016465682,0.0004520575,0.00005045165,0.00017969166,0.80412465],"genre_scores_gemma":[0.88805133,0.08067075,0.000057049998,0.0036182841,0.0042098826,0.000027867636,0.000022757824,0.000054623175,0.023287479],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989489,0.000047075024,0.00030950402,0.00011922369,0.00021014868,0.0003651693],"domain_scores_gemma":[0.99946195,0.000031200165,0.0001180094,0.00016826093,0.000100953,0.0001196162],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020903675,0.00018708718,0.000277045,0.000052646534,0.0007018042,0.00021083331,0.00021362191,0.00002867513,0.010348103],"category_scores_gemma":[0.0000036401257,0.000124374,0.00013176064,0.000020559768,0.00011273053,0.00051842874,0.00004356323,0.00032149788,0.0015014815],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000051946085,0.00002892143,0.00021501855,0.000063093095,0.00007191771,0.00000312261,0.0066048154,5.7684395e-7,0.00013620572,0.0005408464,0.88339573,0.108934574],"study_design_scores_gemma":[0.00026418618,0.00010523605,0.00008051744,0.0005404077,0.000076872086,0.000104075356,0.0019179664,0.000092793154,0.0000523751,0.0029752206,0.9935354,0.00025494702],"about_ca_topic_score_codex":0.00011541225,"about_ca_topic_score_gemma":0.000028238626,"teacher_disagreement_score":0.80063576,"about_ca_system_score_codex":0.000031088068,"about_ca_system_score_gemma":0.000018575112,"threshold_uncertainty_score":0.999276},"labels":[],"label_agreement":null},{"id":"W1892932565","doi":"10.29173/cmplct8716","title":"Complexity, Teacher Education and the Restless Jury: Pedagogical Moments of Performance","year":2004,"lang":"en","type":"article","venue":"Complicity An International Journal of Complexity and Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":42,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Drama; Jury; Psychology; Mathematics education; Pedagogy; Visual arts; Art; Political science; Law","score_opus":0.16794108341726757,"score_gpt":0.36514174260531734,"score_spread":0.19720065918804977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1892932565","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9824663,0.00039084646,0.00008808053,0.0033334794,0.0009696087,0.000105356085,0.000012140089,0.0000065734575,0.0126276165],"genre_scores_gemma":[0.99735224,0.00044990555,0.00031970232,0.00037016248,0.0010500946,0.000005376455,0.00001921177,0.000005462482,0.000427851],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.99909306,0.000063388004,0.00037756827,0.00009938502,0.00027386175,0.000092718365],"domain_scores_gemma":[0.9988953,0.000040705978,0.00032696163,0.00010360256,0.0005735613,0.000059891543],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034836188,0.00010807223,0.00021551953,0.00012252927,0.00032401964,0.00013047115,0.00027981578,0.000024386303,0.00012773584],"category_scores_gemma":[0.000021371876,0.000074562806,0.000053425156,0.000027139586,0.0010879952,0.0005838562,0.00007115452,0.00017564405,0.0000025826098],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004188489,0.00091272936,0.006099556,0.000047389167,0.00008218278,1.2591687e-7,0.03346196,0.000016647617,0.00003300041,0.933435,0.0003293196,0.025163224],"study_design_scores_gemma":[0.0038173366,0.00080217945,0.4401339,0.0005392637,0.00014409926,0.00024772368,0.036362413,0.00027426446,0.00031740754,0.42879996,0.08815666,0.0004047905],"about_ca_topic_score_codex":0.00043708432,"about_ca_topic_score_gemma":0.00023794228,"teacher_disagreement_score":0.50463504,"about_ca_system_score_codex":0.00005037929,"about_ca_system_score_gemma":0.00018094113,"threshold_uncertainty_score":0.4008764},"labels":[],"label_agreement":null},{"id":"W1901937685","doi":"10.26522/br.v12i2.357","title":"Size Matters: A Consideration of the Canadian “Shoebox Musical\"","year":2012,"lang":"en","type":"article","venue":"The Brock Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Drama; Ethos; Art; Style (visual arts); Aesthetics; Literature; Visual arts; History; Sociology; Law; Political science","score_opus":0.04213385298031583,"score_gpt":0.24436474979261125,"score_spread":0.20223089681229542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1901937685","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040831827,0.37295157,0.000001285997,0.13932972,0.0028327205,0.0021461213,0.00010275934,0.00006525511,0.44173875],"genre_scores_gemma":[0.9629203,0.0054912698,0.0000035179582,0.025577165,0.0005217983,0.000022161707,0.0000011785821,0.0000066768935,0.005455918],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99951786,0.000058097427,0.00014812105,0.000040622836,0.00008222963,0.00015308257],"domain_scores_gemma":[0.9995876,0.000079623016,0.00005966878,0.00020101067,0.000040455958,0.000031617714],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001246785,0.000068220994,0.00014294666,0.000007303508,0.0004913334,0.000022563194,0.00011266151,0.000009779063,0.0016334512],"category_scores_gemma":[0.000032307464,0.000029805076,0.00007404305,0.000022782007,0.00013368172,0.00008501634,0.000028419448,0.00006731969,0.00016974476],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000028399108,0.00002417376,0.000652616,0.0012952591,0.0000771983,1.3976548e-7,0.025210889,3.7861147e-7,0.000019584064,0.04945558,0.91013265,0.013128669],"study_design_scores_gemma":[0.000029262506,0.0000062689833,0.0010842053,0.0005630428,0.0000685019,0.0000030434153,0.00033048564,2.3348996e-7,0.000020407597,0.00025993548,0.99758726,0.000047378882],"about_ca_topic_score_codex":0.014441379,"about_ca_topic_score_gemma":0.3055868,"teacher_disagreement_score":0.9220885,"about_ca_system_score_codex":0.000016274449,"about_ca_system_score_gemma":0.00003612321,"threshold_uncertainty_score":0.9992792},"labels":[],"label_agreement":null},{"id":"W1905482136","doi":"","title":"Saved by the Belles : Les mots de la nuit Saved by the Belles, Canada [Québec] 2002, 90 minutes Saved by the Belles, Canada [Québec] 2002, 90 minutes","year":2003,"lang":"en","type":"article","venue":"Séquences : La revue de cinéma","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.010752682057066053,"score_gpt":0.19295082399269123,"score_spread":0.18219814193562517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1905482136","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13351607,0.2654052,0.000010081801,0.24342783,0.0010543314,0.0014975336,0.003639891,0.00013010734,0.35131896],"genre_scores_gemma":[0.58875734,0.0030199955,0.000024648936,0.0026859478,0.0006353446,0.00021410672,0.00012541281,0.00009198166,0.40444523],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.995793,0.000835216,0.0007772593,0.0006667167,0.0006248638,0.0013029579],"domain_scores_gemma":[0.9956261,0.0026344995,0.00041238303,0.00088937103,0.00019135336,0.00024628724],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008961907,0.00081532804,0.00072485785,0.00005819598,0.0042410214,0.0003755594,0.0014710985,0.00020345532,0.0039033259],"category_scores_gemma":[0.00020930338,0.00047794724,0.00022552336,0.00022033881,0.0016769518,0.0002091838,0.00018137284,0.0008247496,0.000036456917],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035854744,0.000067651425,0.0048315325,0.00007784486,0.0003378328,0.000022025737,0.011969834,0.000028659826,0.00009502399,0.0031694856,0.9745594,0.004804807],"study_design_scores_gemma":[0.000488305,0.00008217618,0.00045855544,0.0001505045,0.00021219005,0.0000889345,0.03186901,0.00016666454,0.0012839831,0.00019341293,0.9643334,0.00067283213],"about_ca_topic_score_codex":0.99802005,"about_ca_topic_score_gemma":0.9999386,"teacher_disagreement_score":0.45524126,"about_ca_system_score_codex":0.00092351245,"about_ca_system_score_gemma":0.0027379973,"threshold_uncertainty_score":0.99976724},"labels":[],"label_agreement":null},{"id":"W1909823988","doi":"10.3968/j.css.1923669720060203.016","title":"Meng jinghui, Pioneer of Experimental Theatre in China","year":2009,"lang":"en","type":"article","venue":"Canadian social science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"China; Art; Art history; Drama; Humanities; Mainstream; Stanislavski's system; Dream; Literature; Political science; Law","score_opus":0.01456634643983362,"score_gpt":0.23907265421894155,"score_spread":0.22450630777910793,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1909823988","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42135862,0.00012437132,6.701326e-8,0.00040373852,0.00012673892,0.000036297013,0.000007768126,0.000005226139,0.5779372],"genre_scores_gemma":[0.99914366,0.0000030485905,0.000003799815,0.00024862768,0.00021306776,0.0000015934448,8.073657e-7,0.0000018778169,0.00038350775],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994486,0.000005734858,0.00008262745,0.00009450521,0.00011813534,0.00025038162],"domain_scores_gemma":[0.9998426,0.0000025030017,0.000018603572,0.000047457666,0.00001992853,0.000068952104],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000120758625,0.000053104442,0.000082831946,0.00013627956,0.00058386096,0.000038546084,0.00014196975,0.00001300417,0.00037862323],"category_scores_gemma":[0.0000022038416,0.000046436773,0.000023667033,0.00011540139,0.00047599163,0.00019888314,0.000008675865,0.000047612066,0.000008140792],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000744895,0.000043248692,0.0048222644,0.0000036967353,0.0000044232243,0.000006221877,0.5157048,9.927991e-7,0.0020652113,0.4257034,0.0033047055,0.048333544],"study_design_scores_gemma":[0.0010089097,0.0005251363,0.12961261,0.00009516283,0.000015661457,0.0000027798649,0.36266682,0.00007700066,0.0077114874,0.0057272627,0.49158907,0.000968114],"about_ca_topic_score_codex":0.019340694,"about_ca_topic_score_gemma":0.08318525,"teacher_disagreement_score":0.577785,"about_ca_system_score_codex":0.00012060759,"about_ca_system_score_gemma":0.00010658443,"threshold_uncertainty_score":0.9871896},"labels":[],"label_agreement":null},{"id":"W1912352852","doi":"10.3138/md.2931","title":"Learning from the Dramaturg: Suzan-Lori Parks’s<i>The America Play</i>in the Literature Classroom","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Yale University","keywords":"Drama; Textuality; Poetics; Art; Theatre studies; Visual arts; Dance; Performance art; Political theatre; Sociology; Aesthetics; Literature; Art history","score_opus":0.027244118871425048,"score_gpt":0.22757117943148408,"score_spread":0.20032706056005903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1912352852","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8027585,0.014908187,0.00008199161,0.034657348,0.0016814094,0.0005888904,0.00009798869,0.00018117433,0.14504449],"genre_scores_gemma":[0.98836404,0.00022923974,0.000011584262,0.0032953336,0.002178379,0.000054815428,0.00005178371,0.000022935683,0.0057918606],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99862385,0.00023022325,0.00021616861,0.0002265003,0.0003391271,0.00036414576],"domain_scores_gemma":[0.9989039,0.0004569981,0.00008993075,0.00043074944,0.000079895035,0.000038545157],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003609518,0.00022464983,0.00021060981,0.000028378834,0.00092727295,0.0008354766,0.00057785906,0.00005924865,0.00013414385],"category_scores_gemma":[0.000046886358,0.000095026895,0.00010662914,0.00009059455,0.0003317653,0.00024283085,0.00010244257,0.0007928542,0.00016925136],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008566373,0.00004719867,0.0022190963,0.000006707096,0.000064904365,0.000014281057,0.9021461,0.00047309516,0.000006267264,0.005272382,0.07124233,0.018421948],"study_design_scores_gemma":[0.00032071746,0.00008916153,0.0009403386,0.00005662124,0.00003202782,0.000003512387,0.059480872,0.0016098334,0.0000051924917,0.008389562,0.92890286,0.00016932702],"about_ca_topic_score_codex":0.0009110096,"about_ca_topic_score_gemma":0.0022304354,"teacher_disagreement_score":0.85766053,"about_ca_system_score_codex":0.000022871074,"about_ca_system_score_gemma":0.00003243777,"threshold_uncertainty_score":0.805652},"labels":[],"label_agreement":null},{"id":"W1913495179","doi":"","title":"The House on Lippincott","year":2006,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.019622418714573164,"score_gpt":0.2124823238556861,"score_spread":0.19285990514111295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1913495179","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.594257,0.0028695578,4.3774552e-8,0.0024448934,0.0015698901,0.00015304705,0.00005075607,0.00012601275,0.3985288],"genre_scores_gemma":[0.94740844,0.0003384899,0.0000013669762,0.0014407039,0.0016284818,0.000096838725,0.0000014700137,0.00002340195,0.049060818],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990114,0.000017890734,0.00014895592,0.00014353752,0.00011304386,0.00056518184],"domain_scores_gemma":[0.9994709,0.0001267991,0.00003529126,0.00019331012,0.000086514876,0.00008719446],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001266672,0.00015937064,0.00017052863,0.000088758716,0.002652231,0.00013482827,0.0001422484,0.000017523738,0.0001776815],"category_scores_gemma":[0.000019494737,0.00009662662,0.000046944893,0.000039483846,0.00049360783,0.00007020597,0.000025899832,0.000099428995,0.00051550014],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021978542,0.000018628542,0.000575468,0.000023800703,0.00028378688,0.000020002139,0.07868347,0.0000117388645,0.0000012184227,0.6590625,0.2579399,0.0033574991],"study_design_scores_gemma":[0.000111217036,0.0000943385,0.0002090521,0.000013768185,0.000008528831,5.460198e-7,0.09258602,8.596537e-7,0.00000597743,0.011698086,0.8951302,0.00014138335],"about_ca_topic_score_codex":0.0041173743,"about_ca_topic_score_gemma":0.5380303,"teacher_disagreement_score":0.64736444,"about_ca_system_score_codex":0.00026894402,"about_ca_system_score_gemma":0.00006940512,"threshold_uncertainty_score":0.9986462},"labels":[],"label_agreement":null},{"id":"W1917031890","doi":"10.59418/olhares.v2i1.23","title":"A metodologia de Keith Johnstone: uma linguagem para o teatro","year":2015,"lang":"pt","type":"article","venue":"Olhares","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Humanities; Philosophy; Sociology; Psychology","score_opus":0.10996608156734608,"score_gpt":0.313031846827037,"score_spread":0.20306576525969092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1917031890","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6453944,0.04550541,0.00002819139,0.0017162717,0.0025571813,0.00036871733,0.00029804514,0.00031915164,0.30381265],"genre_scores_gemma":[0.9112797,0.0012719346,0.00014680122,0.00068273506,0.0030892466,0.000033811393,0.000029097895,0.000047520498,0.0834192],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99814,0.00013985645,0.0003500626,0.00035200847,0.00029620077,0.0007219239],"domain_scores_gemma":[0.9989362,0.00012616522,0.00014465806,0.0003865691,0.00018759367,0.00021883415],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000511459,0.0003849972,0.00048780313,0.00014805987,0.0006854502,0.00030907383,0.00033431925,0.00013003846,0.002157354],"category_scores_gemma":[0.00011904952,0.00030361372,0.0001837347,0.0000767895,0.00038563105,0.00027307463,0.00019821561,0.00035448498,0.0012656266],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005630245,0.00033243911,0.020413304,0.00028885555,0.0008609479,0.000190072,0.4162058,0.0000693674,0.000085201,0.020809757,0.5017143,0.038466938],"study_design_scores_gemma":[0.00083188567,0.00064167794,0.0028433779,0.00017922198,0.00023095588,0.000022061908,0.046360575,0.00010159563,0.00042927355,0.0007118472,0.94709563,0.00055187277],"about_ca_topic_score_codex":0.0011790345,"about_ca_topic_score_gemma":0.002100537,"teacher_disagreement_score":0.44538134,"about_ca_system_score_codex":0.00010391908,"about_ca_system_score_gemma":0.00019644498,"threshold_uncertainty_score":0.9999416},"labels":[],"label_agreement":null},{"id":"W1922362915","doi":"10.3968/j.ccc.1923670020100601.007","title":"The Localization of Eugene O’Neill’s Play Desire under the Elms on China’s Stage","year":2010,"lang":"en","type":"article","venue":"Cross-cultural communication","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"China; Humanities; Philosophy; Chinese culture; Japanese culture; Ethnology; Sociology; Political science; Linguistics; Law","score_opus":0.03519269776689839,"score_gpt":0.3076708224237218,"score_spread":0.2724781246568234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1922362915","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9341096,0.0006017278,0.000010477179,0.0020106293,0.0003482147,0.00019709258,0.00002664888,0.000048645503,0.06264694],"genre_scores_gemma":[0.99302197,0.0005947902,0.000009395625,0.00018887625,0.00016479257,0.000022881171,0.000060830167,0.000009584894,0.0059268894],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935275,0.000064646796,0.00021490287,0.0000858532,0.00014565246,0.00013616431],"domain_scores_gemma":[0.99878633,0.0001371781,0.00015253093,0.0006608259,0.00024693867,0.000016180511],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00029829776,0.000112510075,0.00009536789,0.0000141153205,0.0030669423,0.00039793973,0.00050511956,0.00003972072,0.00014392246],"category_scores_gemma":[0.000031476873,0.000050678165,0.000060405313,0.000038306247,0.0013750939,0.00032409446,0.000102169026,0.00027110425,0.00003279565],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000064715045,0.00004906358,0.0006829692,0.000016041564,0.000053526102,5.328257e-8,0.03344978,0.0005386892,0.0006895065,0.95116925,0.0022792981,0.011007097],"study_design_scores_gemma":[0.00036238472,0.00010777713,0.025957692,0.000036772097,0.000027005954,0.0000012969103,0.015382841,0.0006322842,0.0040695863,0.005640453,0.9475797,0.00020224824],"about_ca_topic_score_codex":0.00030692865,"about_ca_topic_score_gemma":0.004500507,"teacher_disagreement_score":0.9455288,"about_ca_system_score_codex":0.000016733211,"about_ca_system_score_gemma":0.000014277856,"threshold_uncertainty_score":0.99823093},"labels":[],"label_agreement":null},{"id":"W1923138630","doi":"","title":"What did that poem mean","year":2002,"lang":"en","type":"article","venue":"Europe PMC (PubMed Central)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"College of Family Physicians of Canada","funders":"","keywords":"Darkness; Ribbon; Art; Poetry; Computer graphics (images); Cigarette smoke; Computer science; Optics; Visual arts; Materials science; Physics; Medicine; Literature; Composite material","score_opus":0.04542662965370194,"score_gpt":0.20186134844887393,"score_spread":0.15643471879517198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1923138630","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3985255,0.008453112,0.0000018184894,0.0034763815,0.007132775,0.0003618324,0.000029894547,0.0003201881,0.5816985],"genre_scores_gemma":[0.89228,0.0084926635,0.000006515235,0.00083868485,0.0018680934,0.000026360432,0.0000071957506,0.000038484537,0.09644199],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99836135,0.000052166928,0.00019177239,0.00026764921,0.00023799021,0.00088909996],"domain_scores_gemma":[0.9993918,0.000031136104,0.00006506684,0.00029391437,0.000048870363,0.0001692028],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012202392,0.00022220035,0.00020767201,0.000060303657,0.00041223795,0.0005050154,0.00023963825,0.000024599598,0.005474457],"category_scores_gemma":[0.000012000024,0.0001702779,0.00009697134,0.00005562349,0.00018974164,0.00090342946,0.00007803766,0.00016771468,0.0013015727],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040896615,0.00021784399,0.0089525515,0.00006620319,0.0001964062,0.00006873968,0.6125822,0.0000047180947,0.000015328222,0.023229744,0.20456316,0.15006222],"study_design_scores_gemma":[0.00027954578,0.000037487152,0.004927623,0.00003542337,0.000031447544,0.0000046276487,0.0046356185,0.000011496556,0.00023351856,0.00010073189,0.9894558,0.0002466499],"about_ca_topic_score_codex":0.00003005088,"about_ca_topic_score_gemma":0.0003414685,"teacher_disagreement_score":0.7848927,"about_ca_system_score_codex":0.000032775468,"about_ca_system_score_gemma":0.0000056184504,"threshold_uncertainty_score":0.999476},"labels":[],"label_agreement":null},{"id":"W1925171779","doi":"10.1162/dram_a_00456","title":"In the Domain of <i>The Nether</i>: Theatre and Virtuality in a World without Consequence","year":2015,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Defence Research and Development Canada","funders":"","keywords":"Virtuality (gaming); Art; Aesthetics; Computer science; Artificial intelligence","score_opus":0.055517511547478436,"score_gpt":0.2867352668418345,"score_spread":0.23121775529435604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1925171779","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40540978,0.32222965,0.0000010077991,0.07222901,0.00045000273,0.0020469388,0.00004174068,0.000024996843,0.19756685],"genre_scores_gemma":[0.97909224,0.011033923,0.000008068604,0.008323089,0.00013959383,0.000069069356,8.4638793e-7,0.000008355414,0.0013248303],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987367,0.00046455231,0.00032991866,0.00012195918,0.00017907967,0.00016781103],"domain_scores_gemma":[0.9992644,0.00018141781,0.00011424997,0.00038361494,0.000036417572,0.000019857216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017673484,0.00013145356,0.00032515882,0.0000256244,0.00013602404,0.00003957016,0.0003405698,0.000015522437,0.00010617174],"category_scores_gemma":[0.000033717683,0.000053020103,0.00006370748,0.00014450241,0.0006941149,0.00010354581,0.000077861245,0.00021072659,0.000018578574],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017697923,0.00029885396,0.03113801,0.00393997,0.000110390625,0.00003304467,0.419326,0.0000064079836,0.00004150245,0.43604794,0.061584454,0.047296427],"study_design_scores_gemma":[0.00031425324,0.00003905794,0.0013031581,0.0018275855,0.000037699116,0.0000180203,0.0054945275,0.0000031241343,0.0000062958993,0.009491545,0.98135614,0.00010856713],"about_ca_topic_score_codex":0.0010755298,"about_ca_topic_score_gemma":0.015965061,"teacher_disagreement_score":0.91977173,"about_ca_system_score_codex":0.000015791025,"about_ca_system_score_gemma":0.000045543708,"threshold_uncertainty_score":0.8908879},"labels":[],"label_agreement":null},{"id":"W1927120829","doi":"10.3138/md.2015.58.3.403","title":"Mary Luckhurst and Emilie Morin, eds., <i>Theatre and Ghosts: Materiality, Performance and Modernity</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernity; Materiality (auditing); Scholarship; Art; Key (lock); Art history; Literature; Aesthetics; Philosophy; Epistemology; Political science; Law; Computer science","score_opus":0.027968062029263285,"score_gpt":0.21961751302076385,"score_spread":0.19164945099150058,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1927120829","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9380056,0.004853167,0.000009217304,0.0006136198,0.00035492593,0.00015763141,0.00006840113,0.00008887505,0.055848535],"genre_scores_gemma":[0.9928422,0.0020483846,0.000040017032,0.00037377342,0.00062130345,0.000020077743,0.000013433183,0.000027145266,0.0040136757],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99899495,0.000029117598,0.00020338982,0.00029816412,0.00017067917,0.0003037097],"domain_scores_gemma":[0.99950886,0.000024466832,0.00004882535,0.0001998033,0.00006817804,0.00014988001],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020005066,0.00024161758,0.00028794244,0.000059436992,0.00044672404,0.00032667708,0.00008695379,0.000059487607,0.00005624788],"category_scores_gemma":[0.0000045070683,0.000196513,0.000022004937,0.000016342625,0.000455148,0.0005130767,0.00024003732,0.00012603273,0.000018593097],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011717059,0.00030370898,0.13471751,0.0017225452,0.00037349277,0.00004366875,0.3183573,0.00004134156,0.0006090645,0.014899306,0.027473029,0.50028735],"study_design_scores_gemma":[0.00457456,0.0011434015,0.01618552,0.00038627614,0.00027746498,0.00018907253,0.013483906,0.014314495,0.00066755136,0.03154476,0.9153187,0.0019142652],"about_ca_topic_score_codex":0.00030204462,"about_ca_topic_score_gemma":0.00038798837,"teacher_disagreement_score":0.8878457,"about_ca_system_score_codex":0.000017730299,"about_ca_system_score_gemma":0.000021996033,"threshold_uncertainty_score":0.8013568},"labels":[],"label_agreement":null},{"id":"W1935413060","doi":"","title":"When All the World's a Stage but the Audience Is a Tree","year":2005,"lang":"en","type":"article","venue":"The Journal of Macrodynamic Analysis (Memorial University of Newfoundland)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Acadia University","funders":"","keywords":"Stage (stratigraphy); Tree (set theory); Mathematics; Psychology; Combinatorics; Geology; Paleontology","score_opus":0.017349845693697002,"score_gpt":0.2219720588363609,"score_spread":0.2046222131426639,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1935413060","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93124807,0.00068584445,0.0004369152,0.026527043,0.00070614286,0.00017012609,0.00007677122,0.000015915068,0.04013315],"genre_scores_gemma":[0.946023,0.0007053112,0.000036600788,0.0004062961,0.0014433546,7.934979e-8,0.0000022250838,0.000006507436,0.05137662],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998662,0.00019828657,0.00033786832,0.0001078707,0.00045478743,0.00023918536],"domain_scores_gemma":[0.9983201,0.0003740094,0.00064167543,0.00037318966,0.0002439737,0.000047065656],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010230937,0.00016626374,0.00041937685,0.00021988152,0.0010577254,0.000078869,0.0010989325,0.000026017948,0.0022194264],"category_scores_gemma":[0.000013483143,0.00007937293,0.00052589516,0.00023353899,0.00084900466,0.00031047594,0.00015428067,0.00032524462,0.000031004274],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0051687546,0.0004528117,0.00943107,0.00005785224,0.02510757,0.00005877338,0.7830659,0.01632718,0.00032153484,0.022797573,0.10898275,0.028228214],"study_design_scores_gemma":[0.0013443152,0.00022004017,0.00475344,0.000029597795,0.006959751,0.000015178597,0.055247456,0.006156823,0.000007659707,0.00095661916,0.92407495,0.00023414819],"about_ca_topic_score_codex":0.005699031,"about_ca_topic_score_gemma":0.3209138,"teacher_disagreement_score":0.8150922,"about_ca_system_score_codex":0.0001125616,"about_ca_system_score_gemma":0.000067143614,"threshold_uncertainty_score":0.9986927},"labels":[],"label_agreement":null},{"id":"W1939644876","doi":"10.7202/1032444ar","title":"Opening Night et la remédiation théâtrale. « Film-balade » ou film « tragique » ?","year":2015,"lang":"fr","type":"article","venue":"Études littéraires","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Altarpiece; Philosophy; Art history; Painting","score_opus":0.04224440365636767,"score_gpt":0.2772574236768212,"score_spread":0.23501302002045354,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1939644876","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.117949516,0.026825732,0.000022458542,0.022547618,0.002481709,0.00041597875,0.0006222881,0.00024289388,0.8288918],"genre_scores_gemma":[0.84211564,0.0035202696,0.0001774383,0.0011578666,0.0025735234,0.00006789608,0.00014150639,0.00005525532,0.15019062],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977589,0.00033489853,0.0005071741,0.00041168934,0.00038561324,0.00060167257],"domain_scores_gemma":[0.99877286,0.00030673287,0.0001842044,0.00034055772,0.00018797947,0.00020767491],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008123448,0.00043586543,0.00046263984,0.00012743074,0.00058568706,0.0005571391,0.00032196453,0.00021320903,0.00093277334],"category_scores_gemma":[0.00010500187,0.0003829183,0.00020656796,0.00009721109,0.00049097673,0.0010422784,0.00014346982,0.0004812014,0.00034000367],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012666699,0.00023249592,0.001966751,0.00026671146,0.00026984897,0.00005047005,0.07583773,0.00052437995,0.000013494482,0.7461578,0.16173162,0.012822034],"study_design_scores_gemma":[0.0007940352,0.00033276697,0.0031363727,0.00038944997,0.00011490042,0.000026430327,0.0119494675,0.00028889763,0.00013596105,0.0022512074,0.9800735,0.0005070094],"about_ca_topic_score_codex":0.0015604602,"about_ca_topic_score_gemma":0.0062298086,"teacher_disagreement_score":0.8183419,"about_ca_system_score_codex":0.00010249921,"about_ca_system_score_gemma":0.00026876503,"threshold_uncertainty_score":0.9999805},"labels":[],"label_agreement":null},{"id":"W1950379847","doi":"10.15210/interfaces.v6i1.6922","title":"Teatro e educação na obra de Tara Goldstein.","year":2012,"lang":"pt","type":"article","venue":"LA Referencia (Red Federada de Repositorios Institucionales de Publicaciones Científicas)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Sociology; Ethnography; Art; Anthropology","score_opus":0.028861003436815167,"score_gpt":0.24955731347399765,"score_spread":0.22069631003718249,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1950379847","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22012895,0.0153244035,0.00041418057,0.025079885,0.010856992,0.001285663,0.0005311263,0.0008762333,0.72550255],"genre_scores_gemma":[0.97796166,0.00093995646,0.0004088974,0.0007640783,0.008118403,0.00026768717,0.00019165383,0.00013878525,0.011208891],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99414986,0.00054405554,0.0011507855,0.00086839765,0.00096689374,0.0023199911],"domain_scores_gemma":[0.9965729,0.00035137864,0.00057610107,0.00092804176,0.0005069803,0.0010645789],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011201226,0.0010357591,0.0009817535,0.00060126564,0.0028524362,0.00073841563,0.0008928104,0.0007058251,0.00091996946],"category_scores_gemma":[0.00024227668,0.000967578,0.00061526813,0.00039666175,0.00011723115,0.0015740437,0.00046210297,0.001287765,0.00030524377],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030559255,0.0012739205,0.004044643,0.0003653952,0.0006652148,0.00006610854,0.052233264,0.0000185621,0.00046812312,0.91953665,0.017242428,0.0037801065],"study_design_scores_gemma":[0.0011871085,0.00019166517,0.00540771,0.00034079704,0.0003954843,0.00080557336,0.009999688,0.00013024679,0.00049644907,0.00027084738,0.97964746,0.0011270012],"about_ca_topic_score_codex":0.000015661128,"about_ca_topic_score_gemma":0.0005015656,"teacher_disagreement_score":0.962405,"about_ca_system_score_codex":0.0011135857,"about_ca_system_score_gemma":0.00090213906,"threshold_uncertainty_score":0.9999933},"labels":[],"label_agreement":null},{"id":"W1952065666","doi":"","title":"\"The way it works\" doesn't: Theatre of the Oppressed as Critical Pedagogy and Counternarrative","year":2013,"lang":"en","type":"article","venue":"Canadian Journal of Education / Revue canadienne de l éducation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Pedagogy; Citizenship; Sociology; Identity (music); Ambiguity; Futures contract; Critical pedagogy; Refugee; Critical race theory; Gender studies; Race (biology); Political science; Art; Politics; Aesthetics; Linguistics","score_opus":0.03231510959511325,"score_gpt":0.2773247570729478,"score_spread":0.24500964747783455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1952065666","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9010053,0.001956595,0.000002162167,0.076855734,0.0048646564,0.00016414907,0.000013330224,0.0000017788963,0.015136288],"genre_scores_gemma":[0.9914264,0.00013677536,0.000011857853,0.0010101248,0.0010061007,0.000022629021,0.000002425849,0.00001053973,0.006373146],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914557,0.00008416419,0.00032527526,0.0000887078,0.000057648736,0.0002986646],"domain_scores_gemma":[0.99824005,0.00022043633,0.00022065565,0.00018783487,0.000784654,0.00034635531],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000315655,0.00010333051,0.00014257427,0.00011504771,0.0006993944,0.00021794498,0.0002515049,0.000038398284,0.0007444008],"category_scores_gemma":[0.00031565368,0.0000661471,0.000060546645,0.000060474522,0.00045490637,0.0003461757,0.000007691322,0.0001910243,0.0000091234815],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015974345,0.00004039649,0.0044642896,0.0000933127,0.000099597884,0.000001622736,0.73782915,0.000012337201,0.00007487011,0.09982015,0.13245566,0.02509263],"study_design_scores_gemma":[0.00012833046,0.00010785223,0.014038064,0.00040840686,0.00007332214,0.00013006155,0.42473462,0.00001935753,0.00006793,0.01230095,0.5478504,0.00014073866],"about_ca_topic_score_codex":0.068089396,"about_ca_topic_score_gemma":0.8405912,"teacher_disagreement_score":0.7725018,"about_ca_system_score_codex":0.00039411374,"about_ca_system_score_gemma":0.002994418,"threshold_uncertainty_score":0.93811625},"labels":[],"label_agreement":null},{"id":"W1956189704","doi":"10.26522/br.v12i2.403","title":"Why Canadians Can't Write Musicals","year":2012,"lang":"en","type":"article","venue":"The Brock Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Theatre director; Aesthetics; Visual arts; History; Sociology; Public relations; Literature; Art; Political science","score_opus":0.044220949960302854,"score_gpt":0.25066909992118946,"score_spread":0.20644814996088662,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1956189704","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023526791,0.64557225,0.0000012704339,0.021341722,0.0008867107,0.00041948407,0.000065220054,0.00006378643,0.3292969],"genre_scores_gemma":[0.342556,0.30473012,0.000012287238,0.2410435,0.00807497,0.00018168057,0.000026715428,0.00005631342,0.10331845],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937284,0.000042654305,0.00014787223,0.000062677405,0.00008880214,0.0002851692],"domain_scores_gemma":[0.9996001,0.000041367486,0.000040601353,0.00021759751,0.000031997643,0.00006833868],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010966295,0.000103568855,0.00020134286,0.000013615384,0.00041709843,0.000026652042,0.00014933881,0.0000102960275,0.0029999388],"category_scores_gemma":[0.0000117911995,0.00005501229,0.00008061559,0.000029061852,0.00008778555,0.00009921009,0.000034455265,0.000085879285,0.00053969724],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.202556e-7,0.000010833844,0.00010521329,0.00044859856,0.000030513238,2.8025832e-7,0.008570804,5.9256504e-8,0.0000011275692,0.0144750755,0.9580376,0.018319046],"study_design_scores_gemma":[0.000027620777,0.000010594281,0.00010267971,0.0004910879,0.00008036927,0.0000042534866,0.0005388931,1.5776595e-7,0.0000016782847,0.00009729415,0.9985554,0.00008996596],"about_ca_topic_score_codex":0.0064014634,"about_ca_topic_score_gemma":0.051531103,"teacher_disagreement_score":0.34084213,"about_ca_system_score_codex":0.000015500369,"about_ca_system_score_gemma":0.000014217326,"threshold_uncertainty_score":0.99791145},"labels":[],"label_agreement":null},{"id":"W1959905580","doi":"","title":"O’Neill’s Unconscious Shakespearean Orientation: The Comparative Study of The Emperor Jones and Macbeth","year":2011,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Emperor; Lust; Materialism; Unconscious mind; Dramaturgy; Literature; Order (exchange); Apollo; Character (mathematics); Philosophy; Power (physics); Art; History; Epistemology; Ancient history","score_opus":0.062266600030269105,"score_gpt":0.30658108231058206,"score_spread":0.24431448228031297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1959905580","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95612687,0.02478334,2.8724328e-8,0.00012293873,0.00036493098,0.00027117532,0.000028079296,0.00000930357,0.018293308],"genre_scores_gemma":[0.99785584,0.0003607885,0.00000537039,0.00015168048,0.00018285707,0.000024634723,0.0000014399524,0.0000043863297,0.0014130182],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99942446,0.00008337599,0.00015948883,0.00013525349,0.00008837387,0.00010904937],"domain_scores_gemma":[0.99962103,0.00008744502,0.000059974478,0.00015143027,0.000068964386,0.000011135775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013179902,0.00012405991,0.00021211022,0.000036047648,0.00042675424,0.000041015708,0.000089480054,0.000015895524,0.0000365748],"category_scores_gemma":[0.000011344524,0.000054234486,0.000023931303,0.00007365903,0.00063144404,0.0001063218,0.00011966726,0.00013643065,6.94819e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039393948,0.000056472152,0.017142752,0.000039831524,0.000120083256,0.000005611631,0.97645307,9.791605e-8,0.000003588723,0.004779013,0.00081933563,0.0005407425],"study_design_scores_gemma":[0.00047673605,0.00024950516,0.036506742,0.00011150613,0.000048426806,0.000004493359,0.95753217,7.3841227e-7,0.00004438708,0.0005116764,0.004421595,0.00009202587],"about_ca_topic_score_codex":0.0001871416,"about_ca_topic_score_gemma":0.012713529,"teacher_disagreement_score":0.04172893,"about_ca_system_score_codex":0.000004955398,"about_ca_system_score_gemma":0.0000043343425,"threshold_uncertainty_score":0.70944476},"labels":[],"label_agreement":null},{"id":"W1961870088","doi":"10.22329/p.v8i2.4085","title":"Stirring the Pot (A short play in six scenes)","year":2013,"lang":"en","type":"article","venue":"PhaenEx","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Computer science; Art","score_opus":0.03654415468989466,"score_gpt":0.2396081295999194,"score_spread":0.20306397491002473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1961870088","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76220787,0.000434664,8.914152e-7,0.00083330163,0.0003288186,0.00012886121,0.0000033278932,0.000032106484,0.23603018],"genre_scores_gemma":[0.99470913,0.00006452045,0.0000056097247,0.0003550265,0.0006539925,0.000048610207,0.0000019668487,0.0000087320295,0.00415238],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995022,0.00001349718,0.0001161403,0.00009250337,0.00008181452,0.00019385558],"domain_scores_gemma":[0.99977547,0.000043088898,0.000013399867,0.00012471701,0.000024398329,0.000018913253],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000084944615,0.00008541093,0.00009630332,0.000035788336,0.00025580268,0.00009298324,0.00012573121,0.000012349992,0.0019127772],"category_scores_gemma":[0.0000040178015,0.000050047587,0.000032161108,0.000021491418,0.00010265721,0.00020627405,0.00004778049,0.00008700214,0.00044140767],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005159481,0.00024799714,0.19170551,0.00011775453,0.00020775881,0.000016988202,0.30075303,0.00025848928,0.0006147953,0.17238036,0.075084284,0.25856146],"study_design_scores_gemma":[0.00033075493,0.00006892062,0.06223757,0.00006106992,0.0000215937,0.000003444137,0.014987461,0.00043112988,0.00061857735,0.0028425797,0.91806436,0.00033252666],"about_ca_topic_score_codex":0.0014438566,"about_ca_topic_score_gemma":0.005211463,"teacher_disagreement_score":0.8429801,"about_ca_system_score_codex":0.000011879366,"about_ca_system_score_gemma":0.000007005936,"threshold_uncertainty_score":0.9989996},"labels":[],"label_agreement":null},{"id":"W1964175767","doi":"10.3138/ctr.151.50","title":"Archives, Heritage, Living History: Locating the Prince House through Performance (and) Ethnography","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ephemera; Ethnography; Feeling; Aesthetics; History; Space (punctuation); Appropriation; Visual arts; Art; Sociology; Art history; Archaeology; Psychology","score_opus":0.045395518320681255,"score_gpt":0.23194440271865688,"score_spread":0.18654888439797562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1964175767","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006307154,0.67658347,0.0000013620562,0.0016128946,0.00049648737,0.0003400584,0.000008952595,0.000076907374,0.31457272],"genre_scores_gemma":[0.7032307,0.2866412,0.00006247874,0.006375381,0.0009607912,0.00008044415,0.0000030206288,0.000048314294,0.0025976375],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988816,0.00008707901,0.00022512386,0.00015763483,0.0000994938,0.0005491184],"domain_scores_gemma":[0.99924654,0.00012746073,0.00008090152,0.00033762582,0.000021575219,0.0001858849],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003390868,0.00020934889,0.0002797431,0.00005507887,0.0007986915,0.000039712944,0.0002246819,0.000023647535,0.0005331839],"category_scores_gemma":[0.000014455816,0.0001347554,0.00010288288,0.000056523182,0.00046373456,0.000384971,0.000048530233,0.00023630116,0.00008590357],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004063843,0.000037130845,0.025886979,0.0061075315,0.00019312263,0.0000032715723,0.2583699,7.9532225e-7,0.0000021604465,0.04414967,0.07436985,0.5908755],"study_design_scores_gemma":[0.000029043189,0.00002149606,0.0013889621,0.0025957872,0.00007578819,0.000010984036,0.0017938395,0.0000042439033,6.95931e-7,0.000028535154,0.993856,0.00019458859],"about_ca_topic_score_codex":0.009979015,"about_ca_topic_score_gemma":0.069092855,"teacher_disagreement_score":0.91948617,"about_ca_system_score_codex":0.00008219694,"about_ca_system_score_gemma":0.00011483012,"threshold_uncertainty_score":0.9966136},"labels":[],"label_agreement":null},{"id":"W1964359554","doi":"10.1080/02601370802047775","title":"Invisible theatre, ethics, and the adult educator","year":2008,"lang":"en","type":"article","venue":"International Journal of Lifelong Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Praxis; Deception; Mandate; Aesthetics; Sociology; Norm (philosophy); Theatre director; Pedagogy; Art; Psychology; Visual arts; Law; Political science; Social psychology","score_opus":0.031293062426859954,"score_gpt":0.2916153705782694,"score_spread":0.26032230815140944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1964359554","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86736614,0.0025424932,0.000014560944,0.07081968,0.0096514905,0.000089492074,0.0000064885767,0.00001080755,0.049498837],"genre_scores_gemma":[0.98580885,0.002555878,0.00008806557,0.0032105618,0.005991321,0.000005098913,0.0000028196137,0.0000065442628,0.0023308492],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992373,0.00007063191,0.00027163918,0.000057090885,0.00029444747,0.00006888217],"domain_scores_gemma":[0.9984948,0.00027572646,0.0002157482,0.0000644429,0.000914866,0.00003441014],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040152104,0.0000713226,0.00011159491,0.00011631834,0.00035012694,0.00008676,0.00020441365,0.000023223407,0.00014761348],"category_scores_gemma":[0.0001555059,0.000041699193,0.000065719505,0.000019059034,0.0003815343,0.0003210343,0.000024561625,0.0002994614,0.000017195307],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004669037,0.00034455452,0.025324648,0.000026215499,0.0004835793,0.0000056665585,0.46281666,0.0000070494416,0.000018148832,0.33169723,0.14133129,0.037478067],"study_design_scores_gemma":[0.0017545975,0.00012826361,0.016197475,0.00024124832,0.0000759992,0.00062090997,0.05009905,0.000021924088,0.00017979408,0.016874736,0.91360325,0.00020278133],"about_ca_topic_score_codex":0.00035126362,"about_ca_topic_score_gemma":0.00018336643,"teacher_disagreement_score":0.77227193,"about_ca_system_score_codex":0.00003007375,"about_ca_system_score_gemma":0.0003778312,"threshold_uncertainty_score":0.2692929},"labels":[],"label_agreement":null},{"id":"W1964394422","doi":"10.1353/tj.0.0022","title":"Doctoral Projects in Progress in Theatre Arts, 2008","year":2008,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Library science; Sociology; Visual arts; Art; Computer science","score_opus":0.059735030027415,"score_gpt":0.26241575854406757,"score_spread":0.20268072851665256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1964394422","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8529369,0.00514927,5.795323e-7,0.0013843251,0.00067383493,0.00021305452,0.000009353431,0.00004444165,0.13958819],"genre_scores_gemma":[0.9956593,0.0010020327,0.000053823096,0.00013537322,0.0017131472,0.00001877616,0.0000030366418,0.000023255561,0.0013912389],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854016,0.00007406919,0.00042352793,0.00017202148,0.00026225252,0.00052796106],"domain_scores_gemma":[0.99958545,0.00003378556,0.000098284785,0.00015554784,0.000050395778,0.00007654308],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029586366,0.0002241388,0.00034095143,0.00035271834,0.0004871443,0.00009590308,0.00020256474,0.000050899023,0.00084703387],"category_scores_gemma":[0.0000023103685,0.00015654405,0.000104924926,0.0001105592,0.0003382456,0.00047183587,0.00004514559,0.00054547656,0.00009031899],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004460878,0.00062962883,0.61830235,0.00006674224,0.000085166415,0.001109689,0.24470343,0.000027288072,0.000011023073,0.0028873028,0.027554855,0.10417644],"study_design_scores_gemma":[0.0051189004,0.0010175325,0.08995201,0.00080114295,0.00004948398,0.0020533768,0.03906974,0.00015360229,0.0001231216,0.0035047117,0.8570046,0.0011517818],"about_ca_topic_score_codex":0.00022720979,"about_ca_topic_score_gemma":0.0046494864,"teacher_disagreement_score":0.8294498,"about_ca_system_score_codex":0.00008059187,"about_ca_system_score_gemma":0.00011407826,"threshold_uncertainty_score":0.92744267},"labels":[],"label_agreement":null},{"id":"W1964620713","doi":"10.3138/ctr.141.28","title":"Everybody's Elvis: Celebrity and the Church Social","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Fifteenth; Performance art; Art history; Visual arts; Classics","score_opus":0.017517951206678643,"score_gpt":0.23010606494739141,"score_spread":0.21258811374071276,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1964620713","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004973498,0.2762153,2.4964618e-7,0.028380992,0.0008950762,0.00050587155,0.00010171001,0.000051867875,0.68887544],"genre_scores_gemma":[0.8941959,0.09280452,0.0000041522285,0.006622567,0.0024165974,0.00006499594,0.000014833297,0.000020886815,0.003855559],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928474,0.000058900856,0.00015656123,0.00014033027,0.000085522974,0.00027394568],"domain_scores_gemma":[0.9995676,0.00008247593,0.00002757825,0.00016820006,0.000040734303,0.00011340728],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00043167296,0.00013423909,0.000279197,0.000040578685,0.0010011113,0.00014094479,0.00015474542,0.0000340721,0.00352817],"category_scores_gemma":[0.000011719518,0.00007793296,0.000110721754,0.000039181265,0.00060407055,0.00012853347,0.000018629984,0.00027923263,0.000103065824],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000057546595,0.0000047745257,0.00014495812,0.0010989588,0.000081812264,0.0000066768744,0.010020102,6.101181e-9,0.0000019231566,0.31704178,0.18388344,0.4877098],"study_design_scores_gemma":[0.00012911731,0.000006857756,0.00027235315,0.00025638158,0.0000757591,0.000010614519,0.00026056913,0.0000027129295,3.3092107e-7,0.00074254157,0.99812704,0.000115729184],"about_ca_topic_score_codex":0.04203519,"about_ca_topic_score_gemma":0.5041868,"teacher_disagreement_score":0.8892224,"about_ca_system_score_codex":0.000019342579,"about_ca_system_score_gemma":0.00015666509,"threshold_uncertainty_score":0.99738276},"labels":[],"label_agreement":null},{"id":"W1965672112","doi":"10.1177/1077800411415498","title":"Delineating a Spectrum of Research-Based Theatre","year":2011,"lang":"en","type":"article","venue":"Qualitative Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":116,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia; University of Alberta","funders":"","keywords":"Field (mathematics); Sociology; Theatre studies; Epistemology; Computer science; Visual arts; Drama; Art; Mathematics","score_opus":0.47282090617408384,"score_gpt":0.45016271885222015,"score_spread":0.0226581873218637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1965672112","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5549872,0.00058878993,0.00024149874,0.0006948475,0.0005614913,0.0002301486,0.00006317312,0.000088801484,0.44254404],"genre_scores_gemma":[0.997674,0.000011621947,0.0004878413,0.000102057595,0.00060491124,0.000022977018,0.000006347825,0.000014777798,0.0010754777],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99866545,0.00036691155,0.00029198822,0.00015355035,0.00024986174,0.00027222186],"domain_scores_gemma":[0.9990124,0.00045490125,0.00008336793,0.00018015376,0.00023515355,0.000034013425],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012996447,0.000108976,0.0001985412,0.00017740382,0.00032641998,0.000017162245,0.00014287233,0.000025082963,0.0020330737],"category_scores_gemma":[0.000047955953,0.000081470374,0.000077329256,0.00008131924,0.002142057,0.0001430297,0.00004190827,0.00016604621,0.00013351781],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079720216,0.000067106586,0.0001913247,0.00006676101,0.000037821825,0.000001662892,0.788174,8.885429e-7,0.000024657655,0.20797531,0.0021364186,0.0012443736],"study_design_scores_gemma":[0.00036274936,0.0007297365,0.00017791509,0.00017227983,0.00001596613,3.353823e-7,0.9013634,0.00005299025,0.0035192342,0.0712102,0.022213632,0.00018157599],"about_ca_topic_score_codex":0.0008599705,"about_ca_topic_score_gemma":0.0007398864,"teacher_disagreement_score":0.4426868,"about_ca_system_score_codex":0.0000181895,"about_ca_system_score_gemma":0.00004417084,"threshold_uncertainty_score":0.9988792},"labels":[],"label_agreement":null},{"id":"W1966639023","doi":"10.3138/md.52.3.351","title":"Before Katrina: Archiving Performative Downpours and Fallen Women Named Sadie in <i>Rain</i> and <i>The Deluge</i> (1922)","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Narrative; History; Uncanny; Aesthetics; Art; Literature","score_opus":0.008673219644387557,"score_gpt":0.20130544172501402,"score_spread":0.19263222208062647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1966639023","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9557075,0.0013845339,0.000016331887,0.0034896326,0.00009520975,0.0002738334,0.000018969666,0.000045587567,0.038968403],"genre_scores_gemma":[0.9964714,0.0003888977,0.000027996608,0.0011566358,0.00031717675,0.000041546835,0.000003862304,0.000012167581,0.0015803352],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99893075,0.0000681655,0.00023624777,0.00020697215,0.00013744432,0.0004204219],"domain_scores_gemma":[0.9995806,0.00010333021,0.0000657691,0.00015342401,0.000031424275,0.000065446766],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003972905,0.00020790363,0.00032066682,0.00008559633,0.0006489334,0.00018393958,0.00012512004,0.00003385225,0.00003338019],"category_scores_gemma":[0.000017113358,0.00013358898,0.000042736785,0.000030210007,0.0004984897,0.00033011442,0.00008647028,0.00029066417,0.000008691938],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023202601,0.00003393768,0.0019101017,0.000040767543,0.000042195155,0.000005216328,0.86125845,0.000018064484,0.000004490613,0.016749958,0.00039040387,0.11931437],"study_design_scores_gemma":[0.017596003,0.00212853,0.063891426,0.0005843238,0.00016659328,0.00009782159,0.23171145,0.023301356,0.000039987524,0.3901376,0.26843417,0.0019107525],"about_ca_topic_score_codex":0.00015361806,"about_ca_topic_score_gemma":0.0020904231,"teacher_disagreement_score":0.629547,"about_ca_system_score_codex":0.000038329832,"about_ca_system_score_gemma":0.000017038092,"threshold_uncertainty_score":0.54476005},"labels":[],"label_agreement":null},{"id":"W1967454656","doi":"10.1002/ace.188","title":"Mental illness through popular theater: Performing (in)sanely","year":2005,"lang":"en","type":"article","venue":"New Directions for Adult and Continuing Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Creativity; Psychology; Transgressive; Power (physics); Mental illness; Adult education; Mental health; Aesthetics; Pedagogy; Social psychology; Psychotherapist; Art","score_opus":0.013027353483911127,"score_gpt":0.2567449178523624,"score_spread":0.2437175643684513,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1967454656","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96048105,0.0014156541,0.000017229673,0.0022144988,0.0016305526,0.00029385154,0.000010681263,0.000065158696,0.033871345],"genre_scores_gemma":[0.97376657,0.0005772836,0.00026214868,0.00021380733,0.001747893,0.000104505656,0.00002722456,0.000012155552,0.023288446],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994874,0.000007956883,0.00015356301,0.00014388582,0.000050813276,0.00015635916],"domain_scores_gemma":[0.99976695,0.000015532632,0.000039912557,0.00007026635,0.00008140629,0.000025939484],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00005380294,0.000101308426,0.00011064577,0.00007088135,0.00045860902,0.00009731513,0.000038852515,0.00002400267,0.000111406305],"category_scores_gemma":[0.0000112341295,0.000088817906,0.000043589134,0.000032399243,0.000041327767,0.00047344234,0.000009530546,0.00005770347,0.00000858071],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021992762,0.00006407467,0.0021197575,0.000018952273,0.000011230856,2.4505075e-8,0.18048897,0.0000011886725,0.000044319848,0.011410117,0.0068727415,0.7989466],"study_design_scores_gemma":[0.00038337533,0.000047071062,0.00081709615,0.00013281553,0.000028625069,0.0000040814957,0.05174419,0.00007747268,0.00043004606,0.0008422863,0.94532776,0.00016521299],"about_ca_topic_score_codex":0.0011038935,"about_ca_topic_score_gemma":0.005427206,"teacher_disagreement_score":0.938455,"about_ca_system_score_codex":0.0000375382,"about_ca_system_score_gemma":0.000020556057,"threshold_uncertainty_score":0.3621889},"labels":[],"label_agreement":null},{"id":"W1968114590","doi":"10.4018/jantti.2011100101","title":"Performing Actor-Network Theory in the Post-Secondary Classroom","year":2011,"lang":"en","type":"article","venue":"International Journal of Actor-Network Theory and Technological Innovation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Saskatchewan; York University","funders":"","keywords":"Actor–network theory; Mathematics education; Computer science; Sociology; Pedagogy; Psychology; Social science","score_opus":0.03419695847494872,"score_gpt":0.2475142128647893,"score_spread":0.2133172543898406,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968114590","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97111034,0.00087802514,0.00044633076,0.0014596676,0.0012487579,0.0001336343,0.000009935144,0.000048444403,0.024664877],"genre_scores_gemma":[0.99626154,0.0003512479,0.00019431814,0.001171214,0.001800326,0.000008369221,0.00001058168,0.000011088435,0.00019133394],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99841,0.0002291961,0.0006768977,0.00014640077,0.00027002022,0.00026749657],"domain_scores_gemma":[0.9982728,0.000607672,0.0004801624,0.00013199839,0.00048802982,0.000019365296],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0036583776,0.00018949484,0.00024850818,0.00028503785,0.00040949776,0.00012050773,0.0006153871,0.00014116812,0.0010568267],"category_scores_gemma":[0.00023152026,0.000110070396,0.00008380799,0.00022285186,0.0006007796,0.0005944246,0.0001232568,0.00082002993,0.000008535166],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00073315407,0.00008426221,0.0041670096,0.000005696356,0.00014116002,0.000028084238,0.007190997,0.000007119556,0.000039480394,0.9006956,0.0005288055,0.08637863],"study_design_scores_gemma":[0.00050847605,0.00044181364,0.013472959,0.00014853939,0.00003390587,0.00010223932,0.008863784,0.000009959947,0.000109641696,0.93217516,0.043931607,0.0002019328],"about_ca_topic_score_codex":0.0000060247876,"about_ca_topic_score_gemma":0.000055952038,"teacher_disagreement_score":0.08617669,"about_ca_system_score_codex":0.000058494432,"about_ca_system_score_gemma":0.000035429264,"threshold_uncertainty_score":0.99985635},"labels":[],"label_agreement":null},{"id":"W1968423195","doi":"10.3138/md.43.2.171","title":"<i>Dancing at Lughnasa: </i>Unexcused Absence","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Scrutiny; Metaphysics; Literature; Aesthetics; Framing (construction); Art; Philosophy; History; Epistemology","score_opus":0.020863683030950406,"score_gpt":0.2141393310057637,"score_spread":0.1932756479748133,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968423195","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6440033,0.00055295415,0.000010768271,0.0003608863,0.00020493011,0.00006611963,0.000014641709,0.00011984262,0.3546666],"genre_scores_gemma":[0.872081,0.00012950394,0.000022403547,0.0005849736,0.00062915287,0.0000129708405,0.000005947609,0.000017440761,0.12651666],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991966,0.000012851225,0.00015493394,0.00019188433,0.00014964736,0.00029410896],"domain_scores_gemma":[0.9996624,0.000025301302,0.000027716034,0.00020986423,0.00003097097,0.000043729262],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000062005056,0.00014241837,0.00015881877,0.00002789674,0.00065327727,0.0000946491,0.0001285775,0.000026838856,0.010330027],"category_scores_gemma":[0.0000021864787,0.00011547645,0.00006951389,0.00001992752,0.00014998416,0.00021262039,0.000038928672,0.00008863549,0.0018369539],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025021844,0.00016252688,0.0031510622,0.00012876382,0.0001556459,0.000039742554,0.45313364,0.00050758454,0.00083209766,0.014365496,0.05211882,0.4751544],"study_design_scores_gemma":[0.00029266506,0.000050118862,0.000594594,0.000039826726,0.000017216813,0.0000045439956,0.0005819212,0.0016866213,0.00038365935,0.0039342064,0.99214274,0.0002718609],"about_ca_topic_score_codex":0.00019944261,"about_ca_topic_score_gemma":0.0017433311,"teacher_disagreement_score":0.94002396,"about_ca_system_score_codex":0.000034859047,"about_ca_system_score_gemma":0.000010084609,"threshold_uncertainty_score":0.9989402},"labels":[],"label_agreement":null},{"id":"W1968777421","doi":"10.3138/md.48.4.689","title":"Stage as Hyperspace: Theatricality of Stoppard","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Comedy; Deleuze and Guattari; Politics; Arcadia; Literature; Manifesto; Philosophy; Art; Aesthetics; Law","score_opus":0.03108580465235964,"score_gpt":0.2567473772606018,"score_spread":0.22566157260824218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968777421","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65011775,0.00071983825,0.00003392564,0.00150546,0.00010506418,0.000074018615,0.000037382804,0.000051330262,0.34735522],"genre_scores_gemma":[0.95700616,0.00007494775,0.00005698043,0.00026191218,0.0005229319,0.0000056519375,0.000002849383,0.000010737718,0.042057816],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935675,0.000019785599,0.00015295563,0.00012803088,0.00016078142,0.00018171413],"domain_scores_gemma":[0.99961746,0.000033042485,0.000049777493,0.00020299946,0.000060647053,0.000036101155],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000099319645,0.00010522234,0.00019196072,0.000031443644,0.00018220811,0.0000372717,0.00011179131,0.000027421522,0.0014679636],"category_scores_gemma":[0.0000072023404,0.00007969925,0.000086217005,0.000020817488,0.00016842336,0.00014795651,0.000043876382,0.00008618626,0.00022273691],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002722116,0.00055222627,0.005623716,0.00017760663,0.00028856753,0.000006954954,0.36170876,0.00094685034,0.00033521626,0.39806253,0.022046855,0.20997852],"study_design_scores_gemma":[0.0003384257,0.00011040746,0.0005284856,0.00001143558,0.000027672724,9.648763e-7,0.0041216863,0.0010901319,0.00057106087,0.0025924307,0.99044603,0.00016126111],"about_ca_topic_score_codex":0.00030750415,"about_ca_topic_score_gemma":0.00049744017,"teacher_disagreement_score":0.96839917,"about_ca_system_score_codex":0.000020791274,"about_ca_system_score_gemma":0.00001945184,"threshold_uncertainty_score":0.99944484},"labels":[],"label_agreement":null},{"id":"W1968929445","doi":"10.3138/ctr.156.008","title":"Is There an Archivist in the Sim?: Literacy as Agency in a Postpositivist, Mixed Media Virtual Theatre Archive","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University; University of Alberta; York University; University of British Columbia; University of Guelph; University of Toronto; University of Waterloo","funders":"","keywords":"Archivist; Argument (complex analysis); Literacy; Agency (philosophy); Positivism; Bricolage; Rubric; Digital Archives; Visual arts; White (mutation); Sociology; Media studies; Art; Library science; Political science; Computer science; Pedagogy; Law; Social science","score_opus":0.020480431944698008,"score_gpt":0.24898050084514609,"score_spread":0.22850006890044808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968929445","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2540738,0.09874758,7.9245655e-7,0.02027692,0.00040292635,0.0021994722,0.000631208,0.00004926482,0.62361807],"genre_scores_gemma":[0.95457846,0.030490378,0.000011996461,0.013248547,0.00051728,0.00026429739,0.0001449638,0.00004061753,0.00070344406],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99778605,0.0004659986,0.00048832595,0.0003691536,0.00021443595,0.00067601586],"domain_scores_gemma":[0.9987069,0.00029962845,0.0000810628,0.00059564563,0.000051804895,0.0002649855],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004310095,0.00036107306,0.0005277633,0.00025591147,0.00035640373,0.00025294287,0.0006005079,0.000035709887,0.0032284555],"category_scores_gemma":[0.000017717895,0.00022572599,0.00017917782,0.0001751329,0.0002745213,0.00047198415,0.00003886415,0.00041436375,0.0009088168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011858567,0.000094882256,0.0015560953,0.0006025,0.000053122672,0.00012607664,0.21278805,6.699032e-7,0.0000034876293,0.0153557975,0.022043895,0.74736357],"study_design_scores_gemma":[0.000324203,0.0002812136,0.021691775,0.0045274035,0.00007794465,0.00004042573,0.008959397,0.000036619145,0.0000027439373,0.010285382,0.953202,0.0005708923],"about_ca_topic_score_codex":0.20870452,"about_ca_topic_score_gemma":0.7376105,"teacher_disagreement_score":0.9311581,"about_ca_system_score_codex":0.00008790014,"about_ca_system_score_gemma":0.0002638656,"threshold_uncertainty_score":0.9998691},"labels":[],"label_agreement":null},{"id":"W1969877954","doi":"10.1386/jaac.1.2.105/1","title":"Truth, Ethics and Efficacy in the Training of Actors for Role Play","year":2009,"lang":"en","type":"article","venue":"Journal of Arts & Communities","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Distancing; Relation (database); Training (meteorology); Psychology; Social psychology; Sociology; Engineering ethics; Computer science; Engineering; Medicine","score_opus":0.15519326897289448,"score_gpt":0.3216813831631983,"score_spread":0.1664881141903038,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1969877954","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9793185,0.0012382767,0.0000026345797,0.001926794,0.00016328298,0.000064442625,0.000009785728,0.0000037300317,0.017272554],"genre_scores_gemma":[0.9986943,0.00049692125,0.00005464846,0.00039367238,0.00029239088,0.0000011232709,0.0000012270173,0.0000044568396,0.00006125925],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993216,0.000109933346,0.00029848164,0.000022436785,0.00013194127,0.000115631985],"domain_scores_gemma":[0.9979113,0.0016958573,0.00017871501,0.00009602457,0.00010335375,0.000014775498],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009953628,0.000081193335,0.00022601018,0.000109850975,0.00043905116,0.000068058886,0.0001892514,0.000028246106,0.000028913662],"category_scores_gemma":[0.000058347585,0.00004878789,0.000073875126,0.00001688264,0.00019771395,0.00020881122,0.000014405151,0.00048433928,1.8804248e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007900182,0.00006996758,0.00013985566,0.000018561075,0.000030049488,7.7238246e-7,0.9387376,0.00001538372,0.000014266162,0.05099256,0.00032537853,0.009576639],"study_design_scores_gemma":[0.0007806606,0.0010479578,0.0049165045,0.00024701568,0.000045393914,0.000020139147,0.8483681,0.00001782901,0.00006935586,0.008750656,0.13564238,0.00009397593],"about_ca_topic_score_codex":0.00005350503,"about_ca_topic_score_gemma":0.00087930943,"teacher_disagreement_score":0.135317,"about_ca_system_score_codex":0.000005836872,"about_ca_system_score_gemma":0.000030771054,"threshold_uncertainty_score":0.33768708},"labels":[],"label_agreement":null},{"id":"W1969966297","doi":"10.3138/ctr.148.43","title":"Judith Thompson's <i>Body and Soul</i>: Tactics of Theatre in the Corporate Strategy","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soul; Beauty; Identity (music); Negotiation; Aesthetics; Art; Sociology; Visual arts; Media studies; Philosophy; Theology","score_opus":0.07848235847108487,"score_gpt":0.23682588874640942,"score_spread":0.15834353027532455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1969966297","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013617802,0.12449882,3.411336e-7,0.001693967,0.00019900259,0.0005908023,0.00015099478,0.000016241322,0.859232],"genre_scores_gemma":[0.920466,0.07728301,0.000009792867,0.0016783183,0.00017851921,0.000027680042,0.000011493493,0.000016828095,0.00032832267],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990139,0.00011192037,0.00029610007,0.00016400394,0.00010513756,0.00030895212],"domain_scores_gemma":[0.9993315,0.000052354746,0.00014748606,0.00030995364,0.000052129344,0.00010658921],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004007696,0.00018944853,0.00039206428,0.00009055384,0.00021192557,0.0000359248,0.00023198356,0.000035015844,0.0013275635],"category_scores_gemma":[0.000004720281,0.000113140195,0.00007616138,0.000098569915,0.0002972423,0.00014310147,0.000017725062,0.00017278687,0.000036549234],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004392366,0.00016213032,0.016692922,0.006492493,0.00031293498,0.00017815112,0.08605967,0.0000010322443,0.000005560968,0.31363833,0.047581185,0.52883166],"study_design_scores_gemma":[0.00018789545,0.00018786205,0.0016033364,0.0013737648,0.00019348733,0.00003078038,0.00899533,0.0000042349825,0.000008058256,0.0030233942,0.98411924,0.00027260903],"about_ca_topic_score_codex":0.039749373,"about_ca_topic_score_gemma":0.41514418,"teacher_disagreement_score":0.93653804,"about_ca_system_score_codex":0.00002204337,"about_ca_system_score_gemma":0.00017074421,"threshold_uncertainty_score":0.99958533},"labels":[],"label_agreement":null},{"id":"W1970488817","doi":"10.1386/atr.3.1.85_1","title":"Knowing how to play or being playful? The playful/ontic approach and intergenerational theatre in Canada and India","year":2015,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Victoria","funders":"","keywords":"Ontic; Sociology; Focus (optics); Tamil; Aesthetics; Epistemology; Art; Philosophy; Literature","score_opus":0.07414621404994436,"score_gpt":0.27732383163540475,"score_spread":0.20317761758546038,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1970488817","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.71832216,0.0006015503,0.000008607953,0.0028218308,0.00016605118,0.0007095597,0.000036174482,0.00002089405,0.2773132],"genre_scores_gemma":[0.9975549,0.000089246954,0.000059757993,0.00020514234,0.0006154324,0.00019410033,0.000012633249,0.000024309278,0.001244456],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982314,0.000116683485,0.00019745281,0.00034465405,0.0005470265,0.000562775],"domain_scores_gemma":[0.99902415,0.00047941232,0.00002403805,0.00022431316,0.00007259743,0.0001754937],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010299472,0.0001988754,0.00025527438,0.00019822759,0.00070826994,0.00031971777,0.00024195288,0.000041629562,0.000063589934],"category_scores_gemma":[0.000014883956,0.000115635274,0.000018425058,0.00016020292,0.00026527027,0.0001444499,0.00030748828,0.0004471603,0.000010179816],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016476657,0.00019089271,0.04491598,0.0003397438,0.0004616045,0.00009376762,0.45800057,0.00040351684,0.00032102407,0.18129607,0.08487743,0.22745173],"study_design_scores_gemma":[0.0023396634,0.00048293144,0.006261861,0.00023883277,0.00005213999,0.00006296794,0.36411372,0.0012391697,0.0005794241,0.00453355,0.61907965,0.00101608],"about_ca_topic_score_codex":0.22330248,"about_ca_topic_score_gemma":0.8811686,"teacher_disagreement_score":0.6578661,"about_ca_system_score_codex":0.00019392234,"about_ca_system_score_gemma":0.0005229902,"threshold_uncertainty_score":0.7818696},"labels":[],"label_agreement":null},{"id":"W1971112811","doi":"10.3138/md.43.3.461","title":"Theatrical Deconstructionists: The Social \"Gests\" of Peter Sellars's <i>Ajax</i> and Robert Wilson's <i>Einstein on the Beach</i>","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Deconstruction (building); Postmodernism; Ideology; Politics; Art; Art history; Literature; Sociology; Aesthetics; Law; Political science","score_opus":0.013025481710206071,"score_gpt":0.2121479485113406,"score_spread":0.19912246680113455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1971112811","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7743115,0.00068324455,0.0000054653096,0.0056994045,0.0001572824,0.00017261395,0.00003665763,0.000038753737,0.2188951],"genre_scores_gemma":[0.9915921,0.00018048397,0.000008931909,0.0013058992,0.0007259574,0.000017635739,0.0000037829411,0.000016267917,0.0061489595],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991628,0.00006496564,0.0001917787,0.00016854439,0.00019314041,0.00021875331],"domain_scores_gemma":[0.9995499,0.00013981762,0.00005285047,0.00019545571,0.000037814236,0.00002411519],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00014880583,0.00016238392,0.0001890689,0.00002208065,0.0013288504,0.00015825593,0.00017059657,0.000044039924,0.0006949044],"category_scores_gemma":[0.0000035507026,0.00008325758,0.00009943572,0.000031013155,0.00074563717,0.00010256486,0.000034355908,0.00020294632,0.000036985442],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039439494,0.00025405406,0.0018732278,0.00007073328,0.0003789754,0.0000063252587,0.21754117,0.00008258766,0.00009464964,0.22676714,0.049490813,0.5030459],"study_design_scores_gemma":[0.00050332537,0.00017345871,0.00073976285,0.000031977248,0.00008415417,0.000019645275,0.0033976815,0.00040514517,0.00019392661,0.009011508,0.9851985,0.00024093298],"about_ca_topic_score_codex":0.000118465716,"about_ca_topic_score_gemma":0.0003481096,"teacher_disagreement_score":0.9357077,"about_ca_system_score_codex":0.000014732795,"about_ca_system_score_gemma":0.000017660943,"threshold_uncertainty_score":0.9999713},"labels":[],"label_agreement":null},{"id":"W1971711648","doi":"10.1017/s0266464x03000216","title":"Whose Method? Culture, Commerce, and American Performer Training","year":2003,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Performing arts; Exhibition; Sociology; Aesthetics; Culture of the United States; Media studies; History; Management; Political science; Law; Visual arts; Art","score_opus":0.03182691256822018,"score_gpt":0.26986431556419216,"score_spread":0.23803740299597198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1971711648","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18587509,0.001270429,0.0002603933,0.0009888035,0.00056601496,0.00021831342,0.000026647816,0.00014209181,0.8106522],"genre_scores_gemma":[0.9744055,0.00012051745,0.0026597213,0.00091306743,0.0006514077,0.000014183502,0.0000073801593,0.000033018707,0.021195147],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989355,0.00009084113,0.00021421064,0.00025056014,0.00013709073,0.0003717752],"domain_scores_gemma":[0.9994878,0.00007174452,0.000071557995,0.00020142736,0.000034760007,0.0001327206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019077581,0.0002431436,0.0003433281,0.0000742688,0.000532086,0.00016235436,0.00009870653,0.00003170498,0.0009077582],"category_scores_gemma":[0.0000028883687,0.00017716346,0.000089284804,0.000054440694,0.00027763052,0.0002733973,0.0000073711585,0.00019197192,0.00010440957],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021608035,0.000022024613,0.0005431976,0.000012253529,0.0000685874,0.0000016554691,0.35068542,3.5215558e-7,0.000038844453,0.050585885,0.0125524,0.58546776],"study_design_scores_gemma":[0.0004328991,0.0008890138,0.00030933248,0.000022435906,0.00005677722,0.000017708237,0.14933674,0.000014699181,0.000025175459,0.003684126,0.8449488,0.0002622324],"about_ca_topic_score_codex":0.00075769785,"about_ca_topic_score_gemma":0.0017168355,"teacher_disagreement_score":0.83239645,"about_ca_system_score_codex":0.000013288433,"about_ca_system_score_gemma":0.00003576274,"threshold_uncertainty_score":0.9939316},"labels":[],"label_agreement":null},{"id":"W1971885899","doi":"10.3138/ctr.147.24","title":"When the Audience is Ourselves: From Intellectual Argument to Visceral Experience","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Argument (complex analysis); Experiential learning; Theatre studies; Sociology; Pedagogy; Event (particle physics); Visual arts; Aesthetics; Art; Drama; Political science","score_opus":0.06525669128871472,"score_gpt":0.24937834763377767,"score_spread":0.18412165634506295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1971885899","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020635942,0.20002684,0.000011786393,0.019848399,0.0014206339,0.0012534348,0.00032199032,0.000080252365,0.7564007],"genre_scores_gemma":[0.86665744,0.055175103,0.000112256836,0.06685351,0.0011443859,0.00031948957,0.000013446955,0.000042060627,0.009682328],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890244,0.00004608065,0.00023888295,0.00025800677,0.00013384547,0.00042076758],"domain_scores_gemma":[0.99913764,0.000052869433,0.00004292194,0.00043517572,0.000055295917,0.00027608903],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013431926,0.00020194917,0.00027990987,0.000055546185,0.0005900537,0.000069106245,0.00047905862,0.00002047314,0.02857649],"category_scores_gemma":[0.000019610698,0.00012103067,0.00011392892,0.00006162936,0.0002281437,0.00013397452,0.00005409553,0.000120351586,0.0018902506],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005177343,0.000010462916,0.00018782837,0.00008408961,0.000057159305,0.000005863879,0.57888645,4.6093493e-8,7.875964e-7,0.0034173992,0.30257404,0.11477068],"study_design_scores_gemma":[0.000034179153,0.000060362006,0.00009271403,0.0008549282,0.000051828825,0.0000022029092,0.010103017,0.0000014674935,0.000022664277,0.0005229762,0.9880652,0.00018849628],"about_ca_topic_score_codex":0.13812621,"about_ca_topic_score_gemma":0.3910469,"teacher_disagreement_score":0.8460215,"about_ca_system_score_codex":0.00008843514,"about_ca_system_score_gemma":0.00012648586,"threshold_uncertainty_score":0.9988869},"labels":[],"label_agreement":null},{"id":"W1972092556","doi":"10.7202/016134ar","title":"The Ideology of the Unspectacular: Theatricality and Charles Lamb’s Essayistic Figure","year":2007,"lang":"en","type":"article","venue":"Romanticism on the Net","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Appropriation; Literature; Spectacle; Romance; Ideology; Art; Ambivalence; Comedy; Aesthetics; Philosophy; Politics; Psychoanalysis; Psychology; Law","score_opus":0.016975754874320455,"score_gpt":0.2251328958738088,"score_spread":0.20815714099948834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1972092556","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86969143,0.0020107706,0.000013073604,0.011055752,0.00069380604,0.00030652175,0.000026393942,0.000032878575,0.11616937],"genre_scores_gemma":[0.995661,0.00027758337,0.0000018878394,0.00068588485,0.00038983993,0.000005855128,9.5179405e-7,0.000008950688,0.0029680145],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913365,0.00008933252,0.0002213993,0.00012466327,0.0001770229,0.00025394768],"domain_scores_gemma":[0.9986534,0.0008305096,0.000101217505,0.00034968415,0.000044257995,0.000020936015],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00063031196,0.00013042947,0.00017246029,0.000022214483,0.0010946724,0.00004852277,0.000291968,0.00003506514,0.00016672177],"category_scores_gemma":[0.000053693224,0.000048799902,0.00008387645,0.000043636715,0.00089891884,0.000029279669,0.00009690048,0.0001890854,0.000019680416],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007084422,0.00003680451,0.0031754368,0.000019249055,0.000090092886,0.0000022457557,0.010263524,0.000002474858,0.000049244813,0.97500455,0.008545893,0.002739651],"study_design_scores_gemma":[0.0006279156,0.0003999493,0.15099385,0.00011415009,0.00025477808,0.000015203775,0.0105536645,0.00018152891,0.0014197164,0.094133794,0.74094164,0.00036377844],"about_ca_topic_score_codex":0.00017359658,"about_ca_topic_score_gemma":0.0011648363,"teacher_disagreement_score":0.88087076,"about_ca_system_score_codex":0.0000083295245,"about_ca_system_score_gemma":0.0000100622365,"threshold_uncertainty_score":0.8419446},"labels":[],"label_agreement":null},{"id":"W1972186330","doi":"10.1353/ths.2009.0001","title":"Querying Difference in Theatre History (review)","year":2009,"lang":"en","type":"article","venue":"Theatre history studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Historiography; Queer; Theme (computing); History; Identity (music); Politics; Ideology; Political theatre; Art history; Literature; Sociology; Media studies; Art; Aesthetics; Gender studies; Political science; Law","score_opus":0.07514560577815807,"score_gpt":0.2565683346828892,"score_spread":0.18142272890473113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1972186330","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009628972,0.60053885,4.3181888e-7,0.0014087099,0.0016060764,0.00022938267,0.0000060647826,0.000156828,0.38642472],"genre_scores_gemma":[0.7832653,0.15933266,0.000031907664,0.008362464,0.0012396881,0.00010719406,0.000009841326,0.000043847136,0.047607124],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998283,0.000101302314,0.00048506772,0.0003916674,0.00026026776,0.0004786446],"domain_scores_gemma":[0.9991927,0.000114929186,0.00013757907,0.00040215478,0.000094805,0.000057837908],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002951134,0.0004036835,0.0007926345,0.00019911528,0.0002993264,0.000007467433,0.00027335918,0.000043766606,0.0010369965],"category_scores_gemma":[0.000015609014,0.00030993493,0.00018269873,0.00004138725,0.0006068375,0.00022421373,0.00006797967,0.00029889395,0.00016532971],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007586763,0.00021729554,0.0006765442,0.00073327165,0.00016382396,0.000037743248,0.18578179,0.0000023751788,0.00006580083,0.012290231,0.6523324,0.14762284],"study_design_scores_gemma":[0.00030144048,0.0001846878,0.0010684935,0.0011084552,0.00009129046,0.0000036328488,0.0067041307,0.0000033802407,0.0000040721816,0.0010370715,0.9890851,0.00040823856],"about_ca_topic_score_codex":0.00038517188,"about_ca_topic_score_gemma":0.003466889,"teacher_disagreement_score":0.7736363,"about_ca_system_score_codex":0.0014648577,"about_ca_system_score_gemma":0.00008509837,"threshold_uncertainty_score":0.99993527},"labels":[],"label_agreement":null},{"id":"W1973014201","doi":"10.3138/ctr.147.55","title":"Creative Copying?: The Pedagogy of Adaptation","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Copying; Creativity; Drama; Genius; Aesthetics; Dramaturgy; Adaptation (eye); Visual arts; Sociology; Art; Psychology; Literature; Social psychology; Law","score_opus":0.08837220807016019,"score_gpt":0.2732595618414461,"score_spread":0.18488735377128593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973014201","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00078948354,0.1477542,0.0000019780246,0.0010066692,0.0001814317,0.000279506,0.000055949295,0.000011968751,0.8499188],"genre_scores_gemma":[0.90763766,0.084973946,0.00002962326,0.002608268,0.00031489637,0.000056327357,0.000014772808,0.000019170351,0.0043453313],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945647,0.00005022577,0.00018278658,0.00008333772,0.00006276579,0.0001644458],"domain_scores_gemma":[0.9995603,0.000029264287,0.000071998504,0.000187188,0.00008452772,0.000066706234],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016172706,0.00009476891,0.00020925941,0.00004376365,0.00024739478,0.000009042529,0.00014020427,0.0000141053215,0.0062280134],"category_scores_gemma":[0.000008527111,0.00005505077,0.000082613835,0.000040366423,0.00020810512,0.00007805959,0.000008973515,0.00006432042,0.00014017815],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010473427,0.000019234483,0.00038588577,0.0013136144,0.00017300296,0.000005490149,0.18739828,4.990512e-7,5.775983e-7,0.16623157,0.04422109,0.6002403],"study_design_scores_gemma":[0.000040798757,0.000050696577,0.00017634244,0.00073070335,0.000102526574,0.000002430684,0.0072700065,0.000002453651,0.0000080245045,0.0007440478,0.990793,0.0000789934],"about_ca_topic_score_codex":0.15917419,"about_ca_topic_score_gemma":0.57333875,"teacher_disagreement_score":0.9465719,"about_ca_system_score_codex":0.000025245978,"about_ca_system_score_gemma":0.00017041048,"threshold_uncertainty_score":0.9946804},"labels":[],"label_agreement":null},{"id":"W1973092695","doi":"10.3138/ctr.145.21","title":"100 Steps: Working on Memory","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"SOCRATES; The Imaginary; Subject (documents); Subject matter; Adaptation (eye); Aesthetics; Process (computing); Psychology; Epistemology; Psychoanalysis; Sociology; Philosophy; Computer science; Pedagogy","score_opus":0.0917010996273678,"score_gpt":0.24027755817368715,"score_spread":0.14857645854631935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973092695","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042726894,0.12346703,9.701356e-8,0.0007580924,0.0005104845,0.00022769927,0.00001917144,0.000040619456,0.8745495],"genre_scores_gemma":[0.80829144,0.13808207,0.00003349658,0.02585523,0.002225514,0.00011366565,0.000025220146,0.00007916692,0.025294226],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991632,0.00003791479,0.00019298046,0.00016941973,0.00008759643,0.00034889893],"domain_scores_gemma":[0.99940497,0.000021364753,0.000044552457,0.00030178696,0.000030135625,0.0001972086],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016884819,0.00016842165,0.00028173547,0.00009959023,0.00037283363,0.0000311615,0.00018657622,0.00002501734,0.011393164],"category_scores_gemma":[0.000004656051,0.00012442502,0.000117664546,0.00004893489,0.00010620726,0.00007974568,0.000013204441,0.00012896497,0.0017215805],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000059273966,0.000018450435,0.0002240743,0.00076969626,0.000085886175,0.000035729983,0.014168576,8.768192e-8,1.3857245e-7,0.049192157,0.11632006,0.81917924],"study_design_scores_gemma":[0.00005243491,0.0000540026,0.000053785683,0.0026553168,0.00005944084,0.0000035667565,0.0007342726,3.119162e-7,0.0000039315464,0.0002854047,0.99592656,0.00017095212],"about_ca_topic_score_codex":0.038087245,"about_ca_topic_score_gemma":0.3950412,"teacher_disagreement_score":0.87960654,"about_ca_system_score_codex":0.000070839094,"about_ca_system_score_gemma":0.000106655236,"threshold_uncertainty_score":0.9990557},"labels":[],"label_agreement":null},{"id":"W1973204540","doi":"10.3138/md.54.4.534","title":"Absurd Imprint: Grove Press and the Canonization of the Theatrical Avant-Garde","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Opposition (politics); Drama; Absurdism; Avant garde; Interpretation (philosophy); Literature; Art; Relation (database); Aesthetics; Art history; History; Philosophy; Political science; Law; Computer science; Linguistics","score_opus":0.027647356612788537,"score_gpt":0.20021789280365349,"score_spread":0.17257053619086496,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973204540","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4316581,0.0019783622,0.00021314806,0.0008766917,0.0007157519,0.00045597696,0.00003959042,0.000046534202,0.56401587],"genre_scores_gemma":[0.99346894,0.00015296615,0.000007529053,0.00009128611,0.00016660675,0.0000103965385,5.982521e-7,0.000007888223,0.006093803],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954396,0.000036125744,0.00012524285,0.00008680169,0.00009836596,0.000109496636],"domain_scores_gemma":[0.9996557,0.00004162492,0.000055459735,0.00018321244,0.000050664632,0.000013303722],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000101299054,0.00007791469,0.00011671598,0.000011932718,0.0002869882,0.000033209224,0.00013799909,0.000020463,0.00016260841],"category_scores_gemma":[0.000007761163,0.000034882993,0.00004988877,0.0000050170765,0.00043862223,0.00006454264,0.0000970837,0.00007636903,0.0000058753044],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017447924,0.00006441798,0.003493147,0.000053571723,0.00014951937,5.7271154e-7,0.7987371,0.00001837999,0.000030697178,0.16907954,0.0012184995,0.026980089],"study_design_scores_gemma":[0.009321892,0.0005686141,0.06565739,0.00024258746,0.0011513564,0.000032818894,0.023451952,0.023798,0.009073405,0.22904551,0.63622,0.0014364691],"about_ca_topic_score_codex":0.0015147108,"about_ca_topic_score_gemma":0.0022751659,"teacher_disagreement_score":0.7752851,"about_ca_system_score_codex":0.000005263459,"about_ca_system_score_gemma":0.000010825571,"threshold_uncertainty_score":0.22897997},"labels":[],"label_agreement":null},{"id":"W1973418972","doi":"10.3138/ctr.145.6","title":"And in the Future I Don't Remember What Happened Yet: A Back and Forth on the Experience of Memory in relay","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Unison; Repetition (rhetorical device); Perspective (graphical); Performing arts; Task (project management); Focus (optics); History; Visual arts; Cognitive science; Psychology; Art; Engineering; Linguistics","score_opus":0.03982681100509132,"score_gpt":0.22707679938343533,"score_spread":0.187249988378344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973418972","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32203183,0.45470706,1.2735407e-8,0.0076271617,0.00020634629,0.0007593966,0.000016705173,0.000004035511,0.21464747],"genre_scores_gemma":[0.7183074,0.2760888,0.000003390623,0.005022469,0.000091527865,0.000052708067,0.0000017189876,0.000008753722,0.00042327764],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934745,0.000083047824,0.00018737608,0.00012914698,0.00006815737,0.00018483766],"domain_scores_gemma":[0.9995941,0.00005897492,0.000044387212,0.00023963542,0.000015033567,0.00004787828],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032865457,0.00011774605,0.00022542145,0.00005381757,0.00013783069,0.000037090176,0.00014638355,0.000024159064,0.0009361647],"category_scores_gemma":[0.0000051461784,0.000057377274,0.000033770313,0.00006426301,0.00022017912,0.00018324486,0.000016636845,0.00012416054,0.000011792629],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005488792,0.000042773703,0.008749457,0.0021023813,0.00004854714,0.000039330407,0.58175474,2.3558229e-7,0.0000013649618,0.058281742,0.015852965,0.3330716],"study_design_scores_gemma":[0.00013504706,0.000069669026,0.0031608557,0.0037328524,0.000023637229,0.000010627546,0.06884289,0.0000013321875,0.000005692448,0.00037103056,0.923509,0.00013736585],"about_ca_topic_score_codex":0.021818018,"about_ca_topic_score_gemma":0.7983231,"teacher_disagreement_score":0.907656,"about_ca_system_score_codex":0.000016431444,"about_ca_system_score_gemma":0.000039959043,"threshold_uncertainty_score":0.9999771},"labels":[],"label_agreement":null},{"id":"W1973491318","doi":"10.1353/mdr.0.0161","title":"Memory in Play: From Aeschylus to Sam Shepard (review)","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mnemonic; Cultural memory; Drama; Theme (computing); Memory work; History; Literature; Ideology; Collective memory; Aesthetics; Psychology; Sociology; Art; Philosophy; Epistemology; Cognitive psychology; Politics; Computer science; Anthropology","score_opus":0.02008243275085091,"score_gpt":0.23839669370522762,"score_spread":0.2183142609543767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973491318","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84285814,0.003720216,0.000012011615,0.0028048507,0.0013333245,0.0002664317,0.00008080293,0.00008050728,0.14884372],"genre_scores_gemma":[0.9854087,0.0006638501,0.00008607729,0.0029954198,0.0010033445,0.00005247641,0.000017830705,0.00001993833,0.0097523155],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921334,0.000014598232,0.00019586424,0.00020374439,0.00013417765,0.00023827255],"domain_scores_gemma":[0.9995756,0.000031700903,0.000029024905,0.00026868974,0.000034979235,0.000059987604],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000107698106,0.00014404149,0.00025006203,0.00004453561,0.00014340713,0.000050820945,0.0001787835,0.00003585589,0.0028032954],"category_scores_gemma":[0.000015325171,0.00011645469,0.000060568455,0.000024235396,0.00006912303,0.00013451329,0.00007973605,0.00022901817,0.00082578993],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000102822996,0.00021231784,0.0035789334,0.00023300454,0.00010112555,0.000035661098,0.18037379,0.00003366464,0.001009946,0.0072094626,0.23524338,0.5718659],"study_design_scores_gemma":[0.0003084637,0.00006164397,0.002228614,0.0002134567,0.000023415167,0.0000010131256,0.00054280856,0.00016955956,0.0002899788,0.0032591983,0.9926158,0.00028603166],"about_ca_topic_score_codex":0.0018484831,"about_ca_topic_score_gemma":0.043620497,"teacher_disagreement_score":0.75737244,"about_ca_system_score_codex":0.000012980761,"about_ca_system_score_gemma":0.00001538916,"threshold_uncertainty_score":0.9999522},"labels":[],"label_agreement":null},{"id":"W1973522885","doi":"10.1017/s0266464x00014135","title":"The Precariousness of Political Theatre","year":2000,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Politics; Statement (logic); Art; Aesthetics; Sociology; History; Political science; Law; Archaeology","score_opus":0.011607741356121184,"score_gpt":0.22245734889381097,"score_spread":0.21084960753768978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973522885","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19769305,0.00094097684,0.0000026516032,0.0029722627,0.0004888094,0.00018107507,0.00003632069,0.00009164567,0.7975932],"genre_scores_gemma":[0.9721958,0.00005470718,0.000010984977,0.00016229403,0.0014790425,0.000011156597,0.0000044975013,0.000020657715,0.026060848],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987768,0.000053537726,0.0003081733,0.00017431183,0.00021319016,0.00047396493],"domain_scores_gemma":[0.99926496,0.00016318486,0.000043569962,0.0003849714,0.000042762305,0.00010055352],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011378494,0.00018809346,0.00024094064,0.000034162214,0.0005617201,0.0001184597,0.00029013012,0.00004340261,0.0027328075],"category_scores_gemma":[8.603694e-7,0.00010781129,0.00015607942,0.000039243667,0.0004294727,0.00016524529,0.000009341023,0.0001409625,0.0003627645],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000108835426,0.000045213055,0.00020533547,0.00001475823,0.000074773474,0.000001353164,0.04823011,0.000001016304,0.000009778141,0.177638,0.009985353,0.76368546],"study_design_scores_gemma":[0.000441225,0.0007441133,0.00042230764,0.00003893467,0.000059395854,0.000006572441,0.017142292,0.000016501093,0.00008543345,0.02180147,0.9590482,0.00019351499],"about_ca_topic_score_codex":0.0026864505,"about_ca_topic_score_gemma":0.0050216815,"teacher_disagreement_score":0.9490629,"about_ca_system_score_codex":0.000016743204,"about_ca_system_score_gemma":0.000059488655,"threshold_uncertainty_score":0.99817884},"labels":[],"label_agreement":null},{"id":"W1973553918","doi":"10.3138/md.53.4.516","title":"Echo Sign: J.M. Synge and Naturalist Theatricality","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sign (mathematics); Shadow (psychology); Naturalism; Literature; Premise; Gesture; Darwin (ADL); Art; Expression (computer science); Imitation; Philosophy; Linguistics; Psychology; Psychoanalysis; Epistemology; Social psychology","score_opus":0.02019802259962308,"score_gpt":0.23496675760933214,"score_spread":0.21476873500970906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973553918","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7018773,0.0004074585,0.00001335539,0.0014893615,0.0006307422,0.00009949827,0.000035396195,0.0001021812,0.29534474],"genre_scores_gemma":[0.98712754,0.00003784428,0.000034247172,0.00036871512,0.0007552528,0.000007803974,0.0000037808238,0.000010475507,0.011654363],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994388,0.000012934038,0.00010736419,0.00016483293,0.00009801295,0.00017801826],"domain_scores_gemma":[0.99965453,0.00004960638,0.000025690963,0.0001815783,0.000042025964,0.000046561945],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009838942,0.000111920344,0.00013467539,0.0000309717,0.00042042934,0.0001631678,0.00009387482,0.000043662218,0.0013251591],"category_scores_gemma":[0.000010479987,0.00007947295,0.00004168058,0.000013467848,0.00024947472,0.00016549701,0.000056921894,0.00024134436,0.00013672281],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000145726,0.00025581173,0.0070786313,0.00019163378,0.00019954403,0.00002187071,0.20351432,0.0000031782463,0.0028582083,0.37966415,0.04300813,0.36305878],"study_design_scores_gemma":[0.0003830959,0.000057569396,0.0030160057,0.000011139966,0.00004059368,0.000008169795,0.0011560423,0.0007980548,0.0002641688,0.024402384,0.9695332,0.00032958644],"about_ca_topic_score_codex":0.0002547163,"about_ca_topic_score_gemma":0.0018053344,"teacher_disagreement_score":0.92652506,"about_ca_system_score_codex":0.0000055297705,"about_ca_system_score_gemma":0.000007900355,"threshold_uncertainty_score":0.9995878},"labels":[],"label_agreement":null},{"id":"W1973665868","doi":"10.1353/mdr.2007.0011","title":"The Provincetown Players and the Culture of Modernity, and: Expressionism and Modernism in the American Theatre: Bodies, Voices, Words (review)","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernism (music); Modernity; Art; Literature; Aesthetics; Political science; Law","score_opus":0.011644821595763702,"score_gpt":0.22979071078402702,"score_spread":0.21814588918826333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973665868","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6362053,0.2865854,0.00007974812,0.010960648,0.00013049025,0.0013895619,0.00009520612,0.000056659093,0.06449697],"genre_scores_gemma":[0.95681536,0.04047483,0.000019242898,0.0007536457,0.000177393,0.00008824515,0.0000042928295,0.00001256748,0.001654393],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988877,0.00015419182,0.0002692356,0.00020747268,0.0002322966,0.0002491133],"domain_scores_gemma":[0.9992606,0.00024308433,0.00016398805,0.00027441268,0.000035844078,0.000022071275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045484258,0.00020914368,0.00034362593,0.000025129857,0.0009845856,0.0001848832,0.00023991978,0.000027043172,0.000005669049],"category_scores_gemma":[0.000009243786,0.000082086844,0.00005256828,0.000024677076,0.0018784879,0.0001467455,0.00015267433,0.0002467943,7.7941917e-7],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00059241836,0.00016747793,0.005218131,0.0006878027,0.00017157134,0.0000064406477,0.6297536,0.000082782775,0.00007604916,0.06526436,0.01770318,0.28027618],"study_design_scores_gemma":[0.0052250857,0.0005384241,0.012267683,0.0015447114,0.0005131264,0.00006667148,0.097343,0.029500715,0.00008818791,0.20014258,0.65156776,0.001202053],"about_ca_topic_score_codex":0.0038736726,"about_ca_topic_score_gemma":0.009444106,"teacher_disagreement_score":0.6338646,"about_ca_system_score_codex":0.000008824323,"about_ca_system_score_gemma":0.000017028464,"threshold_uncertainty_score":0.75727355},"labels":[],"label_agreement":null},{"id":"W1973757225","doi":"10.1353/ctr.2013.0003","title":"Committing Theatre: Theatre Radicalism and Political Intervention in Canada (review)","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political radicalism; Political theatre; Politics; Postmodernism; Theatre director; Theatre studies; Art; Aesthetics; Sociology; Media studies; Art history; Literature; Political science; Law; Drama","score_opus":0.01750774119719644,"score_gpt":0.22826551043049173,"score_spread":0.21075776923329528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973757225","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001873812,0.7019969,2.3163433e-7,0.031475183,0.00030706465,0.00091555854,0.000094341536,0.000023282977,0.26331362],"genre_scores_gemma":[0.67708963,0.2959553,0.000010387323,0.025758296,0.00041718548,0.0001891864,0.000054965676,0.000038762293,0.00048630635],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980028,0.00018244408,0.0005950152,0.0002827326,0.00017590307,0.0007610957],"domain_scores_gemma":[0.9989031,0.000112612695,0.00008054553,0.00032853143,0.00006077497,0.00051446],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003537194,0.00029105306,0.0006715397,0.000100396304,0.00028089178,0.000060921127,0.00023185617,0.000038126316,0.006362283],"category_scores_gemma":[0.00001756411,0.00021883036,0.00013663813,0.00009519055,0.00018060111,0.00021676964,0.0000483551,0.00029585496,0.00014295444],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000013233191,0.000016839364,0.0037001153,0.007690772,0.00006021733,0.000026778778,0.00056382985,8.932258e-8,2.0022551e-7,0.014233944,0.16442926,0.80927664],"study_design_scores_gemma":[0.00018644397,0.000029354065,0.0007813213,0.01622464,0.000100826146,0.000027909195,0.0014500223,0.000015544916,7.3755984e-7,0.0005715606,0.980313,0.00029864442],"about_ca_topic_score_codex":0.9938432,"about_ca_topic_score_gemma":0.99879974,"teacher_disagreement_score":0.81588376,"about_ca_system_score_codex":0.0005266308,"about_ca_system_score_gemma":0.00063177256,"threshold_uncertainty_score":0.99454606},"labels":[],"label_agreement":null},{"id":"W1973841200","doi":"10.1353/ths.2010.0014","title":"Signatures of the Past: Cultural Memory in Contemporary Anglophone North American Drama (review)","year":2010,"lang":"en","type":"article","venue":"Theatre history studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Expansive; Cultural memory; History; Argument (complex analysis); Literature; Order (exchange); Performance art; Art history; Art; Sociology; Anthropology","score_opus":0.04172557823411103,"score_gpt":0.25183079201651315,"score_spread":0.21010521378240213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973841200","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63987267,0.23108019,1.6161685e-8,0.001370069,0.00227054,0.00031424925,0.00003474441,0.000050102783,0.12500739],"genre_scores_gemma":[0.98702985,0.007679145,0.000008067156,0.0010986449,0.0005919353,0.00004637178,0.000004359618,0.000016330341,0.0035253118],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99893826,0.00007771376,0.00035731518,0.00019922155,0.00020841746,0.00021906655],"domain_scores_gemma":[0.9991635,0.00009679485,0.0002265423,0.00033576487,0.00014952947,0.000027889606],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016533327,0.00023915483,0.00058285217,0.00007086472,0.0002714634,0.0000051931324,0.0002820446,0.000020229929,0.00014157027],"category_scores_gemma":[0.000022485392,0.00013377804,0.0001673983,0.00010603376,0.0023008497,0.00014311617,0.00012849992,0.00037435797,0.000018160938],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009898129,0.00017413837,0.031181438,0.00089713687,0.00036315297,0.0000099852905,0.2098946,0.0000036771842,0.00022220825,0.0008885127,0.72936594,0.026900236],"study_design_scores_gemma":[0.00033624336,0.00012219495,0.042767458,0.00030552733,0.00007865139,0.0000019217944,0.0255194,8.548041e-7,0.00004291488,0.00005615193,0.9304728,0.00029590007],"about_ca_topic_score_codex":0.0010815898,"about_ca_topic_score_gemma":0.042378433,"teacher_disagreement_score":0.34715715,"about_ca_system_score_codex":0.0000765184,"about_ca_system_score_gemma":0.00005248794,"threshold_uncertainty_score":0.9750957},"labels":[],"label_agreement":null},{"id":"W1973990511","doi":"10.3138/md.52.1.57","title":"<i>The Emperor Jones</i> and National Trauma","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Racism; History; Allegory; Emperor; Trilogy; Literature; Embodied cognition; Realism; Art; Sociology; Gender studies; Philosophy; Ancient history","score_opus":0.023661445983207963,"score_gpt":0.23505245649550632,"score_spread":0.21139101051229836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1973990511","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58490825,0.00275815,0.000020913576,0.009821349,0.00032848289,0.000108630134,0.000020658194,0.00008249039,0.40195107],"genre_scores_gemma":[0.9868389,0.00009991267,0.000010600829,0.00092173164,0.00055561296,0.0000050045023,0.0000023930565,0.000004360067,0.011561494],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99956465,0.000007736416,0.00008549028,0.00008473879,0.00012692854,0.00013044108],"domain_scores_gemma":[0.9998148,0.000032906297,0.000018324017,0.00006142765,0.000051998202,0.000020548792],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000801326,0.000070412796,0.000066120665,0.000016664193,0.00079703884,0.00016762484,0.00006124456,0.00001426814,0.00006807446],"category_scores_gemma":[0.0000046022014,0.000044003616,0.000026552556,0.000008624511,0.00012580382,0.00011788771,0.000011614009,0.00005761982,0.000033720964],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055645076,0.00005887934,0.00020065297,0.000009022564,0.000043213466,0.0000018939481,0.07369228,0.000009452972,0.000076365795,0.38137883,0.04052119,0.50395256],"study_design_scores_gemma":[0.00024112755,0.00008299825,0.0024092773,0.0000074904997,0.000007829195,0.0000033431027,0.0010181176,0.00047934518,0.000061581704,0.066744424,0.9288329,0.00011156103],"about_ca_topic_score_codex":0.000014550666,"about_ca_topic_score_gemma":0.00033274703,"teacher_disagreement_score":0.88831174,"about_ca_system_score_codex":0.000007905347,"about_ca_system_score_gemma":0.000008070221,"threshold_uncertainty_score":0.6130259},"labels":[],"label_agreement":null},{"id":"W1974854981","doi":"10.3138/ctr.143.42","title":"Improvisation and Education: Learning Through?","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Drama; Curriculum; Legitimacy; Pedagogy; Sociology; Aesthetics; Art; Psychology; Visual arts; Political science; Law","score_opus":0.018508732014597306,"score_gpt":0.24461119600848671,"score_spread":0.22610246399388942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1974854981","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00644733,0.123758145,3.6388641e-7,0.008021742,0.00087936973,0.00026293448,0.000010162569,0.000035811234,0.86058414],"genre_scores_gemma":[0.84134763,0.12168259,0.0000973403,0.011989454,0.0028401474,0.00009743513,0.000058744274,0.00003429103,0.021852365],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995611,0.000016311487,0.0001084498,0.000106869884,0.00004155504,0.00016573978],"domain_scores_gemma":[0.99968493,0.0000148629915,0.00003179662,0.00011490455,0.00004658026,0.00010691036],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011247334,0.00008665653,0.00013228557,0.000033687847,0.00042489072,0.000058820584,0.000055108365,0.000020320022,0.0021259838],"category_scores_gemma":[0.0000118042,0.00006800071,0.00003204115,0.000025161778,0.00009905748,0.0001700343,0.00000801456,0.00016700203,0.00014626175],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.6026952e-7,0.0000045255783,0.00051554857,0.000638556,0.000012864101,5.3170425e-7,0.005555251,2.4514293e-8,0.0000049372297,0.078804746,0.029434131,0.8850284],"study_design_scores_gemma":[0.000025391746,0.000015736265,0.0000915719,0.00031869285,0.000031750325,0.000007484239,0.0007737311,0.0000010446795,0.0000017584,0.0008334498,0.99780774,0.00009164931],"about_ca_topic_score_codex":0.037432544,"about_ca_topic_score_gemma":0.42185262,"teacher_disagreement_score":0.9683736,"about_ca_system_score_codex":0.000018524448,"about_ca_system_score_gemma":0.0002531918,"threshold_uncertainty_score":0.9987862},"labels":[],"label_agreement":null},{"id":"W1975920984","doi":"10.3138/md.51.4.458","title":"The Space Stage and the Circus: E.E. Cummings's <i>Him</i> and Frederick Kiesler's <i>Raumbühne</i>","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Closet; Burlesque; Art; Art history; Carnivalesque; Literature; Space (punctuation); Philosophy; History","score_opus":0.01897026719563239,"score_gpt":0.19884352386767595,"score_spread":0.17987325667204357,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1975920984","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.742432,0.023973225,0.00009482097,0.013496425,0.000829499,0.00049615913,0.000048809765,0.00015724108,0.21847183],"genre_scores_gemma":[0.9558491,0.0049372255,0.000012927586,0.0009976255,0.00051506446,0.00003111264,0.000001933805,0.0000213679,0.03763363],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990798,0.000048620157,0.0001719301,0.00020622615,0.0001823286,0.00031104372],"domain_scores_gemma":[0.99932677,0.00023167417,0.00007091277,0.00026948785,0.000052665142,0.000048474845],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0002160812,0.00018908303,0.00022281415,0.000020924463,0.0029808027,0.00032520053,0.00016105566,0.000031638967,0.00005895791],"category_scores_gemma":[0.00001638634,0.00009581952,0.000057939455,0.000024429004,0.0018357692,0.00020499382,0.000141019,0.0001783373,0.000023366958],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035818905,0.00006434253,0.0033767538,0.000091570335,0.00033128422,0.000026958161,0.5892237,0.000023351255,0.00007259405,0.28770888,0.0832283,0.03549413],"study_design_scores_gemma":[0.0009804312,0.00005064368,0.00044074384,0.0000158953,0.00003334594,0.000022907665,0.010212209,0.0006255142,0.00004671903,0.00612724,0.9812453,0.00019906285],"about_ca_topic_score_codex":0.0005909815,"about_ca_topic_score_gemma":0.0015023449,"teacher_disagreement_score":0.898017,"about_ca_system_score_codex":0.000009831841,"about_ca_system_score_gemma":0.000017186878,"threshold_uncertainty_score":0.9983172},"labels":[],"label_agreement":null},{"id":"W1975989181","doi":"10.1353/ctr.2011.0018","title":"Realism/Terrorism: The Walworth Farce","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Realism; Aesthetics; Terrorism; Art; Sociology; Visual arts; History; Archaeology","score_opus":0.06233483640216022,"score_gpt":0.230574932161091,"score_spread":0.16824009575893079,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1975989181","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004328298,0.15580487,3.7755157e-7,0.005064025,0.00046035563,0.0003231336,0.00006838939,0.000039531424,0.83780646],"genre_scores_gemma":[0.69683564,0.24714069,0.000021351027,0.032903925,0.0019118362,0.000176468,0.000049720013,0.000070379545,0.020890001],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909645,0.000057655645,0.00021971362,0.00015787664,0.00009329783,0.000374993],"domain_scores_gemma":[0.9992671,0.000021369298,0.00005317136,0.00043256747,0.000050710314,0.00017508505],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023806586,0.00016970048,0.00025819513,0.000051273666,0.00061183376,0.000037836577,0.00031837958,0.00002321998,0.007848112],"category_scores_gemma":[0.0000052863643,0.00009526362,0.00013420165,0.000058398633,0.0002188725,0.000110671885,0.000023043489,0.00014500058,0.0008156164],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000046962796,0.000014728781,0.00048146577,0.00086441793,0.0001371083,0.000031959662,0.05561912,4.49418e-8,1.5453601e-7,0.12232024,0.35729694,0.46322912],"study_design_scores_gemma":[0.000036277077,0.000026642687,0.00019904658,0.00061445247,0.000093301474,0.000010246885,0.0011195726,5.203191e-7,0.0000012706772,0.0007166238,0.997037,0.00014506836],"about_ca_topic_score_codex":0.22084364,"about_ca_topic_score_gemma":0.7548803,"teacher_disagreement_score":0.81691647,"about_ca_system_score_codex":0.000045079676,"about_ca_system_score_gemma":0.00012384649,"threshold_uncertainty_score":0.9999624},"labels":[],"label_agreement":null},{"id":"W1976519627","doi":"10.3138/ctr.151.82","title":"Fresh Print in Canada","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnography; Performance art; Art history; History; Art; Media studies; Visual arts; Sociology; Archaeology","score_opus":0.0281844738269443,"score_gpt":0.21776723041210344,"score_spread":0.18958275658515913,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1976519627","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01138314,0.37404996,4.5210076e-8,0.0032439118,0.0007334613,0.00027148874,0.00007287068,0.000011044271,0.6102341],"genre_scores_gemma":[0.95742226,0.035726465,0.000003624524,0.005261766,0.0005313002,0.000034309967,0.000010898304,0.00001314921,0.0009961999],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999147,0.000029180037,0.00018600149,0.00008521102,0.00008021743,0.00047236937],"domain_scores_gemma":[0.99949306,0.000018870438,0.000026791231,0.00018008701,0.000019118186,0.0002620505],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015232478,0.00011610624,0.0002370146,0.000052813924,0.0001305895,0.000014027441,0.00011566082,0.000011537927,0.005521304],"category_scores_gemma":[0.0000053285335,0.00008983518,0.00004186608,0.00004511388,0.000035606747,0.00011703248,0.000013200905,0.00010256949,0.00020457752],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002283138,0.000021005919,0.12283977,0.0024781602,0.00007042317,0.000032250904,0.007801645,0.0000010081664,3.7085493e-7,0.053240713,0.40708396,0.4064284],"study_design_scores_gemma":[0.00003697452,0.0000039129905,0.0024004267,0.00075831823,0.000016262693,0.000003304262,0.00075645285,4.405401e-7,0.0000010311471,0.0000301975,0.99586797,0.00012472647],"about_ca_topic_score_codex":0.9982227,"about_ca_topic_score_gemma":0.9999871,"teacher_disagreement_score":0.94603914,"about_ca_system_score_codex":0.0005333841,"about_ca_system_score_gemma":0.0009927406,"threshold_uncertainty_score":0.9953878},"labels":[],"label_agreement":null},{"id":"W1976583820","doi":"10.1017/s0266464x05000229","title":"The Theatrical Memory of Space: from Piscator and Brecht to Belgrade","year":2005,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Procession; Performativity; Politics; Space (punctuation); Visual arts; Art history; Art; Sociology; History; Gender studies; Philosophy; Linguistics; Archaeology; Political science","score_opus":0.01109945469164127,"score_gpt":0.21805930715244987,"score_spread":0.20695985246080859,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1976583820","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81180805,0.006263708,0.000026812208,0.031143557,0.000776787,0.00042518775,0.0001188312,0.00012311326,0.14931394],"genre_scores_gemma":[0.9899091,0.000113838294,0.00017953251,0.0003673965,0.0027563325,0.000011766002,0.0000032446117,0.000020843254,0.0066379327],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990359,0.00004035062,0.00025558015,0.00020445335,0.00018868841,0.00027505643],"domain_scores_gemma":[0.9992579,0.00022560733,0.000057610072,0.0003050019,0.000031343956,0.00012250061],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011295281,0.00018051945,0.00024185191,0.000058414047,0.00043771157,0.00011245928,0.00019843942,0.00004157359,0.00037739254],"category_scores_gemma":[0.0000026496018,0.00010812447,0.00008632761,0.0000452379,0.00020027661,0.0001445178,0.000026693906,0.00012841924,0.00016007863],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017054583,0.000044204528,0.00035973167,0.00000861393,0.00012235572,8.815191e-7,0.14284655,0.0000016453486,0.00019841838,0.011138869,0.057304356,0.7878038],"study_design_scores_gemma":[0.00053613435,0.0007109098,0.0011134712,0.00003286494,0.00008001374,0.0000026902137,0.020705834,0.00001805165,0.00042187716,0.00444443,0.97171766,0.000216045],"about_ca_topic_score_codex":0.0019070216,"about_ca_topic_score_gemma":0.0076563447,"teacher_disagreement_score":0.91441333,"about_ca_system_score_codex":0.000017456072,"about_ca_system_score_gemma":0.000034004308,"threshold_uncertainty_score":0.44091877},"labels":[],"label_agreement":null},{"id":"W1976767445","doi":"10.3138/ctr.145.11","title":"Processing Memory in 300 TAPES and relay","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Process (computing); Dysfunctional family; Perspective (graphical); Active listening; Repetition (rhetorical device); Memory work; Performing arts; Adaptation (eye); Psychology; Cognitive science; Cognitive psychology; Visual arts; Computer science; Communication; Art; Linguistics; Neuroscience","score_opus":0.04295052477192793,"score_gpt":0.2265712945672034,"score_spread":0.18362076979527547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1976767445","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047354135,0.40894154,8.003032e-8,0.0007720149,0.00009470122,0.00019051963,0.00001198479,0.00001799245,0.5852358],"genre_scores_gemma":[0.8359864,0.15576795,0.00004498013,0.004177695,0.00031826648,0.000055516248,0.000006643489,0.000028233464,0.003614363],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938023,0.000025782658,0.00017152421,0.00013535813,0.000044723478,0.00024238926],"domain_scores_gemma":[0.9997,0.000009700965,0.00003212893,0.0001147834,0.000023098393,0.00012030627],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016357965,0.00011615456,0.00023479614,0.00009138034,0.00020091605,0.000026165364,0.00008258612,0.00002109422,0.0016313938],"category_scores_gemma":[0.0000046293303,0.000087326334,0.000033757573,0.000045178236,0.00012576401,0.00015981446,0.000012411921,0.000094990755,0.000080026744],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003904074,0.000010896818,0.0016710076,0.0026566146,0.00001961326,0.000032802196,0.03279957,5.5698937e-8,3.523963e-7,0.0064261495,0.009081041,0.947298],"study_design_scores_gemma":[0.0000712925,0.000028546194,0.00054842775,0.0028641676,0.000038529648,0.000009342909,0.0015050196,0.00000212975,0.0000022583533,0.0003140818,0.9944585,0.00015772479],"about_ca_topic_score_codex":0.05048798,"about_ca_topic_score_gemma":0.6411898,"teacher_disagreement_score":0.98537743,"about_ca_system_score_codex":0.00003532592,"about_ca_system_score_gemma":0.000108802815,"threshold_uncertainty_score":0.9992812},"labels":[],"label_agreement":null},{"id":"W1977060112","doi":"10.1080/13569780500275998","title":"From spotlight to fluorescent bulb: aesthetic dimensions of personal, practical knowledge in an actor training to be a high school teacher","year":2005,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Storytelling; Drama; Narrative; Beauty; Pedagogy; Sociology; Dimension (graph theory); Professional development; Narrative inquiry; Participant observation; Aesthetics; Psychology; Visual arts; Art; Literature; Social science","score_opus":0.09716375157048347,"score_gpt":0.37265021828644396,"score_spread":0.2754864667159605,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1977060112","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98097736,0.0005339936,6.683662e-7,0.012800526,0.00015103188,0.0003276627,0.0000072941803,0.000004765525,0.0051967064],"genre_scores_gemma":[0.99737644,0.0006047655,0.00027109464,0.00027241296,0.0011814368,0.00003308403,0.0000026527816,0.000017302247,0.00024082907],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984919,0.00015709527,0.0004521154,0.0001550946,0.00039183802,0.00035197666],"domain_scores_gemma":[0.99901557,0.00023604897,0.00009826577,0.00020210941,0.00022357391,0.00022442847],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017208424,0.00014409267,0.00027715,0.0005087739,0.0002994771,0.00008735719,0.00024644652,0.0000470904,0.00032587122],"category_scores_gemma":[0.000019686167,0.00008632019,0.000033541077,0.00022998298,0.0001916412,0.00035862616,0.00007770357,0.0006711187,0.000042425803],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018674803,0.0012174605,0.0020233358,0.000054223085,0.00003640109,0.0000014202592,0.76080334,0.00012538911,0.0012415482,0.0027992527,0.0073411064,0.22248903],"study_design_scores_gemma":[0.0015207685,0.002104576,0.020126186,0.0010716616,0.000061581864,0.000039414877,0.48495233,0.0006395214,0.0025944398,0.0011897212,0.48523003,0.0004697726],"about_ca_topic_score_codex":0.0002997854,"about_ca_topic_score_gemma":0.0013942864,"teacher_disagreement_score":0.4778889,"about_ca_system_score_codex":0.00013795389,"about_ca_system_score_gemma":0.0005069645,"threshold_uncertainty_score":0.35680616},"labels":[],"label_agreement":null},{"id":"W1977345531","doi":"10.3138/md.52.1.99","title":"Middlebrowing the Avant-Garde: <i>Equus</i> on the West End","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Spectacle; Commodification; Avant garde; Afterlife; Context (archaeology); History; Aesthetics; Literature; Middlebrow; Art; Art history; Political science; Law; Archaeology; Economy","score_opus":0.032942863954002415,"score_gpt":0.22123878627450924,"score_spread":0.18829592232050682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1977345531","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16391544,0.00076547195,0.000019310231,0.031451,0.0006697419,0.00021481459,0.000022636821,0.000114771625,0.8028268],"genre_scores_gemma":[0.9642453,0.0000678358,0.000003183036,0.009520572,0.00111294,0.000011746063,0.0000031354343,0.000012104741,0.02502319],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991979,0.00003575444,0.00013873936,0.00015122119,0.00020079667,0.00027559686],"domain_scores_gemma":[0.9994552,0.00012088673,0.00003965381,0.00032755555,0.000033175336,0.000023534765],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001696517,0.00015599477,0.00012724,0.000023164159,0.0012202807,0.0002463014,0.0002704649,0.000023929142,0.0015619445],"category_scores_gemma":[0.000009806205,0.00007230245,0.0000958505,0.00000830881,0.00018818579,0.0001109291,0.000034354514,0.00020910038,0.00060407387],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095448304,0.00017668559,0.00016565788,0.00001763474,0.00013869994,0.00001205757,0.4452887,0.00015705012,0.00027464243,0.27797836,0.09842881,0.17726627],"study_design_scores_gemma":[0.00020580488,0.00017039992,0.0011209102,0.00004770531,0.000033483622,0.0000032767127,0.0037159952,0.00045228028,0.00030705566,0.019489706,0.97424924,0.00020415118],"about_ca_topic_score_codex":0.00006783928,"about_ca_topic_score_gemma":0.0011126853,"teacher_disagreement_score":0.8758204,"about_ca_system_score_codex":0.00001420036,"about_ca_system_score_gemma":0.000011429509,"threshold_uncertainty_score":0.9993508},"labels":[],"label_agreement":null},{"id":"W1978703602","doi":"10.1080/10486801.2014.921031","title":"Introduction: Dealing with Martin Crimp","year":2014,"lang":"en","type":"article","venue":"Contemporary Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Crimp; Context (archaeology); Performance art; Gratitude; Art; Art history; Sociology; History; Psychology","score_opus":0.03480675874894468,"score_gpt":0.23708568940719174,"score_spread":0.20227893065824706,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1978703602","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005736867,0.23411922,0.000032708078,0.022592029,0.00043553082,0.00033335557,0.0000062153204,0.00015219452,0.74175507],"genre_scores_gemma":[0.943008,0.03348029,0.00010434584,0.0049551977,0.007846365,0.00008088884,0.000044049088,0.000055092245,0.010425745],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909496,0.000075136464,0.00029562888,0.00022766252,0.00013033552,0.00017624784],"domain_scores_gemma":[0.9993211,0.00003674901,0.00010680256,0.0004034556,0.000078227305,0.000053688993],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00038557887,0.00019017317,0.00040569872,0.00003541272,0.00031773743,0.00005404863,0.00015900153,0.000016187842,0.0024166675],"category_scores_gemma":[0.00001253148,0.00011812541,0.00009293457,0.00003845141,0.00015972127,0.00026209714,0.000045442062,0.00011527792,0.00039616047],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007373995,0.000061587176,0.00096471247,0.0039288444,0.00021690484,0.000007111518,0.0027305735,0.0000010296917,0.0000049296086,0.14294878,0.57305646,0.27600533],"study_design_scores_gemma":[0.00015867823,0.00016099405,0.000010933199,0.0013485841,0.00006974894,0.000010939497,0.00022752228,0.0000058260757,0.00001128115,0.000386659,0.9974281,0.00018070647],"about_ca_topic_score_codex":0.000045320925,"about_ca_topic_score_gemma":0.00007768923,"teacher_disagreement_score":0.9424343,"about_ca_system_score_codex":0.000009025299,"about_ca_system_score_gemma":0.00002426107,"threshold_uncertainty_score":0.9984953},"labels":[],"label_agreement":null},{"id":"W1980088949","doi":"10.3138/ctr.161.009","title":"Performance as Treatment in the James Bay Treaty No. 9","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Treaty; Law; Political science; Arms control; Sociology","score_opus":0.04837596929018026,"score_gpt":0.2533597844036272,"score_spread":0.20498381511344696,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1980088949","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020121215,0.10763516,9.3926635e-9,0.005680463,0.00034085693,0.0006231232,0.000040057002,0.000022045317,0.86553705],"genre_scores_gemma":[0.78331065,0.18313284,0.0000056588638,0.010700717,0.0013593428,0.00036317704,0.000053451018,0.000032897733,0.021041274],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989944,0.00009310191,0.00022675967,0.0001698784,0.00013463268,0.00038124245],"domain_scores_gemma":[0.9993029,0.000041456817,0.00004058294,0.0003530542,0.00006762302,0.00019437095],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032309064,0.00021622705,0.00033848058,0.00008411793,0.00026334444,0.00006387025,0.00023263945,0.000026177451,0.0011394981],"category_scores_gemma":[0.000012689368,0.00011398395,0.000105022475,0.00008011267,0.0001243234,0.00015913614,0.000009835782,0.00009471849,0.0025907275],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023576267,0.00009084816,0.00819081,0.00090707705,0.000117270996,0.00008289807,0.06358766,0.0000027500505,1.3236455e-7,0.00776322,0.2727426,0.64649117],"study_design_scores_gemma":[0.00020551177,0.00024440256,0.00019396166,0.00055333663,0.00006200284,0.000016898484,0.0022595937,0.000006345622,9.1025197e-7,0.000076414726,0.9962265,0.00015410398],"about_ca_topic_score_codex":0.10955924,"about_ca_topic_score_gemma":0.5880058,"teacher_disagreement_score":0.8444958,"about_ca_system_score_codex":0.0002469614,"about_ca_system_score_gemma":0.00040482145,"threshold_uncertainty_score":0.9997736},"labels":[],"label_agreement":null},{"id":"W1981570244","doi":"10.3138/md.48.1.186","title":"“Loyal to the Truth”: Gary Mitchell’s Aesthetic Loyalism in <i>As the Beast Sleeps </i>and <i>The Force of Change</i>","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Protestantism; Politics; Aesthetics; Art; Literature; Environmental ethics; Philosophy; Political science; Law","score_opus":0.025277658779579645,"score_gpt":0.2233481366882115,"score_spread":0.19807047790863186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1981570244","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85962045,0.0072945775,0.000023730676,0.07597864,0.00050044595,0.00076953124,0.000039200728,0.000040533236,0.05573291],"genre_scores_gemma":[0.9881463,0.00021485354,0.000006493356,0.004948909,0.00081176957,0.00011988178,0.000002250989,0.000019332156,0.0057302318],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999051,0.000072028575,0.00023753635,0.00016527665,0.00019545738,0.00027875125],"domain_scores_gemma":[0.99937195,0.00016010334,0.00006335873,0.00033124586,0.00004129614,0.000032030708],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003680869,0.0001678029,0.00022232585,0.000038041842,0.0004437492,0.000093479255,0.00032137393,0.000031642827,0.00010137746],"category_scores_gemma":[0.000012092022,0.00007600104,0.00008861274,0.000042363903,0.00051976944,0.000107371365,0.00013228452,0.0001815007,0.0000776175],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036037722,0.00008409658,0.00028337477,0.000034510154,0.00005217883,0.000002579643,0.7727107,0.00030237908,0.000015762675,0.09940391,0.0055760015,0.12117417],"study_design_scores_gemma":[0.0015014942,0.00013253409,0.0003751272,0.00008076079,0.000073408,0.00001955842,0.007845285,0.0031425694,0.00014479292,0.009215839,0.97721916,0.00024949442],"about_ca_topic_score_codex":0.0009717062,"about_ca_topic_score_gemma":0.0067552687,"teacher_disagreement_score":0.97164315,"about_ca_system_score_codex":0.00001260828,"about_ca_system_score_gemma":0.0000120393315,"threshold_uncertainty_score":0.37695983},"labels":[],"label_agreement":null},{"id":"W1983958090","doi":"10.3138/ctr.145.56","title":"Dear Citizens of Tennessee","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Honour; Interview; Racism; Sociology; Media studies; Performance art; Work (physics); Visual arts; Gender studies; History; Political science; Art; Engineering; Law; Art history; Anthropology","score_opus":0.05174755908202971,"score_gpt":0.22104415849019834,"score_spread":0.16929659940816863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1983958090","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016770981,0.12959616,2.7642335e-7,0.0004178014,0.00022364657,0.00017871399,0.000083959305,0.000019689023,0.8678027],"genre_scores_gemma":[0.89732677,0.09587972,0.000037314592,0.0024189434,0.0003770593,0.000030008165,0.000013917089,0.000028134165,0.003888133],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993773,0.000022198952,0.0002040977,0.000101930535,0.000059530692,0.00023494511],"domain_scores_gemma":[0.99951065,0.000012934729,0.000050656352,0.00022176688,0.00006888091,0.00013512894],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011828997,0.000111107904,0.00028768627,0.000071824325,0.00014855448,0.000007784456,0.00014598493,0.000018604469,0.011295685],"category_scores_gemma":[0.0000051823063,0.0000817902,0.00010891521,0.00004306567,0.00015504337,0.000069772825,0.000011936457,0.00006044897,0.00033335714],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011521639,0.000054130396,0.004283988,0.007983045,0.0003378012,0.000051492032,0.043025337,5.2495803e-8,0.000006165022,0.3955648,0.19290467,0.355777],"study_design_scores_gemma":[0.000046060126,0.000037947786,0.00018238378,0.0012893267,0.00008126254,0.000004899154,0.000584056,2.863866e-7,0.000020724538,0.0007476178,0.99688745,0.00011796138],"about_ca_topic_score_codex":0.06006159,"about_ca_topic_score_gemma":0.3572395,"teacher_disagreement_score":0.8956497,"about_ca_system_score_codex":0.000022422939,"about_ca_system_score_gemma":0.00010928469,"threshold_uncertainty_score":0.9896081},"labels":[],"label_agreement":null},{"id":"W1984304267","doi":"10.3138/ctr.147.18","title":"Applied Theatre and/as Activism","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Theatre studies; Theatre director; Political theatre; Postmodern theatre; Context (archaeology); Studio; Visual arts; Sociology; Art; Pedagogy; Media studies; History; Postmodernism; Literature","score_opus":0.04049497183600692,"score_gpt":0.22257681448319644,"score_spread":0.18208184264718952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1984304267","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011036792,0.110532776,2.0390128e-7,0.00096467807,0.0001837644,0.00032199157,0.00003152388,0.000047090685,0.8868143],"genre_scores_gemma":[0.8519075,0.13617595,0.000022339418,0.007413982,0.00053035864,0.000092224895,0.00001447705,0.000041687283,0.0038014653],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914837,0.000024022129,0.00018031316,0.00021013775,0.00007740273,0.0003597777],"domain_scores_gemma":[0.99937165,0.000019148727,0.0000434314,0.00027285074,0.000027028846,0.00026592094],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013532427,0.00020234191,0.00033888992,0.00008520128,0.0004003371,0.000037439724,0.00014956738,0.000033662527,0.006370573],"category_scores_gemma":[0.0000021947487,0.00014801243,0.00008005084,0.000043990236,0.0001958178,0.000118287,0.000024576602,0.00012603358,0.0008117045],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007886948,0.000014694557,0.00014267382,0.0009679777,0.00009834345,0.000016121669,0.01730361,8.581999e-9,0.0000017435156,0.15235099,0.025303857,0.8037921],"study_design_scores_gemma":[0.00008048995,0.00004065606,0.00006882569,0.0007142448,0.000098447,0.000013059791,0.0011328916,2.1936216e-7,0.000012050592,0.0022074105,0.995423,0.00020868405],"about_ca_topic_score_codex":0.049658522,"about_ca_topic_score_gemma":0.21111134,"teacher_disagreement_score":0.9701192,"about_ca_system_score_codex":0.000038784437,"about_ca_system_score_gemma":0.00012350793,"threshold_uncertainty_score":0.99996626},"labels":[],"label_agreement":null},{"id":"W1984590252","doi":"10.1353/tj.2003.0164","title":"Black and White and Re(a)d All Over Again: Indigenous Minstrelsy in Contemporary Canadian and Australian Theatre","year":2003,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Blackface; White (mutation); Identity (music); Sociology; Relation (database); Gender studies; History; Art history; Art; Aesthetics","score_opus":0.04184459930868211,"score_gpt":0.2411257442268126,"score_spread":0.19928114491813048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1984590252","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.832484,0.0022686908,8.801925e-8,0.0016214707,0.00015933893,0.00013529182,0.00003812684,0.000010605214,0.16328238],"genre_scores_gemma":[0.9947441,0.0016150753,0.000017221233,0.00057420495,0.00030123003,0.0000022297297,0.0000035648968,0.000020467034,0.0027218605],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892014,0.00008322153,0.0002737302,0.00018239471,0.000115719486,0.0004248053],"domain_scores_gemma":[0.99946696,0.00003486121,0.00007247968,0.00010812983,0.00002737272,0.00029021435],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033088945,0.00022270622,0.00028368534,0.00024095908,0.0005023455,0.0002748669,0.00006748726,0.000071244984,0.00042122643],"category_scores_gemma":[0.0000031172046,0.0001695341,0.000037756163,0.000035361958,0.00035436696,0.00033401902,0.000020984578,0.0003571153,0.0000068658683],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011876907,0.00006860397,0.5336933,0.00010738738,0.0002603255,0.00036734412,0.41484928,0.0000047754,0.000026130712,0.0016107393,0.022132361,0.02676098],"study_design_scores_gemma":[0.001886609,0.00037708826,0.050815098,0.00022423195,0.0000668852,0.0003980337,0.06440009,0.000011888123,0.000016555958,0.0032253661,0.8780626,0.0005155521],"about_ca_topic_score_codex":0.017418623,"about_ca_topic_score_gemma":0.29612762,"teacher_disagreement_score":0.8559302,"about_ca_system_score_codex":0.000049231076,"about_ca_system_score_gemma":0.00013417202,"threshold_uncertainty_score":0.9891245},"labels":[],"label_agreement":null},{"id":"W1985486027","doi":"10.1503/cmaj.091413","title":"An intimate sort of literature","year":2010,"lang":"en","type":"article","venue":"Canadian Medical Association Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"sort; Computer science; World Wide Web; Information retrieval","score_opus":0.005353787380158656,"score_gpt":0.21465509740920138,"score_spread":0.20930131002904273,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1985486027","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8909429,0.00014549869,0.0000021841317,0.009004056,0.0034964432,0.000039726416,0.0001028,0.000015614223,0.096250825],"genre_scores_gemma":[0.9926786,0.00006512327,0.000026164142,0.0018297232,0.004258348,9.901682e-7,0.000009568025,0.0000058691226,0.0011256518],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991487,0.000026187374,0.00019266857,0.00005022835,0.00038601927,0.00019616642],"domain_scores_gemma":[0.9990715,0.00002606785,0.000098828394,0.000057872203,0.0003235122,0.00042222772],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00060408993,0.0000566989,0.0001099607,0.00009937772,0.00031954958,0.00013016189,0.00013369745,0.000111920206,0.014404053],"category_scores_gemma":[0.00012331869,0.00004341975,0.00004797415,0.000031784286,0.00006297474,0.00022086261,0.0000042816596,0.0006732411,0.000049367565],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016962524,0.000100483034,0.10215369,0.00004224634,0.0003085123,0.00017189655,0.12657525,0.0000017723304,0.0001796875,0.12722318,0.4707507,0.17247564],"study_design_scores_gemma":[0.00015958141,0.00003897097,0.004584596,0.000028355664,0.000009081914,0.000031860003,0.0013191294,0.000038866645,0.000017575452,0.00073888764,0.99296594,0.00006716766],"about_ca_topic_score_codex":0.0012743663,"about_ca_topic_score_gemma":0.22290625,"teacher_disagreement_score":0.52221525,"about_ca_system_score_codex":0.000040167575,"about_ca_system_score_gemma":0.00041902316,"threshold_uncertainty_score":0.9864969},"labels":[],"label_agreement":null},{"id":"W1986195717","doi":"10.7202/041459ar","title":"La performance en direct dans une culture médiatisée","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Intrusion; Philosophy; Art","score_opus":0.01034430198893864,"score_gpt":0.22526046361794785,"score_spread":0.21491616162900923,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1986195717","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34789288,0.0023746702,0.000002228088,0.011101057,0.0037898428,0.0005543311,0.0008019019,0.00040764516,0.6330754],"genre_scores_gemma":[0.7092911,0.0103813885,0.00022643604,0.0003183516,0.0043573654,0.00012544976,0.00010465154,0.00016829814,0.27502695],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99523056,0.00033800988,0.0011093541,0.0011050878,0.0005873961,0.0016296005],"domain_scores_gemma":[0.99717057,0.0005026839,0.00044287683,0.0011095998,0.00029782963,0.00047641827],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.00076854037,0.0013499184,0.0013188327,0.0002661947,0.0019297872,0.00057982357,0.0011818947,0.00086178834,0.0010675119],"category_scores_gemma":[0.000108990556,0.0012098553,0.0007882442,0.00036119646,0.002492279,0.0015930512,0.00025738752,0.0024801972,0.0006080444],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029572184,0.000907704,0.0061104456,0.0025887787,0.0009010133,0.0002607671,0.18534082,0.00015647577,0.0012449552,0.6839917,0.085308954,0.03289268],"study_design_scores_gemma":[0.0003804809,0.0006540457,0.010044721,0.0011081414,0.0005925173,0.000278149,0.005029758,0.00017077073,0.00061338296,0.00030274954,0.9793019,0.0015233598],"about_ca_topic_score_codex":0.0036072326,"about_ca_topic_score_gemma":0.20031293,"teacher_disagreement_score":0.89399296,"about_ca_system_score_codex":0.00019474736,"about_ca_system_score_gemma":0.00037782546,"threshold_uncertainty_score":0.9999252},"labels":[],"label_agreement":null},{"id":"W1986277034","doi":"10.1353/mdr.2005.0007","title":"The Federal Theatre Project: A Case Study (review)","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Visual arts; Art","score_opus":0.0379164922836006,"score_gpt":0.27911409099748746,"score_spread":0.24119759871388685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1986277034","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64615816,0.051059376,0.0000073732967,0.0052741445,0.00068585953,0.0017338101,0.000025929225,0.00023579295,0.29481956],"genre_scores_gemma":[0.9764661,0.001546424,0.0000074223176,0.0008250346,0.0013715422,0.00013462441,0.0000016473799,0.000017382417,0.019629825],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915683,0.000049834423,0.0002054928,0.00016515848,0.00015616519,0.0002665054],"domain_scores_gemma":[0.9995196,0.00005007951,0.000044603563,0.0002792841,0.00008163975,0.000024801908],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.000199898,0.00015519247,0.00017360301,0.000022532668,0.0016903535,0.00018912999,0.00014459221,0.000014138702,0.00020296799],"category_scores_gemma":[0.000005842037,0.000083565224,0.000081466336,0.000021733089,0.00011710881,0.00016147667,0.00006832659,0.00013305293,0.00014524053],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031522333,0.00037882698,0.0006259712,0.0000919694,0.00016863343,0.00020533288,0.26081234,0.0000075417224,8.064237e-7,0.0015957558,0.114173606,0.6219077],"study_design_scores_gemma":[0.00031677037,0.00017390397,0.000021967222,0.00005509588,0.00005098898,0.00012887397,0.033949483,0.00044237555,0.0000020982407,0.00021657506,0.96447754,0.00016434537],"about_ca_topic_score_codex":0.0010126788,"about_ca_topic_score_gemma":0.032456893,"teacher_disagreement_score":0.8503039,"about_ca_system_score_codex":0.000021026932,"about_ca_system_score_gemma":0.000025696381,"threshold_uncertainty_score":0.9996093},"labels":[],"label_agreement":null},{"id":"W1986316876","doi":"10.1017/s0040557412000105","title":"“HOW MUCH IS A LOAF OF BREAD?”: ASTR PRESIDENTIAL ADDRESS (MONTREAL, 17 NOVEMBER 2011)","year":2012,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Greeks; Art history; Presidential address; History; Classics; Political science","score_opus":0.04701757022050553,"score_gpt":0.25130970844968015,"score_spread":0.2042921382291746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1986316876","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54069287,0.0046323203,0.000011578966,0.0005410388,0.001589157,0.00033618324,0.0013921163,0.00011279754,0.45069194],"genre_scores_gemma":[0.9611736,0.00012577733,0.000008216274,0.000099199344,0.001471904,0.000013965907,0.00005640257,0.000033295168,0.037017617],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845445,0.00015891276,0.00028182718,0.00020581606,0.00036511052,0.00053386105],"domain_scores_gemma":[0.99897057,0.00014434358,0.00014225574,0.00040976255,0.00023019523,0.00010287499],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000687251,0.00026474104,0.00041348455,0.000091665155,0.00028717573,0.00011083685,0.00023747567,0.00006872556,0.0056362357],"category_scores_gemma":[0.000012014677,0.00020145322,0.00014857041,0.000038446247,0.00029801903,0.00059056457,0.00011700215,0.00014155102,0.00027128143],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044560115,0.00049147254,0.07914414,0.00015889572,0.00058269827,0.000002368623,0.0657143,0.0000011693716,0.0002247931,0.0021574895,0.8362229,0.014854177],"study_design_scores_gemma":[0.0016166858,0.00034715634,0.33464673,0.00013493981,0.00026735157,0.000011332779,0.007595596,0.000013503009,0.0043334747,0.00058964925,0.6495149,0.0009286655],"about_ca_topic_score_codex":0.018036585,"about_ca_topic_score_gemma":0.061399464,"teacher_disagreement_score":0.42048073,"about_ca_system_score_codex":0.000020242915,"about_ca_system_score_gemma":0.00003545008,"threshold_uncertainty_score":0.99527276},"labels":[],"label_agreement":null},{"id":"W1986495083","doi":"10.3138/md.54.2.141","title":"Emblems of Authority in <i>The Admirable Crichton</i>","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Emblem; Normative; Argument (complex analysis); Gesture; Narrative; Class (philosophy); Naturalness; Property (philosophy); Power (physics); Metropolitan area; Expression (computer science); Aesthetics; Sociology; Epistemology; Political science; Visual arts; History; Law; Art; Literature; Linguistics; Computer science; Philosophy","score_opus":0.06681912802901784,"score_gpt":0.24348832595161587,"score_spread":0.17666919792259805,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1986495083","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5053381,0.0004402472,0.000014443998,0.00013497786,0.00015060841,0.000088774475,0.000008140206,0.0000172724,0.49380744],"genre_scores_gemma":[0.99667627,0.00003338018,0.0000316707,0.00020547143,0.00012566587,0.000013365106,0.0000015375381,0.0000060073185,0.0029066333],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949604,0.000020899693,0.00014253789,0.00008536988,0.000101436926,0.00015371993],"domain_scores_gemma":[0.9997325,0.000018987686,0.000032841428,0.00016566756,0.00003526027,0.000014747339],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015858626,0.00007299252,0.00012986019,0.00003910602,0.00012197045,0.000021182745,0.00012542291,0.000021230939,0.0004421062],"category_scores_gemma":[0.00000398272,0.0000468918,0.000049439597,0.000026625723,0.00010911901,0.00011585254,0.000024868003,0.00009544302,0.000039623206],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001090199,0.00044489402,0.024701236,0.00013611642,0.000053033455,0.000011540295,0.7529175,0.0000048370507,0.00009083162,0.20471372,0.005749388,0.011067835],"study_design_scores_gemma":[0.0020890895,0.0013518,0.075420044,0.00025006902,0.00022133824,0.000018796763,0.0584383,0.0016410098,0.0038938636,0.19486512,0.6608738,0.0009367806],"about_ca_topic_score_codex":0.00094183907,"about_ca_topic_score_gemma":0.0017554852,"teacher_disagreement_score":0.6944792,"about_ca_system_score_codex":0.0000060766247,"about_ca_system_score_gemma":0.000015196315,"threshold_uncertainty_score":0.48407528},"labels":[],"label_agreement":null},{"id":"W1986649087","doi":"10.1177/0967010613492838","title":"Writing as hope: Reflections on <i>The Politics of Exile</i>","year":2013,"lang":"en","type":"article","venue":"Security Dialogue","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Transformative learning; Reflexivity; Politics; Narrative; Sociology; Reflection (computer programming); Space (punctuation); Aesthetics; Epistemology; Media studies; Political science; Social science; Literature; Law; Pedagogy; Art; Philosophy","score_opus":0.03979158647224429,"score_gpt":0.26898075531273313,"score_spread":0.22918916884048884,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1986649087","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45177522,0.0001370277,5.1350645e-7,0.0033640403,0.00040593976,0.00015854568,0.000068521455,0.00004340942,0.54404676],"genre_scores_gemma":[0.99463993,0.000075619435,0.000005717799,0.0019010125,0.0009885456,0.00003607857,0.000012633169,0.000009932714,0.0023305234],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993552,0.000038470276,0.00017915209,0.0000987938,0.00011705816,0.00021132009],"domain_scores_gemma":[0.999453,0.00017097851,0.000055431407,0.00017946081,0.00010948096,0.000031640386],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001007089,0.000098648015,0.00013119893,0.000041841547,0.0006405597,0.000070916845,0.00011512339,0.00002825996,0.001619088],"category_scores_gemma":[0.000031567513,0.000066217195,0.000071881026,0.000034292778,0.00028397547,0.00012275876,0.000039988674,0.00015645238,0.0006037456],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000028663983,0.000054873995,0.00010755944,0.000021707674,0.000027281909,5.00732e-7,0.054142136,7.462466e-7,0.00005450059,0.9025103,0.0427337,0.00034385885],"study_design_scores_gemma":[0.00021264392,0.00030944397,0.00027296893,0.00008361685,0.000031674837,0.0000036242172,0.03106934,0.000012819861,0.0015425441,0.19078562,0.7754429,0.00023283846],"about_ca_topic_score_codex":0.0030486998,"about_ca_topic_score_gemma":0.001497715,"teacher_disagreement_score":0.73270917,"about_ca_system_score_codex":0.00001309881,"about_ca_system_score_gemma":0.000020031322,"threshold_uncertainty_score":0.99929357},"labels":[],"label_agreement":null},{"id":"W1987148969","doi":"10.3138/ctr.157.003","title":"On the Road with <i>The Global Savages</i>: An Interview with Debajehmujig’s Joe Osawabine and Ron Berti","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Art; Visual arts; Sociology; Art history; Media studies","score_opus":0.01885174589116589,"score_gpt":0.21309264018515273,"score_spread":0.19424089429398683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1987148969","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021239474,0.2752688,0.000009371422,0.14129363,0.0002515311,0.0016080226,0.0001497755,0.00008943709,0.56009],"genre_scores_gemma":[0.9182652,0.02705305,0.00001039325,0.05204281,0.0005734103,0.00012658277,0.000024051906,0.000042735992,0.0018617497],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998881,0.00020278872,0.00016882297,0.0002401416,0.00014424934,0.00036302002],"domain_scores_gemma":[0.9990922,0.00006563538,0.000069464826,0.0005034101,0.00005789342,0.0002113789],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045676177,0.0002669513,0.00035545212,0.000025465977,0.00075150107,0.00014604005,0.0002841985,0.000023512324,0.0006767709],"category_scores_gemma":[0.000007371124,0.00010628141,0.000055827968,0.00008011325,0.00038307553,0.0001319047,0.000022651533,0.00016416375,0.00008400576],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033311462,0.000027057493,0.0005861514,0.00112719,0.00019098073,0.00001078848,0.003591018,0.0000019094305,1.90454e-7,0.12840508,0.10255606,0.7634703],"study_design_scores_gemma":[0.0001379482,0.00046407696,0.00044492973,0.0023593404,0.00016064689,0.000028302744,0.0005290217,0.0000063837383,6.888383e-7,0.0002721961,0.9953986,0.0001979127],"about_ca_topic_score_codex":0.02754757,"about_ca_topic_score_gemma":0.8247755,"teacher_disagreement_score":0.89702576,"about_ca_system_score_codex":0.00006441414,"about_ca_system_score_gemma":0.000093924245,"threshold_uncertainty_score":0.9789281},"labels":[],"label_agreement":null},{"id":"W1987764922","doi":"10.3138/md.53.2.137","title":"Looking for the One Who Looks Like Some One: The Unmarked Subject(s) in Gertrude Stein's <i>A Play Called Not and Now</i>","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subject (documents); Identity (music); Order (exchange); Repetition (rhetorical device); Poetics; Verb; Literature; Art; Poetry; Aesthetics; Linguistics; Philosophy; Computer science","score_opus":0.020465327079201286,"score_gpt":0.22211335596349333,"score_spread":0.20164802888429204,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1987764922","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98049265,0.0010487587,0.00008045235,0.006115309,0.0006913587,0.0007389421,0.000058052214,0.00005937305,0.010715088],"genre_scores_gemma":[0.9885228,0.00021131456,0.000023968367,0.0019696588,0.0010291877,0.00013855114,0.000004846823,0.000032266315,0.008067354],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989252,0.000032317457,0.00023703843,0.00023896023,0.00018975828,0.00037669722],"domain_scores_gemma":[0.9989999,0.0004909839,0.00007382596,0.00033934053,0.00005924389,0.000036703852],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041554015,0.00019915911,0.00027006946,0.000053215157,0.0009236972,0.00029258826,0.00026390638,0.000069088026,0.00011201504],"category_scores_gemma":[0.000017973955,0.000115618976,0.000080599864,0.000022730417,0.00037857916,0.00020421049,0.00012142305,0.00039090443,0.000015302327],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0020090016,0.0005445339,0.0040124143,0.000437259,0.0010219939,0.0000130389835,0.5944969,0.00014960632,0.008518619,0.22421072,0.013177922,0.15140799],"study_design_scores_gemma":[0.005441872,0.00041228154,0.009741292,0.00025379556,0.000357017,0.000009577003,0.007170482,0.018861676,0.0027741583,0.03213317,0.92166966,0.0011750018],"about_ca_topic_score_codex":0.0004907544,"about_ca_topic_score_gemma":0.043722663,"teacher_disagreement_score":0.90849173,"about_ca_system_score_codex":0.000014136124,"about_ca_system_score_gemma":0.000029984585,"threshold_uncertainty_score":0.9737269},"labels":[],"label_agreement":null},{"id":"W1988056734","doi":"10.3138/ctr.154.005","title":"Homeless on the Range—Theatre without a Home","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Shadow (psychology); Creativity; Order (exchange); Sociology; Adaptability; Public relations; Political science; Management; Business; Psychology; Law; Economics","score_opus":0.027466017091668432,"score_gpt":0.2218096710161112,"score_spread":0.19434365392444278,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1988056734","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013780845,0.1340136,2.1415204e-7,0.037531648,0.0005769218,0.0013798773,0.00009770504,0.00008196886,0.81253725],"genre_scores_gemma":[0.89125776,0.07872811,0.0000038322664,0.022559663,0.0011756232,0.000433855,0.000018197714,0.000056180597,0.0057667694],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987126,0.000099904115,0.00025983708,0.00023194277,0.00016796742,0.0005277244],"domain_scores_gemma":[0.9989607,0.00009362494,0.00006311723,0.0005445004,0.00008358857,0.0002544709],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002393297,0.00027813442,0.00048657402,0.00010839201,0.00070853904,0.00016464147,0.00037041408,0.000037029506,0.015430963],"category_scores_gemma":[0.0000069916905,0.0001501626,0.00018942381,0.00009636871,0.00024140759,0.00015609142,0.000023362414,0.00022493144,0.0054926695],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000473162,0.000022763174,0.0009071326,0.001092584,0.00015110672,0.00000929301,0.006660743,3.515838e-7,6.916342e-7,0.03486045,0.4598572,0.49643296],"study_design_scores_gemma":[0.00010166709,0.0000530455,0.00018214386,0.0018126445,0.00007075822,0.0000058684764,0.0015055704,0.0000029657674,0.0000014145525,0.0007101966,0.99531,0.00024371914],"about_ca_topic_score_codex":0.080629475,"about_ca_topic_score_gemma":0.3334347,"teacher_disagreement_score":0.87747693,"about_ca_system_score_codex":0.000088592205,"about_ca_system_score_gemma":0.0001354554,"threshold_uncertainty_score":0.9952817},"labels":[],"label_agreement":null},{"id":"W1988275686","doi":"10.3828/bjcs.17.2.5","title":"BODIES, FORM AND NATURE: THREE CANADIAN PLAYS AND REPRODUCTIVE CHOICE IN THE 1990s","year":2004,"lang":"en","type":"article","venue":"British Journal of Canadian Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Style (visual arts); Metaphor; Aesthetics; Fantasy; Subject (documents); Sociology; Lesbian; Musical; Drama; History; Visual arts; Literature; Art; Gender studies; Computer science","score_opus":0.026337462725924004,"score_gpt":0.23187650596907008,"score_spread":0.2055390432431461,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1988275686","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7727499,0.18448314,5.931337e-8,0.014504356,0.0005804909,0.00017723929,0.0001205066,0.000004203147,0.027380131],"genre_scores_gemma":[0.9834836,0.0139388265,0.00001827023,0.0014117626,0.00096490694,0.000005596372,0.0000012592427,0.000008963945,0.00016682142],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991214,0.0000190979,0.00024194724,0.00014386882,0.00013683936,0.0003368064],"domain_scores_gemma":[0.99941576,0.00007050516,0.00007973065,0.00008558045,0.00019097014,0.00015748579],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043467846,0.00012310199,0.0002654205,0.00039387675,0.0009351765,0.00018607409,0.00012570518,0.000036317902,0.000015368627],"category_scores_gemma":[0.00015745635,0.000098165765,0.00003676402,0.00007749833,0.00043690903,0.00033340376,0.000020546624,0.00043451527,0.000001172141],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007262285,0.00006344526,0.055857252,0.0002218972,0.0019164048,0.0046338444,0.50742316,0.000015017632,0.000001927834,0.0883092,0.21448939,0.12699586],"study_design_scores_gemma":[0.0007389223,0.00017748111,0.1716222,0.0003450273,0.000077865625,0.001857393,0.05700264,2.2656101e-7,0.0000030882038,0.012495701,0.75544965,0.00022978713],"about_ca_topic_score_codex":0.9139999,"about_ca_topic_score_gemma":0.9998949,"teacher_disagreement_score":0.5409603,"about_ca_system_score_codex":0.00015601753,"about_ca_system_score_gemma":0.0002732195,"threshold_uncertainty_score":0.7192716},"labels":[],"label_agreement":null},{"id":"W1989016731","doi":"10.4000/critiquedart.15324","title":"The Stage and the Museum, a Contemporary Dynamic","year":2014,"lang":"en","type":"article","venue":"Critique d’art","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"AMT Die Casting (Canada)","funders":"","keywords":"Exhibition; Spectacle; Object (grammar); Visual arts; Sign (mathematics); Art; Choreography; Stage (stratigraphy); Art history; Dance; Computer science; Political science; Law; Artificial intelligence","score_opus":0.014197010147803881,"score_gpt":0.23833135195928984,"score_spread":0.22413434181148595,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1989016731","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0337829,0.002996441,0.000034851633,0.030905286,0.0005975961,0.00027461065,0.000036164773,0.00008911962,0.93128306],"genre_scores_gemma":[0.92322254,0.000552417,0.0000025396341,0.0017953744,0.0002811646,0.000042931337,0.000005652994,0.00001061121,0.07408676],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994472,0.000094321855,0.00013125894,0.00010111456,0.00007535334,0.00015072047],"domain_scores_gemma":[0.99935234,0.0003593938,0.000031495798,0.0001913933,0.000042493837,0.00002286941],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044363976,0.00009815638,0.00012955707,0.000015105693,0.0009708617,0.00021276527,0.00011812334,0.000018264225,0.0001552848],"category_scores_gemma":[0.00003413154,0.000046767225,0.00004773716,0.000010242116,0.00089134974,0.00012544442,0.00004946399,0.00012339783,0.0001256831],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006664387,0.0000094834595,0.00009244992,0.00003275094,0.000034935947,0.0000012260471,0.022161301,1.8376358e-7,0.00000411659,0.81622994,0.1584058,0.0029611886],"study_design_scores_gemma":[0.00042277892,0.00004067924,0.00015768388,0.000018735966,0.0000090440735,0.000001552767,0.0065016095,0.00020240796,0.0000058899786,0.004755405,0.9878062,0.00007801131],"about_ca_topic_score_codex":0.00007054764,"about_ca_topic_score_gemma":0.0022156748,"teacher_disagreement_score":0.88943964,"about_ca_system_score_codex":0.0000048067063,"about_ca_system_score_gemma":0.00001273665,"threshold_uncertainty_score":0.74671817},"labels":[],"label_agreement":null},{"id":"W1989205325","doi":"10.1353/mdr.2005.0039","title":"Captive Audience: Prison and Captivity in Contemporary Theatre (review)","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Prison; Drama; Captivity; Silence; Power (physics); Context (archaeology); Art; Performance art; History; Sociology; Art history; Gender studies; Psychoanalysis; Literature; Aesthetics; Criminology; Psychology","score_opus":0.04159853593046065,"score_gpt":0.25765594611345066,"score_spread":0.21605741018299002,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1989205325","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52681106,0.09641401,0.000016455235,0.0034212046,0.00012530765,0.00036921052,0.000033969493,0.00006654448,0.37274224],"genre_scores_gemma":[0.99034494,0.0044639776,0.000020540758,0.00078515685,0.00027242897,0.000030271787,0.0000038394064,0.0000100029765,0.0040688463],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992983,0.00003259553,0.00017739683,0.00019371056,0.000104618135,0.00019337777],"domain_scores_gemma":[0.99972713,0.000034749224,0.000046631376,0.00012573095,0.00003067275,0.00003506789],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015946942,0.00013967488,0.00024603689,0.000046154404,0.00017373961,0.000031569572,0.00007426614,0.000026147693,0.00018896515],"category_scores_gemma":[0.0000048788224,0.00010572854,0.000038763486,0.000021278192,0.0001973364,0.00031535717,0.000054317632,0.00013346557,0.000053926044],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010805931,0.00030538125,0.018929236,0.0006409165,0.00009656185,0.000023869323,0.38023385,0.000044698616,0.000048103404,0.012581203,0.03326696,0.55372113],"study_design_scores_gemma":[0.0011018384,0.00022113195,0.0076069417,0.0010772749,0.000040631065,0.0000071827017,0.0076763183,0.003337241,0.00009237767,0.0037486916,0.9744567,0.0006336453],"about_ca_topic_score_codex":0.0005578711,"about_ca_topic_score_gemma":0.0045670187,"teacher_disagreement_score":0.94118977,"about_ca_system_score_codex":0.00002662442,"about_ca_system_score_gemma":0.00002269523,"threshold_uncertainty_score":0.4311485},"labels":[],"label_agreement":null},{"id":"W1989900516","doi":"10.3138/ctr.145.31","title":"A Hopeful Present","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Simulacrum; Aesthetics; History; Performance art; Art; Visual arts; Literature; Art history","score_opus":0.06374782020760657,"score_gpt":0.2343664104204069,"score_spread":0.17061859021280035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1989900516","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017821911,0.19321105,2.3074264e-7,0.0014181805,0.00027524517,0.00022448743,0.000038571634,0.000030940315,0.80462307],"genre_scores_gemma":[0.5592605,0.37098214,0.00007151151,0.02073971,0.0030807017,0.00025799588,0.0000456481,0.000091157846,0.04547068],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930716,0.00002707848,0.00016263805,0.00013193008,0.000067557274,0.00030363147],"domain_scores_gemma":[0.99945056,0.000009035707,0.000030688065,0.00025589293,0.000043639095,0.00021020752],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000112786125,0.00012758614,0.00022511945,0.000063004896,0.000252787,0.00002404023,0.00016788008,0.000016940543,0.018617531],"category_scores_gemma":[0.0000031996353,0.000092069364,0.00010132219,0.000036759786,0.00011249213,0.00011040706,0.000016447688,0.000077000666,0.0015316957],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000037457341,0.000022301358,0.0004901805,0.0015834941,0.00011319703,0.000039891693,0.018615432,3.7076152e-8,1.5477022e-7,0.070997976,0.46837556,0.43975803],"study_design_scores_gemma":[0.000040177136,0.000029081893,0.000081055594,0.00078399543,0.00005810855,0.000005548821,0.00030520352,5.070977e-7,0.00000244068,0.00042464162,0.998138,0.00013122328],"about_ca_topic_score_codex":0.108438894,"about_ca_topic_score_gemma":0.47967988,"teacher_disagreement_score":0.7591524,"about_ca_system_score_codex":0.00003966492,"about_ca_system_score_gemma":0.00011397295,"threshold_uncertainty_score":0.9992457},"labels":[],"label_agreement":null},{"id":"W1990082080","doi":"10.1353/utq.2010.0189","title":"Collective Creation, Collaboration and Devising (review)","year":2010,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Revelation; Sociology; Media studies; Art; Visual arts; Literature","score_opus":0.007664955863730277,"score_gpt":0.20497620623678528,"score_spread":0.197311250373055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1990082080","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4364376,0.006677271,0.00003190607,0.00087121106,0.0004121546,0.00029016382,0.000051936622,0.000046778343,0.55518097],"genre_scores_gemma":[0.9860568,0.00103351,0.00016155437,0.000056402667,0.00011600328,2.1689206e-7,0.0000070613073,0.0000032867877,0.012565142],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997542,0.000012316758,0.000054437423,0.00007155827,0.00005210739,0.00005536091],"domain_scores_gemma":[0.999691,0.000019353549,0.000049662744,0.00006196271,0.00015806686,0.000019940357],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000049877508,0.000049331185,0.00010110072,0.000011483439,0.00029943872,0.000014492999,0.000041517203,0.000015585112,0.001462243],"category_scores_gemma":[0.0000028676595,0.000049947117,0.000019509198,0.000009033983,0.00014222285,0.00036726924,0.0000057431907,0.000031476866,0.0000067217616],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007649459,0.00006439108,0.0010348621,0.00026516625,0.00010604423,0.0000023538773,0.83341336,1.5622089e-7,0.0005985026,0.048184708,0.033652447,0.08260149],"study_design_scores_gemma":[0.00047721935,0.0004955556,0.0079955775,0.00014806115,0.00010496521,0.0000016657239,0.102559686,0.000030217017,0.000025102214,0.00034380687,0.8876487,0.0001694322],"about_ca_topic_score_codex":0.0045761294,"about_ca_topic_score_gemma":0.23932634,"teacher_disagreement_score":0.8539963,"about_ca_system_score_codex":0.000037886824,"about_ca_system_score_gemma":0.00004579252,"threshold_uncertainty_score":0.99945056},"labels":[],"label_agreement":null},{"id":"W1990850749","doi":"10.1353/utq.0.0547","title":"City Stages: Theatre and Urban Space in a Global City (review)","year":2009,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Ideology; The Imaginary; Space (punctuation); Media studies; Global city; Sociology; Aesthetics; History; Art; Political science; Law; Psychology; Philosophy","score_opus":0.01138919104266219,"score_gpt":0.20605881326916878,"score_spread":0.19466962222650658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1990850749","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61740065,0.021921035,0.000008486712,0.0012991843,0.00009674786,0.00020432158,0.000093398456,0.000043381246,0.3589328],"genre_scores_gemma":[0.99555373,0.0022075693,0.000030723404,0.00010129467,0.00006129857,7.440742e-8,0.0000032290543,0.000001609961,0.0020404651],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995185,0.000026061554,0.00008710902,0.00013466146,0.00008828492,0.0001453898],"domain_scores_gemma":[0.99973804,0.000011843579,0.000050617997,0.0001224799,0.00003645921,0.00004056069],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007479714,0.0001014385,0.00021993682,0.000011869584,0.00014115484,0.000010844915,0.000107781,0.000024392648,0.0009005302],"category_scores_gemma":[9.784751e-7,0.00009820668,0.000055484474,0.0000121831545,0.00013495666,0.00034088007,0.000012590263,0.000046322275,0.0000057668044],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040270272,0.0005389322,0.13767524,0.000597536,0.00016748223,0.00006690715,0.45514637,6.100297e-7,0.000015395353,0.06999016,0.09692586,0.23847279],"study_design_scores_gemma":[0.0014830693,0.0021110633,0.28439686,0.0006837814,0.000119071934,0.0000037797756,0.07171611,0.000015818541,0.0000023654095,0.0011487171,0.6378625,0.0004568817],"about_ca_topic_score_codex":0.02239581,"about_ca_topic_score_gemma":0.23594375,"teacher_disagreement_score":0.54093665,"about_ca_system_score_codex":0.00008368173,"about_ca_system_score_gemma":0.0000149183825,"threshold_uncertainty_score":0.9860174},"labels":[],"label_agreement":null},{"id":"W1991590504","doi":"10.3138/md.54.1.005","title":"The End of Rhetoric and the Residuum of Pain: Bodying Language in the Theatre of Howard Barker","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rhetoric; Rhetorical question; Literature; Apotheosis; Ethos; Deconstruction (building); Fable; Humanism; Art; Philosophy; Linguistics; Theology","score_opus":0.02542943696203262,"score_gpt":0.2153713234976589,"score_spread":0.18994188653562627,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1991590504","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84380454,0.0054451064,0.000009716042,0.0006863979,0.00007746898,0.00017781302,0.000014133328,0.0000061413502,0.14977871],"genre_scores_gemma":[0.998997,0.00030279811,0.0000050578187,0.00006688072,0.00007872532,0.00001130488,6.4623777e-7,0.0000064823794,0.00053113844],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99932235,0.00015557058,0.00020043495,0.0000685011,0.0001330952,0.00012003403],"domain_scores_gemma":[0.99925643,0.00037065946,0.00009417369,0.00023810833,0.000034235618,0.0000064170476],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008844022,0.00007928619,0.00016988309,0.000026919643,0.00018025201,0.000017293261,0.00019862455,0.000018949291,0.000042031406],"category_scores_gemma":[0.00001859843,0.000031442785,0.000058338996,0.000026249163,0.0007048351,0.000053469532,0.00005132213,0.00008755334,7.1918726e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002817768,0.000041647218,0.0037299453,0.00009091465,0.0000778945,0.0000012156607,0.90376663,0.0000018070103,0.00009168073,0.06241704,0.0007068397,0.028792635],"study_design_scores_gemma":[0.00456011,0.0009207347,0.051343348,0.0005289766,0.00034027972,0.000009147696,0.77719754,0.0023422276,0.005288627,0.08120422,0.075660475,0.0006042995],"about_ca_topic_score_codex":0.0014063732,"about_ca_topic_score_gemma":0.0035391988,"teacher_disagreement_score":0.15519245,"about_ca_system_score_codex":0.0000031931215,"about_ca_system_score_gemma":0.000010286255,"threshold_uncertainty_score":0.25969943},"labels":[],"label_agreement":null},{"id":"W1992573292","doi":"10.1353/utq.2007.0191","title":"Designing Modern America: Broadway to Main Street (review)","year":2007,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Architecture; Style (visual arts); Narrative; Urban design; Metropolitan area; Urban planning; History; Art history; Visual arts; Art; Engineering; Archaeology; Literature; Civil engineering","score_opus":0.014893756972076594,"score_gpt":0.2098913236516985,"score_spread":0.1949975666796219,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1992573292","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.105477765,0.021896806,0.020375187,0.00086506136,0.0006072504,0.0007660408,0.00017535483,0.00022189929,0.8496146],"genre_scores_gemma":[0.9823864,0.0011573706,0.0019365953,0.0005185587,0.00025358133,2.8544264e-7,0.000010618042,0.00001280508,0.013723796],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939126,0.000018494497,0.00011444539,0.00013584498,0.0001256577,0.00021430582],"domain_scores_gemma":[0.99961764,0.000032062002,0.00006132703,0.00015105451,0.00006510326,0.00007280068],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012782858,0.00010400273,0.00020509568,0.000026324526,0.00023094786,0.000007985062,0.00017229226,0.000018072811,0.0017784549],"category_scores_gemma":[0.0000016905378,0.000106500906,0.00008041177,0.000012889882,0.00010515504,0.0002582408,0.000019882547,0.000042071737,0.00006203045],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012758472,0.00009510383,0.000276114,0.00020661834,0.00013194827,0.000028912566,0.3454959,0.0000046243877,0.00040823428,0.0034568645,0.09782357,0.5519445],"study_design_scores_gemma":[0.0003677163,0.0011000031,0.0013682983,0.00032822735,0.00008875813,9.369856e-7,0.16105583,0.0000252672,0.000044790428,0.00009598506,0.8352167,0.00030745458],"about_ca_topic_score_codex":0.018014597,"about_ca_topic_score_gemma":0.17157356,"teacher_disagreement_score":0.8769086,"about_ca_system_score_codex":0.00007920868,"about_ca_system_score_gemma":0.000013972905,"threshold_uncertainty_score":0.99913406},"labels":[],"label_agreement":null},{"id":"W1992601931","doi":"10.3138/ctr.150.103","title":"To Hell with Manifestos","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dismissal; Art; Performance art; Art history; Visual arts; Literature; Political science; Law","score_opus":0.029627557066197303,"score_gpt":0.23006995443872222,"score_spread":0.20044239737252492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1992601931","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001220316,0.16318549,7.804652e-7,0.0034618792,0.00030228795,0.00039759983,0.000046349836,0.000034842473,0.83135045],"genre_scores_gemma":[0.85475665,0.047784023,0.000101746584,0.045560725,0.004001782,0.00020945723,0.00003561083,0.000087813554,0.047462203],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921054,0.000020268222,0.00012216167,0.000104312574,0.00008182098,0.00046091148],"domain_scores_gemma":[0.9992468,0.000012743822,0.000022194128,0.00022385393,0.00003607296,0.00045837704],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013588442,0.00014215498,0.00022701078,0.00007133505,0.00026738847,0.00003078107,0.00011674181,0.000013889378,0.004094185],"category_scores_gemma":[0.0000025870781,0.000093123024,0.000050483748,0.000055567645,0.000052757343,0.00015353419,0.00001177274,0.00006911955,0.0026266593],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011964532,0.000043720986,0.00673955,0.0031204543,0.00018279217,0.000027428274,0.023400106,6.6449087e-7,0.0000013978008,0.15064014,0.4171808,0.39865097],"study_design_scores_gemma":[0.000037471622,0.000047739042,0.00016314787,0.0010872936,0.00006221562,0.000015559184,0.0004049322,6.6182544e-8,0.0000026737848,0.00001706147,0.99799895,0.00016289222],"about_ca_topic_score_codex":0.022976926,"about_ca_topic_score_gemma":0.42431155,"teacher_disagreement_score":0.8535363,"about_ca_system_score_codex":0.00006312385,"about_ca_system_score_gemma":0.000080938735,"threshold_uncertainty_score":0.99814993},"labels":[],"label_agreement":null},{"id":"W1992622668","doi":"10.3138/ctr.162.007","title":"Marathon Theatre as Affective Labour: Productive Exhaustion in <i>The Godot Cycle</i> and <i>Life and Times</i>","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Harm; Value (mathematics); Perception; Aesthetics; Sociology; Psychology; Art; Social psychology; Visual arts; Computer science","score_opus":0.020398975661766672,"score_gpt":0.23603930945600693,"score_spread":0.21564033379424025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1992622668","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047114275,0.4687815,2.7199263e-7,0.02448822,0.0003706332,0.0016457562,0.00015056954,0.00004118097,0.4574076],"genre_scores_gemma":[0.9173765,0.06877204,0.000009232949,0.011348014,0.00084502075,0.00014243831,0.000023904293,0.000030391007,0.0014524206],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988174,0.00020872058,0.00020461973,0.0002931673,0.00014263636,0.00033346657],"domain_scores_gemma":[0.99928546,0.000068762245,0.000058322283,0.00024738302,0.00007504062,0.000265035],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007380578,0.0002289664,0.00037111185,0.0000919598,0.00030377728,0.000103903694,0.00012710501,0.000042608946,0.00014903613],"category_scores_gemma":[0.00003695354,0.00014859154,0.00004499,0.00011246111,0.0002643515,0.0002544162,0.000028840714,0.00021140714,0.00009575069],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000089826535,0.000094755385,0.0041502323,0.0034170335,0.00019123191,0.00010652041,0.112142034,0.000003531665,0.000003679486,0.100381374,0.2383244,0.5410954],"study_design_scores_gemma":[0.00027031582,0.00014504723,0.00035864767,0.0008367883,0.000087728644,0.000051862196,0.0065494087,0.0000021642757,0.0000027214799,0.0029197226,0.98855007,0.00022552496],"about_ca_topic_score_codex":0.037278637,"about_ca_topic_score_gemma":0.21639225,"teacher_disagreement_score":0.87026227,"about_ca_system_score_codex":0.000083251725,"about_ca_system_score_gemma":0.00023296887,"threshold_uncertainty_score":0.9691322},"labels":[],"label_agreement":null},{"id":"W1992996206","doi":"10.3138/md.53.3.332","title":"I was a Teenaged Fabulist: The <i>dark play</i> of Adolescent Sexuality in U.S. Drama","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Middlebrow; Pride; Gossip; History; Art; Media studies; Sociology; Literature; Gender studies; Psychology; Social psychology; Law; Political science","score_opus":0.020938232912869437,"score_gpt":0.23712398561191997,"score_spread":0.21618575269905052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1992996206","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92817503,0.00026881057,0.000016508544,0.0017694572,0.00060508045,0.00024139779,0.000060234444,0.000047859543,0.06881559],"genre_scores_gemma":[0.99635905,0.00003342167,0.00001552312,0.0005003597,0.0004936437,0.000022354465,0.0000073445003,0.000017044837,0.0025512336],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989422,0.00004806725,0.00031071246,0.00019638802,0.00021464897,0.00028801535],"domain_scores_gemma":[0.99934196,0.000070809525,0.00009361621,0.00039020003,0.00006750319,0.000035919315],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003265921,0.0001687593,0.00025374835,0.000051342966,0.0003230958,0.000088848865,0.0002832763,0.00005482685,0.00028047923],"category_scores_gemma":[0.000020876945,0.0001058573,0.000082659375,0.000040743318,0.00043209744,0.00013545054,0.00010008964,0.00044612237,0.00004127357],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040722976,0.0013939368,0.050678983,0.0005059469,0.0002032418,0.000022239512,0.70908207,0.00010413634,0.005814045,0.11176798,0.03308982,0.0869304],"study_design_scores_gemma":[0.002202116,0.00021734786,0.056449115,0.00018785508,0.000086758555,0.000008277465,0.014882343,0.0014523346,0.0026561494,0.023000324,0.8980359,0.0008214981],"about_ca_topic_score_codex":0.0007911418,"about_ca_topic_score_gemma":0.0154492175,"teacher_disagreement_score":0.86494607,"about_ca_system_score_codex":0.0000141697,"about_ca_system_score_gemma":0.000031038504,"threshold_uncertainty_score":0.8621026},"labels":[],"label_agreement":null},{"id":"W1993767809","doi":"10.3138/md.50.3.435","title":"Towards a Post-millennial Mainstream? Documents of the Times","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Univerzita Karlova v Praze","keywords":"Drama; Mainstream; History; Performance art; Literature; Media studies; Art history; Visual arts; Art; Sociology; Law; Political science","score_opus":0.01307224116862241,"score_gpt":0.23201757942894766,"score_spread":0.21894533826032525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1993767809","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63537395,0.00024149271,0.00001329929,0.00048383587,0.00043022132,0.00009258694,0.00003315288,0.000025465635,0.36330596],"genre_scores_gemma":[0.98271513,0.000022648599,0.000021804717,0.00029140824,0.00040108434,0.0000030689118,0.0000031085058,0.000010177388,0.016531548],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993261,0.000010933718,0.00017023085,0.00009945012,0.00018386483,0.0002094103],"domain_scores_gemma":[0.99963444,0.000018419461,0.000057333957,0.00018715757,0.00007847957,0.000024172943],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012450793,0.00010320248,0.00012946865,0.000037318165,0.0002622267,0.000036941496,0.00017149486,0.000026265003,0.0009899546],"category_scores_gemma":[0.000006718699,0.000060996048,0.0000984042,0.000020650485,0.00020515374,0.00010611623,0.00008822005,0.00007487318,0.000045047433],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004026207,0.0003511893,0.010696881,0.00013573527,0.00041075656,0.000010901686,0.38257745,0.000025620138,0.00081502076,0.19479491,0.017102396,0.39267653],"study_design_scores_gemma":[0.0018268557,0.0004539296,0.027190344,0.0001616876,0.00014320457,0.000009650841,0.016325355,0.0002771728,0.0072930814,0.03303457,0.9126733,0.000610845],"about_ca_topic_score_codex":0.00053505105,"about_ca_topic_score_gemma":0.001804577,"teacher_disagreement_score":0.89557093,"about_ca_system_score_codex":0.000016911308,"about_ca_system_score_gemma":0.00002345189,"threshold_uncertainty_score":0.9999233},"labels":[],"label_agreement":null},{"id":"W1993808354","doi":"10.1353/utq.0.0579","title":"Theatre of Image and Action: Robertson Davies and &lt;i&gt;The Golden Age of Melodrama&lt;/i&gt;","year":2009,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Throne; Action (physics); Soul; Art; Literature; Phenomenon; Assemblage (archaeology); Art history; Philosophy; History; Politics; Law; Epistemology","score_opus":0.010980832892584648,"score_gpt":0.19833198962752252,"score_spread":0.18735115673493788,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1993808354","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82677895,0.0040444857,0.000012245622,0.00046656837,0.00010134542,0.00014057767,0.00005968433,0.000021090149,0.16837507],"genre_scores_gemma":[0.9949537,0.0007461412,0.00007270989,0.000013725398,0.00007373347,9.5939576e-8,0.000004792089,0.0000036275605,0.0041314927],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995088,0.000030107447,0.00012529826,0.0001148504,0.00010938507,0.00011153245],"domain_scores_gemma":[0.99959105,0.000040730098,0.000112558155,0.00015495122,0.00007208654,0.000028618124],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000076880926,0.00010750651,0.00025000205,0.00002579322,0.0002430686,0.000019097799,0.000117901465,0.000032137264,0.00032870457],"category_scores_gemma":[8.777255e-7,0.00008633765,0.00006529762,0.000010223616,0.0005149906,0.0004475336,0.000020202902,0.00003855498,0.0000015519682],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044492248,0.00020290147,0.00041856547,0.0002883272,0.00030686046,0.000012722192,0.686259,0.0000010989721,0.019968435,0.052174892,0.008276679,0.23164561],"study_design_scores_gemma":[0.0015739994,0.0034702567,0.05073626,0.00020206807,0.00037743183,0.000007840651,0.15672632,0.000040406314,0.00040116566,0.0016473032,0.78443116,0.000385814],"about_ca_topic_score_codex":0.0031973831,"about_ca_topic_score_gemma":0.06523095,"teacher_disagreement_score":0.77615446,"about_ca_system_score_codex":0.000019975414,"about_ca_system_score_gemma":0.000009977151,"threshold_uncertainty_score":0.95182616},"labels":[],"label_agreement":null},{"id":"W1994168278","doi":"10.1353/tt.2014.0039","title":"Ecologies of Dramaturgy","year":2014,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Agency (philosophy); Narrative; Scrutiny; Sociology; Diversity (politics); Management; Aesthetics; Media studies; Visual arts; Art; Political science; Law; Literature; Social science; Anthropology","score_opus":0.017882819821822295,"score_gpt":0.2155299404818023,"score_spread":0.19764712065998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1994168278","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1868544,0.00016657692,0.000009287419,0.00090741285,0.0005481636,0.000045736248,0.00000855756,0.00006507366,0.81139475],"genre_scores_gemma":[0.98966724,0.0000495403,0.00005815022,0.0001525263,0.0008817131,0.0000033011665,0.0000027151566,0.0000054548605,0.00917939],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996333,0.000016390763,0.0001134247,0.00006375712,0.00005897075,0.00011417423],"domain_scores_gemma":[0.99973375,0.00004492249,0.000035233297,0.0001431006,0.0000300832,0.000012907885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000069813344,0.00006790983,0.00014112606,0.000028317812,0.000109552915,0.000016453341,0.00009377761,0.000020582549,0.0007424074],"category_scores_gemma":[0.00000569528,0.000047432124,0.000046196066,0.000011477578,0.00015571648,0.000057503814,0.000033425076,0.000047767142,0.000056356996],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021840622,0.000048603593,0.001192985,0.00008917638,0.00005333743,4.8465574e-7,0.036733307,0.000011177618,0.000044950237,0.7391994,0.012400736,0.21020398],"study_design_scores_gemma":[0.00011488721,0.00011276807,0.0003918667,0.000011142182,0.000014667173,4.5639405e-7,0.0021741511,0.000024449808,0.0005406009,0.01151267,0.9850283,0.00007399093],"about_ca_topic_score_codex":0.00007123736,"about_ca_topic_score_gemma":0.0003575507,"teacher_disagreement_score":0.97262764,"about_ca_system_score_codex":0.000004498952,"about_ca_system_score_gemma":0.0000059372232,"threshold_uncertainty_score":0.81288403},"labels":[],"label_agreement":null},{"id":"W1994231901","doi":"10.1353/tt.2007.0001","title":"Theatre Squared: Theatre History in the Age of Media","year":2007,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":33,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Visual arts; Art; History; Literature","score_opus":0.03514810769104661,"score_gpt":0.23185156719015992,"score_spread":0.19670345949911333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1994231901","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14622287,0.0036029355,0.000007217096,0.0011115851,0.0010860905,0.00023091734,0.00003086251,0.000059015776,0.8476485],"genre_scores_gemma":[0.9944717,0.00021552273,0.00003470086,0.00083435874,0.0019632205,0.000010326288,0.000025769627,0.000021423042,0.002422947],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986655,0.00007115216,0.00040246043,0.00018323089,0.0002950983,0.00038254456],"domain_scores_gemma":[0.9991352,0.0002656638,0.0000817814,0.0004453521,0.000039523922,0.000032472683],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005723296,0.0002150369,0.0003195559,0.0001440118,0.00015545804,0.00002194099,0.00039985773,0.00006981752,0.0008267728],"category_scores_gemma":[0.000005140127,0.00013110485,0.00014235172,0.000064686974,0.00044678416,0.0001296273,0.00005154775,0.00026748306,0.000051934196],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016614,0.0002975558,0.005510197,0.00015498968,0.0000825328,0.0000956288,0.66456634,0.0000062759204,0.00010143547,0.10879885,0.027050564,0.1931695],"study_design_scores_gemma":[0.0003386174,0.00010693992,0.001802614,0.000047574107,0.00003970052,0.000004924325,0.036624484,0.0000029652253,0.000099379344,0.003365232,0.95739186,0.00017569424],"about_ca_topic_score_codex":0.0009887151,"about_ca_topic_score_gemma":0.015857093,"teacher_disagreement_score":0.9303413,"about_ca_system_score_codex":0.00008409907,"about_ca_system_score_gemma":0.00003999603,"threshold_uncertainty_score":0.90525824},"labels":[],"label_agreement":null},{"id":"W1994232794","doi":"10.7202/041620ar","title":"Théâtre réparti : scénographies pour une représentation répartie sur plusieurs sites","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03169054943769186,"score_gpt":0.2638136023330617,"score_spread":0.23212305289536986,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1994232794","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6709824,0.0037845883,0.000006608546,0.08336942,0.0065690475,0.0010398657,0.0009078979,0.0007391013,0.23260105],"genre_scores_gemma":[0.7840142,0.006498939,0.00028827,0.00078390795,0.00584727,0.00018580169,0.0003081257,0.0002504861,0.20182295],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9932782,0.00027675251,0.0018623923,0.0015758413,0.0008432984,0.0021634956],"domain_scores_gemma":[0.99555385,0.00065859244,0.00086386775,0.0015186472,0.0007626429,0.00064241735],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","insufficient_payload"],"category_scores_codex":[0.0007613758,0.0016383702,0.0016450293,0.00073745067,0.0024515945,0.00092973065,0.0011159843,0.00068172114,0.002182908],"category_scores_gemma":[0.00023911321,0.0015915822,0.0013119132,0.0007540299,0.0031131639,0.0023972786,0.00030035627,0.0019213866,0.0008348296],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005301444,0.0011969265,0.010007289,0.0017965317,0.0010555435,0.0002399921,0.056832746,0.00023348945,0.004024104,0.7262399,0.18870936,0.009133947],"study_design_scores_gemma":[0.0006439297,0.0005864239,0.007038651,0.0010225108,0.0009353234,0.00018587832,0.008180134,0.00030521434,0.0016179533,0.003180944,0.97442013,0.0018829029],"about_ca_topic_score_codex":0.007636201,"about_ca_topic_score_gemma":0.41615307,"teacher_disagreement_score":0.78571075,"about_ca_system_score_codex":0.00013005364,"about_ca_system_score_gemma":0.0005216755,"threshold_uncertainty_score":0.99994314},"labels":[],"label_agreement":null},{"id":"W1994505639","doi":"10.1353/utq.2010.0212","title":"The Theatricality of Robert Lepage (review)","year":2010,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Trilogy; Transformative learning; Product (mathematics); Order (exchange); Relation (database); Resource (disambiguation); Aesthetics; Literature; Sociology; History; Art; Visual arts; Computer science","score_opus":0.008668514030359122,"score_gpt":0.19701053184049946,"score_spread":0.18834201781014034,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1994505639","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16863932,0.020007199,0.000016710497,0.0015849061,0.0009034387,0.00029614527,0.00008096466,0.000047387264,0.80842394],"genre_scores_gemma":[0.9880884,0.0037677495,0.000037692622,0.000037008205,0.000120846664,1.5743228e-7,0.0000023610867,0.0000034483394,0.007942317],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959606,0.000024052224,0.00010587075,0.00007188486,0.000100913196,0.000101207734],"domain_scores_gemma":[0.99951404,0.000065656204,0.000085970096,0.00021667528,0.0000940664,0.000023596298],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014605881,0.00006368864,0.00015358764,0.000006107226,0.0003129854,0.0000059341414,0.0002247738,0.000018884155,0.002150638],"category_scores_gemma":[0.0000030881808,0.00004458382,0.000107721615,0.000006587342,0.00036030007,0.00016224042,0.000017350769,0.000067489535,0.000015259926],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019484063,0.0002735692,0.0011923563,0.0006172055,0.0003256019,0.000004838622,0.21557672,3.3041852e-7,0.0004892833,0.23233819,0.14500684,0.40398023],"study_design_scores_gemma":[0.00016152534,0.00023500905,0.0021523163,0.000041830448,0.000055477267,5.1524734e-7,0.01482401,0.0000087716435,0.000014481319,0.0002189878,0.98221314,0.0000739112],"about_ca_topic_score_codex":0.020108234,"about_ca_topic_score_gemma":0.18683356,"teacher_disagreement_score":0.8372063,"about_ca_system_score_codex":0.000011421488,"about_ca_system_score_gemma":0.000015311627,"threshold_uncertainty_score":0.99876153},"labels":[],"label_agreement":null},{"id":"W1994558941","doi":"10.7202/500820ar","title":"Grotowski face à Stanislavski","year":2005,"lang":"fr","type":"article","venue":"Études littéraires","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Face (sociological concept); Aesthetics; Art; Philosophy; Linguistics","score_opus":0.023498468317741824,"score_gpt":0.24472320512606857,"score_spread":0.22122473680832674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1994558941","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06808646,0.12437335,0.000017647702,0.044838138,0.0026846048,0.0005148886,0.00072133326,0.00029162187,0.75847197],"genre_scores_gemma":[0.72028494,0.0053190854,0.00018800533,0.0010535716,0.008592348,0.000047513426,0.000016795393,0.00005149527,0.26444623],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99798787,0.00006106733,0.00046946274,0.00038586705,0.00033363982,0.00076211034],"domain_scores_gemma":[0.99914515,0.000105721294,0.00011938523,0.00038118384,0.00011019638,0.00013835778],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021274245,0.00042711414,0.00040770156,0.00009621226,0.0010325457,0.00033245786,0.0003223206,0.00013104599,0.0069177276],"category_scores_gemma":[0.00001664421,0.00038085884,0.00024673835,0.00007205945,0.00082903705,0.0007579996,0.00015773965,0.00031030204,0.0019303394],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049978866,0.0002468152,0.0002775435,0.00020586414,0.00022984204,0.000011884601,0.03580184,0.000058262813,0.000013754562,0.7718966,0.07007778,0.12112982],"study_design_scores_gemma":[0.0004193206,0.0002769772,0.00075499236,0.00022093761,0.00010192181,0.0000128558195,0.009017931,0.00009792761,0.00021458366,0.0012108817,0.9871862,0.00048548533],"about_ca_topic_score_codex":0.001257183,"about_ca_topic_score_gemma":0.012957811,"teacher_disagreement_score":0.9171084,"about_ca_system_score_codex":0.00014700352,"about_ca_system_score_gemma":0.000089304755,"threshold_uncertainty_score":0.99986434},"labels":[],"label_agreement":null},{"id":"W1994641698","doi":"10.3138/md.0702r.64","title":"Reading Collage Drama as Documentary Drama: Trash Archives and <i>Dissensus</i> in Charles L. Mee’s Lives of the Artists","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Bricolage; Dramaturgy; Argument (complex analysis); Art; Reading (process); Expansive; Scholarship; Literature; Visual arts; Dissent; Theatre director; Sociology; Aesthetics; Philosophy; Law; Politics; Linguistics","score_opus":0.018583765819811967,"score_gpt":0.23234021136308,"score_spread":0.21375644554326803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1994641698","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8766781,0.0015085473,0.0000025211068,0.0008586323,0.00024746597,0.00022937848,0.00004393418,0.0000334299,0.12039801],"genre_scores_gemma":[0.9933926,0.00026691903,0.00003530016,0.0001227539,0.0002298621,0.00002132996,0.0000068265695,0.000020946758,0.0059034564],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989168,0.00007155604,0.00029150402,0.00022895352,0.00020502631,0.0002861342],"domain_scores_gemma":[0.9994538,0.00010758796,0.00010090382,0.00023074723,0.000034583434,0.00007239749],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014495627,0.00019739577,0.00029787532,0.000084868916,0.00026326158,0.0001342772,0.00018424701,0.000031049443,0.000068182955],"category_scores_gemma":[0.000022070526,0.00013692045,0.00007113638,0.0000434482,0.00054190366,0.00024739423,0.00014917017,0.00014398916,0.000012464707],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000321512,0.0002668583,0.023923084,0.00021748408,0.0002085548,0.000036031528,0.8859435,0.00006257154,0.0020395073,0.057095118,0.003366021,0.02651981],"study_design_scores_gemma":[0.0070283487,0.0012564635,0.035893425,0.0018339991,0.00041760108,0.00012122298,0.506971,0.0036744983,0.017696964,0.24106587,0.18186542,0.002175178],"about_ca_topic_score_codex":0.0007369316,"about_ca_topic_score_gemma":0.0028699487,"teacher_disagreement_score":0.37897244,"about_ca_system_score_codex":0.00002092209,"about_ca_system_score_gemma":0.000040452775,"threshold_uncertainty_score":0.55834544},"labels":[],"label_agreement":null},{"id":"W1994657906","doi":"10.3138/ctr.157.005","title":"Far-Flung Places: A Conversation about the Theatre of Human Cargo","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Visual arts; Performance art; Sociology; Art; Media studies; Art history; Communication","score_opus":0.025323289918399106,"score_gpt":0.24005499009940584,"score_spread":0.21473170018100673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1994657906","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0043157325,0.16885136,0.0000019954055,0.005259427,0.00053769525,0.0007202311,0.000102829756,0.000045862173,0.82016486],"genre_scores_gemma":[0.9656327,0.027764749,0.0000033844492,0.0038351042,0.00061664655,0.000051507417,0.000041817897,0.00002687002,0.0020272534],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989025,0.0001271923,0.00033931923,0.00017136832,0.00014309281,0.0003165492],"domain_scores_gemma":[0.99915236,0.00008423157,0.00012710883,0.00042142833,0.000089476,0.0001253781],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045388984,0.00019320313,0.00040815893,0.00007764289,0.0005893548,0.000048906593,0.00028645273,0.00003574638,0.0014714015],"category_scores_gemma":[0.000010168306,0.00011754003,0.00017194168,0.00006878185,0.00030636866,0.00011502723,0.00002062373,0.00013536002,0.00013008545],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013898852,0.00003289286,0.002563563,0.006501698,0.0003924903,0.000004470631,0.05661315,0.0000045358042,0.000017115568,0.31721342,0.15479986,0.4618429],"study_design_scores_gemma":[0.00012217216,0.000076804405,0.00014156345,0.0014823751,0.00016419213,0.0000028685774,0.001897793,0.000009311233,0.000008260582,0.000588338,0.9953495,0.00015678543],"about_ca_topic_score_codex":0.06763165,"about_ca_topic_score_gemma":0.5526269,"teacher_disagreement_score":0.96131694,"about_ca_system_score_codex":0.00006622175,"about_ca_system_score_gemma":0.00012046011,"threshold_uncertainty_score":0.9994414},"labels":[],"label_agreement":null},{"id":"W1995136090","doi":"10.1353/utq.2010.0141","title":"Sharon Pollock (review)","year":2010,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pollock; Art history; Art","score_opus":0.00972893417933067,"score_gpt":0.19312546115525187,"score_spread":0.18339652697592118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1995136090","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14252995,0.0054546357,0.0000053303497,0.0007801111,0.0008468552,0.0001545496,0.0000649768,0.00007314377,0.85009044],"genre_scores_gemma":[0.9728376,0.0011691323,0.00007688607,0.000121965415,0.00025962875,1.2581735e-7,0.000007310556,0.0000050659337,0.025522247],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996537,0.000008359208,0.00006633974,0.00008783723,0.0000774826,0.000106313375],"domain_scores_gemma":[0.9997028,0.0000106374455,0.000048265407,0.00014796204,0.00005753217,0.000032790318],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000048413298,0.000069428956,0.00013652263,0.0000098103765,0.00018566479,0.00000661899,0.00015300635,0.000019673706,0.017765075],"category_scores_gemma":[9.880639e-7,0.0000670674,0.000077967416,0.000004062884,0.00014399327,0.00027945117,0.000011971477,0.00006148161,0.00012692997],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000087930726,0.0002013678,0.0010772666,0.0006059596,0.00020197597,0.000013450371,0.32881796,1.10940015e-7,0.000679906,0.099521935,0.39072642,0.1780657],"study_design_scores_gemma":[0.00018988649,0.0002491941,0.001541416,0.00006583926,0.000042493044,9.798096e-7,0.01699029,0.0000043657556,0.00000753772,0.00006732459,0.98073494,0.00010570251],"about_ca_topic_score_codex":0.016022613,"about_ca_topic_score_gemma":0.20603126,"teacher_disagreement_score":0.83030766,"about_ca_system_score_codex":0.000013847287,"about_ca_system_score_gemma":0.000011939108,"threshold_uncertainty_score":0.9905298},"labels":[],"label_agreement":null},{"id":"W1995485174","doi":"10.3138/md.46.4.558","title":"Theatre and Space: A Historiographic Preamble","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The Imaginary; Psyche; Poetics; Statement (logic); Space (punctuation); Paraphrase; Preamble; Power (physics); Literature; Aesthetics; Symbol (formal); Psychoanalysis; Philosophy; Art; Epistemology; Psychology; Physics; Linguistics; Computer science; Poetry","score_opus":0.017007386941891706,"score_gpt":0.2050973346917353,"score_spread":0.18808994774984358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1995485174","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3217333,0.0052566035,0.000031695163,0.00036057993,0.0003700313,0.00010354341,0.000008943939,0.00008560482,0.6720497],"genre_scores_gemma":[0.98098487,0.00021469385,0.000039328268,0.00010730665,0.00018167238,0.0000130046565,0.0000014419005,0.000013106314,0.018444553],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994995,0.000017166265,0.000082225786,0.00014079562,0.000080807615,0.00017948748],"domain_scores_gemma":[0.99976134,0.000017398908,0.000022286426,0.00013607343,0.000025363875,0.00003753529],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000065161155,0.00010862292,0.00012191222,0.0000613472,0.00036305,0.00008065646,0.000043402204,0.000024016657,0.0003212328],"category_scores_gemma":[0.0000027336646,0.000084129264,0.000044345554,0.000020696736,0.00014859422,0.00012725806,0.000015680924,0.00007171532,0.000039279956],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004426308,0.00014190967,0.013280842,0.00011312552,0.00016494266,0.000009584914,0.19806287,0.000011077437,0.00014886074,0.7308237,0.020506127,0.036692705],"study_design_scores_gemma":[0.00023516324,0.000066019034,0.00015800261,0.000013988417,0.000024467365,0.0000042482225,0.0014994472,0.00007082549,0.000062116684,0.01779826,0.97992253,0.0001449187],"about_ca_topic_score_codex":0.00012485775,"about_ca_topic_score_gemma":0.00080813223,"teacher_disagreement_score":0.9594164,"about_ca_system_score_codex":0.000011063526,"about_ca_system_score_gemma":0.000010539327,"threshold_uncertainty_score":0.3517274},"labels":[],"label_agreement":null},{"id":"W1996887936","doi":"10.5130/ccs.v5i3.3640","title":"Making Sense of Shakespeare: a Cultural Icon for Contemporary Audiences","year":2013,"lang":"en","type":"article","venue":"Cosmopolitan Civil Societies An Interdisciplinary Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Globe; Embodied cognition; Aesthetics; Sociology; Common sense; Media studies; Art; Epistemology; Psychology; Philosophy","score_opus":0.08941713865729625,"score_gpt":0.34793307195780665,"score_spread":0.25851593330051037,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1996887936","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83627737,0.0028305622,0.00006787073,0.002484944,0.0021013517,0.00046515054,0.000121460755,0.000073410396,0.15557788],"genre_scores_gemma":[0.992242,0.000086164604,0.00014703083,0.00024979864,0.0019735515,0.000044944434,0.000012452324,0.00002756599,0.0052164965],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99839157,0.00006806374,0.0006135072,0.00022122379,0.00024492756,0.0004607124],"domain_scores_gemma":[0.99868596,0.0001091879,0.0003726366,0.00018488086,0.00053109473,0.000116215095],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034840978,0.00026321414,0.00042324018,0.00009140394,0.0020418358,0.00042274062,0.00024717278,0.00006116657,0.0012820209],"category_scores_gemma":[0.00001202576,0.00018728327,0.00041433194,0.000039213588,0.0010299075,0.0014575211,0.00025462167,0.00027777714,0.000017966731],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011805731,0.00014500946,0.0009034682,0.00019926565,0.0002526314,0.000010118654,0.359688,0.0000038443686,0.00018119471,0.017221758,0.6197157,0.0015609358],"study_design_scores_gemma":[0.00064052246,0.0018325262,0.00082637486,0.0004535617,0.000059095033,0.00018282028,0.8234429,0.0002928602,0.00009437603,0.14109664,0.030597363,0.0004810076],"about_ca_topic_score_codex":0.000034312863,"about_ca_topic_score_gemma":0.00019904775,"teacher_disagreement_score":0.5891183,"about_ca_system_score_codex":0.000096222604,"about_ca_system_score_gemma":0.00007066156,"threshold_uncertainty_score":0.9996309},"labels":[],"label_agreement":null},{"id":"W1997205610","doi":"10.3138/md.44.1.1","title":"Modern:Drama (defining the field), Part II","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Postmodernism; Scrutiny; Modernity; Modernism (music); Field (mathematics); Subject (documents); Argument (complex analysis); Politics; Literature; Aesthetics; Art; History; Philosophy; Political science; Epistemology; Law; Computer science","score_opus":0.029465878492699653,"score_gpt":0.24131664794617338,"score_spread":0.21185076945347373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1997205610","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35048917,0.0029618025,0.00023724252,0.010654802,0.0010046029,0.00017569672,0.000021936252,0.00021198046,0.6342428],"genre_scores_gemma":[0.94445515,0.0002471244,0.000016793285,0.0031918942,0.0012198383,0.00003483899,0.000008828726,0.000023257273,0.050802257],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99895024,0.000026115193,0.00021463358,0.00021891102,0.00020112656,0.00038898576],"domain_scores_gemma":[0.9993594,0.0001251378,0.00005825478,0.0003544704,0.000059264294,0.0000434358],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013670303,0.00019134388,0.00019504607,0.000040638362,0.0015836569,0.00021107844,0.00025488468,0.000050120892,0.0019623928],"category_scores_gemma":[0.00001948481,0.00012313464,0.00011248086,0.000030580086,0.00015133982,0.00022906007,0.00014728142,0.00022017401,0.0002897913],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014359213,0.0001692508,0.002075118,0.000035072953,0.00021797314,0.000028602944,0.2897456,0.00040255423,0.000020110952,0.23201132,0.16520508,0.30994573],"study_design_scores_gemma":[0.0002579912,0.00013155641,0.00010775048,0.000032460594,0.00003287037,0.000006949768,0.0021122303,0.0050029317,0.000045190576,0.022751652,0.9693005,0.00021791778],"about_ca_topic_score_codex":0.0002646569,"about_ca_topic_score_gemma":0.001451105,"teacher_disagreement_score":0.80409545,"about_ca_system_score_codex":0.0000147143965,"about_ca_system_score_gemma":0.000019060215,"threshold_uncertainty_score":0.99971616},"labels":[],"label_agreement":null},{"id":"W1997669940","doi":"10.3138/ctr.159.002","title":"The New Intimacy: <i>rihannaboi95</i> and Web Theatre","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The Internet; Confessional; Dance; World Wide Web; Web 2.0; Multimedia; Media studies; Art; Visual arts; Sociology; Computer science; Political science; Politics","score_opus":0.014570821177295185,"score_gpt":0.21738042786136463,"score_spread":0.20280960668406944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1997669940","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019171165,0.33845705,7.1745524e-7,0.0388491,0.00044629947,0.00029780957,0.000035102446,0.000044552304,0.6216777],"genre_scores_gemma":[0.26666662,0.66255265,0.000026132706,0.030758088,0.0039470172,0.00007868186,0.000027838816,0.00008258684,0.035860397],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988991,0.000079935046,0.00024199966,0.00020713476,0.0001130532,0.0004587804],"domain_scores_gemma":[0.99904823,0.00011341252,0.000054761895,0.00038029446,0.000044991917,0.00035829304],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003882729,0.0002183451,0.00032587931,0.000052444208,0.001092169,0.00019307293,0.00024789432,0.000030421963,0.00075746235],"category_scores_gemma":[0.000016704445,0.00012803027,0.00010681323,0.000059146212,0.0002851198,0.00013070843,0.0000360221,0.00016169589,0.0003390564],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017741468,0.0000018507972,0.00007680105,0.00026152455,0.00003277467,0.0000013552536,0.0010102734,5.58857e-8,4.341269e-7,0.059457608,0.3272006,0.611955],"study_design_scores_gemma":[0.00010920638,0.000040164974,0.00002186473,0.00083666254,0.0000834047,0.000010480426,0.00028091058,0.0000089628375,0.0000012800853,0.001787314,0.99663615,0.00018359118],"about_ca_topic_score_codex":0.021319862,"about_ca_topic_score_gemma":0.5304899,"teacher_disagreement_score":0.66943556,"about_ca_system_score_codex":0.000036740905,"about_ca_system_score_gemma":0.0002567997,"threshold_uncertainty_score":0.98519725},"labels":[],"label_agreement":null},{"id":"W1997885767","doi":"10.1017/s0040557411000597","title":"(Syn)aesthetics: Redefining Visceral Performance. By Josephine Machon. New York: Palgrave Macmillan, 2009; pp. 221. $90 cloth, $29 paper.","year":2011,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Art history; Performance art; Gerontology; History; Art; Medicine","score_opus":0.05826851502292553,"score_gpt":0.22844994028670917,"score_spread":0.17018142526378366,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1997885767","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31498143,0.0167162,0.000010041796,0.00037720578,0.0018999586,0.00045245027,0.0008907255,0.0004982094,0.6641738],"genre_scores_gemma":[0.98696715,0.0042878767,0.00011261017,0.0006786775,0.0011260137,0.000022853854,0.00033242264,0.00011054261,0.0063618524],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99721634,0.00021757977,0.00064422435,0.0005431973,0.00041254383,0.0009660862],"domain_scores_gemma":[0.99861586,0.00012510462,0.00020225802,0.0006826919,0.0001262721,0.00024779787],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008574531,0.0006151786,0.00067167135,0.00011847272,0.00086938444,0.0001638719,0.00051419815,0.00014073728,0.010082178],"category_scores_gemma":[0.000013635369,0.00047974335,0.00020760341,0.00012967091,0.00041522307,0.00013401746,0.00015315061,0.0004393096,0.0011592142],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017110781,0.00020660444,0.12027779,0.00019488783,0.0007252762,0.000028789014,0.12721811,0.000013615661,0.00015655016,0.01558568,0.50404423,0.22983739],"study_design_scores_gemma":[0.0031483,0.0019587623,0.075103484,0.00032299748,0.00025685003,0.000049137456,0.0062167924,0.00016788712,0.0006523649,0.0071270745,0.9025981,0.0023982492],"about_ca_topic_score_codex":0.020005293,"about_ca_topic_score_gemma":0.01478416,"teacher_disagreement_score":0.67198575,"about_ca_system_score_codex":0.000048579244,"about_ca_system_score_gemma":0.000083812454,"threshold_uncertainty_score":0.9997654},"labels":[],"label_agreement":null},{"id":"W1998120037","doi":"10.12745/et.13.2.852","title":"Chester 2010: Creation and Judgment","year":2010,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Scholarship; Event (particle physics); Performance art; Visual arts; Art history; Art; History; Sociology; Political science; Law","score_opus":0.014654324235542263,"score_gpt":0.21020046041302184,"score_spread":0.19554613617747957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998120037","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7366924,0.00011702167,6.9521025e-7,0.00095144665,0.00062356127,0.0000618795,0.000008126752,0.00003748749,0.26150736],"genre_scores_gemma":[0.9773061,0.000035890313,0.00002971443,0.00015207865,0.0010682207,0.000009753666,0.0000036585145,0.000008778617,0.021385783],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996213,0.0000065446457,0.00007900313,0.000101267535,0.000069436916,0.00012246305],"domain_scores_gemma":[0.9997926,0.000017723738,0.000020700989,0.000116300034,0.000021787024,0.00003093125],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000625055,0.000083410545,0.00008294661,0.00003137768,0.00025325685,0.00011230645,0.000045225337,0.000025328844,0.0015131413],"category_scores_gemma":[0.0000012171533,0.000059319795,0.0000259558,0.000008813017,0.00014479535,0.00018716937,0.000025222489,0.00011560099,0.00019481675],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012266918,0.00018243161,0.10545529,0.000088526154,0.00020700478,0.0000071459935,0.38250893,8.213944e-7,0.003064185,0.15651737,0.051953364,0.29989228],"study_design_scores_gemma":[0.00028439405,0.000125745,0.05391256,0.00001515025,0.00002892846,0.0000031810266,0.0017493982,0.000007484088,0.00038789416,0.0019530565,0.94136363,0.00016857158],"about_ca_topic_score_codex":0.00033762815,"about_ca_topic_score_gemma":0.0016516207,"teacher_disagreement_score":0.88941026,"about_ca_system_score_codex":0.0000028383424,"about_ca_system_score_gemma":0.000005050716,"threshold_uncertainty_score":0.9993996},"labels":[],"label_agreement":null},{"id":"W1998216525","doi":"10.3138/md.48.4.726","title":"Negotiating the American West in Sam Shepard’s Family Plays","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Frontier; Epiphany; Transcendence (philosophy); Romance; Power (physics); American west; Transformative learning; Negotiation; Conviction; Gender studies; Morality; History; Psychoanalysis; Sociology; Aesthetics; Art; Ethnology; Political science; Literature; Psychology; Philosophy; Law; Archaeology; Epistemology; Social science","score_opus":0.025762485602272296,"score_gpt":0.23820233165626678,"score_spread":0.2124398460539945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998216525","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86068344,0.00057615095,0.000024719424,0.0016989874,0.00015455285,0.000087423185,0.000013153078,0.000052355354,0.13670924],"genre_scores_gemma":[0.99497855,0.00010776787,0.00003402374,0.0012445326,0.0011021385,0.000021421016,0.0000034753132,0.000014998634,0.0024930942],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992901,0.000024536543,0.00016606496,0.0001351134,0.00012040821,0.00026373868],"domain_scores_gemma":[0.99966717,0.00006216681,0.000060461214,0.0001654157,0.000023214545,0.00002159235],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001014831,0.00011906805,0.00016375705,0.00004533477,0.00036645983,0.00015193353,0.00015372293,0.000012069831,0.00013099608],"category_scores_gemma":[0.000005791899,0.00007773301,0.000044733933,0.000032978118,0.0002263075,0.00016750579,0.000051855655,0.000150517,0.00018974414],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010275183,0.00018611106,0.023940058,0.000026239328,0.00010220957,0.000008842372,0.43819916,0.009302225,0.0001766301,0.043567598,0.019632855,0.46475533],"study_design_scores_gemma":[0.00055468665,0.00018730744,0.050515704,0.000043896413,0.000028787632,0.0000030440672,0.03055013,0.04025053,0.000034424702,0.0013944398,0.87598664,0.00045043585],"about_ca_topic_score_codex":0.0019495519,"about_ca_topic_score_gemma":0.012521975,"teacher_disagreement_score":0.85635376,"about_ca_system_score_codex":0.000029801029,"about_ca_system_score_gemma":0.000013817761,"threshold_uncertainty_score":0.6987556},"labels":[],"label_agreement":null},{"id":"W1998432620","doi":"10.3138/md.0693r1.84","title":"Rethinking Play Texts in the Age of Mediatization: Simon Stephens’s <i>Pornography</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Performative utterance; Pornography; Scholarship; Consciousness; Aesthetics; Sociology; Art; Literature; Psychology; Epistemology; Philosophy; Psychoanalysis; Law; Political science","score_opus":0.0455090455019225,"score_gpt":0.23976851495849608,"score_spread":0.19425946945657357,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998432620","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7589528,0.0016444174,0.00010206265,0.0010615111,0.0004896121,0.00023648243,0.000023494618,0.00005367594,0.23743595],"genre_scores_gemma":[0.9984816,0.00004144444,0.000031461575,0.0004941641,0.0004023372,0.0000118387425,0.00002087409,0.0000094961915,0.00050678465],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999233,0.000050958206,0.0002045299,0.00010428286,0.0002571639,0.00015003329],"domain_scores_gemma":[0.9995996,0.000066937115,0.00006720559,0.00018180007,0.000066106666,0.000018350787],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032313325,0.00009801158,0.00015256723,0.00007130876,0.0001306397,0.00006457731,0.0001761705,0.00003201992,0.000044068616],"category_scores_gemma":[0.000014306977,0.00006270401,0.000046743255,0.000057969217,0.00016309258,0.0001624631,0.0000341257,0.000118046584,0.000011530109],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003341114,0.000069310154,0.011091995,0.000034982415,0.000028435406,0.000011269678,0.95556533,0.00023446174,0.000014606253,0.020011783,0.0072432817,0.005661114],"study_design_scores_gemma":[0.002588682,0.00052838644,0.008230206,0.0002659328,0.00010748685,0.000004025178,0.06553181,0.0023666653,0.0002836303,0.25735858,0.66200566,0.0007289089],"about_ca_topic_score_codex":0.00017408839,"about_ca_topic_score_gemma":0.005113083,"teacher_disagreement_score":0.89003354,"about_ca_system_score_codex":0.000008183985,"about_ca_system_score_gemma":0.000019094881,"threshold_uncertainty_score":0.285322},"labels":[],"label_agreement":null},{"id":"W1998719868","doi":"10.1353/ctr.2011.0013","title":"Directors and Voice Work: An Attempt to Bridge the Gap","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Plural; Bridge (graph theory); Publishing; Work (physics); Sound (geography); Performance art; Visual arts; Art history; Sociology; Art; Media studies; History; Linguistics; Engineering; Literature; Acoustics; Philosophy","score_opus":0.09624443974857444,"score_gpt":0.2570774688024778,"score_spread":0.16083302905390334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998719868","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.037071962,0.25786582,4.2263355e-7,0.0072014974,0.0006132176,0.0008354543,0.000104504965,0.00006877168,0.69623834],"genre_scores_gemma":[0.9308863,0.04633965,0.000014587313,0.017333476,0.00084415457,0.00008702083,0.00001151362,0.00003820424,0.0044450387],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992074,0.00006142174,0.00016072294,0.00018026779,0.00006743184,0.00032279675],"domain_scores_gemma":[0.9992642,0.000026937156,0.00002976539,0.00032843166,0.000038790316,0.00031188093],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024290287,0.00015657976,0.00023962508,0.000055333156,0.00052121386,0.000058732407,0.00019992172,0.0000182413,0.0016775435],"category_scores_gemma":[0.0000068909253,0.00009384413,0.000057456145,0.000074685995,0.00013760076,0.00012715661,0.000025850582,0.00009362632,0.00041872528],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008517667,0.000016214033,0.005931149,0.00064901065,0.000093429044,0.000013971731,0.056507133,4.7269232e-8,3.2178212e-7,0.012418708,0.17240213,0.7519594],"study_design_scores_gemma":[0.000029258763,0.000042403484,0.0069274656,0.0007139272,0.000068704314,0.0000046591567,0.00045108565,1.4237965e-7,0.0000010541547,0.00008840447,0.9915202,0.00015264378],"about_ca_topic_score_codex":0.10439658,"about_ca_topic_score_gemma":0.6622859,"teacher_disagreement_score":0.8938144,"about_ca_system_score_codex":0.000032082018,"about_ca_system_score_gemma":0.00006230606,"threshold_uncertainty_score":0.99923503},"labels":[],"label_agreement":null},{"id":"W1998723669","doi":"10.3138/md.55.3.329","title":"The Canonization of Christopher Shinn: A Modest Proposal on Ethics","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Anecdote; Relation (database); Literature; Gender studies; Sociology; History; Aesthetics; Philosophy; Art; Political science; Law","score_opus":0.043278127776783935,"score_gpt":0.26272267328527876,"score_spread":0.21944454550849482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998723669","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.55141425,0.0026370722,0.00041735507,0.00528223,0.0016188795,0.0003704514,0.000041106392,0.00010519674,0.43811348],"genre_scores_gemma":[0.99113005,0.00006897702,0.00001856934,0.00019054287,0.00064662634,0.000012513313,0.0000042288325,0.00001272059,0.007915753],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994302,0.000033930806,0.00011992034,0.00006420761,0.00016977405,0.00018197233],"domain_scores_gemma":[0.9996146,0.00007768991,0.000052084168,0.00014962863,0.00008319584,0.000022786267],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002169923,0.00008159922,0.00008659619,0.000017658576,0.0005768439,0.00005089573,0.000090392045,0.000037244983,0.00009656734],"category_scores_gemma":[0.000018575582,0.000047908226,0.000034121094,0.000015610321,0.00019646944,0.00013512599,0.000026313195,0.00016612202,0.000044521454],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055018987,0.00010931059,0.0015163647,0.000047184607,0.00004577214,2.4947005e-7,0.26670176,0.00015054115,0.000054904656,0.7127072,0.0032292386,0.015382425],"study_design_scores_gemma":[0.00053520716,0.00033168614,0.0020727317,0.00010148133,0.00006850431,0.0000021708106,0.007995052,0.0051477486,0.0015058428,0.02411516,0.95771337,0.00041102272],"about_ca_topic_score_codex":0.00025190474,"about_ca_topic_score_gemma":0.0016844812,"teacher_disagreement_score":0.95448416,"about_ca_system_score_codex":0.000017352902,"about_ca_system_score_gemma":0.000042585703,"threshold_uncertainty_score":0.44366753},"labels":[],"label_agreement":null},{"id":"W1998875161","doi":"10.3138/md.45.4.628","title":"The Aesthetics of Refusal: Pinter among the Radicals","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Postmodernism; Aesthetics; Modernity; Drama; Literature; Historiography; Ideology; Politics; Poetics; Art; History; Sociology; Philosophy; Law; Epistemology; Poetry; Political science","score_opus":0.02945843668094215,"score_gpt":0.2234452228478884,"score_spread":0.19398678616694626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998875161","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6442741,0.004348593,0.00004070766,0.010155277,0.0005863858,0.00021242321,0.000014564944,0.00007793793,0.34029],"genre_scores_gemma":[0.97401553,0.0004603976,0.000003158747,0.00024672813,0.00028209927,0.000011140112,5.0778465e-7,0.000012029297,0.0249684],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994246,0.000029348064,0.00016450541,0.0000770153,0.00013688067,0.00016765781],"domain_scores_gemma":[0.99954313,0.000078760866,0.000056485733,0.00026271015,0.00004157072,0.000017366523],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011998943,0.000083821455,0.000103992905,0.000013877154,0.0005645076,0.00009463292,0.00022048914,0.000019227748,0.00048765755],"category_scores_gemma":[0.000007668032,0.000037294893,0.000074909854,0.000012469753,0.00076106435,0.00006501511,0.000049510643,0.00010819298,0.000080927945],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044395707,0.00016455137,0.0023088485,0.00003949209,0.00022839286,0.0000042715096,0.36315364,0.000044739023,0.000030099043,0.20925164,0.16646759,0.25826234],"study_design_scores_gemma":[0.00012928128,0.00006711348,0.0003490415,0.000021107182,0.000021942567,0.0000013980954,0.0020322313,0.0029452508,0.00007567772,0.006382797,0.9878925,0.000081662234],"about_ca_topic_score_codex":0.00006339376,"about_ca_topic_score_gemma":0.0005819053,"teacher_disagreement_score":0.8214249,"about_ca_system_score_codex":0.0000059846325,"about_ca_system_score_gemma":0.0000024977846,"threshold_uncertainty_score":0.5339508},"labels":[],"label_agreement":null},{"id":"W1999149588","doi":"10.3138/md.45.1.95","title":"\"Niggers Got a Right to be Dissatisfied\": Postmodemism, Race, and Class in <i>Ma Rainey's Black Bottom</i>","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Injustice; Theme (computing); Luck; White (mutation); Plot (graphics); Literature; History; Art; Tragedy (event); Art history; Law; Political science; Philosophy; Theology","score_opus":0.021503265044547776,"score_gpt":0.2219855612589858,"score_spread":0.20048229621443803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1999149588","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.767489,0.0007567372,0.000027629496,0.012778374,0.00017587004,0.0002674309,0.000059687165,0.00008167655,0.21836355],"genre_scores_gemma":[0.95946807,0.00022330084,0.000058326867,0.0029239764,0.00033489068,0.000031618685,0.000007189704,0.000029818746,0.03692281],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987548,0.00003458385,0.00026559728,0.0003270832,0.00019266974,0.00042527],"domain_scores_gemma":[0.9994881,0.00006733834,0.000045195815,0.0002420187,0.000040087943,0.000117220494],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012176278,0.00024187574,0.00032909014,0.000119691125,0.00032250542,0.00017669842,0.00014542638,0.000067172,0.0011117962],"category_scores_gemma":[0.000012567579,0.00020051058,0.00006151733,0.000058144324,0.0002573652,0.00026483356,0.000091386915,0.00022616226,0.00015489687],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019162538,0.0002979484,0.007584079,0.00014720022,0.0001463506,0.00007434212,0.66044325,0.0002454234,0.00034351173,0.038871482,0.2573481,0.034306683],"study_design_scores_gemma":[0.0014064588,0.00024168236,0.0014741459,0.00009169379,0.00004132344,0.000007948314,0.004022465,0.01726415,0.00013751796,0.0051787854,0.96945256,0.0006812797],"about_ca_topic_score_codex":0.0002193156,"about_ca_topic_score_gemma":0.0038395906,"teacher_disagreement_score":0.71210444,"about_ca_system_score_codex":0.00003391526,"about_ca_system_score_gemma":0.000008070792,"threshold_uncertainty_score":0.99980134},"labels":[],"label_agreement":null},{"id":"W1999158699","doi":"10.2307/1089108","title":"The Greek and Roman Stage","year":2000,"lang":"en","type":"article","venue":"Phoenix","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); History; Ancient history; Art; Geology; Paleontology","score_opus":0.018485150039219786,"score_gpt":0.21691416919004056,"score_spread":0.19842901915082078,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1999158699","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58941156,0.00069342606,7.139686e-8,0.00043792717,0.000095542055,0.000032153108,0.000009157212,0.000024428917,0.40929574],"genre_scores_gemma":[0.86346513,0.0007496987,0.0000019153429,0.0001820136,0.00029144154,0.0000055898795,0.0000010356093,0.0000045220545,0.13529864],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970937,0.0000075380003,0.00005800359,0.000059609483,0.000048283953,0.00011722116],"domain_scores_gemma":[0.9998532,0.000028889386,0.000009585415,0.00008276329,0.000008715668,0.000016856893],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004887295,0.00005245728,0.00005008484,0.0000074202258,0.0006976837,0.00009459258,0.000050738323,0.0000059460635,0.0034683566],"category_scores_gemma":[0.0000011162849,0.000029495515,0.000017562528,0.000006787794,0.00016477407,0.00007579812,0.000012735126,0.00004219154,0.00017541104],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007518913,0.000027211601,0.0011789129,0.000022294356,0.0000750619,0.000008755869,0.16856088,0.0000017141514,0.000018291448,0.1260387,0.05380142,0.65019155],"study_design_scores_gemma":[0.00008370624,0.000033081495,0.0008509216,0.0000030285735,0.000005213221,0.0000013694826,0.0014486732,0.000010250991,0.000017518707,0.0006790337,0.9968185,0.000048707298],"about_ca_topic_score_codex":0.00022250123,"about_ca_topic_score_gemma":0.0026638953,"teacher_disagreement_score":0.94301707,"about_ca_system_score_codex":0.0000027056128,"about_ca_system_score_gemma":0.0000029434466,"threshold_uncertainty_score":0.9974426},"labels":[],"label_agreement":null},{"id":"W1999407323","doi":"10.1353/ctr.0.0038","title":"Performing Self and Society Through Improvisation: The Improvisation, Community, and Social Practice Project","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Aesthetics; Power (physics); Sociology; Art; Politics; Psychology; Visual arts; Law; Political science","score_opus":0.03495774464259359,"score_gpt":0.27656821374913587,"score_spread":0.24161046910654227,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1999407323","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.071685724,0.11300474,0.0000032189425,0.17098556,0.0014841146,0.0040042438,0.00027308194,0.00025320533,0.63830614],"genre_scores_gemma":[0.8690258,0.09170034,0.000346117,0.035360612,0.002439206,0.00014141778,0.000056763434,0.00004988445,0.00087984465],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913865,0.00013672865,0.00019884927,0.00013135721,0.00009889601,0.0002955001],"domain_scores_gemma":[0.9993183,0.00018422019,0.000097264805,0.00021414176,0.00012392257,0.000062172665],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0010175601,0.00016369838,0.00021645322,0.00002129462,0.003214733,0.00020344449,0.00013915905,0.000048597234,0.00013177203],"category_scores_gemma":[0.000031373558,0.00010530027,0.000071274306,0.000047510748,0.00038334605,0.0005243042,0.000055564728,0.00054585095,0.000012908923],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004618451,0.000029602568,0.00025722123,0.0035009051,0.00022119017,0.0000013683576,0.52553755,1.2419992e-8,0.000009298941,0.07615781,0.07125618,0.32302424],"study_design_scores_gemma":[0.00010238406,0.000040489795,0.00011936253,0.00012374215,0.00019291489,0.000033010463,0.025595877,0.000009175612,0.0000015650147,0.00035731465,0.9732798,0.00014437408],"about_ca_topic_score_codex":0.07729128,"about_ca_topic_score_gemma":0.3061261,"teacher_disagreement_score":0.9020236,"about_ca_system_score_codex":0.000045893295,"about_ca_system_score_gemma":0.00033382364,"threshold_uncertainty_score":0.99808294},"labels":[],"label_agreement":null},{"id":"W1999513571","doi":"10.1353/tj.2006.0089","title":"Rape's Metatheatrical Return: Rehearsing Sexual Violence Among the Early Moderns","year":2006,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":23,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Rehearsing; Aesthetics; Sexual violence; Theatre studies; Performance art; Criminology; History; Gender studies; Sociology; Art; Psychology; Visual arts; Art history; Drama","score_opus":0.01939181642794504,"score_gpt":0.22166356285898658,"score_spread":0.20227174643104154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1999513571","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9203779,0.0024263223,0.00011018433,0.0013501012,0.0007591923,0.00012915173,0.000013449391,0.00007832858,0.07475537],"genre_scores_gemma":[0.9912987,0.00019562732,0.00005387567,0.0001723008,0.0055959914,0.0000058245128,0.0000021284804,0.000030348876,0.0026452406],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99828404,0.00014530715,0.00042896584,0.0001933394,0.00043056245,0.00051780615],"domain_scores_gemma":[0.99924994,0.00013623608,0.00015895512,0.00026224527,0.000109080785,0.000083565654],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0005584718,0.0002488755,0.00029400174,0.000113002796,0.0019328693,0.00051192875,0.00034561448,0.000054289914,0.00058836734],"category_scores_gemma":[0.000004777234,0.00013906512,0.00018668058,0.00007275918,0.0005189158,0.00049709826,0.00006325961,0.0006922803,0.000077223965],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00096659584,0.00079348945,0.099666595,0.00011595095,0.0011601802,0.0003402212,0.21863548,0.00082498335,0.0011948987,0.04615957,0.085537545,0.5446045],"study_design_scores_gemma":[0.004763499,0.0027660404,0.09896682,0.001042126,0.0017529485,0.0018866666,0.10259999,0.005072361,0.0010270884,0.1861888,0.5908192,0.003114463],"about_ca_topic_score_codex":0.0015116232,"about_ca_topic_score_gemma":0.0012650451,"teacher_disagreement_score":0.54149,"about_ca_system_score_codex":0.000051031726,"about_ca_system_score_gemma":0.000043172095,"threshold_uncertainty_score":0.99936646},"labels":[],"label_agreement":null},{"id":"W1999529269","doi":"10.1162/leon.2008.41.2.147","title":"Marina Abramović's<i>Seven Easy Pieces:</i>Critical Documentation Strategies for Preserving Art's History","year":2008,"lang":"en","type":"article","venue":"Leonardo","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":51,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Performative utterance; Documentation; Temporality; CITES; Visual arts; Object (grammar); Computer science; Art; History; Aesthetics; Epistemology; Artificial intelligence; Philosophy","score_opus":0.04726995444789917,"score_gpt":0.26142692657275807,"score_spread":0.2141569721248589,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1999529269","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047608066,0.003984344,0.00044320352,0.0046879966,0.0027714411,0.00039712296,0.000086585154,0.00028723897,0.939734],"genre_scores_gemma":[0.89488566,0.00023205885,0.00030496853,0.00068682036,0.0015935438,0.00014114506,0.000052832354,0.000025702464,0.10207724],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991093,0.000023145938,0.00020346642,0.0002027044,0.00017160538,0.00028974522],"domain_scores_gemma":[0.9995244,0.00012135738,0.000044061937,0.00016475917,0.00009836486,0.000047029993],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009175056,0.00015387702,0.00018079893,0.000059362355,0.0005435683,0.000083921164,0.0001430055,0.00003701871,0.003146539],"category_scores_gemma":[0.000017855962,0.00013820187,0.00009976507,0.000014273156,0.00028192071,0.0008781965,0.000046146208,0.00009666744,0.00023605257],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000140234,0.00010691441,0.0008225993,0.00027466138,0.00008324344,0.000015846792,0.0721604,0.00003702045,0.000043206386,0.5058657,0.41577262,0.004677574],"study_design_scores_gemma":[0.00029807552,0.00015268828,0.00063643104,0.000024932899,0.000027312995,0.000007133427,0.010487605,0.00007610258,0.000014385286,0.0036057164,0.9844792,0.0001904059],"about_ca_topic_score_codex":0.0002238114,"about_ca_topic_score_gemma":0.0013799408,"teacher_disagreement_score":0.84727764,"about_ca_system_score_codex":0.000073849274,"about_ca_system_score_gemma":0.00007568686,"threshold_uncertainty_score":0.9977647},"labels":[],"label_agreement":null},{"id":"W2000009703","doi":"10.1057/palgrave.fr.9400311","title":"Book Review: Auto/Biography and Identity: Women, Theatre and Performance","year":2006,"lang":"en","type":"article","venue":"Feminist Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Biography; Cultural studies; Identity (music); Gender studies; Sociology; Feminism; Human sexuality; Anthropology; Art; Art history; Aesthetics","score_opus":0.011158411817992124,"score_gpt":0.2377599827531765,"score_spread":0.22660157093518438,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2000009703","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018469113,0.8727833,2.2058815e-7,0.0015145048,0.00012459772,0.00032035474,0.000026703685,0.00005230809,0.12333109],"genre_scores_gemma":[0.008142847,0.9583107,0.0000075680687,0.023100967,0.00034401985,0.000103166516,0.000013476783,0.000014295862,0.009962909],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989861,0.00002998021,0.00034541442,0.00022740081,0.00014857229,0.00026253506],"domain_scores_gemma":[0.99955624,0.000026885597,0.00010949526,0.00021496891,0.000039300096,0.000053132237],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032925958,0.00020859244,0.00048504767,0.000049975253,0.00046297046,0.000104049424,0.00010400771,0.000021623862,0.0019116255],"category_scores_gemma":[0.000004008265,0.00014963992,0.000081863356,0.00007214168,0.0003354463,0.00036758455,0.00007535786,0.00010724883,0.0000884684],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000050261224,0.000026365895,0.0021077483,0.02435892,0.00004006871,0.0000028097593,0.0013241183,4.739713e-9,5.8165205e-7,0.0040135756,0.92225146,0.045869328],"study_design_scores_gemma":[0.00009415524,0.00009492127,0.0007658063,0.009085799,0.00011451092,0.000016365497,0.000111545676,8.996323e-7,0.000001166262,0.00013161785,0.9893859,0.00019729609],"about_ca_topic_score_codex":0.000039228486,"about_ca_topic_score_gemma":0.000051000567,"teacher_disagreement_score":0.11336818,"about_ca_system_score_codex":0.000011751647,"about_ca_system_score_gemma":0.000011781782,"threshold_uncertainty_score":0.9990008},"labels":[],"label_agreement":null},{"id":"W2000010191","doi":"10.3138/ctr.147.31","title":"Minstrels in the Classroom: Teaching, Race, and Blackface","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blackface; Race (biology); Racism; Representation (politics); Visual arts; Gender studies; Sociology; Aesthetics; Pedagogy; History; Art; Political science; Art history; Law","score_opus":0.041306271287887227,"score_gpt":0.23844545551569535,"score_spread":0.19713918422780813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2000010191","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008793348,0.17756088,1.2695581e-7,0.0034296755,0.00013601738,0.00033274604,0.000027237204,0.000013873638,0.8097061],"genre_scores_gemma":[0.8384242,0.14447139,0.00003266356,0.010947306,0.00039619388,0.00006904917,0.000010858935,0.000024939736,0.005623403],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992365,0.00010176224,0.00017865287,0.00013935572,0.00006758736,0.00027614678],"domain_scores_gemma":[0.9995872,0.000036138405,0.000035679303,0.00023000428,0.000014778906,0.00009622162],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040934206,0.0001385371,0.00024104812,0.00007186248,0.00031869803,0.00004083516,0.00018944933,0.000023327351,0.0011899954],"category_scores_gemma":[0.0000091432685,0.000082519575,0.000054258766,0.000036212165,0.00016441448,0.00012028284,0.000014916851,0.0002022219,0.00015437978],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000040415366,0.000031056054,0.004910026,0.0010949575,0.00004294448,0.000043585642,0.08767049,2.9664816e-8,2.6332145e-7,0.12446453,0.3332227,0.4485154],"study_design_scores_gemma":[0.00006701599,0.000032340904,0.00057203375,0.0009001925,0.00004483772,0.000011980691,0.0026723223,7.311374e-7,4.518493e-7,0.00046010246,0.99511987,0.00011814028],"about_ca_topic_score_codex":0.04774405,"about_ca_topic_score_gemma":0.5573821,"teacher_disagreement_score":0.82963085,"about_ca_system_score_codex":0.000027668435,"about_ca_system_score_gemma":0.000059600596,"threshold_uncertainty_score":0.9997231},"labels":[],"label_agreement":null},{"id":"W2000739699","doi":"10.3138/ctr.143.60","title":"Sandpaper: The Story of Moncton-Sable","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Sandpaper; Trilogy; Visual arts; Art; Aesthetics; Literature","score_opus":0.018896675231104932,"score_gpt":0.22032062506727806,"score_spread":0.20142394983617312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2000739699","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048085684,0.19294794,6.619668e-8,0.0072147343,0.0008213866,0.00030064108,0.00007709342,0.000018887102,0.79381067],"genre_scores_gemma":[0.9032947,0.08179151,0.000010218313,0.005391212,0.0010638536,0.000049201743,0.000012937606,0.00002699843,0.008359393],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993728,0.000046355228,0.00016507051,0.00010070812,0.00008441282,0.00023066434],"domain_scores_gemma":[0.99934834,0.00006971445,0.000053337393,0.00035969354,0.000060158345,0.000108729626],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00036348068,0.0001152466,0.00024893272,0.000041370644,0.0005318602,0.000022001845,0.00023316278,0.000023638839,0.0060017714],"category_scores_gemma":[0.000014173247,0.00006552847,0.000116517476,0.00004206797,0.00029333335,0.00007806125,0.0000151153035,0.00028373132,0.00022130791],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000034551058,0.000016734124,0.00060420606,0.0017605168,0.0001227715,0.000004796301,0.0103482045,3.161446e-7,0.00003453252,0.120713286,0.38044962,0.48594156],"study_design_scores_gemma":[0.00004102729,0.00001717654,0.00009163282,0.0003752773,0.000060574486,0.0000036005795,0.00050309306,6.2665237e-7,0.000011708244,0.0001726062,0.9986339,0.00008877683],"about_ca_topic_score_codex":0.030657083,"about_ca_topic_score_gemma":0.6625088,"teacher_disagreement_score":0.8984861,"about_ca_system_score_codex":0.000018027478,"about_ca_system_score_gemma":0.0001825262,"threshold_uncertainty_score":0.9949069},"labels":[],"label_agreement":null},{"id":"W2000922741","doi":"10.3138/md.51.2.165","title":"Glocalized <i>Theatrum Mundi</i>: The Case of <i>Comédie des comédiens</i>","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Metaphor; Pluralism (philosophy); Art; Globality; Literature; Philosophy; Theology; Globalization; Epistemology; Law","score_opus":0.037584699554246474,"score_gpt":0.2345615665040577,"score_spread":0.19697686694981123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2000922741","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8613279,0.0018159135,0.000128471,0.00038655117,0.0002848785,0.0001543672,0.0000574629,0.000073919495,0.13577054],"genre_scores_gemma":[0.9947833,0.00024953653,0.00005192755,0.00045040742,0.0003408318,0.000018216313,0.0000039707443,0.000021350885,0.00408045],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991023,0.000051595005,0.00026170275,0.00015641321,0.000121344376,0.00030662885],"domain_scores_gemma":[0.9993237,0.00010491156,0.00007724758,0.0003427957,0.0001076309,0.00004368519],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00013102902,0.00017579902,0.00026750896,0.000041701038,0.0014298991,0.00004083937,0.00019070109,0.000032800614,0.00033841058],"category_scores_gemma":[0.00000846206,0.00010744706,0.00014231159,0.000040515104,0.0014932964,0.00015063815,0.00008693237,0.00013022622,0.000055530105],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045748762,0.0005560261,0.007929241,0.00028771593,0.00054085365,0.0013010665,0.73697555,0.00024756938,0.00036191862,0.12131249,0.038058367,0.091971725],"study_design_scores_gemma":[0.0033815359,0.0007678417,0.00078864495,0.00015968022,0.00029747462,0.0033644538,0.030449625,0.0055448576,0.002384637,0.042054165,0.90972924,0.0010778201],"about_ca_topic_score_codex":0.0025163156,"about_ca_topic_score_gemma":0.005053977,"teacher_disagreement_score":0.8716709,"about_ca_system_score_codex":0.000015225805,"about_ca_system_score_gemma":0.000023325709,"threshold_uncertainty_score":0.9998701},"labels":[],"label_agreement":null},{"id":"W2001207710","doi":"10.1353/mdr.0.0142","title":"Spalding Gray's America (review)","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gray (unit); Nothing; Scrutiny; Scholarship; Performance art; Drama; Introspection; Sentence; Art history; Art; History; Literature; Philosophy; Law; Linguistics; Political science; Theology; Epistemology","score_opus":0.024819535830748952,"score_gpt":0.24489225610132784,"score_spread":0.2200727202705789,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001207710","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030686807,0.055108987,0.00029729796,0.009670931,0.00057245104,0.00026897682,0.000020323145,0.0003185654,0.90305567],"genre_scores_gemma":[0.97663695,0.0062714457,0.00006204317,0.006681774,0.0006699387,0.000007850949,0.000007664007,0.000009474346,0.0096528735],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994152,0.00001081386,0.00013122376,0.00012794242,0.000108221706,0.00020658108],"domain_scores_gemma":[0.99972576,0.000011723673,0.000038701455,0.0001559304,0.000035280536,0.000032613225],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000045371762,0.0001138658,0.0001823394,0.000030628635,0.0002729992,0.00004727381,0.00010478752,0.000012408668,0.0010539397],"category_scores_gemma":[0.000005147362,0.00008622112,0.00007502535,0.000021191961,0.0000726782,0.00013510512,0.000017232902,0.00008036932,0.00032561328],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012871649,0.000072248506,0.00009698035,0.00012230397,0.00003863445,0.00000799686,0.032022152,0.000012784985,0.00005940014,0.02229376,0.13200319,0.8132577],"study_design_scores_gemma":[0.00009780661,0.00009170474,0.00019138477,0.00017671242,0.00002581595,0.0000016626913,0.00036807492,0.00022297677,0.00002564426,0.005462756,0.9931764,0.00015903829],"about_ca_topic_score_codex":0.0000439424,"about_ca_topic_score_gemma":0.000055257868,"teacher_disagreement_score":0.94595015,"about_ca_system_score_codex":0.000010836447,"about_ca_system_score_gemma":0.0000067453752,"threshold_uncertainty_score":0.9998592},"labels":[],"label_agreement":null},{"id":"W2001274259","doi":"10.1017/s0149767711000076","title":"Closer: Performance, Technologies, Phenomenology. by Susan Kozel. 2007. Cambridge, MA: The MIT Press. 362 pp., notes, works cited, index, and illustrations. $35.00 cloth.","year":2011,"lang":"en","type":"article","venue":"Dance Research Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Phenomenology (philosophy); Index (typography); Art history; Art; Media studies; Sociology; Computer science; Philosophy; World Wide Web; Epistemology","score_opus":0.08355341461186598,"score_gpt":0.28466797921048687,"score_spread":0.20111456459862087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001274259","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43859282,0.20702495,0.00010688467,0.006278978,0.0014267925,0.0011663542,0.00026177807,0.0003398553,0.3448016],"genre_scores_gemma":[0.86823285,0.12411986,0.000097254524,0.00013323368,0.0010451659,0.00009211952,0.000014219354,0.000035059806,0.0062302174],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99741435,0.00016846215,0.00044770082,0.0003262143,0.00059805106,0.0010452047],"domain_scores_gemma":[0.99867386,0.00020921825,0.00016788118,0.00043479537,0.00039226326,0.000122004574],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0013313958,0.00027414013,0.00030431792,0.00023903372,0.0030845338,0.0005721789,0.00075846235,0.00015859173,0.00056644075],"category_scores_gemma":[0.000072965326,0.00017718882,0.00007009708,0.00020209758,0.0025559072,0.000882127,0.0003198655,0.0021435204,0.000058562433],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046609054,0.00025324835,0.020318422,0.00009552895,0.00038167945,0.00004391979,0.011631904,0.0000061089327,0.000060746894,0.017359633,0.8148677,0.13451506],"study_design_scores_gemma":[0.00070335943,0.00048497235,0.0025082265,0.00016339628,0.000026285714,0.000101494006,0.013119139,0.0001803486,0.00020591219,0.0010236977,0.98119307,0.00029009717],"about_ca_topic_score_codex":0.00045770305,"about_ca_topic_score_gemma":0.00029200432,"teacher_disagreement_score":0.42964005,"about_ca_system_score_codex":0.000094835894,"about_ca_system_score_gemma":0.00013602833,"threshold_uncertainty_score":0.9982133},"labels":[],"label_agreement":null},{"id":"W2001987085","doi":"10.3138/md.43.2.300","title":"The Snark and the Orchard: A Polemical Afterword","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Bachelor; Reading (process); Literature; Subject (documents); Studio; Art; History; Visual arts; Media studies; Sociology; Political science; Library science; Computer science; Law","score_opus":0.011563293018331934,"score_gpt":0.20616538911129106,"score_spread":0.19460209609295914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001987085","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6910656,0.0041890074,0.000006129417,0.01378235,0.00018595382,0.00017563542,0.0000140583525,0.000055599816,0.29052565],"genre_scores_gemma":[0.95979935,0.0006382892,0.0000030632827,0.00080658833,0.00057515956,0.000027993801,0.0000010134457,0.000008131697,0.038140424],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949425,0.000033056636,0.0001008936,0.00009543142,0.0000932148,0.00018317271],"domain_scores_gemma":[0.9996802,0.000107419415,0.000014772581,0.00016035982,0.000015810427,0.000021441156],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013157439,0.00008667999,0.000098826116,0.00000832189,0.00097620423,0.00021652709,0.00012045387,0.000015607373,0.0008921415],"category_scores_gemma":[0.0000035348887,0.00003715237,0.000046707035,0.000009599331,0.0006942636,0.000067508576,0.00003675726,0.0001048789,0.000121665806],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007373598,0.000027375481,0.00028616298,0.0000125555425,0.000117025564,0.0000031241432,0.20905921,0.000007036998,0.0000056891136,0.2013398,0.02013642,0.56826824],"study_design_scores_gemma":[0.00048283083,0.000024792025,0.00020168717,0.000008914083,0.000017786357,0.0000035807975,0.001353507,0.0008678357,0.000004709054,0.02479438,0.9721622,0.00007778369],"about_ca_topic_score_codex":0.00015074616,"about_ca_topic_score_gemma":0.0007316783,"teacher_disagreement_score":0.9520258,"about_ca_system_score_codex":0.0000049294686,"about_ca_system_score_gemma":0.0000058944024,"threshold_uncertainty_score":0.9768324},"labels":[],"label_agreement":null},{"id":"W2002603821","doi":"10.3138/md.0675","title":"Young Jean Lee’s Cruel Dramaturgy","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto","keywords":"Dramaturgy; Tragedy (event); Capitalism; White (mutation); Optimism; Precarity; Sociology; Greek tragedy; Aesthetics; Psychoanalysis; Gender studies; Art; Literature; Political science; Philosophy; Social science; Psychology; Law; Politics; Epistemology","score_opus":0.018512837034794866,"score_gpt":0.21580646087481292,"score_spread":0.19729362384001806,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2002603821","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2053412,0.0005249365,0.0005585015,0.0014501698,0.0013617184,0.00011392716,0.00001604935,0.00026771094,0.7903658],"genre_scores_gemma":[0.95236194,0.000033896562,0.000038771374,0.00048364056,0.0014530508,0.00001286034,0.0000095512505,0.000023532339,0.04558275],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919015,0.000023387745,0.00015816584,0.00018486734,0.00015181905,0.00029163627],"domain_scores_gemma":[0.9995553,0.00004574929,0.00004405407,0.0002486771,0.000057259156,0.000048941994],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010841951,0.00015548695,0.00018609902,0.000053578184,0.0004948887,0.00020795238,0.00015684716,0.00003702743,0.0010040501],"category_scores_gemma":[0.0000139599715,0.0001229142,0.00008254585,0.00001550858,0.00015590053,0.00021163192,0.000060062895,0.00012371645,0.00060844055],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000757126,0.00015269392,0.0022154527,0.00011362868,0.00016568076,0.000006704093,0.1945402,0.00012996192,0.00024663104,0.56814486,0.04493022,0.18927824],"study_design_scores_gemma":[0.00034657132,0.00008725423,0.00043460523,0.000026356374,0.000026256643,0.0000025592842,0.0014123638,0.0054311138,0.000108033986,0.020527503,0.97131854,0.00027883056],"about_ca_topic_score_codex":0.00033623577,"about_ca_topic_score_gemma":0.0029892097,"teacher_disagreement_score":0.9263883,"about_ca_system_score_codex":0.000014551754,"about_ca_system_score_gemma":0.000008529867,"threshold_uncertainty_score":0.99990916},"labels":[],"label_agreement":null},{"id":"W2003101417","doi":"10.3138/md.47.4.701","title":"Listening Differently: The <i>Croon </i>Collaboration","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Wright; Active listening; Art; Art history; Visual arts; Insider; Management; Sociology; Political science; Law","score_opus":0.018893430174272714,"score_gpt":0.22577684237133813,"score_spread":0.2068834121970654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2003101417","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8654324,0.00071335107,0.00028818703,0.005577128,0.0006913755,0.00016643708,0.000016384201,0.0001223573,0.1269924],"genre_scores_gemma":[0.99202955,0.00003234237,0.000016641296,0.0005229855,0.0007882518,0.000019936026,0.000007397078,0.000011695846,0.006571207],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994983,0.000011627146,0.0001088821,0.00010610708,0.00011806703,0.00015698763],"domain_scores_gemma":[0.9997237,0.000016057757,0.000035738627,0.00015045662,0.00005603356,0.000018035464],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000051385807,0.00009688076,0.00009108114,0.000022631633,0.0007052195,0.0002555266,0.000103582875,0.00001871866,0.00014522637],"category_scores_gemma":[0.00000423468,0.00005715396,0.000041479612,0.000023765682,0.00011129875,0.0001898151,0.000033717773,0.000086024054,0.0001079939],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061694824,0.00010896105,0.0004152536,0.000039037837,0.00009980084,0.000004752108,0.62098175,0.0013827618,0.00045376286,0.33014116,0.003921785,0.042389307],"study_design_scores_gemma":[0.0014576185,0.0002381634,0.0014107919,0.00010019172,0.00009372026,0.000005139393,0.025921304,0.0013588724,0.0013126783,0.083086655,0.884487,0.00052787975],"about_ca_topic_score_codex":0.00013178519,"about_ca_topic_score_gemma":0.0028860292,"teacher_disagreement_score":0.8805652,"about_ca_system_score_codex":0.000026950478,"about_ca_system_score_gemma":0.000018365383,"threshold_uncertainty_score":0.54240495},"labels":[],"label_agreement":null},{"id":"W2004970462","doi":"10.3138/ctr.151.44","title":"<i>Garden/ /Suburbia</i>: Mapping the Non-Aristocratic in Lawrence Park","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnography; Neighbourhood (mathematics); Reflexivity; Citizen journalism; Performance art; Sociology; Visual arts; Art history; Art; Anthropology; Political science","score_opus":0.043904268686951305,"score_gpt":0.2323380482423014,"score_spread":0.1884337795553501,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2004970462","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019751678,0.38091233,9.850437e-7,0.005577174,0.0006218722,0.00056188466,0.000027163782,0.000020876783,0.6103025],"genre_scores_gemma":[0.9358517,0.051964216,0.000009227203,0.008102991,0.0009613439,0.00013364715,0.00001065128,0.000021505664,0.0029447363],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988239,0.00007164693,0.0002839971,0.00013292863,0.00010775577,0.00057980814],"domain_scores_gemma":[0.999327,0.0000626322,0.000057246903,0.00033408758,0.000029419145,0.00018962899],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00050492084,0.00017942194,0.00032354877,0.00007985934,0.00045488533,0.000057769208,0.00025669107,0.000026766244,0.0014621131],"category_scores_gemma":[0.0000126807845,0.00011271093,0.00010005438,0.0001083746,0.00016965582,0.00018965057,0.00002537675,0.00019842929,0.0006532199],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004559097,0.000058121885,0.021023024,0.00434281,0.00014229801,0.000025160347,0.083915494,0.000002017522,0.000003149495,0.031050432,0.46785262,0.3915803],"study_design_scores_gemma":[0.000055005814,0.000010593228,0.0011166735,0.0018124512,0.000039790557,0.0000066390257,0.0017148476,0.0000031521424,9.848079e-7,0.000121100886,0.9949514,0.00016734996],"about_ca_topic_score_codex":0.03378298,"about_ca_topic_score_gemma":0.4736987,"teacher_disagreement_score":0.9338765,"about_ca_system_score_codex":0.00009767762,"about_ca_system_score_gemma":0.00013341509,"threshold_uncertainty_score":0.9994507},"labels":[],"label_agreement":null},{"id":"W2005215432","doi":"10.3138/ctr.160.005","title":"Cultural Diversities in Acting Training","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Racism; Patriarchy; Gender studies; Context (archaeology); Sociology; Ethnic group; Politics; Moderation; Intersectionality; Disadvantage; Training (meteorology); Psychology; Political science; History; Social psychology; Law; Anthropology","score_opus":0.05804257657842437,"score_gpt":0.24612955154303484,"score_spread":0.18808697496461046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2005215432","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006337207,0.054119565,3.5248232e-7,0.002957727,0.0003380401,0.00015593316,0.000021801985,0.00003183088,0.93603754],"genre_scores_gemma":[0.97644717,0.017437708,0.000010284288,0.0034029197,0.00058529316,0.000012721381,0.000013234613,0.000011157428,0.0020794997],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993278,0.000043474807,0.00014923442,0.00011375123,0.000060126637,0.00030561097],"domain_scores_gemma":[0.99969107,0.000037948266,0.000031892687,0.00010871023,0.00002479542,0.000105589745],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021284753,0.00011421205,0.0002543233,0.00007871998,0.0003222685,0.000049723432,0.00011429754,0.00001720197,0.0013194002],"category_scores_gemma":[0.000013827577,0.00008693215,0.00007056697,0.00004150004,0.00008737221,0.00019133934,0.000013221941,0.00010710324,0.00015822068],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000001674532,0.000003677435,0.0008499277,0.0009774101,0.000030450517,0.000008104133,0.07178698,0.0000014863109,5.143861e-7,0.03232306,0.020251242,0.87376547],"study_design_scores_gemma":[0.00006789434,0.000015038417,0.00006944035,0.0015899821,0.000022873055,0.00000252203,0.010420193,0.0000073555625,5.436081e-7,0.00015009684,0.98752594,0.00012814881],"about_ca_topic_score_codex":0.054246854,"about_ca_topic_score_gemma":0.6315262,"teacher_disagreement_score":0.97011,"about_ca_system_score_codex":0.000074044,"about_ca_system_score_gemma":0.000062270876,"threshold_uncertainty_score":0.99959356},"labels":[],"label_agreement":null},{"id":"W2006032533","doi":"10.3138/ctr.141.94","title":"Views and Reviews: Celebrity as Fantasy Screen","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dream; Fantasy; Performance art; Miller; Art; Art history; Dance; The Imaginary; Garcia; Psychoanalysis; Visual arts; Humanities; Literature; Psychology","score_opus":0.03666649224120318,"score_gpt":0.26097561410191905,"score_spread":0.2243091218607159,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2006032533","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001683109,0.44691,1.0772159e-7,0.003949877,0.0003670084,0.0005427426,0.00009321907,0.000027297063,0.54642665],"genre_scores_gemma":[0.052289426,0.919738,0.00005792755,0.018208308,0.0015631706,0.00010223424,0.000056233406,0.000040367395,0.007944351],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989379,0.00006040996,0.00031800495,0.0002348019,0.000084286214,0.00036460932],"domain_scores_gemma":[0.99911046,0.00002792596,0.00007431947,0.00037832855,0.000048015936,0.00036092833],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00047230677,0.00022164427,0.0005390547,0.000072362025,0.0005031691,0.0000858497,0.00018876539,0.00004240338,0.007369103],"category_scores_gemma":[0.000020353831,0.00015892436,0.00013202081,0.00005289093,0.00024096013,0.000174246,0.000029526012,0.00028512193,0.0013986487],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017076742,0.000008642062,0.000415529,0.0019563374,0.000035539484,0.0000113304095,0.002263526,2.6691016e-9,0.000006372671,0.055572063,0.22274947,0.7169795],"study_design_scores_gemma":[0.000060633454,0.00002965797,0.0000960509,0.0013999377,0.00009308043,0.00002881394,0.000114958406,2.9640694e-7,0.0000038298067,0.00030049653,0.9976588,0.00021346395],"about_ca_topic_score_codex":0.056103554,"about_ca_topic_score_gemma":0.8083382,"teacher_disagreement_score":0.7749093,"about_ca_system_score_codex":0.00002248282,"about_ca_system_score_gemma":0.00012315426,"threshold_uncertainty_score":0.99937886},"labels":[],"label_agreement":null},{"id":"W2006093714","doi":"10.1353/mdr.0.0137","title":"Bertolt Brecht (review)","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scholarship; Art history; Sentence; Section (typography); History; Literature; Classics; Art; Philosophy; Linguistics; Computer science; Law","score_opus":0.02636597836275941,"score_gpt":0.24331923515579196,"score_spread":0.21695325679303254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2006093714","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01672152,0.045830045,0.000053596934,0.0085441,0.00040787505,0.00018715375,0.000016470236,0.00019249655,0.92804676],"genre_scores_gemma":[0.9485658,0.0049685515,0.000028831235,0.0075393063,0.0007094882,0.000008772751,0.000009286067,0.00000950555,0.03816046],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994552,0.000009808065,0.00012851389,0.00011812868,0.000105284504,0.00018306197],"domain_scores_gemma":[0.9997264,0.000010869037,0.000028346341,0.00016352783,0.000040756502,0.000030065174],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000057065216,0.00010535422,0.00016144916,0.000024565887,0.0002243876,0.00003982897,0.000104215505,0.000016961541,0.0014664971],"category_scores_gemma":[0.0000042273546,0.00007916769,0.0000701946,0.000014548869,0.00005191354,0.00013386326,0.000015512258,0.00007772182,0.00045249367],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014240367,0.000091838076,0.00006747383,0.00012756258,0.000038351736,0.000007174637,0.025128787,0.0000032540881,0.000037300502,0.047980938,0.2677706,0.6587325],"study_design_scores_gemma":[0.00012200527,0.000079930884,0.00023055049,0.00016048724,0.000026507865,0.000002867147,0.00013153141,0.000118996126,0.00004046764,0.010551456,0.9883861,0.00014909878],"about_ca_topic_score_codex":0.000035563557,"about_ca_topic_score_gemma":0.0001576196,"teacher_disagreement_score":0.9318443,"about_ca_system_score_codex":0.000009647001,"about_ca_system_score_gemma":0.000007963016,"threshold_uncertainty_score":0.9994463},"labels":[],"label_agreement":null},{"id":"W2006791874","doi":"10.1080/10486800008568583","title":"The dilemma of Oedipus Skywalker: A Case Study of Formal Structure and Stylization in Drama Education","year":2000,"lang":"en","type":"article","venue":"Contemporary Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Drama; Dilemma; Unit (ring theory); Context (archaeology); Pedagogy; Sociology; Frame (networking); Mathematics education; Psychology; Art; Visual arts; Epistemology; Computer science; Philosophy; History","score_opus":0.024636471456146496,"score_gpt":0.264290086614995,"score_spread":0.23965361515884848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2006791874","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76590794,0.21221948,1.0300758e-7,0.00015689849,0.00009202042,0.0007501291,0.000020729449,0.000007993398,0.020844683],"genre_scores_gemma":[0.96797246,0.031496704,0.0000018853378,0.000065976004,0.00009147843,0.000028743956,0.000009522132,0.000008269742,0.0003249512],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990856,0.0001170939,0.00047448662,0.00011572841,0.000102559956,0.00010451616],"domain_scores_gemma":[0.999473,0.0000686757,0.00014809356,0.00021470163,0.00007416818,0.00002139515],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025375813,0.00012428153,0.00033298094,0.000042499232,0.00020600259,0.000023925393,0.00008668981,0.000019239267,0.00023297186],"category_scores_gemma":[0.000005527604,0.00007320655,0.00004347433,0.00007139281,0.00012820573,0.0003108307,0.000025036039,0.00007880776,0.0000014554463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006557747,0.0003027005,0.012796238,0.002150909,0.000085453285,0.000016790547,0.045284018,0.0000016374527,0.0000016547831,0.0035995024,0.0013390561,0.93435645],"study_design_scores_gemma":[0.0012652073,0.0009994773,0.002239404,0.0040506744,0.0002259041,0.00017583884,0.055317476,0.00003090257,0.000012689009,0.0007127323,0.9346508,0.00031893313],"about_ca_topic_score_codex":0.0012972151,"about_ca_topic_score_gemma":0.0030666743,"teacher_disagreement_score":0.9340375,"about_ca_system_score_codex":0.000007432571,"about_ca_system_score_gemma":0.00006490129,"threshold_uncertainty_score":0.29852766},"labels":[],"label_agreement":null},{"id":"W2007105186","doi":"10.1162/dram_a_00191","title":"Between the Image and Anthropology: Theatrical Lessons from Aby Warburg's “Nympha”","year":2012,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Huntsman Marine Science Centre","funders":"","keywords":"Invocation; Pathos; Art; Art history; Aesthetics; Philosophy; Literature; Theology","score_opus":0.057977433890219414,"score_gpt":0.32360534858247814,"score_spread":0.2656279146922587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2007105186","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04791958,0.82552785,0.000018208713,0.07742219,0.0008034864,0.0006894841,0.0002044712,0.00010300302,0.047311716],"genre_scores_gemma":[0.8004537,0.19142488,0.000025783034,0.0028247025,0.0035208918,0.000059229973,0.00002485248,0.000026576772,0.0016393806],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988532,0.0001793654,0.0002804828,0.00016216231,0.00014489295,0.0003798996],"domain_scores_gemma":[0.99897134,0.0004263581,0.000097370445,0.00039949437,0.000039309063,0.000066115936],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005420978,0.00020600788,0.0004350063,0.000018483963,0.001051096,0.00009399615,0.00025587136,0.00003717678,0.0026370294],"category_scores_gemma":[0.000030615854,0.000091174086,0.00013238199,0.000049836173,0.0010834986,0.0002145763,0.00015475957,0.0002282683,0.00049755094],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021023392,0.00013955738,0.010408424,0.0009161773,0.00061341096,0.000004694653,0.056498002,6.335973e-8,0.000011066058,0.07882138,0.2507935,0.6017727],"study_design_scores_gemma":[0.00012046363,0.00003094761,0.004340784,0.0002771002,0.00040031123,0.0000067901683,0.0015357042,0.0000014701623,0.000009728871,0.0009897653,0.99213004,0.00015686669],"about_ca_topic_score_codex":0.0005192148,"about_ca_topic_score_gemma":0.00007401442,"teacher_disagreement_score":0.75253415,"about_ca_system_score_codex":0.000013815411,"about_ca_system_score_gemma":0.000013620963,"threshold_uncertainty_score":0.9982747},"labels":[],"label_agreement":null},{"id":"W2007214213","doi":"10.3138/md.0521","title":"But Not That: Caryl Churchill’s Political Shape Shifting at the Turn of the Millennium","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Capitalism; Dramaturgy; Dialectic; Ideology; Relation (database); Resistance (ecology); Aesthetics; Literature; Perspective (graphical); History; Art; Philosophy; Political science; Epistemology; Visual arts; Law","score_opus":0.0303976802066581,"score_gpt":0.21871296587436906,"score_spread":0.18831528566771097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2007214213","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8661244,0.00062163384,0.000001671987,0.0076649752,0.0003787789,0.00019559228,0.00005481364,0.000030728217,0.12492744],"genre_scores_gemma":[0.9835974,0.000025888005,0.000003519652,0.001436644,0.000666751,0.000028003853,0.0000028133206,0.000018963412,0.014220014],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897975,0.00003925966,0.00018981456,0.00015460662,0.00023791917,0.00039865336],"domain_scores_gemma":[0.9993501,0.000120081706,0.0000685822,0.00035022554,0.00006791821,0.000043104923],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000094181225,0.00015429924,0.00018126876,0.00002171887,0.0008032195,0.00009694587,0.00030764667,0.000038209713,0.0018197502],"category_scores_gemma":[0.0000137957395,0.000073231786,0.00014821943,0.00001695049,0.00055762066,0.000125366,0.00028174956,0.00017920483,0.0001739429],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001300666,0.0002454833,0.030529803,0.00031261798,0.00057934807,0.0000042383117,0.50992465,0.00008268953,0.003168389,0.34370586,0.060161877,0.05115499],"study_design_scores_gemma":[0.0020380183,0.0003645806,0.17896205,0.00038217567,0.00040275094,0.00003944157,0.07140528,0.01375153,0.025947275,0.039004207,0.66605306,0.0016496138],"about_ca_topic_score_codex":0.0020305295,"about_ca_topic_score_gemma":0.0014201321,"teacher_disagreement_score":0.6058912,"about_ca_system_score_codex":0.000028529885,"about_ca_system_score_gemma":0.000018407296,"threshold_uncertainty_score":0.9990927},"labels":[],"label_agreement":null},{"id":"W2007622626","doi":"10.7202/039230ar","title":"After Brecht: the Impact (Effects, Affects) of Intermedial Theatre","year":2010,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Marxist philosophy; Context (archaeology); Drama; Aesthetics; Politics; Perception; Sociology; Art; Epistemology; Philosophy; Visual arts; History; Political science; Law; Archaeology","score_opus":0.01696928403132614,"score_gpt":0.27931169990348703,"score_spread":0.2623424158721609,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2007622626","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5769258,0.0010503383,0.0002005123,0.0007223727,0.0014796228,0.00076527765,0.00020809607,0.00065027823,0.41799772],"genre_scores_gemma":[0.99271363,0.00029672272,0.00047584664,0.0006337436,0.0010241832,0.0003778966,0.000027936898,0.00010207568,0.0043479796],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977324,0.00027635,0.0005593328,0.00044593666,0.000331122,0.00065488665],"domain_scores_gemma":[0.9978584,0.0006850677,0.00026259758,0.0007896966,0.00027672804,0.00012749266],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0007557787,0.0006265555,0.0006613757,0.00028391965,0.0010110638,0.00034333716,0.00070631225,0.00017978303,0.0008440256],"category_scores_gemma":[0.00014498297,0.00038990157,0.0005913708,0.000114139075,0.005463536,0.0008641077,0.00030814737,0.0008518544,0.000025829164],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008291216,0.0004657491,0.0064476696,0.00073649816,0.00048245006,0.00010419378,0.10872397,0.0000011435835,0.008768292,0.0740835,0.017434904,0.7819225],"study_design_scores_gemma":[0.00070247235,0.0025120047,0.0066184876,0.0018289598,0.00031666874,0.0001767919,0.0028756075,0.0000195642,0.061537724,0.034887303,0.88709855,0.0014258669],"about_ca_topic_score_codex":0.001955137,"about_ca_topic_score_gemma":0.017135065,"teacher_disagreement_score":0.86966366,"about_ca_system_score_codex":0.0001555366,"about_ca_system_score_gemma":0.00007202185,"threshold_uncertainty_score":0.9998553},"labels":[],"label_agreement":null},{"id":"W2007898559","doi":"10.3138/md.53.2.211","title":"Lars Norén's Long Journey into Night","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Silence; Performance art; Literature; Psychoanalysis; History; Art history; Art; Psychology; Aesthetics","score_opus":0.01831227103244459,"score_gpt":0.2340114535191432,"score_spread":0.21569918248669862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2007898559","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8129614,0.0002682427,0.00007141739,0.0013229821,0.0013090102,0.00007176135,0.000008270216,0.00009894658,0.18388794],"genre_scores_gemma":[0.9743513,0.000029012266,0.00006514117,0.0003858937,0.001525196,0.000009681661,0.00000623974,0.000019198456,0.02360834],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933314,0.000009990749,0.0001376569,0.00014750891,0.00013727575,0.0002344182],"domain_scores_gemma":[0.99959886,0.000021088694,0.000038240338,0.0002154323,0.0000688172,0.00005758517],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000093036426,0.00013010697,0.0001431469,0.00005621949,0.0005700428,0.0002000635,0.00016300884,0.000043540356,0.0023631644],"category_scores_gemma":[0.0000075258213,0.00009894962,0.00007112663,0.000015403755,0.00017930297,0.00026211518,0.00006005809,0.00027208243,0.0005168746],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008538846,0.00026913878,0.015036488,0.00012773929,0.00026015684,0.00005776545,0.5289782,0.000027159844,0.0019046552,0.16333045,0.05707806,0.2328448],"study_design_scores_gemma":[0.00032559567,0.000057876114,0.0015863021,0.00001851958,0.00002754789,0.0000065953277,0.0012864885,0.0005021426,0.00046065767,0.01784623,0.97760206,0.000279964],"about_ca_topic_score_codex":0.00028405053,"about_ca_topic_score_gemma":0.018223213,"teacher_disagreement_score":0.920524,"about_ca_system_score_codex":0.000009223781,"about_ca_system_score_gemma":0.000017951352,"threshold_uncertainty_score":0.99969167},"labels":[],"label_agreement":null},{"id":"W2007959972","doi":"10.1386/smt.1.2.199_1","title":"Imagining His Dark Materials as a Gesamtkunstwerk","year":2007,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Art; Adventure; Visual arts; EPIC; Dove; Wright; Performance art; George (robot); Literature; Puppetry; Art history; Aesthetics","score_opus":0.05511504803329306,"score_gpt":0.3193004272808697,"score_spread":0.2641853792475767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2007959972","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5251783,0.0021231608,0.0000014470136,0.0008151999,0.0023454737,0.00015136147,0.000020042218,0.000091930444,0.4692731],"genre_scores_gemma":[0.99326414,0.000537001,0.00007933039,0.0008934103,0.0027312108,0.000025999865,0.0000055168566,0.000026863101,0.0024365368],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99839675,0.000044808607,0.00043713133,0.0003123911,0.00022846574,0.0005804759],"domain_scores_gemma":[0.9992635,0.00028433898,0.000069968286,0.00024280665,0.00008511137,0.00005423973],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006896961,0.00026692383,0.0004959313,0.00014618757,0.0004944492,0.00006806463,0.00018832613,0.00004344428,0.0010917225],"category_scores_gemma":[0.00005265943,0.00019443224,0.000088896275,0.0000865544,0.00091077696,0.0001941922,0.00022132897,0.00019934445,0.0003082978],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00052962237,0.00027686942,0.0020305982,0.0003489139,0.0006555952,0.00032264795,0.7036568,0.0000034589943,0.0008684804,0.16389132,0.043538783,0.08387693],"study_design_scores_gemma":[0.00078481564,0.0002523383,0.00084940536,0.00027500605,0.00006685424,0.000015203684,0.16382651,0.0000011866905,0.00084482675,0.020570112,0.8119915,0.0005222004],"about_ca_topic_score_codex":0.0003951555,"about_ca_topic_score_gemma":0.0016527174,"teacher_disagreement_score":0.76845276,"about_ca_system_score_codex":0.00007954161,"about_ca_system_score_gemma":0.000017704067,"threshold_uncertainty_score":0.9998214},"labels":[],"label_agreement":null},{"id":"W2009378789","doi":"10.1353/mdr.0.0064","title":"Cool Britannia? British Political Drama in the 1990s (review)","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Politics; Narrative; History; Theatre director; Performance art; Art history; Trilogy; Storytelling; Media studies; Art; Literature; Sociology; Law; Political science","score_opus":0.03233092863786185,"score_gpt":0.24245786373292672,"score_spread":0.21012693509506486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2009378789","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5275916,0.04327467,0.00001885585,0.00731387,0.00040947722,0.0005428705,0.000104163446,0.00013276066,0.42061174],"genre_scores_gemma":[0.98134893,0.003744706,0.000008177359,0.00713628,0.00072288193,0.000051587616,0.000014973894,0.000017285925,0.006955158],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987715,0.00005897219,0.00026132044,0.00019386952,0.00024838894,0.00046598268],"domain_scores_gemma":[0.9995479,0.000071091454,0.000031681866,0.00024208882,0.00005681197,0.0000504103],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016055063,0.00014497862,0.00025921667,0.00003353911,0.0004972308,0.00009770049,0.00026097233,0.00003521075,0.0008099534],"category_scores_gemma":[0.00002182471,0.00011375489,0.00010519762,0.00004084753,0.00039236664,0.000176101,0.00005031157,0.00022441383,0.00025217218],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006354425,0.0006754741,0.006137947,0.0007048154,0.000115394476,0.0007805441,0.15290529,0.0000070394403,0.000005880495,0.20839193,0.57032144,0.05989067],"study_design_scores_gemma":[0.0006683511,0.00010507323,0.010068518,0.0005061629,0.0000380992,0.0002981741,0.0028594842,0.00021235485,0.0000053764024,0.00674957,0.97812104,0.00036780682],"about_ca_topic_score_codex":0.0025378827,"about_ca_topic_score_gemma":0.0058979546,"teacher_disagreement_score":0.45375735,"about_ca_system_score_codex":0.000026490856,"about_ca_system_score_gemma":0.000028963053,"threshold_uncertainty_score":0.8868422},"labels":[],"label_agreement":null},{"id":"W2009636826","doi":"10.3138/md.46.2.207","title":"How to Act Like a Woman: Professional Advice from English Actresses","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Luck; Personality; Psychology; Advice (programming); Class (philosophy); Asset (computer security); Visual arts; Media studies; History; Social psychology; Sociology; Art; Computer science; Computer security; Epistemology; Artificial intelligence","score_opus":0.01864985343633519,"score_gpt":0.2288389845257822,"score_spread":0.210189131089447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2009636826","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79081935,0.00087358954,0.000042753636,0.0021101364,0.002604587,0.00025775714,0.00012885212,0.00027865102,0.20288432],"genre_scores_gemma":[0.93095666,0.000022236198,0.00013172955,0.0011848308,0.0012252674,0.00005373435,0.000018231593,0.000023840166,0.066383444],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990682,0.00003887913,0.00012249312,0.00025148332,0.00020909616,0.00030987477],"domain_scores_gemma":[0.9994258,0.00007879592,0.00004302635,0.00023506528,0.00013255532,0.00008472593],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000060048646,0.00018618625,0.00019939286,0.000056656965,0.00045621188,0.00030508277,0.00015738171,0.000044483677,0.0013744014],"category_scores_gemma":[0.000042048425,0.00014160872,0.00006654406,0.000030222562,0.000065824664,0.00036844157,0.000059429894,0.00014569698,0.00014510631],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023498824,0.00045131205,0.0045120963,0.000096389806,0.00031622703,0.00002464961,0.6912844,0.000032619664,0.00030748313,0.030025238,0.24477844,0.027936121],"study_design_scores_gemma":[0.0002721486,0.000062293184,0.00045512538,0.000053709522,0.000020531044,4.1827516e-7,0.010106405,0.000043217005,0.00036219181,0.0019561413,0.9864367,0.00023111182],"about_ca_topic_score_codex":0.00013683958,"about_ca_topic_score_gemma":0.0019978925,"teacher_disagreement_score":0.7416583,"about_ca_system_score_codex":0.000022292146,"about_ca_system_score_gemma":0.000039312024,"threshold_uncertainty_score":0.9995385},"labels":[],"label_agreement":null},{"id":"W2010500805","doi":"10.3138/md.53.1.022","title":"The Miracle That Happens When Desire's Dead","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Miracle; Humanity; Beauty; Aesthetics; Action (physics); Value (mathematics); Art; Order (exchange); Sociology; Law; Political science","score_opus":0.03917412229285808,"score_gpt":0.23126868234259979,"score_spread":0.1920945600497417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2010500805","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62865794,0.00047539684,0.000046396704,0.0027728092,0.0012248234,0.00013585402,0.00001464828,0.00011631148,0.36655584],"genre_scores_gemma":[0.9647731,0.000040326096,0.000045987847,0.00034500292,0.0007438841,0.000018797358,0.0000029917112,0.00001685851,0.034013037],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993403,0.000013160679,0.0001046713,0.00013042694,0.00013730006,0.00027416914],"domain_scores_gemma":[0.9995235,0.0000757147,0.0000384169,0.00028006267,0.000045385143,0.00003689222],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013168577,0.00011774873,0.00010406885,0.000019781724,0.0012908474,0.00032934474,0.00022251242,0.000032519867,0.0007139421],"category_scores_gemma":[0.000007939376,0.00006983376,0.000066765984,0.0000074523145,0.00030130247,0.00017826945,0.000066696855,0.0002014492,0.00043018893],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006344,0.00009214322,0.0033114522,0.00002153706,0.000119870165,0.000007002257,0.1342579,0.0000029155992,0.00040193845,0.51383424,0.038195375,0.3096922],"study_design_scores_gemma":[0.00014343117,0.000028818577,0.0012208079,0.00000619322,0.00001505725,0.0000025796994,0.0015851187,0.00033137595,0.00034589472,0.04370882,0.95248026,0.00013164169],"about_ca_topic_score_codex":0.00021598756,"about_ca_topic_score_gemma":0.0117201,"teacher_disagreement_score":0.9142849,"about_ca_system_score_codex":0.000006399951,"about_ca_system_score_gemma":0.000014538029,"threshold_uncertainty_score":0.99282855},"labels":[],"label_agreement":null},{"id":"W2010511429","doi":"10.3138/ctr.150.38","title":"Space-ifesto 2012 (A Manifesto Toward Conditions and the Proliferation of Culture in a BETTER CANADA)","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Agora; Space (punctuation); Manifesto; Visual arts; Studio; Aesthetics; Servant; Sociology; Art; Media studies; Political science; Engineering; Law; Computer science","score_opus":0.021082906961532994,"score_gpt":0.23045775178802974,"score_spread":0.20937484482649674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2010511429","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019403843,0.6855651,5.1051575e-7,0.052423015,0.00054275955,0.0013222862,0.0003222052,0.000013502927,0.24040675],"genre_scores_gemma":[0.9680358,0.025197607,0.000005192947,0.005040442,0.00043595117,0.00007993803,0.000025448995,0.000009422,0.0011701824],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999303,0.00007038289,0.00019918887,0.00007861537,0.00009303037,0.0002558289],"domain_scores_gemma":[0.9996142,0.000032518998,0.000054698172,0.00013649742,0.00004015469,0.00012198016],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023024883,0.000116574396,0.00027313887,0.00004499011,0.00020205237,0.000018320703,0.00007417344,0.000022595379,0.00058398733],"category_scores_gemma":[0.00000887492,0.00006909433,0.00004257748,0.000044337878,0.00017930342,0.00019561054,0.000011379632,0.00010815162,0.000011893321],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019441202,0.00003199394,0.024014791,0.0037103975,0.00016032785,0.000010139439,0.056185875,8.4797506e-7,0.0000022513445,0.3627471,0.5342432,0.018873584],"study_design_scores_gemma":[0.00018408587,0.00001061642,0.0018364666,0.0006988626,0.00007817234,0.0000129708205,0.0011768077,0.0000011860328,0.0000024679005,0.00022541727,0.99567026,0.000102699116],"about_ca_topic_score_codex":0.66363055,"about_ca_topic_score_gemma":0.9935507,"teacher_disagreement_score":0.948632,"about_ca_system_score_codex":0.00007827173,"about_ca_system_score_gemma":0.00023482746,"threshold_uncertainty_score":0.6394252},"labels":[],"label_agreement":null},{"id":"W2011034798","doi":"10.1353/mdr.2007.0062","title":"Blasted's Hysteria: Rape, Realism, and the Thresholds of the Visible","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Schism; Realism; Representation (politics); Disgust; Aesthetics; Psychoanalysis; Literature; History; Sociology; Philosophy; Art; Psychology; Politics; Law; Anger; Social psychology; Political science","score_opus":0.01738778294762388,"score_gpt":0.2227491286966408,"score_spread":0.2053613457490169,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2011034798","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7718519,0.0010317763,0.000045119046,0.001218694,0.00036829585,0.0001730095,0.000016637146,0.00002379728,0.22527078],"genre_scores_gemma":[0.99222916,0.00007050112,0.0000049810096,0.00035636054,0.0003195816,0.0000050224694,0.0000010004886,0.0000095282885,0.007003846],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994188,0.000022823098,0.00016923729,0.00009411746,0.00013229331,0.00016273076],"domain_scores_gemma":[0.99955386,0.00007952684,0.000066020635,0.0002376183,0.00004719257,0.000015784351],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003033604,0.00009281261,0.00015225417,0.000023258091,0.00039538578,0.00006523351,0.0001511645,0.000025059262,0.00009577478],"category_scores_gemma":[0.0000054208645,0.00004234151,0.00006160444,0.000024323284,0.0006239238,0.0000868813,0.00010336588,0.000084466425,0.000006499815],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00062065537,0.000081166756,0.004032951,0.0001301433,0.00024594492,0.000002755202,0.37554792,0.000031865773,0.00050420844,0.57888454,0.0082332995,0.03168452],"study_design_scores_gemma":[0.005959622,0.00030066556,0.01883993,0.00027544392,0.00030107077,0.000028409691,0.033088416,0.0019507819,0.004211924,0.08569578,0.8487004,0.0006475747],"about_ca_topic_score_codex":0.0003339397,"about_ca_topic_score_gemma":0.002670489,"teacher_disagreement_score":0.8404671,"about_ca_system_score_codex":0.0000051385923,"about_ca_system_score_gemma":0.000008342322,"threshold_uncertainty_score":0.30410278},"labels":[],"label_agreement":null},{"id":"W2011188572","doi":"10.1353/ctr.2012.0002","title":"In Search of PS North: Performance Studies in Canada","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Performance studies; Performativity; Performance art; Media studies; History; Sociology; Management; Art; Art history; Aesthetics; Gender studies","score_opus":0.07895571860194167,"score_gpt":0.27712315531995163,"score_spread":0.19816743671800996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2011188572","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4762588,0.46696988,5.026772e-9,0.0012182215,0.0004978273,0.0002854697,0.000059831928,0.0000034711918,0.05470646],"genre_scores_gemma":[0.8418771,0.15639693,0.0000018242808,0.001142166,0.00017780783,0.000023803437,0.000004686354,0.00000872867,0.000366939],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988863,0.00005035787,0.00033345423,0.00009948429,0.00012509995,0.00050534384],"domain_scores_gemma":[0.9995454,0.000048570924,0.000039670984,0.0001775177,0.00005198783,0.00013686183],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002934247,0.00013542145,0.00044080892,0.00014388934,0.000090892325,0.000004303993,0.00013867185,0.000012431306,0.000600393],"category_scores_gemma":[0.000008563452,0.000105603925,0.000038539485,0.00014268802,0.00011636118,0.00022783916,0.000022432218,0.00014039387,0.0000381684],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008420667,0.000032791027,0.7677685,0.012115874,0.00010376149,0.00002893667,0.034822185,0.000013514196,3.4342656e-7,0.0030972809,0.053093567,0.12891482],"study_design_scores_gemma":[0.00011160026,0.000021579073,0.018777298,0.0031003207,0.000023505978,0.000004668396,0.0043139127,0.0000034275886,0.0000070983165,0.0000084819585,0.9734422,0.00018591445],"about_ca_topic_score_codex":0.98563415,"about_ca_topic_score_gemma":0.9999268,"teacher_disagreement_score":0.92034864,"about_ca_system_score_codex":0.0005730424,"about_ca_system_score_gemma":0.000933718,"threshold_uncertainty_score":0.6573882},"labels":[],"label_agreement":null},{"id":"W2012085039","doi":"10.3138/md.0565","title":"<i>The Habit of Art</i>: In the Beginning Was the Word","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Mainstream; Allusion; Habit; Musical; HAMLET (protein complex); Literature; Art; Expression (computer science); Mode (computer interface); Tone (literature); Aesthetics; History; Psychology; Philosophy; Social psychology; Theology","score_opus":0.020139912216373367,"score_gpt":0.21488856254286012,"score_spread":0.19474865032648675,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2012085039","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69804657,0.001972417,0.00002209357,0.025965333,0.00035888556,0.00038006785,0.000005261629,0.000028704077,0.2732207],"genre_scores_gemma":[0.9886967,0.000084010826,0.0000049376204,0.0007286473,0.00031542988,0.000063499785,0.0000011626662,0.000007715023,0.010097925],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993819,0.00004440209,0.00015761625,0.000076422126,0.00014287891,0.00019679827],"domain_scores_gemma":[0.9994255,0.00021568214,0.000049891358,0.0002585932,0.000041381663,0.000008952412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024327854,0.000086060696,0.00009936047,0.000018476667,0.000634125,0.00018285033,0.0003006533,0.00001528787,0.00019712334],"category_scores_gemma":[0.000009648375,0.00003398833,0.000053788222,0.000027674134,0.0003479155,0.0001244919,0.000050130526,0.00014997271,0.00015809655],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027639704,0.00007491284,0.00285677,0.000034680776,0.000079844285,0.000002037245,0.5772783,0.00011121586,0.000060815713,0.12419079,0.14984725,0.1454357],"study_design_scores_gemma":[0.00016458075,0.000040656534,0.0033469768,0.000031934676,0.000013592646,0.0000016137706,0.019934578,0.0012857097,0.00003694297,0.023196794,0.95185316,0.00009344891],"about_ca_topic_score_codex":0.00042482198,"about_ca_topic_score_gemma":0.0033978089,"teacher_disagreement_score":0.8020059,"about_ca_system_score_codex":0.0000055526302,"about_ca_system_score_gemma":0.0000086207565,"threshold_uncertainty_score":0.48772413},"labels":[],"label_agreement":null},{"id":"W2012183024","doi":"10.3138/md.2012-0494","title":"Harold Pinter’s “More Precisely Political” Dramas, or a Post-1983 Economy of Affect","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Affect (linguistics); Transformative learning; Character (mathematics); Dimension (graph theory); Aesthetics; Order (exchange); Sociology; Literature; History; Political economy; Political science; Art; Law; Economics; Communication","score_opus":0.026086489245976455,"score_gpt":0.24319185745017644,"score_spread":0.21710536820419998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2012183024","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62195355,0.00033042446,0.000054926695,0.0049224584,0.0003398529,0.000553683,0.000108756314,0.00013828618,0.3715981],"genre_scores_gemma":[0.9794362,0.000008781296,0.000045421868,0.0014448973,0.000514117,0.00008948373,0.000013960692,0.000030060464,0.01841707],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988784,0.000025339921,0.00029864215,0.00022842224,0.00011341309,0.0004557645],"domain_scores_gemma":[0.9992339,0.00010010101,0.00007842465,0.0002985762,0.00018475956,0.000104259285],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006527215,0.00021474154,0.00034885056,0.00009401153,0.00019544997,0.00018118495,0.0002196033,0.00005193725,0.0043641236],"category_scores_gemma":[0.000018990695,0.0001483568,0.00014765657,0.000019810812,0.00032067898,0.0004508195,0.00009775467,0.00012810138,0.00047847323],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00055121793,0.0007535944,0.0036423383,0.0009959389,0.00085805234,0.0000171187,0.20864749,0.000016220276,0.00063411583,0.638859,0.07577072,0.069254205],"study_design_scores_gemma":[0.0033037465,0.0027385722,0.008269436,0.0006008261,0.00031986012,0.000033688975,0.0296355,0.006110529,0.0041067316,0.1071044,0.8359642,0.001812528],"about_ca_topic_score_codex":0.0009803816,"about_ca_topic_score_gemma":0.0007291664,"teacher_disagreement_score":0.76019347,"about_ca_system_score_codex":0.00003300518,"about_ca_system_score_gemma":0.000046884827,"threshold_uncertainty_score":0.99654603},"labels":[],"label_agreement":null},{"id":"W2012238598","doi":"10.3138/ctr.145.43","title":"Memory's Borderlands: Onelight Theatre's Return Ticket: Halifax-Abadan-Halifax","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Foregrounding; Context (archaeology); Studio; Diaspora; Ticket; Visual arts; History; Media studies; Collective memory; Sociology; Art; Art history; Gender studies; Literature; Political science; Law; Archaeology","score_opus":0.03781332683898013,"score_gpt":0.23128145856558618,"score_spread":0.19346813172660604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2012238598","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00071502686,0.21474718,8.932264e-7,0.0031273663,0.0009035265,0.0005854615,0.0003715685,0.00011619151,0.7794328],"genre_scores_gemma":[0.6310031,0.30760324,0.00012381029,0.023889925,0.005411173,0.00032623377,0.0003522675,0.00027052034,0.03101977],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99775183,0.00012823804,0.0005673738,0.0004448702,0.00024504185,0.00086266885],"domain_scores_gemma":[0.99834,0.000049933726,0.00014224945,0.0007839879,0.00013863374,0.00054521015],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00041501544,0.0004809023,0.00078312797,0.00020867331,0.0007784378,0.00009697329,0.00050658884,0.000090723384,0.014679791],"category_scores_gemma":[0.000013590537,0.0003536276,0.0003314896,0.0001592295,0.0003162538,0.0002951646,0.000047305522,0.0003034038,0.0020923603],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002869662,0.000090036905,0.0009499624,0.00295998,0.0004940051,0.00019220583,0.040385056,1.430763e-7,0.0000031755435,0.016621359,0.57402843,0.36424696],"study_design_scores_gemma":[0.00020136905,0.00010261627,0.000065608,0.0020475648,0.0002836162,0.000037281894,0.001804755,0.0000019422982,0.00004050613,0.0006657971,0.9942419,0.0005070582],"about_ca_topic_score_codex":0.1596989,"about_ca_topic_score_gemma":0.6927041,"teacher_disagreement_score":0.748413,"about_ca_system_score_codex":0.00014319933,"about_ca_system_score_gemma":0.0003567301,"threshold_uncertainty_score":0.9998916},"labels":[],"label_agreement":null},{"id":"W2013881678","doi":"10.1353/shb.2010.0024","title":"Realism and the Ethics of Risk at the Stratford Shakespeare Festival","year":2010,"lang":"en","type":"article","venue":"Shakespeare bulletin","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Scholarship; Feud; Art; History; Visual arts; Aesthetics; Sociology; Law; Political science","score_opus":0.022293140137930247,"score_gpt":0.23934850811046712,"score_spread":0.21705536797253688,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2013881678","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6789227,0.0021350265,0.0000022523395,0.058571856,0.0011805688,0.00049491273,0.0006554022,0.00008872487,0.25794852],"genre_scores_gemma":[0.9819696,0.0005990458,0.000029006538,0.0006276277,0.0010346201,0.000020155534,0.00001723507,0.000023221337,0.015679501],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998823,0.00016999792,0.0002684489,0.00020450963,0.000283741,0.00025029917],"domain_scores_gemma":[0.99816,0.0010675411,0.0001636573,0.0004124515,0.00015436053,0.00004199708],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012089654,0.00018601207,0.0002431154,0.000027338385,0.0014618072,0.00012695216,0.0002785881,0.000089956775,0.0063473284],"category_scores_gemma":[0.00030478762,0.000089121255,0.00011543261,0.00003056189,0.0023157364,0.00003890256,0.00019350674,0.000999846,0.0001649285],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006659147,0.000050851257,0.0018821381,0.000106094136,0.00017938176,0.0000063349585,0.32169878,0.000005146125,0.00006369235,0.49383906,0.16568558,0.015817024],"study_design_scores_gemma":[0.0006772006,0.000051173298,0.00250226,0.000033216416,0.00006792757,0.00000992222,0.014886534,0.0000075897046,0.00007262802,0.0032183952,0.978333,0.00014018457],"about_ca_topic_score_codex":0.0018557585,"about_ca_topic_score_gemma":0.024103753,"teacher_disagreement_score":0.8126474,"about_ca_system_score_codex":0.0000068852355,"about_ca_system_score_gemma":0.00003113167,"threshold_uncertainty_score":0.9998382},"labels":[],"label_agreement":null},{"id":"W2014024864","doi":"10.1080/10486801.2012.690739","title":"Radical Intimacy: Ontroerend Goed Meets<i>The Emancipated Spectator</i>","year":2012,"lang":"en","type":"article","venue":"Contemporary Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Vlaamse regering; South Dakota Governor's Office of Economic Development","keywords":"Spectacle; Art history; Art; Media studies; Intellect; Performance art; The arts; Modernity; Humanities; Face (sociological concept); Sociology; Visual arts; Theology; Philosophy; Political science","score_opus":0.057029845907462955,"score_gpt":0.2701736734003602,"score_spread":0.21314382749289723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2014024864","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016236291,0.62203366,0.0000024521935,0.00832453,0.0009876436,0.0006130982,0.000036823898,0.00014348673,0.3662347],"genre_scores_gemma":[0.9415012,0.04696836,0.000013760986,0.005453797,0.0026066604,0.00011943272,0.000046406098,0.0000434347,0.0032469511],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981759,0.00024345377,0.0005733285,0.00023119987,0.00026631373,0.0005098053],"domain_scores_gemma":[0.9989047,0.00015184097,0.00018169206,0.00053626235,0.00006489154,0.00016061732],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007825526,0.00034417585,0.0006993596,0.00004708284,0.0005898376,0.00007740104,0.0003686968,0.00004065889,0.0031596445],"category_scores_gemma":[0.000022699604,0.00019176608,0.00031617048,0.000095422205,0.00046995384,0.00053862174,0.00010780469,0.0002933253,0.0010604974],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000075663935,0.00027140472,0.0032147346,0.0022314882,0.0005660068,0.000014545279,0.018749652,7.64314e-8,0.000013353873,0.059014197,0.83514494,0.08070396],"study_design_scores_gemma":[0.00031171847,0.000061909064,0.0001226614,0.0012764529,0.00018353424,0.000015089463,0.0005963429,0.0000023298733,0.000015285466,0.00018637518,0.99696356,0.00026471383],"about_ca_topic_score_codex":0.00015506,"about_ca_topic_score_gemma":0.00010970744,"teacher_disagreement_score":0.93987757,"about_ca_system_score_codex":0.000034777637,"about_ca_system_score_gemma":0.00006908898,"threshold_uncertainty_score":0.9997173},"labels":[],"label_agreement":null},{"id":"W2014235758","doi":"10.3138/ctr.150.8","title":"Seek Electricity: A Multiple Theatre Manifesto","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Argument (complex analysis); Consciousness; Aesthetics; Sociology; Art; Epistemology; Philosophy; Political science; Law","score_opus":0.031038431353655752,"score_gpt":0.2324540982901864,"score_spread":0.20141566693653065,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2014235758","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019425966,0.3879412,0.0000010612464,0.0026343307,0.0005597084,0.0004938442,0.00010379579,0.00008478366,0.60623866],"genre_scores_gemma":[0.9077852,0.07588623,0.000020638392,0.008246852,0.0024377618,0.00010099618,0.000048640693,0.000055203127,0.00541848],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841964,0.00007354427,0.00028495514,0.00019382223,0.00014666862,0.0008813737],"domain_scores_gemma":[0.9989556,0.00006902307,0.00006443658,0.0003653113,0.000056665016,0.0004889741],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031682447,0.00027399146,0.00043588525,0.0001402615,0.00059392967,0.000059671354,0.00022366476,0.000045012435,0.003927927],"category_scores_gemma":[0.000012681243,0.0002073704,0.00019267734,0.00011278123,0.00011186289,0.0003214638,0.00002445084,0.00019673638,0.0019133025],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010019208,0.000084278436,0.013134628,0.0026468143,0.0002559805,0.000027323638,0.012335657,3.4651555e-7,0.0000055910414,0.034991473,0.32256594,0.61394197],"study_design_scores_gemma":[0.000104413455,0.000036979272,0.00021307167,0.0007484393,0.0001371839,0.00003093786,0.00047827564,0.0000029047733,0.000007250859,0.00011716154,0.99783677,0.00028663172],"about_ca_topic_score_codex":0.047206767,"about_ca_topic_score_gemma":0.3660921,"teacher_disagreement_score":0.9058426,"about_ca_system_score_codex":0.00015648457,"about_ca_system_score_gemma":0.00016271659,"threshold_uncertainty_score":0.9988638},"labels":[],"label_agreement":null},{"id":"W2014295552","doi":"10.3138/md.48.3.513","title":"“Always in the Likeness”: The Virtual Presences of Helmut Kajzar’s <i>Gwiazda</i> in the Lothe Lachmann Theatre","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Manifesto; Art; Visual arts; Theatre studies; Dialog box; The arts; Materiality (auditing); Political theatre; Performing arts; Aesthetics; Drama; Computer science","score_opus":0.02421618146955029,"score_gpt":0.23505769522772846,"score_spread":0.21084151375817817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2014295552","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7462004,0.0031985843,0.00001328554,0.015839271,0.0002187503,0.00051450415,0.00004021136,0.000030101648,0.23394494],"genre_scores_gemma":[0.9950406,0.00025492557,0.0000036565011,0.0019397897,0.0008394175,0.00008479659,0.00000435794,0.000014092773,0.0018183484],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985412,0.00023984423,0.0003197769,0.00018877677,0.0003757439,0.00033469283],"domain_scores_gemma":[0.9989628,0.000430365,0.000084235224,0.00047476342,0.00003480124,0.000013014986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00079263526,0.00019477976,0.00022284278,0.00006555551,0.0004612397,0.00017766455,0.0008878387,0.00004449651,0.00016762363],"category_scores_gemma":[0.00001048733,0.000079509904,0.00010376385,0.000093603645,0.0005311048,0.0002627916,0.000085245476,0.00030946592,0.000048566944],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009968789,0.0003309282,0.004372964,0.000035461042,0.000049103783,0.000006581849,0.83032966,0.0015092328,0.0000309943,0.100122325,0.010035651,0.05307742],"study_design_scores_gemma":[0.00091057556,0.0003393791,0.0050853444,0.00012659765,0.000060397324,0.000012501179,0.15978721,0.0041277553,0.0002085718,0.021091513,0.8078706,0.00037953662],"about_ca_topic_score_codex":0.0011847651,"about_ca_topic_score_gemma":0.030829314,"teacher_disagreement_score":0.79783493,"about_ca_system_score_codex":0.000014809131,"about_ca_system_score_gemma":0.000031501113,"threshold_uncertainty_score":0.9868555},"labels":[],"label_agreement":null},{"id":"W2014475193","doi":"10.1177/009614402237572","title":"“A Theatre Which Events do not Exceed”","year":2002,"lang":"en","type":"article","venue":"Journal of Urban History","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"History; Political science","score_opus":0.039703205272078164,"score_gpt":0.20089166750127951,"score_spread":0.16118846222920136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2014475193","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10564185,0.033501312,0.0000018285373,0.0013031658,0.0054182797,0.00006332871,0.00000906378,0.000027358854,0.8540338],"genre_scores_gemma":[0.9438131,0.00065621466,0.000016394008,0.00043003503,0.002869495,0.0000011473473,3.048914e-7,0.00001489594,0.052198403],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991703,0.000027060569,0.0003160973,0.000073518735,0.00025183638,0.00016116425],"domain_scores_gemma":[0.9993819,0.000030505875,0.0002288614,0.00011897026,0.00017863994,0.000061129635],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016469731,0.00011549388,0.00022994481,0.00013688742,0.00018069158,0.000017815382,0.00016748912,0.000029157185,0.007395979],"category_scores_gemma":[0.00000849269,0.00008507362,0.00014267434,0.000018982997,0.000090001005,0.00030614197,0.000018343031,0.00022902654,0.0002629895],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004081867,0.000099540935,0.0016127875,0.000022869339,0.000088564324,0.000012448466,0.08562647,0.0000020745067,0.000035214125,0.0022385083,0.90564376,0.0045769424],"study_design_scores_gemma":[0.00032566115,0.0001964353,0.0003153141,0.000051302366,0.000046813628,0.000026045065,0.0011186255,0.0000061956825,0.0000074769473,0.00008032455,0.99771816,0.00010764101],"about_ca_topic_score_codex":0.000016722895,"about_ca_topic_score_gemma":0.00010353571,"teacher_disagreement_score":0.83817124,"about_ca_system_score_codex":0.00021544698,"about_ca_system_score_gemma":0.000025514782,"threshold_uncertainty_score":0.9935114},"labels":[],"label_agreement":null},{"id":"W2014505122","doi":"10.7202/024854ar","title":"Intériorité/plasticité. La théorie de la mise en scène de S. M. Eisenstein","year":2007,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.01163046088098895,"score_gpt":0.2542303403134733,"score_spread":0.24259987943248434,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2014505122","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33225235,0.02117313,0.00046731488,0.0032447567,0.0013804496,0.0004675406,0.00014007978,0.00047130336,0.6404031],"genre_scores_gemma":[0.95644695,0.021996012,0.0015971279,0.0005871853,0.004853818,0.000049800703,0.000028308785,0.00016237785,0.014278416],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9958635,0.0006320319,0.000954463,0.0006581421,0.00031902763,0.0015728362],"domain_scores_gemma":[0.9960878,0.0022995467,0.00030609945,0.000576809,0.0002572042,0.00047254335],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0028127574,0.0008211075,0.0009175007,0.0007008136,0.00093244924,0.0005172075,0.00054355385,0.0006614879,0.0005364735],"category_scores_gemma":[0.00018625388,0.0008347283,0.0005814044,0.00038312946,0.0021912,0.0004967223,0.00022166579,0.001133953,0.000097076714],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000256486,0.0005420702,0.030434668,0.001458382,0.0006350453,0.00067515497,0.03687327,0.000049373117,0.00040156388,0.9033548,0.0116251055,0.013694046],"study_design_scores_gemma":[0.00082152034,0.00036301243,0.011025602,0.001712652,0.00045767167,0.00044992592,0.008234422,0.00009627661,0.0014411795,0.006613016,0.96783465,0.00095008133],"about_ca_topic_score_codex":0.0014230864,"about_ca_topic_score_gemma":0.0036188348,"teacher_disagreement_score":0.95620954,"about_ca_system_score_codex":0.00025970966,"about_ca_system_score_gemma":0.00023102097,"threshold_uncertainty_score":0.99941033},"labels":[],"label_agreement":null},{"id":"W2014864577","doi":"10.3138/md.s87","title":"Philosophy as Drama: Deleuze and Dramatization in the Context of Performance Philosophy","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramatization; Drama; Context (archaeology); Epistemology; Literature; Aesthetics; Philosophy; Sociology; Art; History","score_opus":0.024190690591042355,"score_gpt":0.2166427693698499,"score_spread":0.19245207877880754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2014864577","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85057175,0.0005900447,0.000013067328,0.0025528988,0.00010313349,0.00031849853,0.000009067055,0.000025450368,0.14581607],"genre_scores_gemma":[0.9979576,0.00020355372,0.0000112824055,0.00090638816,0.00033462985,0.00006459922,0.000010158409,0.000014771793,0.00049703394],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99914515,0.00003727728,0.00027192183,0.00016040877,0.00019011616,0.0001951342],"domain_scores_gemma":[0.9995141,0.00006476498,0.00009081309,0.00020294191,0.0001021807,0.00002521485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012521767,0.00015816996,0.00021382148,0.000090538924,0.00027196156,0.00012189663,0.00017299685,0.000041468724,0.00027248336],"category_scores_gemma":[0.000009698619,0.00010456083,0.000042618285,0.00004776053,0.00031640442,0.0005133554,0.000047402344,0.00013468857,0.000112286514],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007760502,0.0002244198,0.01795123,0.00041344436,0.00008056232,0.0000024193241,0.36749473,0.000049316946,0.000104896724,0.52307147,0.0011324816,0.089397445],"study_design_scores_gemma":[0.0060267486,0.00234446,0.0334101,0.0011588386,0.00020273526,0.0000450421,0.06339263,0.04530916,0.0010684708,0.7042596,0.14071727,0.0020649699],"about_ca_topic_score_codex":0.0003208388,"about_ca_topic_score_gemma":0.00021074415,"teacher_disagreement_score":0.3041021,"about_ca_system_score_codex":0.000012180539,"about_ca_system_score_gemma":0.000013824255,"threshold_uncertainty_score":0.42638668},"labels":[],"label_agreement":null},{"id":"W2015386799","doi":"10.1353/tj.2011.0058","title":"Performance and the City (review)","year":2011,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Architecture; Anecdote; Space (punctuation); Sociology; History; Media studies; Art; Literature; Visual arts; Linguistics; Philosophy","score_opus":0.04575041017112766,"score_gpt":0.21899231702385527,"score_spread":0.1732419068527276,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2015386799","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17472978,0.025469044,0.000002080315,0.0013784519,0.0004978188,0.00011019045,0.0000028298296,0.000023448327,0.79778636],"genre_scores_gemma":[0.9226322,0.07266461,0.000017918192,0.0010768343,0.00084423315,0.000005000541,2.5758118e-7,0.000006852556,0.002752082],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944675,0.00004605103,0.00017643758,0.000059571288,0.00010842378,0.0001627548],"domain_scores_gemma":[0.999699,0.00003079138,0.000073872514,0.00010809597,0.000048245587,0.000040002513],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000526827,0.00009833649,0.00017520305,0.000024616575,0.00080236106,0.00003839654,0.0001342148,0.00001098014,0.0027770242],"category_scores_gemma":[0.0000036518084,0.000045020333,0.000068992515,0.000015381655,0.00046343103,0.0002019786,0.000040234667,0.00021473785,0.00007404177],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007136617,0.00010657167,0.018768724,0.0004654483,0.00041278312,0.000014198927,0.25729752,2.3686215e-7,0.000002860294,0.056012236,0.09944769,0.5667581],"study_design_scores_gemma":[0.0015720443,0.000240345,0.0078894375,0.00068433204,0.000261553,0.0004416108,0.0056143906,0.000044564214,0.000023457123,0.0050510764,0.97790647,0.00027071298],"about_ca_topic_score_codex":0.000051373157,"about_ca_topic_score_gemma":0.000076721924,"teacher_disagreement_score":0.8784588,"about_ca_system_score_codex":0.0000060100374,"about_ca_system_score_gemma":0.000012221451,"threshold_uncertainty_score":0.99813455},"labels":[],"label_agreement":null},{"id":"W2015696836","doi":"10.3138/ctr.149.17","title":"Getting Kinky Inside and Outside: A Conversation with Trey Anthony","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Storytelling; Representation (politics); Identity (music); Visual arts; Art; Aesthetics; Sociology; Communication; Narrative; Literature; Law; Political science","score_opus":0.028122834992258625,"score_gpt":0.2283706966645079,"score_spread":0.20024786167224928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2015696836","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01771701,0.53219837,0.0000016447526,0.008453233,0.00039901325,0.0006038014,0.00006845569,0.00006573783,0.44049272],"genre_scores_gemma":[0.9513218,0.04275447,0.000030496094,0.0045558154,0.00064581196,0.000025701658,0.000017737726,0.000020001968,0.00062816835],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928486,0.000036427507,0.00015185175,0.000114850474,0.00007225053,0.00033977279],"domain_scores_gemma":[0.9995003,0.000032618253,0.000053575375,0.00014248809,0.00003881348,0.00023222453],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019765997,0.00014307308,0.00024959893,0.00006798851,0.00031525502,0.000047452937,0.00005205441,0.000020797701,0.0007079294],"category_scores_gemma":[0.000007108976,0.00009844717,0.000036723424,0.000039326376,0.00013009814,0.00029756565,0.000014587926,0.00008631011,0.00009791319],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000073837455,0.000014652023,0.016080761,0.002523434,0.00014074561,0.000011534733,0.04789596,1.9525883e-7,0.0000025947068,0.01703318,0.020845711,0.89544386],"study_design_scores_gemma":[0.00010811594,0.000032957043,0.0008960594,0.0014082147,0.000118228716,0.00002023028,0.0020115832,0.0000020243308,0.000004030424,0.0000661305,0.99515384,0.00017857364],"about_ca_topic_score_codex":0.024879612,"about_ca_topic_score_gemma":0.26003537,"teacher_disagreement_score":0.97430813,"about_ca_system_score_codex":0.00005271724,"about_ca_system_score_gemma":0.00008185936,"threshold_uncertainty_score":0.9816138},"labels":[],"label_agreement":null},{"id":"W2016149301","doi":"10.1353/utq.2006.0117","title":"Reading the Material Theatre (review)","year":2006,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Semiotics; Reading (process); Materialism; Variety (cybernetics); Negotiation; Performing arts; Sociology; Aesthetics; Literature; Media studies; History; Art; Linguistics; Social science; Epistemology; Philosophy","score_opus":0.00808235790932101,"score_gpt":0.18133173857547505,"score_spread":0.17324938066615403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2016149301","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05555214,0.0047884625,0.0000070314445,0.00092701014,0.0005104605,0.00016692058,0.000078728306,0.0000550762,0.9379142],"genre_scores_gemma":[0.9831543,0.0009803551,0.00002260804,0.000084758,0.0005562458,2.4023967e-7,0.000014803799,0.000005427619,0.015181293],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964374,0.000022629629,0.00007651512,0.000073693715,0.00007722044,0.0001061856],"domain_scores_gemma":[0.9997535,0.000016082402,0.00005298414,0.00013084766,0.000035743324,0.00001084376],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000062789426,0.00006934763,0.00012310849,0.0000063760453,0.00032494043,0.000013309148,0.0001483922,0.000012686146,0.005149494],"category_scores_gemma":[2.1593834e-7,0.000049665803,0.000070857095,0.0000044736767,0.00015063275,0.00020898174,0.000011873731,0.000025677487,0.000041275605],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015197688,0.00012749137,0.00035445933,0.00046113637,0.00016233433,0.0000146706425,0.1789722,0.0000013151752,0.00024310131,0.14601207,0.57976335,0.09373589],"study_design_scores_gemma":[0.00014307002,0.00016083126,0.0006462355,0.00010587494,0.00006081513,0.0000011829251,0.023417868,0.000003743275,0.00001265291,0.00022866222,0.9751326,0.000086456945],"about_ca_topic_score_codex":0.06046817,"about_ca_topic_score_gemma":0.07399149,"teacher_disagreement_score":0.9276021,"about_ca_system_score_codex":0.00003373006,"about_ca_system_score_gemma":0.0000074027976,"threshold_uncertainty_score":0.9957599},"labels":[],"label_agreement":null},{"id":"W2016311713","doi":"10.1111/0362-6784.00154","title":"The Everyday Classroom As Problematic: A Feminist Pedagogy","year":2000,"lang":"en","type":"article","venue":"Curriculum Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Sociology; Feminist pedagogy; Premise; Curriculum; Pedagogy; Drama; Field (mathematics); Gender studies; Feminism; Feminist philosophy; Epistemology; Visual arts","score_opus":0.02980902940290975,"score_gpt":0.2928633087798425,"score_spread":0.26305427937693276,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2016311713","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40974635,0.0014895659,0.0000012527726,0.0015982985,0.0019014012,0.0002673311,0.000009692318,0.00014153596,0.5848446],"genre_scores_gemma":[0.9171518,0.0005536985,0.000011776999,0.0006103251,0.0026207091,0.00010637654,0.000008025251,0.000022437674,0.07891484],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988645,0.000045961497,0.0002929498,0.00019740009,0.00020483928,0.00039438333],"domain_scores_gemma":[0.9994204,0.00008746644,0.00006692093,0.00030569956,0.00006160847,0.000057891928],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019316451,0.00019093193,0.00019299723,0.00002982882,0.0015039503,0.00026787867,0.0002728508,0.00003957492,0.007686596],"category_scores_gemma":[0.000014667481,0.00010892465,0.000111270914,0.00004708577,0.00069931004,0.00017609616,0.000049194405,0.00017200176,0.0039113373],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044253386,0.00021755268,0.002503325,0.00011073153,0.00015526675,0.000013294177,0.22481059,0.00000879411,0.00000811545,0.21942283,0.45388556,0.09881969],"study_design_scores_gemma":[0.00017988238,0.00011891885,0.0001781015,0.000045659617,0.00003072403,0.000012331492,0.02896213,0.000044504402,0.000009374988,0.0043850746,0.9658449,0.00018838514],"about_ca_topic_score_codex":0.00022253623,"about_ca_topic_score_gemma":0.00079352985,"teacher_disagreement_score":0.5119593,"about_ca_system_score_codex":0.000022936125,"about_ca_system_score_gemma":0.00004664915,"threshold_uncertainty_score":0.999796},"labels":[],"label_agreement":null},{"id":"W2016430322","doi":"10.3138/md.43.1.87","title":"Performative Acts of Gendered Emotions and Bodies in Chekhov's <i>The Cherry Orchard</i>","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Depiction; Femininity; Performative utterance; Identity (music); Drama; Psychology; Aesthetics; Gender studies; Meaning (existential); Social psychology; Field (mathematics); Sociology; Scholarship; Art; Literature; Political science","score_opus":0.030245980654319063,"score_gpt":0.22908154938461534,"score_spread":0.19883556873029629,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2016430322","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7988763,0.00089717424,0.0000027164085,0.000752484,0.00005153602,0.00010687853,0.000024827703,0.000019717758,0.19926836],"genre_scores_gemma":[0.99195254,0.00069007964,0.000011100586,0.00016130057,0.00013560233,0.000014978888,0.0000028539962,0.000008212871,0.0070233615],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943507,0.000031428743,0.00016952348,0.00009813603,0.00009274479,0.00017310368],"domain_scores_gemma":[0.9997458,0.00004072541,0.000035496978,0.00012372281,0.0000338754,0.000020400585],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012321433,0.000105931154,0.00016156037,0.000041488827,0.0003536979,0.00004535264,0.00008264404,0.000024539404,0.0009434758],"category_scores_gemma":[0.0000048476045,0.00007005556,0.000037583195,0.000018926698,0.00030942645,0.00021618126,0.000030655534,0.00013907546,0.000032217053],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006569201,0.00008174767,0.0009418226,0.00008501359,0.00007229388,0.0000014398448,0.9274352,0.00008336585,0.00008093323,0.009013605,0.00079198834,0.0613469],"study_design_scores_gemma":[0.0023583625,0.00040107095,0.083085574,0.00028201722,0.00011779366,0.000011785393,0.094384275,0.009209482,0.00068057596,0.025442567,0.78323096,0.00079552765],"about_ca_topic_score_codex":0.00015049471,"about_ca_topic_score_gemma":0.0014819322,"teacher_disagreement_score":0.8330509,"about_ca_system_score_codex":0.000011392433,"about_ca_system_score_gemma":0.000013573061,"threshold_uncertainty_score":0.9999698},"labels":[],"label_agreement":null},{"id":"W2017689344","doi":"10.3138/md.46.4.598","title":"Place in the Performance Experience","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":67,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Space (punctuation); Representation (politics); Aesthetics; Performance studies; Theatre studies; Visual arts; History; Art; Sociology; Drama; Political science; Computer science; Politics; Anthropology; Law","score_opus":0.02884383560433078,"score_gpt":0.2335817197071568,"score_spread":0.204737884102826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2017689344","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.758472,0.00030254765,0.0000073384917,0.00018093693,0.00015353897,0.00006607759,0.0000013365214,0.000018280261,0.24079794],"genre_scores_gemma":[0.99313736,0.000060869657,0.000011119027,0.0004894057,0.00012019534,0.00004050828,7.753413e-7,0.0000061204505,0.006133617],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994453,0.00003005676,0.00010352391,0.000106284475,0.00011915809,0.00019567205],"domain_scores_gemma":[0.99975234,0.00003296362,0.000019417583,0.0001669414,0.000016307811,0.000012018591],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013727328,0.00008587981,0.000080633814,0.000028560746,0.0003107494,0.00008445499,0.00014886555,0.000014642004,0.00040754944],"category_scores_gemma":[0.0000065951417,0.000052379408,0.000024674948,0.000027240483,0.00012972284,0.00019860589,0.00001273255,0.00009904342,0.00010379097],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016256237,0.00006890441,0.008485493,0.000021501477,0.00000775069,0.000004679666,0.8942342,0.00015217347,0.000020091544,0.086889565,0.0022280274,0.007871371],"study_design_scores_gemma":[0.00031623963,0.000075751625,0.0019666369,0.000024189034,0.0000051205698,0.0000073627602,0.033569533,0.0015916949,0.0002658316,0.0014659233,0.9605108,0.0002009156],"about_ca_topic_score_codex":0.000053760603,"about_ca_topic_score_gemma":0.00057870237,"teacher_disagreement_score":0.95828277,"about_ca_system_score_codex":0.00001108229,"about_ca_system_score_gemma":0.0000108302565,"threshold_uncertainty_score":0.44623804},"labels":[],"label_agreement":null},{"id":"W2018387697","doi":"10.1017/s0307883302320285","title":"The Theatre of Form and the Production of Meaning: Contemporary Canadian Dramaturgies","year":2002,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Meaning (existential); Content (measure theory); Media studies; Art; Production (economics); History; Art history; Sociology; Philosophy; Epistemology; Mathematics","score_opus":0.09155431430036408,"score_gpt":0.2998734808425557,"score_spread":0.20831916654219162,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2018387697","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.036325853,0.003232107,1.6360329e-7,0.025477601,0.0005910428,0.00027446714,0.000041062387,0.000010914954,0.9340468],"genre_scores_gemma":[0.99116683,0.0014548394,0.000003222323,0.000024818983,0.0005218634,0.000024300909,0.000003696261,0.00000766597,0.0067927674],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99893135,0.000106150444,0.00021969694,0.000105336614,0.00043446137,0.00020302269],"domain_scores_gemma":[0.9989005,0.00048754978,0.000063775355,0.00018542047,0.00032529994,0.000037484217],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011218585,0.00007794132,0.00012927335,0.00014328533,0.000726551,0.00008939082,0.0003051012,0.000020356852,0.00034394788],"category_scores_gemma":[0.000058133468,0.00003740109,0.000056711753,0.000052083782,0.0018925549,0.00018107523,0.000079117744,0.00019791095,0.000011356278],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037059997,0.00004048782,0.00094280066,0.000045192748,0.0003124133,0.0000013888653,0.08612617,0.0000033436465,0.000032943637,0.79534096,0.05387047,0.06291325],"study_design_scores_gemma":[0.00049229566,0.00011689149,0.00018294288,0.00010568055,0.000010410875,0.000007549148,0.028646048,0.00035760162,0.00033904405,0.024250459,0.9454131,0.00007796134],"about_ca_topic_score_codex":0.026333535,"about_ca_topic_score_gemma":0.070686035,"teacher_disagreement_score":0.95484096,"about_ca_system_score_codex":0.00003351276,"about_ca_system_score_gemma":0.00005732806,"threshold_uncertainty_score":0.9801502},"labels":[],"label_agreement":null},{"id":"W2018928248","doi":"10.1017/s0307883304340897","title":"Creating Frames: Contemporary Indigenous Theatre","year":2005,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Indigenous; Content (measure theory); Media studies; History; Sociology; Library science; Visual arts; Art; Computer science; Biology; Mathematics; Ecology","score_opus":0.10912975868735236,"score_gpt":0.36160832868893905,"score_spread":0.2524785700015867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2018928248","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.092754215,0.0012983667,0.000007021799,0.0040391004,0.0004912969,0.00022901218,0.00009966318,0.0001196233,0.9009617],"genre_scores_gemma":[0.97676086,0.0002261477,0.0000955525,0.00027524182,0.0059939465,0.000057368394,0.000053119547,0.000028473687,0.016509276],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99801165,0.0001166147,0.0002974679,0.00026592417,0.0008203429,0.0004879986],"domain_scores_gemma":[0.9989971,0.00030745496,0.00005305393,0.00024437215,0.0003012501,0.00009679409],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008525731,0.00016957831,0.0001864413,0.00032446842,0.0009674973,0.0003189713,0.0005221215,0.000051847215,0.006060435],"category_scores_gemma":[0.000017988925,0.00012990803,0.00010519342,0.000064891574,0.00046441806,0.0005365198,0.00018455641,0.00049887877,0.0013665167],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003391785,0.00052164786,0.009186119,0.00005678031,0.00060877565,0.000039926057,0.23922594,0.000052350748,0.00018657242,0.083587274,0.091243885,0.5749515],"study_design_scores_gemma":[0.0003651967,0.0001346201,0.00015414559,0.00007513339,0.0000045954575,0.00000791736,0.013923419,0.00019238221,0.00024227315,0.0026376056,0.9821015,0.00016120418],"about_ca_topic_score_codex":0.0011546243,"about_ca_topic_score_gemma":0.0010156884,"teacher_disagreement_score":0.89085764,"about_ca_system_score_codex":0.00014494623,"about_ca_system_score_gemma":0.00014645164,"threshold_uncertainty_score":0.99941105},"labels":[],"label_agreement":null},{"id":"W2019232190","doi":"10.1017/cbo9780511485497","title":"The Aesthetics and Politics of the Crowd in American Literature","year":2003,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":66,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Politics; Democracy; Citizenship; Icon; Aesthetics; Crowds; Sociology; History; Art; Political science; Law","score_opus":0.011241811763630677,"score_gpt":0.1789278773595876,"score_spread":0.16768606559595692,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2019232190","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038260613,0.0013951169,2.2796823e-7,0.000073052404,0.0002255508,0.00016962185,0.00024998697,0.000010465753,0.9940499],"genre_scores_gemma":[0.006023809,0.0009569998,0.0000020805267,0.000083226056,0.00012742322,4.3547692e-7,0.0000050376175,0.000013324231,0.99278766],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938345,0.00005959588,0.0001188519,0.00013601682,0.000114646435,0.00018745917],"domain_scores_gemma":[0.9993695,0.00007083757,0.00014560812,0.00029192306,0.00009351613,0.00002862107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000060096692,0.00017283781,0.00022847876,0.000053395666,0.00055056147,0.000069109316,0.00027223508,0.000061103245,7.4000104e-7],"category_scores_gemma":[0.0000041257595,0.00011005066,0.00009073886,0.000008348747,0.0017204209,0.000033667213,0.00015952458,0.0003425065,4.75061e-7],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001244454,0.0000048199863,0.000022360357,0.00006159162,0.000039118382,0.0000068980785,0.005328171,2.612602e-7,2.8619033e-7,0.9083981,0.08552102,0.0006049178],"study_design_scores_gemma":[0.00014590203,0.00003754109,0.00004834683,0.00017286575,0.00006190088,0.0000031890331,0.0012526695,0.0000020378693,0.000013359471,0.00006228064,0.99808043,0.000119496726],"about_ca_topic_score_codex":0.00017534202,"about_ca_topic_score_gemma":0.00015870665,"teacher_disagreement_score":0.9125594,"about_ca_system_score_codex":0.00005671468,"about_ca_system_score_gemma":0.00009643273,"threshold_uncertainty_score":0.63389623},"labels":[],"label_agreement":null},{"id":"W2019271406","doi":"10.3138/md.47.4.686","title":"Wordmadeflesh: Writing the Body in Irish Theatre","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Realm; Nothing; Grammar; Metonymy; Suspect; Impossibility; Metaphor; Flesh; Literature; Linguistics; Aesthetics; Art; Philosophy; History; Psychology; Epistemology; Law","score_opus":0.025872421957566658,"score_gpt":0.24458729318859895,"score_spread":0.21871487123103228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2019271406","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5695585,0.0011430547,0.000033563752,0.005601646,0.0002532623,0.0001492049,0.0000095468085,0.00008088166,0.42317033],"genre_scores_gemma":[0.9965778,0.000059778624,0.000014699538,0.0006518581,0.00071664917,0.000022511433,0.0000033854128,0.000015621703,0.0019376695],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925894,0.000017600396,0.00017417107,0.00014479403,0.00012806087,0.000276441],"domain_scores_gemma":[0.99969953,0.000038492017,0.00003161495,0.00018652766,0.000023235138,0.000020614949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013335318,0.000122061756,0.00013303215,0.000043792836,0.00045449304,0.00015838476,0.00016673036,0.000026475089,0.00021015242],"category_scores_gemma":[0.0000034580485,0.00007650658,0.000058934376,0.00003232422,0.00016179892,0.0001686879,0.000056228106,0.00018739485,0.000115189585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010008665,0.00031654464,0.010113959,0.00009409031,0.00012704456,0.000055657456,0.5699346,0.0017045938,0.00015746898,0.2512501,0.008357543,0.15778834],"study_design_scores_gemma":[0.0029035388,0.0002456899,0.007157648,0.0004385898,0.00007156588,0.000020983793,0.067452945,0.00145516,0.00041055726,0.22502488,0.6938291,0.0009893203],"about_ca_topic_score_codex":0.0007404708,"about_ca_topic_score_gemma":0.0045255614,"teacher_disagreement_score":0.6854716,"about_ca_system_score_codex":0.00003483742,"about_ca_system_score_gemma":0.000020532661,"threshold_uncertainty_score":0.3495639},"labels":[],"label_agreement":null},{"id":"W2019885380","doi":"10.1080/10137548.2011.636972","title":"Facing the Stranger in the Mirror: Staged complicities in recent South African performances","year":2011,"lang":"en","type":"article","venue":"South African Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Complicity; Conversation; The arts; Shadow (psychology); Aesthetics; Entertainment; Sociology; Visual arts; Art; History; Psychology; Law; Psychoanalysis","score_opus":0.07921162357475593,"score_gpt":0.23592751980558752,"score_spread":0.1567158962308316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2019885380","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7738531,0.0009995754,0.000003913995,0.0018282776,0.0005054061,0.0003081551,0.00008061062,0.00003354,0.22238739],"genre_scores_gemma":[0.99815613,0.00025146717,0.000029928256,0.00046269118,0.00051943853,0.000031275522,0.0000024610517,0.000023659757,0.0005229187],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99780303,0.0003148452,0.00056362443,0.00020773307,0.00043066507,0.0006800971],"domain_scores_gemma":[0.9991561,0.00012235383,0.00024908475,0.00030874647,0.00009389936,0.000069810885],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012589734,0.00030679937,0.00036318033,0.00027191394,0.0012566325,0.0002876597,0.000668812,0.000042072144,0.001458653],"category_scores_gemma":[0.000013720263,0.00015017585,0.00015608004,0.00020028722,0.0005870624,0.0003156831,0.000064105916,0.00094389403,0.000058641006],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016745881,0.00006599251,0.018912602,0.000016948079,0.000053680218,0.00001726832,0.97316754,0.000009056469,0.0000038381036,0.0015853536,0.00036295247,0.00563733],"study_design_scores_gemma":[0.000587909,0.0001971856,0.015560329,0.00008565423,0.000046602985,0.000027917265,0.9216671,0.000024624025,0.000013997511,0.0015316191,0.059988517,0.00026852757],"about_ca_topic_score_codex":0.0006764477,"about_ca_topic_score_gemma":0.008757176,"teacher_disagreement_score":0.22430302,"about_ca_system_score_codex":0.00007016855,"about_ca_system_score_gemma":0.00007618823,"threshold_uncertainty_score":0.99945414},"labels":[],"label_agreement":null},{"id":"W2019964593","doi":"10.1353/ctr.2012.0067","title":"Ottawa Little Theatre, the \"Original Regional\": Canada's Longest-Running English Language Theatre Turns 100","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theatre director; Political theatre; Theatre studies; Performance art; Media studies; Meaning (existential); Art; History; Art history; Visual arts; Sociology; Drama; Psychology","score_opus":0.021714050304704316,"score_gpt":0.23558217621213018,"score_spread":0.21386812590742588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2019964593","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026130276,0.45552534,1.7858052e-7,0.01062808,0.0014377949,0.0005179071,0.00022933733,0.00007467206,0.5289737],"genre_scores_gemma":[0.9140635,0.05128498,0.000017421731,0.015543451,0.0097572785,0.00015620505,0.00015433844,0.00010792931,0.008914867],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974784,0.00015522643,0.0004620784,0.00032180155,0.00038583332,0.0011966274],"domain_scores_gemma":[0.9981637,0.00018872184,0.00014285138,0.00077117555,0.00012945489,0.0006040697],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006371674,0.00047137428,0.00059621944,0.00010831981,0.0010017953,0.00014079774,0.00059742364,0.00006972974,0.004460077],"category_scores_gemma":[0.000018612182,0.0002943837,0.00025927243,0.000178678,0.0002982661,0.00034610048,0.000050478502,0.00047107827,0.0002595906],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008697476,0.000038151597,0.005582049,0.0014845578,0.00029598403,0.000047938138,0.052360438,0.000002130673,7.0414296e-7,0.020158961,0.77744496,0.14257546],"study_design_scores_gemma":[0.00012142065,0.00002936054,0.00032742583,0.0012303023,0.00022541994,0.000036874477,0.008831774,0.0000013332298,0.0000032124176,0.000052714095,0.9887317,0.0004084703],"about_ca_topic_score_codex":0.89759225,"about_ca_topic_score_gemma":0.9949151,"teacher_disagreement_score":0.9114505,"about_ca_system_score_codex":0.00041641525,"about_ca_system_score_gemma":0.0011279363,"threshold_uncertainty_score":0.9999508},"labels":[],"label_agreement":null},{"id":"W2020009703","doi":"10.3138/md.53.4.447","title":"Seriousness Redeemed by Frivolity: Ayckbourn's <i>Intimate Exchanges</i>","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Seriousness; Comedy; Comics; Character (mathematics); Literature; Art; Aesthetics; Function (biology); Sociology; History; Psychology; Epistemology; Philosophy; Mathematics","score_opus":0.01387683100658884,"score_gpt":0.22104527007745053,"score_spread":0.2071684390708617,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2020009703","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80422604,0.0005517395,0.0000764519,0.0023936771,0.0019089688,0.00019119555,0.00016238974,0.0002695091,0.19022004],"genre_scores_gemma":[0.9723695,0.00007396709,0.000042302203,0.0007658664,0.0011460228,0.000040460018,0.000035641635,0.00003627002,0.025489956],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99894124,0.000016869508,0.00019159571,0.00025097083,0.00019127512,0.00040806772],"domain_scores_gemma":[0.99939895,0.00002346016,0.00006674455,0.0003419621,0.00008760951,0.0000813015],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014055034,0.00020922328,0.00024341396,0.00004947631,0.00061534095,0.00025455118,0.00022823593,0.00006923107,0.0020823777],"category_scores_gemma":[0.000007683159,0.00017216898,0.0000820976,0.000024475517,0.00025611126,0.00028598236,0.000097676784,0.0002941255,0.00029726577],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018007414,0.00043705726,0.002031746,0.00027030415,0.0003078693,0.000029732668,0.23739037,0.000008042637,0.01664809,0.06308738,0.5461345,0.13347486],"study_design_scores_gemma":[0.00035801443,0.000049944454,0.000116136805,0.000015432252,0.000028668142,0.000004463696,0.0011189404,0.00047673515,0.0015741092,0.007344158,0.9886096,0.00030381183],"about_ca_topic_score_codex":0.00039996428,"about_ca_topic_score_gemma":0.0032930265,"teacher_disagreement_score":0.4424751,"about_ca_system_score_codex":0.000011820737,"about_ca_system_score_gemma":0.00001581494,"threshold_uncertainty_score":0.99882984},"labels":[],"label_agreement":null},{"id":"W2020220213","doi":"10.3138/md.0678","title":"Stage Freight: Labour and the Representability of Capitalism in Gerhart Hauptmann’s <i>The Weavers</i>","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Capitalism; Ideology; Capital (architecture); Representation (politics); Sociology; Wage labour; History; Art; Literature; Political science; Law; Visual arts; Agriculture","score_opus":0.013875447431079695,"score_gpt":0.2122587740783262,"score_spread":0.1983833266472465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2020220213","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9495338,0.00050670165,0.00001564971,0.002217266,0.0001742802,0.00018488211,0.000036639278,0.000017097504,0.04731366],"genre_scores_gemma":[0.9911606,0.00008000015,0.000003925391,0.000357578,0.00021539538,0.000019911118,0.0000019395652,0.000008048695,0.008152615],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992332,0.00010781436,0.00020525536,0.0001523126,0.00013736427,0.00016405752],"domain_scores_gemma":[0.9993373,0.00018826853,0.00006476114,0.00034837335,0.000043492768,0.000017768567],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005429999,0.00010384051,0.00020597359,0.000019829995,0.00027122264,0.000069691414,0.00015968461,0.00002345843,0.0002603617],"category_scores_gemma":[0.000026485552,0.000052604923,0.000055884953,0.000019059333,0.0007499485,0.00012319998,0.00010135677,0.000121854624,0.000011525019],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001749143,0.0000818396,0.014438373,0.0001033631,0.000059085585,0.0000012684797,0.33748257,0.000046266214,0.000041044117,0.6395248,0.0026357847,0.005410681],"study_design_scores_gemma":[0.003993617,0.00015486685,0.03913663,0.0000670654,0.0000678147,0.0000030588662,0.025193952,0.006752999,0.0007597643,0.111525916,0.81192005,0.00042430076],"about_ca_topic_score_codex":0.004276918,"about_ca_topic_score_gemma":0.009275118,"teacher_disagreement_score":0.8092842,"about_ca_system_score_codex":0.0000085639795,"about_ca_system_score_gemma":0.000007899323,"threshold_uncertainty_score":0.6465449},"labels":[],"label_agreement":null},{"id":"W2020823370","doi":"10.3138/ctr.145.26","title":"Me Talking to Myself in the Future: An Interview with Marie Brassard","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theme (computing); Identity (music); Sociology; Reflexive pronoun; Aesthetics; Media studies; Visual arts; Art; Psychoanalysis; Psychology; Literature; Computer science; World Wide Web","score_opus":0.04786984471989232,"score_gpt":0.23750679803174699,"score_spread":0.18963695331185465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2020823370","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0049169688,0.3490857,0.000003307744,0.0145763485,0.000673025,0.0014400502,0.00008016626,0.000058548645,0.6291659],"genre_scores_gemma":[0.8120091,0.10024739,0.00012885917,0.08314205,0.0023576843,0.00032558423,0.000056856392,0.000086353866,0.0016461392],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989683,0.00014354679,0.0002188984,0.00019537128,0.00010857209,0.000365319],"domain_scores_gemma":[0.99930954,0.000021688687,0.000040546365,0.0004044238,0.000041001666,0.00018280194],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005055835,0.00019220152,0.00032031038,0.00010180431,0.0002712739,0.000072374714,0.00039760492,0.0000232375,0.0024219772],"category_scores_gemma":[0.0000033258214,0.00010478081,0.00006994804,0.00012858915,0.000081240505,0.00020451141,0.000019806204,0.00015885582,0.00020738132],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009870273,0.000033898836,0.0006064205,0.0011440621,0.00006909664,0.00007583755,0.14529976,1.4413845e-7,1.4030901e-7,0.035784125,0.028096816,0.7888798],"study_design_scores_gemma":[0.00005895002,0.0001408656,0.0003975501,0.0018022791,0.000064419764,0.000013608895,0.007931489,3.861199e-7,6.287115e-7,0.00020314255,0.9892036,0.0001831],"about_ca_topic_score_codex":0.02527736,"about_ca_topic_score_gemma":0.8664182,"teacher_disagreement_score":0.9611068,"about_ca_system_score_codex":0.000057775025,"about_ca_system_score_gemma":0.00011140123,"threshold_uncertainty_score":0.9984899},"labels":[],"label_agreement":null},{"id":"W2021443787","doi":"10.3138/ctr.151.37","title":"Staging and Storying <i>Blood from a Stone</i>: A Performative Reflection in Three Acts","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Ethnography; Storytelling; Autoethnography; Aesthetics; Performance studies; Visual arts; Art; Narrative; Sociology; Politics; Literature; Anthropology","score_opus":0.04326343042089808,"score_gpt":0.2533130705622905,"score_spread":0.21004964014139244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2021443787","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26348186,0.52726746,0.0000012850164,0.0012761573,0.00047891584,0.00050254446,0.0000999516,0.000041190884,0.20685063],"genre_scores_gemma":[0.9571565,0.040800896,0.000019746734,0.0013365817,0.0004634786,0.000037266553,0.000015058657,0.00001597788,0.00015450946],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991301,0.00006535576,0.00019930978,0.00012812571,0.00007885741,0.00039827754],"domain_scores_gemma":[0.999529,0.00004912149,0.0000550643,0.00014467469,0.000025302847,0.00019684252],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033734879,0.00015725236,0.00029248084,0.00012109071,0.00042499258,0.0000463085,0.00006961798,0.000027036343,0.0006687204],"category_scores_gemma":[0.000010359726,0.00012773539,0.000044718225,0.000061076855,0.00007931146,0.0005307685,0.000019607158,0.000213898,0.00006351029],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022270557,0.00008447022,0.11838427,0.0032679148,0.0003645228,0.000019913783,0.2780319,0.0000010658957,0.000026963413,0.020083252,0.0066683944,0.5730451],"study_design_scores_gemma":[0.00021755007,0.000035106536,0.0040919986,0.002989793,0.0001494256,0.000006540641,0.0034893078,0.0000070428414,0.000008937092,0.00023773052,0.9885091,0.0002574259],"about_ca_topic_score_codex":0.07329258,"about_ca_topic_score_gemma":0.63507223,"teacher_disagreement_score":0.9818407,"about_ca_system_score_codex":0.00010677923,"about_ca_system_score_gemma":0.00008138597,"threshold_uncertainty_score":0.93287843},"labels":[],"label_agreement":null},{"id":"W2021513481","doi":"10.1353/atj.2014.0052","title":"Frank Hoff (1932–2013)","year":2014,"lang":"en","type":"article","venue":"Asian Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Classics; History; Philology; Art history; Sociology; Gender studies","score_opus":0.012865378501862514,"score_gpt":0.2104002499403028,"score_spread":0.19753487143844028,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2021513481","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024815535,0.000789471,0.000106850195,0.006885377,0.0021514508,0.000063907115,0.000009027943,0.00007772936,0.96510065],"genre_scores_gemma":[0.9850847,0.00024994282,0.000082611274,0.0006521364,0.0066467295,0.0000029190503,0.0000022497547,0.00002519022,0.007253534],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998995,0.00006468057,0.00025574074,0.0001246448,0.00021013142,0.00034980432],"domain_scores_gemma":[0.9994864,0.000037686386,0.000102464364,0.00018672226,0.00007051752,0.0001162002],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030455703,0.00017495597,0.00022616104,0.000107712585,0.0009856652,0.00026806523,0.00021731434,0.00003142806,0.00435659],"category_scores_gemma":[0.000006325583,0.000120127974,0.00015933087,0.000027813965,0.00016912982,0.00032223805,0.000032797856,0.00034001365,0.0009199702],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000636424,0.000093555565,0.0020019603,0.000029430956,0.00022129776,0.000022073,0.06211765,0.000006164763,0.00003135098,0.03950246,0.30650964,0.58940077],"study_design_scores_gemma":[0.00036451448,0.00019405286,0.0006255728,0.00004307837,0.000040317416,0.00011510123,0.0051492415,0.000029731518,0.000023056766,0.0054908087,0.9877428,0.00018175952],"about_ca_topic_score_codex":0.00005546325,"about_ca_topic_score_gemma":0.00050164905,"teacher_disagreement_score":0.96026915,"about_ca_system_score_codex":0.000019283223,"about_ca_system_score_gemma":0.000021128762,"threshold_uncertainty_score":0.9998579},"labels":[],"label_agreement":null},{"id":"W2022087974","doi":"10.1017/s030788330328127x","title":"How Theatre Educates: Convergences and Counterpoints with Artists, Scholars and Advocates.","year":2004,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; Art history; Sociology; Art","score_opus":0.04678882463097281,"score_gpt":0.3083664112061094,"score_spread":0.26157758657513663,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2022087974","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7710254,0.0029316093,0.000010828382,0.03038955,0.0006404736,0.0003072853,0.00010422193,0.0000675365,0.19452308],"genre_scores_gemma":[0.9932379,0.0018531102,0.00006411015,0.00011536289,0.0006725326,0.0000373308,0.0000169393,0.000016448505,0.0039862534],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987058,0.000047016176,0.00012202763,0.00027705415,0.0005168244,0.00033129676],"domain_scores_gemma":[0.9993829,0.0000974294,0.00003378436,0.00013198625,0.00024992798,0.000103971885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000430396,0.00015296937,0.00014816225,0.00019299018,0.0005634817,0.00068618055,0.00020386548,0.00002930639,0.00049561745],"category_scores_gemma":[0.000010721439,0.00010174702,0.000024750081,0.00004956923,0.0011681297,0.00073856587,0.00012236554,0.00028856087,0.00005592814],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015292552,0.0007732938,0.083592236,0.0004349821,0.0016755387,0.00013792825,0.1546022,0.000021294132,0.00062497077,0.4794352,0.019834766,0.25733835],"study_design_scores_gemma":[0.0019669575,0.00087932864,0.0039256993,0.00052948593,0.00003425446,0.00013368455,0.06545177,0.000061211285,0.0008360035,0.03392923,0.8917714,0.00048097142],"about_ca_topic_score_codex":0.0007587369,"about_ca_topic_score_gemma":0.0018515668,"teacher_disagreement_score":0.8719366,"about_ca_system_score_codex":0.000060617615,"about_ca_system_score_gemma":0.00010174513,"threshold_uncertainty_score":0.66168547},"labels":[],"label_agreement":null},{"id":"W2023414998","doi":"10.1002/meet.2009.1450460389","title":"Documenting and researching the performing arts","year":2009,"lang":"en","type":"article","venue":"Proceedings of the American Society for Information Science and Technology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"The arts; Documentation; Performing arts; Section (typography); Context (archaeology); Theme (computing); Visual arts; Arts in education; Arts administration; Computer science; Sociology; World Wide Web; History; Art","score_opus":0.018504442717180564,"score_gpt":0.27413887928035235,"score_spread":0.2556344365631718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2023414998","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9717007,0.000053454856,0.0000038347252,0.013584476,0.000030244208,0.00018251935,0.0000025749325,0.000032311666,0.014409856],"genre_scores_gemma":[0.99858767,0.00015207015,0.00033195742,0.000807961,0.000035162924,0.00001242621,1.2569285e-7,0.0000013411025,0.00007125849],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936944,4.907064e-7,0.00014378206,0.00007190381,0.00020228852,0.00021211038],"domain_scores_gemma":[0.9992973,0.000026571339,0.00020588962,0.000052197785,0.00040293104,0.000015061516],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.0008507827,0.000057931255,0.0000936317,0.00009462948,0.0018086511,0.00020070157,0.00026232973,0.000011218898,0.0000010030893],"category_scores_gemma":[0.00012236967,0.000030717452,0.00003823164,0.000355147,0.0033074287,0.0014845228,0.00014545981,0.00010270486,4.1461647e-7],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011103748,0.000005749174,0.002060966,0.000049127077,0.000017070786,2.617135e-9,0.07554223,2.7014087e-7,0.0027602948,0.54717064,0.0023635516,0.37001902],"study_design_scores_gemma":[0.00036710213,0.0005358083,0.0041358443,0.00008623762,0.000041425592,0.0000152215935,0.47354594,0.0017507148,0.01001888,0.029130965,0.48014253,0.00022931998],"about_ca_topic_score_codex":0.000015561813,"about_ca_topic_score_gemma":0.000001913321,"teacher_disagreement_score":0.51803964,"about_ca_system_score_codex":0.00001490332,"about_ca_system_score_gemma":0.000026214193,"threshold_uncertainty_score":0.99949086},"labels":[],"label_agreement":null},{"id":"W2023718841","doi":"10.1353/ctr.2011.0084","title":"Drama and Desire: Artists and the Theatre (review)","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Art; Performance art; Visual arts; Art history; Aesthetics","score_opus":0.03867262855140766,"score_gpt":0.22232787004723112,"score_spread":0.18365524149582346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2023718841","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00022429448,0.6642458,1.8420887e-7,0.00456346,0.000111026675,0.0004953926,0.00003121523,0.000018873758,0.33030978],"genre_scores_gemma":[0.087925516,0.8970667,0.000012889994,0.013354627,0.00023320504,0.00008212542,0.0000065294,0.000020723819,0.0012976518],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989533,0.00011969464,0.0002798805,0.0002152098,0.00008866359,0.0003432591],"domain_scores_gemma":[0.99925834,0.000067303095,0.00006814751,0.00033197904,0.000044825676,0.00022942139],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000472285,0.00022702407,0.0005113984,0.000042911794,0.0005604854,0.000047107656,0.00016682527,0.000028001166,0.001929679],"category_scores_gemma":[0.00001266868,0.00012489258,0.00010335713,0.000051472933,0.00068804465,0.00012944562,0.000038493326,0.00014270771,0.00013547976],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011395083,0.000008974476,0.00034041214,0.0058632004,0.00012052456,0.000018418754,0.007193355,3.6221701e-9,7.543351e-8,0.12387845,0.06873777,0.7938274],"study_design_scores_gemma":[0.00020983229,0.000031848755,0.00021207346,0.0054764063,0.0002967793,0.00004770233,0.000364651,0.0000010470322,7.4167144e-7,0.0020867037,0.99108267,0.00018955131],"about_ca_topic_score_codex":0.02310473,"about_ca_topic_score_gemma":0.16047744,"teacher_disagreement_score":0.9223449,"about_ca_system_score_codex":0.000024538658,"about_ca_system_score_gemma":0.00008538222,"threshold_uncertainty_score":0.99898267},"labels":[],"label_agreement":null},{"id":"W2024923862","doi":"10.3138/md.44.3.275","title":"Introduction: Modernism and Anti-theatricality","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Prejudice (legal term); Subject (documents); Aesthetics; Modernism (music); Field (mathematics); Art; Literature; History; Sociology; Law; Political science","score_opus":0.027618885130478076,"score_gpt":0.23391140374279315,"score_spread":0.20629251861231507,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2024923862","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8489589,0.0014620114,0.0007373009,0.010188391,0.0006197861,0.00012037841,0.000012975537,0.00016982327,0.13773043],"genre_scores_gemma":[0.9810766,0.00035631,0.00003667702,0.00023823552,0.0032447288,0.0000074305094,0.0000046626974,0.00001096417,0.015024403],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936527,0.000016454405,0.00012595965,0.00019897535,0.00010447285,0.00018888369],"domain_scores_gemma":[0.99970555,0.000014873949,0.000025509255,0.00016880491,0.00004393109,0.000041316463],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007866568,0.00011141034,0.000152006,0.00004105934,0.00043262044,0.00011918818,0.000060658025,0.000026965865,0.000946834],"category_scores_gemma":[0.000004249243,0.00008807367,0.000037127145,0.00001892202,0.00018325448,0.00020634235,0.000044344888,0.000094390234,0.00010279984],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022778852,0.00046652573,0.01988803,0.00015212139,0.00032069505,0.000040397827,0.19971222,0.0002690336,0.0004965294,0.26904476,0.074919604,0.4344623],"study_design_scores_gemma":[0.00024940132,0.000042275908,0.0013794905,0.0000045940324,0.000024641753,0.000019741125,0.0007610438,0.0022505217,0.00003845591,0.015213222,0.97984195,0.00017468307],"about_ca_topic_score_codex":0.00010361086,"about_ca_topic_score_gemma":0.00014571827,"teacher_disagreement_score":0.9049223,"about_ca_system_score_codex":0.000011492411,"about_ca_system_score_gemma":0.000006432642,"threshold_uncertainty_score":0.99996644},"labels":[],"label_agreement":null},{"id":"W2025848311","doi":"10.3138/md.44.1.31","title":"Why Modern Plays Are Not Culture: Disciplinary Blind Spots","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Literature; Antithesis; Art; Tragedy (event); Discipline; Aesthetics; Sociology; Social science","score_opus":0.04767045373828676,"score_gpt":0.2581534435091066,"score_spread":0.2104829897708198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2025848311","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7884567,0.0018689142,0.00044765527,0.0045730905,0.00079989654,0.00029148778,0.00020444179,0.00028394687,0.20307389],"genre_scores_gemma":[0.9692221,0.00022326646,0.000024678962,0.0015464119,0.0013510432,0.000029963363,0.000042090574,0.000027667033,0.027532764],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878633,0.000019564766,0.00022245059,0.00031409072,0.00024952154,0.00040801507],"domain_scores_gemma":[0.99942136,0.00002231897,0.00008349528,0.0003085285,0.00008485439,0.00007946553],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000070717215,0.00025931365,0.00027441914,0.00007446813,0.0008460506,0.00021788209,0.00022405355,0.000071583665,0.00083785865],"category_scores_gemma":[0.000004637794,0.00019516029,0.00012758428,0.00003725381,0.00019295633,0.00039030623,0.00013650475,0.00021233741,0.00034900208],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015184396,0.0008972342,0.0069301017,0.00021199415,0.00044959187,0.00028947846,0.65965724,0.0013045055,0.0004647494,0.016248731,0.25661692,0.055410977],"study_design_scores_gemma":[0.0015724294,0.00020369992,0.0019917293,0.00012136508,0.00009902496,0.000033102882,0.0076707206,0.009683249,0.00016859708,0.02260114,0.95505524,0.00079971185],"about_ca_topic_score_codex":0.00009255731,"about_ca_topic_score_gemma":0.0018927759,"teacher_disagreement_score":0.6984383,"about_ca_system_score_codex":0.000029613506,"about_ca_system_score_gemma":0.000012997568,"threshold_uncertainty_score":0.9173964},"labels":[],"label_agreement":null},{"id":"W2026261424","doi":"10.3138/md.2012-0492","title":"Revisiting<i>Marat/Sade</i>: Philosophy in the Asylum, Asylum in the Theatre","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Dialogic; Cruelty; Dialectic; Sovereignty; Democracy; Sociology; Agency (philosophy); Philosophy; Politics; Literature; Epistemology; Art; Law; Political science; Criminology","score_opus":0.025871883799614893,"score_gpt":0.2292812238705045,"score_spread":0.20340934007088962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2026261424","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3701448,0.0015761199,0.0000033189503,0.023633538,0.0001764649,0.0005389424,0.000012673358,0.00004044005,0.60387367],"genre_scores_gemma":[0.9925155,0.00012346265,0.00000820063,0.004405823,0.0015652082,0.00016482205,0.000009142209,0.000018353661,0.0011894888],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986305,0.00018614448,0.00029865935,0.00022531622,0.00027629503,0.00038304258],"domain_scores_gemma":[0.9992524,0.00018655954,0.00006361596,0.00043598693,0.000041437863,0.000020028589],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049201126,0.00021185887,0.00022939948,0.000080038044,0.00042638945,0.00039092128,0.0005417133,0.000047612066,0.0004484188],"category_scores_gemma":[0.000010273987,0.00010788161,0.000097744785,0.00008443741,0.00020838308,0.0003491392,0.0000640698,0.00038742364,0.00043804265],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050435996,0.00030865456,0.012550227,0.00016854584,0.00006668868,0.000040307266,0.68036264,0.00006488949,0.000040535524,0.17680256,0.041052427,0.0884921],"study_design_scores_gemma":[0.0015310785,0.00028139492,0.023523657,0.00040405896,0.00006269014,0.000028636072,0.06828749,0.0021376044,0.000023302679,0.2738248,0.62897325,0.00092201354],"about_ca_topic_score_codex":0.0010044063,"about_ca_topic_score_gemma":0.0018525403,"teacher_disagreement_score":0.62237066,"about_ca_system_score_codex":0.00001914517,"about_ca_system_score_gemma":0.00001571621,"threshold_uncertainty_score":0.5630298},"labels":[],"label_agreement":null},{"id":"W2026397433","doi":"10.1080/14623940701816709","title":"Performing responsibility: ethical ‘know‐how’ through drama facilitation","year":2008,"lang":"en","type":"article","venue":"Reflective Practice","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Drama; Facilitation; Interpretation (philosophy); Sociology; Interrogation; German; Set (abstract data type); Pedagogy; Psychology; Engineering ethics; Political science; Law; Philosophy","score_opus":0.08752518558365766,"score_gpt":0.3537362878089616,"score_spread":0.266211102225304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2026397433","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15717912,0.0010764684,0.00031684697,0.025419367,0.0007920952,0.00032828763,0.000018489754,0.00018435616,0.814685],"genre_scores_gemma":[0.97671777,0.00045206415,0.0011300903,0.0020877104,0.00075595133,0.00004762804,0.0000067343262,0.000018227225,0.018783845],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855256,0.0002881583,0.0002049479,0.00032500035,0.0003282096,0.000301094],"domain_scores_gemma":[0.9979483,0.0011098825,0.00012546031,0.00024694044,0.00052655605,0.00004287616],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00076797535,0.00018148976,0.00021205915,0.00006609649,0.001561779,0.000102301165,0.00010023555,0.00011498267,0.0005208039],"category_scores_gemma":[0.0010345881,0.0001503111,0.000089806694,0.0000911061,0.0004335767,0.0017448585,0.000056374756,0.000784884,0.00038038197],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00091857486,0.00019682237,0.0003397974,0.00004180148,0.00024325782,0.000044176195,0.74294883,0.0000045982756,0.00019500095,0.22898783,0.0127034485,0.013375896],"study_design_scores_gemma":[0.00029533583,0.0003981589,0.0007640645,0.000020958629,0.00006207855,0.00006540798,0.058117595,0.000021041165,0.00036000332,0.0036959776,0.93597966,0.00021973393],"about_ca_topic_score_codex":0.00039773143,"about_ca_topic_score_gemma":0.00038580335,"teacher_disagreement_score":0.9232762,"about_ca_system_score_codex":0.00013167027,"about_ca_system_score_gemma":0.00011066179,"threshold_uncertainty_score":0.99973804},"labels":[],"label_agreement":null},{"id":"W2026472263","doi":"10.3138/ctr.149.46","title":"Canada's Dandy Duet: The Performance Collaboration of Ivan Coyote and Rae Spoon","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dandy; Performance art; Art; Performance practice; Visual arts; Art history","score_opus":0.015581141238247095,"score_gpt":0.21138474995048973,"score_spread":0.19580360871224262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2026472263","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16616446,0.61763793,1.8020361e-7,0.011032338,0.00095221575,0.000848111,0.00042361594,0.000017245098,0.20292391],"genre_scores_gemma":[0.93749017,0.058719628,0.0000022628417,0.0021814122,0.00038127086,0.000016817186,0.000016840191,0.000010563205,0.0011810339],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992768,0.000042826498,0.00020532131,0.00008256971,0.0001100735,0.00028238233],"domain_scores_gemma":[0.9994615,0.000036407906,0.00007553421,0.00019961577,0.00007542255,0.00015156544],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00026376892,0.00012581966,0.00024609023,0.000034097233,0.0004232429,0.00002515496,0.00010667165,0.000017236292,0.0005719717],"category_scores_gemma":[0.0000075953717,0.00007779098,0.000029729466,0.000069673326,0.00014403531,0.00017159688,0.0000142403815,0.0000775258,0.00001603555],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017950257,0.000031257456,0.020512832,0.0069259764,0.00025282247,0.000005339927,0.02714187,0.0000031604825,0.0000109434,0.048221465,0.42816043,0.46871594],"study_design_scores_gemma":[0.000050617928,0.000022291788,0.0016827977,0.0006041214,0.00007492501,0.0000062453114,0.000986473,0.0000044463027,0.000021695152,0.000008259896,0.9964322,0.00010594522],"about_ca_topic_score_codex":0.7771416,"about_ca_topic_score_gemma":0.9955571,"teacher_disagreement_score":0.7713257,"about_ca_system_score_codex":0.000082861385,"about_ca_system_score_gemma":0.0005522579,"threshold_uncertainty_score":0.62626886},"labels":[],"label_agreement":null},{"id":"W2026773998","doi":"10.3138/md.55.1.070","title":"A Discourse on Staging a Writer's Worlds","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Dream; Sensibility; Simultaneity; Dystopia; Aesthetics; Visual arts; Sociology; History; Art; Literature; Psychology","score_opus":0.033410777732134175,"score_gpt":0.26503534385364935,"score_spread":0.23162456612151516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2026773998","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6172691,0.0005387496,0.000056786364,0.0008103566,0.00061357406,0.000075229524,0.000021889407,0.000092044866,0.38052228],"genre_scores_gemma":[0.9744767,0.00001360068,0.000017195594,0.00056260993,0.0015734968,0.000016062446,0.0000050168037,0.00001679524,0.023318514],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934727,0.000013089785,0.000096338,0.00009759557,0.000121587706,0.0003241313],"domain_scores_gemma":[0.99971455,0.000021499303,0.000026124762,0.00016707227,0.000017389577,0.000053348867],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008180715,0.00011639957,0.00011540557,0.000057497484,0.00032518315,0.000106032254,0.0000808368,0.00001486639,0.00067450217],"category_scores_gemma":[0.0000023619898,0.00008568344,0.00005401514,0.00001372182,0.00010221037,0.00030256217,0.000036216552,0.000100546364,0.00037237277],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008220395,0.00034048667,0.012097134,0.000047922535,0.00011798191,0.0000046935406,0.54995,0.000027488084,0.00004173914,0.28154048,0.023074443,0.13267542],"study_design_scores_gemma":[0.00052857277,0.0001399248,0.0026195035,0.00011038212,0.00005294812,0.0000020272723,0.014180541,0.0006020643,0.00012360302,0.0063010245,0.97486866,0.00047077012],"about_ca_topic_score_codex":0.000063877065,"about_ca_topic_score_gemma":0.00020999374,"teacher_disagreement_score":0.9517942,"about_ca_system_score_codex":0.000017892793,"about_ca_system_score_gemma":0.000005539196,"threshold_uncertainty_score":0.7385326},"labels":[],"label_agreement":null},{"id":"W2026841127","doi":"10.1017/s0307883303231096","title":"French ‘Classical’ Theatre Today: Teaching, Research, Performance","year":2003,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Francis Xavier University","funders":"","keywords":"Atlanta; History; Media studies; Sociology; Archaeology","score_opus":0.12361694795914983,"score_gpt":0.3784954429673727,"score_spread":0.25487849500822285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2026841127","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12014272,0.00040975408,0.0000051195543,0.004008286,0.001067346,0.0002637696,0.000049474293,0.00009641766,0.8739571],"genre_scores_gemma":[0.9336767,0.00044751808,0.00008745075,0.00009151179,0.0023829446,0.00010659573,0.00002792919,0.00003864466,0.06314066],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9953072,0.0008091183,0.0003581615,0.00047059555,0.0019924468,0.0010624415],"domain_scores_gemma":[0.99792135,0.0006841235,0.000045488418,0.00048726675,0.00067901146,0.00018278351],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.004987396,0.00023220624,0.00024030224,0.00067183626,0.0023024783,0.0004541378,0.00084480783,0.00008070929,0.008528649],"category_scores_gemma":[0.00013020079,0.00017474513,0.0001273384,0.0001523288,0.0013049564,0.00056953164,0.00026952467,0.0017667441,0.0020113606],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009019899,0.0004199801,0.007213668,0.00005745987,0.00022927613,0.000020105674,0.022190759,0.000011514234,0.00013155286,0.61160105,0.23759542,0.120438986],"study_design_scores_gemma":[0.0003924509,0.0002885557,0.00035335257,0.00010842478,0.0000054873453,0.000013112414,0.0041719503,0.00021931066,0.0003260855,0.013478667,0.9804384,0.00020420793],"about_ca_topic_score_codex":0.0008102492,"about_ca_topic_score_gemma":0.0009845002,"teacher_disagreement_score":0.813534,"about_ca_system_score_codex":0.00024956965,"about_ca_system_score_gemma":0.00020377598,"threshold_uncertainty_score":0.9989964},"labels":[],"label_agreement":null},{"id":"W2028299103","doi":"10.3138/ctr.160.004","title":"Gender and Sexuality in Acting Training","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Human sexuality; Gender studies; Representation (politics); Moderation; Ethnic group; Modalities; Space (punctuation); Sociology; Psychology; Social psychology; Political science; Computer science; Anthropology; Politics","score_opus":0.0935678372363666,"score_gpt":0.27631766080615444,"score_spread":0.18274982356978786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2028299103","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008590059,0.106123395,0.0000011769563,0.0020912895,0.00020340958,0.00020283554,0.000018213412,0.000024637127,0.88274497],"genre_scores_gemma":[0.9764835,0.018828105,0.000013049812,0.0038283835,0.00040686878,0.000014206763,0.0000055625287,0.000011689913,0.0004086209],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999351,0.000059306145,0.00016074184,0.00012971324,0.00004596004,0.00025325356],"domain_scores_gemma":[0.9996705,0.000047795616,0.00002840903,0.000118848315,0.000014171591,0.00012026726],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043258135,0.00010002029,0.00024444438,0.00006103604,0.00020534646,0.00003590117,0.000059649337,0.00001751171,0.0005693091],"category_scores_gemma":[0.000016799908,0.00007961558,0.000029933764,0.000031413663,0.00006975022,0.000095249816,0.00001031898,0.0000984526,0.000034713226],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.6881184e-7,0.000003037069,0.001446631,0.0012453377,0.000016755026,0.0000028687434,0.027580207,2.051784e-7,3.7523577e-7,0.029722357,0.0030963589,0.9368851],"study_design_scores_gemma":[0.000060917704,0.000010696672,0.00046757353,0.0006904225,0.000018498064,0.0000033943486,0.0024770019,0.000007692295,2.643158e-7,0.00052399485,0.9956286,0.00011096093],"about_ca_topic_score_codex":0.02405318,"about_ca_topic_score_gemma":0.46208262,"teacher_disagreement_score":0.99253225,"about_ca_system_score_codex":0.000034015568,"about_ca_system_score_gemma":0.000066559514,"threshold_uncertainty_score":0.9824457},"labels":[],"label_agreement":null},{"id":"W2028491417","doi":"10.1353/tt.2005.0007","title":"Rumination: Why Devise? Why Now? In Memory of Bob Flanagan","year":2005,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Art history; Art; SAINT; Fantasy; Procession; History; Midnight; Media studies; Sociology; Visual arts; Literature; Archaeology","score_opus":0.020544543890554084,"score_gpt":0.23004017268365284,"score_spread":0.20949562879309877,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2028491417","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2674359,0.0011788525,0.000006064342,0.012475615,0.00038486626,0.00015095944,0.000021765849,0.000054505843,0.71829146],"genre_scores_gemma":[0.9838048,0.00021136765,0.00008070354,0.0009978893,0.0017828121,0.000008199268,0.000010136263,0.000012166129,0.013091927],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993634,0.00002170229,0.000221074,0.00010707266,0.00011759324,0.00016913076],"domain_scores_gemma":[0.9996871,0.00002667467,0.000047165446,0.00017395908,0.00004264535,0.000022455966],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010488307,0.00010881514,0.00018872479,0.0000922252,0.00010427947,0.000022311058,0.00012185525,0.000031317384,0.0012746186],"category_scores_gemma":[0.0000024511742,0.0000883604,0.000054203065,0.00003982896,0.00011808327,0.00017493065,0.000035212783,0.000088592176,0.000079250305],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001095592,0.00038308886,0.006148328,0.00035965018,0.0001357008,0.000012307177,0.20860887,0.00014010242,0.00011149237,0.106338814,0.19854908,0.47910303],"study_design_scores_gemma":[0.0002823989,0.00005708882,0.0005024731,0.000042642205,0.000017343124,0.000001258462,0.003504061,0.00005002964,0.00079632434,0.0009943104,0.9936308,0.0001212407],"about_ca_topic_score_codex":0.00021613741,"about_ca_topic_score_gemma":0.014073431,"teacher_disagreement_score":0.79508173,"about_ca_system_score_codex":0.000024122835,"about_ca_system_score_gemma":0.000014537849,"threshold_uncertainty_score":0.9996384},"labels":[],"label_agreement":null},{"id":"W2028691854","doi":"10.1353/tj.2003.0117","title":"Fresh Terrain: A Performance Art/Theatre Festival and Symposium (review)","year":2003,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Realism; Visual arts; Performance art; Art; Theatre studies; Art history; Performance studies; Drama; Sociology; Anthropology","score_opus":0.015924171925018184,"score_gpt":0.22098704213159803,"score_spread":0.20506287020657984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2028691854","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1243573,0.03274511,0.0000076285332,0.0037003425,0.0011782305,0.00023066536,0.00001923916,0.0000758388,0.83768564],"genre_scores_gemma":[0.9113674,0.07028187,0.00009382169,0.0017911184,0.0019679072,0.00001655951,0.0000048649918,0.00004575089,0.014430691],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986325,0.00010596737,0.00037247987,0.00018967349,0.00025618338,0.00044319074],"domain_scores_gemma":[0.99938107,0.000052747422,0.00012793338,0.00020163362,0.0000810707,0.00015557106],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00050703745,0.00027768943,0.00037784618,0.000098724246,0.0010318774,0.00014574593,0.00015377281,0.000039668837,0.003487886],"category_scores_gemma":[0.0000068847726,0.00018945578,0.00012859018,0.000044894132,0.00028013627,0.00042281477,0.000038042916,0.00042377724,0.0002415132],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021733728,0.00034942626,0.0154438345,0.0017329584,0.0006316204,0.00010848177,0.05944853,0.000018725004,0.00031628658,0.01221383,0.6961308,0.21338817],"study_design_scores_gemma":[0.00051874307,0.00031374878,0.00027543987,0.00090441084,0.00012499165,0.00080917997,0.002482263,0.000017545586,0.00007559685,0.00057130057,0.9936036,0.00030316925],"about_ca_topic_score_codex":0.000011161767,"about_ca_topic_score_gemma":0.00010217761,"teacher_disagreement_score":0.82325494,"about_ca_system_score_codex":0.000032852637,"about_ca_system_score_gemma":0.000057714362,"threshold_uncertainty_score":0.99742305},"labels":[],"label_agreement":null},{"id":"W2028718993","doi":"10.1080/15505170.2004.10411506","title":"“Catch Us If You Can”: Arts-Based Interplay","year":2004,"lang":"en","type":"article","venue":"Journal of Curriculum and Pedagogy","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"The arts; Sociology; Visual arts; Computer science; Art","score_opus":0.0242942051980276,"score_gpt":0.3151286578675622,"score_spread":0.2908344526695346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2028718993","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9762417,0.0017070883,0.00004430624,0.0030596973,0.0011871239,0.000047683603,0.000015345819,0.000013099655,0.017683938],"genre_scores_gemma":[0.9967967,0.00034456197,0.00005933508,0.00050915754,0.001552381,0.000001684086,0.0000019041898,0.000010104899,0.0007241159],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991905,0.00001684429,0.00033403712,0.00008856633,0.00016852649,0.00020148937],"domain_scores_gemma":[0.9994215,0.000025080471,0.00020284043,0.000080353515,0.00017931934,0.00009095725],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015625569,0.0001410285,0.00027586933,0.00012207693,0.00024345022,0.00009108896,0.00010756471,0.00003460702,0.00047888714],"category_scores_gemma":[0.000011506508,0.00009411405,0.000120749224,0.000026492475,0.00016172271,0.00018193653,0.000021502394,0.00020506284,0.000017363385],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007594468,0.0026603434,0.22979918,0.00075916696,0.0012934225,0.00075842236,0.3972238,0.0016153213,0.00051967666,0.20616975,0.054948382,0.10349307],"study_design_scores_gemma":[0.0016664339,0.0011743453,0.002598667,0.00021029719,0.0001241964,0.00019006855,0.013537825,0.000025416051,0.0002539377,0.0020865914,0.9778577,0.0002745141],"about_ca_topic_score_codex":0.00058562885,"about_ca_topic_score_gemma":0.0023426362,"teacher_disagreement_score":0.9229093,"about_ca_system_score_codex":0.00002784554,"about_ca_system_score_gemma":0.00011767501,"threshold_uncertainty_score":0.52434784},"labels":[],"label_agreement":null},{"id":"W2028977474","doi":"10.1353/mdr.2011.0007","title":"Changing the Subject: Marvin Carlson and Theatre Studies, 1959-2009 (review)","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subject (documents); Drama; Witness; History; Art history; Classics; Art; Literature; Philosophy; Computer science; Linguistics; Library science","score_opus":0.054162906203961435,"score_gpt":0.24556348269013278,"score_spread":0.19140057648617134,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2028977474","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14098701,0.4327854,0.000014630727,0.002264908,0.00089513435,0.000626616,0.000054849934,0.00017925815,0.4221922],"genre_scores_gemma":[0.9616851,0.028044501,0.000013584164,0.0016490365,0.00058504957,0.00005508534,0.000003307432,0.00002168978,0.007942607],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991859,0.00003797249,0.00016475045,0.0001816832,0.00012170059,0.00030798317],"domain_scores_gemma":[0.9995805,0.000043915803,0.00005121336,0.00024103397,0.000053081105,0.000030237092],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024818853,0.00017703863,0.00025371803,0.000048522495,0.00069647754,0.000039661296,0.00014477238,0.000021599706,0.00033048564],"category_scores_gemma":[0.0000065402,0.0001007968,0.00006579192,0.00003518227,0.00024932192,0.00013931048,0.00013062824,0.00012151164,0.0000540581],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038792692,0.00006163851,0.0011183036,0.0007481667,0.0003407618,0.000013027093,0.70957804,6.152438e-7,0.0000096306585,0.01980062,0.02450333,0.24378707],"study_design_scores_gemma":[0.00055882987,0.00026995662,0.0008822881,0.0012790723,0.0003940186,0.000024605135,0.06490942,0.00023250384,0.00019086483,0.013222879,0.9173459,0.00068967533],"about_ca_topic_score_codex":0.0001638252,"about_ca_topic_score_gemma":0.0014486252,"teacher_disagreement_score":0.89284253,"about_ca_system_score_codex":0.000014103387,"about_ca_system_score_gemma":0.000008574336,"threshold_uncertainty_score":0.53568125},"labels":[],"label_agreement":null},{"id":"W2030488603","doi":"10.3828/qs.38.1.25","title":"Representing Montreal's Algerian Immigrants on Stage and Screen","year":2004,"lang":"en","type":"article","venue":"Quebec Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Immigration; Stage (stratigraphy); Political science; History; Biology; Law","score_opus":0.042307492266774875,"score_gpt":0.2702436734799288,"score_spread":0.2279361812131539,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2030488603","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8994357,0.0065795165,0.0000014699984,0.001953297,0.00037520335,0.00016940506,0.000049781494,0.000120786455,0.09131487],"genre_scores_gemma":[0.966846,0.0013937621,0.000023134511,0.00026671082,0.00052744534,0.000020362426,0.000003960367,0.000015109113,0.030903514],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991905,0.00001564957,0.00017928911,0.00023204647,0.00012659281,0.00025590253],"domain_scores_gemma":[0.9996102,0.00006806095,0.00006100497,0.00016610246,0.0000615602,0.000033082833],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000104674626,0.0001755104,0.00026711333,0.000067170855,0.0007941834,0.0000888813,0.00006631935,0.000019059584,0.000081141465],"category_scores_gemma":[0.000028365748,0.00012721033,0.000052768017,0.00002383055,0.000340768,0.00017777881,0.0000933261,0.0000854487,0.00006757047],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025597875,0.00021543643,0.010291075,0.00036006328,0.0017296085,0.000093335875,0.6711606,0.00010247142,0.0000648513,0.21224104,0.026393555,0.077092],"study_design_scores_gemma":[0.0040586847,0.0008719829,0.103352584,0.00096082117,0.00024802523,0.0000065740355,0.4391611,0.000013392177,0.0010664704,0.013693402,0.4351328,0.0014341671],"about_ca_topic_score_codex":0.094726555,"about_ca_topic_score_gemma":0.51628834,"teacher_disagreement_score":0.42156178,"about_ca_system_score_codex":0.000033005785,"about_ca_system_score_gemma":0.000011999434,"threshold_uncertainty_score":0.91130173},"labels":[],"label_agreement":null},{"id":"W2030684133","doi":"10.3138/md.43.4.543","title":"Making Sense of Sensation: Enlightenment, Embodiment, and the End(s) of Modern Drama","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Tehran University of Medical Sciences and Health Services","keywords":"Drama; Modernity; Postmodernism; Literature; Enlightenment; Art; Humanism; Aesthetics; Object (grammar); History; Philosophy; Theology; Epistemology","score_opus":0.028840779475352796,"score_gpt":0.24100560865351608,"score_spread":0.2121648291781633,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2030684133","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8227439,0.0016100184,0.00006107206,0.0007026923,0.000093461145,0.00019465823,0.000044881905,0.000028323544,0.174521],"genre_scores_gemma":[0.993675,0.0002590919,0.000053702697,0.00019346744,0.00020960424,0.0000102406,0.0000043815003,0.0000141893015,0.00558033],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999115,0.000050043396,0.00029526715,0.00015664723,0.00020572086,0.000177323],"domain_scores_gemma":[0.9994871,0.00008120463,0.000115613366,0.00023706621,0.000059032485,0.000019979338],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017521808,0.0001454024,0.00027922553,0.00004406924,0.00028298487,0.00005329364,0.00007994247,0.000032151453,0.0010561987],"category_scores_gemma":[0.000003596483,0.00009398783,0.00008466127,0.00002177779,0.0006416394,0.00013536023,0.0000453103,0.00008246114,0.000014394043],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006963965,0.0001528711,0.0007221568,0.00019236002,0.0004028234,0.000008295024,0.481028,0.00045108472,0.00045775462,0.14560841,0.0008615196,0.36941832],"study_design_scores_gemma":[0.015128809,0.00088809564,0.0032311517,0.00087008683,0.0010950478,0.00011926929,0.028313471,0.15137196,0.011025041,0.3940814,0.39195174,0.0019238971],"about_ca_topic_score_codex":0.00015401957,"about_ca_topic_score_gemma":0.00022370782,"teacher_disagreement_score":0.45271453,"about_ca_system_score_codex":0.000010710646,"about_ca_system_score_gemma":0.000012644899,"threshold_uncertainty_score":0.99985695},"labels":[],"label_agreement":null},{"id":"W2031338730","doi":"10.3138/ctr.150.86","title":"There is No Revolution, Televised or Otherwise","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Corporatization; Manifesto; Postmodernity; Work (physics); Aesthetics; Cognitive reframing; Visual arts; Media studies; Sociology; Art; Art history; Political science; Law; Engineering; Modernity; Psychology","score_opus":0.03736440322301049,"score_gpt":0.24709969949925314,"score_spread":0.20973529627624266,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2031338730","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029509142,0.4208391,3.3944195e-7,0.003279933,0.00054851733,0.00036027422,0.00013305854,0.000044413093,0.57449925],"genre_scores_gemma":[0.23406592,0.55621034,0.00006845261,0.0486124,0.008030541,0.0002025063,0.00005399811,0.00013237065,0.15262347],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888223,0.000052977128,0.00024979515,0.00014727736,0.000108069355,0.0005596304],"domain_scores_gemma":[0.99909955,0.000030246958,0.000061986626,0.0003565684,0.00010498645,0.00034663905],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024473856,0.00020833487,0.00035217998,0.000066452034,0.0004596226,0.00004350031,0.00018142785,0.000036883666,0.04818459],"category_scores_gemma":[0.000016815975,0.00013203702,0.00014182758,0.00007157141,0.00012998868,0.0002753807,0.00001523285,0.00011249512,0.0060088653],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006728145,0.000018051158,0.0010970255,0.0015858822,0.000082024475,0.000003642487,0.0052444455,1.6315079e-8,4.74094e-7,0.0074230013,0.87261844,0.11192026],"study_design_scores_gemma":[0.00008401977,0.000031431315,0.00011604875,0.00162571,0.00009441425,0.000007952981,0.00035374012,6.4909426e-7,0.0000016708514,0.000057491772,0.99741375,0.00021312007],"about_ca_topic_score_codex":0.020747917,"about_ca_topic_score_gemma":0.14625922,"teacher_disagreement_score":0.4218758,"about_ca_system_score_codex":0.00011602756,"about_ca_system_score_gemma":0.00019581152,"threshold_uncertainty_score":0.99476504},"labels":[],"label_agreement":null},{"id":"W2033995427","doi":"10.1080/10245280108523552","title":"Re-casting shakespeare: gendered performances and performativity of leadership","year":2001,"lang":"en","type":"article","venue":"Studies in Cultures Organizations and Societies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Francis Xavier University","funders":"","keywords":"Performativity; Casting; Aesthetics; Sociology; Gender studies; Art; Visual arts","score_opus":0.13801395853620627,"score_gpt":0.3071868731450421,"score_spread":0.16917291460883585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2033995427","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9407431,0.028877908,0.0000056333456,0.0017208521,0.00024800474,0.00015158771,0.000019444777,0.00005263497,0.028180838],"genre_scores_gemma":[0.97490877,0.022132164,0.000082180464,0.00017223116,0.00019914878,0.000008149136,0.0000057503125,0.000009695252,0.0024818918],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99928117,0.000027562968,0.00023941215,0.0001401173,0.000115039285,0.00019667631],"domain_scores_gemma":[0.9995168,0.0000848885,0.00008015555,0.00007409293,0.0002231153,0.000020950522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001720401,0.0001451866,0.00026218928,0.000055035285,0.00094522594,0.000060803828,0.000060106522,0.000037946043,0.00011903374],"category_scores_gemma":[0.00006410722,0.0001082095,0.000023921704,0.00013709793,0.0010919702,0.00033593786,0.000100381956,0.00011828825,0.000001752938],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011245044,0.000030708456,0.062946305,0.00043420904,0.00013530756,9.233578e-7,0.9177075,0.000022511107,0.00001468853,0.008473751,0.008342508,0.0018803566],"study_design_scores_gemma":[0.00027699725,0.00007740508,0.007808191,0.00010652607,0.000034919456,0.0000043780346,0.974393,0.00006134033,0.00006271843,0.00058996346,0.016406244,0.00017830929],"about_ca_topic_score_codex":0.000037309277,"about_ca_topic_score_gemma":0.0019802938,"teacher_disagreement_score":0.056685526,"about_ca_system_score_codex":0.000015943177,"about_ca_system_score_gemma":0.00001221916,"threshold_uncertainty_score":0.72700095},"labels":[],"label_agreement":null},{"id":"W2034184053","doi":"10.3138/md.44.1.52","title":"<i>Quo Vadis? </i>Theatre Studies at the Crossroads","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Merge (version control); Status quo; Discipline; Interdisciplinarity; Musicology; Performance studies; Theatre studies; Cultural studies; Film studies; Subject (documents); Sociology; Social science; History; Media studies; Art history; Art; Visual arts; Movie theater; Anthropology; Political science; Pedagogy; Library science; Law","score_opus":0.0442070167716024,"score_gpt":0.26836142225585863,"score_spread":0.22415440548425622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2034184053","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6157809,0.015664382,0.000009723371,0.0067943293,0.00090940366,0.00019199376,0.00003020295,0.00015435547,0.36046472],"genre_scores_gemma":[0.8522161,0.0012049584,0.000004031832,0.0011463407,0.0011778316,0.00003954297,0.000005942521,0.000021439007,0.14418377],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989961,0.00003014934,0.0001971381,0.00021667864,0.00019229851,0.00036762957],"domain_scores_gemma":[0.9993889,0.0000902296,0.000053208732,0.00034565927,0.000085181775,0.000036850226],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014393294,0.00020307288,0.00023114424,0.000032822532,0.0017118596,0.00016728941,0.0002061875,0.000029597564,0.0012899943],"category_scores_gemma":[0.0000070655497,0.0001140605,0.0001231379,0.00003355358,0.00062491035,0.00019084688,0.00017821378,0.00012761272,0.0006985526],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023156477,0.00016087633,0.010601789,0.00009802268,0.000739816,0.000044885302,0.5105874,0.00018163826,0.00013088489,0.025694419,0.3089041,0.1426246],"study_design_scores_gemma":[0.00026326464,0.00006054744,0.00022495314,0.000024900815,0.00004826855,0.0000115828,0.0077342303,0.00013010636,0.0000874789,0.0056481473,0.9855788,0.00018775079],"about_ca_topic_score_codex":0.00010985906,"about_ca_topic_score_gemma":0.0059633953,"teacher_disagreement_score":0.67667466,"about_ca_system_score_codex":0.00005090176,"about_ca_system_score_gemma":0.000012023548,"threshold_uncertainty_score":0.99962294},"labels":[],"label_agreement":null},{"id":"W2034405512","doi":"10.1353/mdr.2012.0021","title":"Social Works: Performing Art, Supporting Publics (review)","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Context (archaeology); Art; Contemplation; Sociology; Aesthetics; Media studies; Visual arts; History; Epistemology; Philosophy","score_opus":0.0455704909135924,"score_gpt":0.2791375891990379,"score_spread":0.23356709828544553,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2034405512","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16452765,0.035025027,0.00013106076,0.0044610873,0.0012561289,0.00033931012,0.00001718752,0.0003031656,0.79393935],"genre_scores_gemma":[0.9772428,0.001098834,0.00002951207,0.0014625429,0.0034281646,0.000029719879,0.000024396906,0.000024285308,0.016659731],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888515,0.000019684374,0.0002596082,0.00011891638,0.00018008829,0.0005365315],"domain_scores_gemma":[0.999622,0.00002460498,0.00010287652,0.0001235018,0.00006438487,0.000062666615],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035528356,0.0001532861,0.00022880781,0.000042661548,0.0007818841,0.00012181692,0.000119846496,0.000035845012,0.0024587733],"category_scores_gemma":[0.00001746065,0.00012409345,0.00011548422,0.000027798735,0.0001033288,0.0008752351,0.00007605127,0.00017559288,0.0005444511],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013305299,0.00012709684,0.003689918,0.0005617612,0.000106680556,0.000001829234,0.22898103,0.0000015109651,0.000009581838,0.029274274,0.27112764,0.46610537],"study_design_scores_gemma":[0.00013910848,0.000018812612,0.0003669732,0.00019518055,0.00005508701,0.0000035089843,0.0028712552,0.0001992844,0.000014943054,0.00075902365,0.99513453,0.00024227513],"about_ca_topic_score_codex":0.000018076837,"about_ca_topic_score_gemma":0.000108782515,"teacher_disagreement_score":0.8127152,"about_ca_system_score_codex":0.000025421059,"about_ca_system_score_gemma":0.000016484259,"threshold_uncertainty_score":0.99845314},"labels":[],"label_agreement":null},{"id":"W2034466108","doi":"10.3138/md.45.4.495","title":"\"Finding Our Feet in the Shoes of (One An) Other\": Multiple Character Solo Performers and Utopian Performatives","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Character (mathematics); Politics; Aesthetics; Social justice; Utopia; Gesture; Focus (optics); Visual arts; Performance art; Art; Sociology; Economic Justice; Art history; Law; Political science; Social science; Computer science; Artificial intelligence","score_opus":0.06711494710641554,"score_gpt":0.24571959300980106,"score_spread":0.17860464590338554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2034466108","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97814083,0.00024926552,0.000007538803,0.0008296968,0.00008479991,0.00014117321,0.000028256905,0.000019439742,0.020499015],"genre_scores_gemma":[0.997858,0.00011336853,0.000030916024,0.0002734777,0.0003242133,0.000013007649,0.000004439232,0.000012264341,0.0013703511],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99926496,0.000041048595,0.0001994861,0.00013087809,0.00013414209,0.00022947534],"domain_scores_gemma":[0.9996917,0.000039235932,0.00006695184,0.00015180769,0.00002660991,0.000023651117],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017995559,0.00013610806,0.00019513861,0.00008596527,0.00035158472,0.00010721681,0.0001376039,0.000032412416,0.00028697352],"category_scores_gemma":[0.000005659938,0.000087446984,0.000039122253,0.000023180353,0.00013959045,0.00056350365,0.000031977124,0.00014114488,0.00002100735],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035172867,0.00016433209,0.03209566,0.00008595258,0.00004433713,0.0000010830438,0.91050303,0.000012036713,0.00015145667,0.002990254,0.00018727168,0.053729415],"study_design_scores_gemma":[0.004050823,0.0014058257,0.11077334,0.00044543308,0.00013437938,0.000022910986,0.58718187,0.11679315,0.0012785177,0.0024874583,0.17403942,0.0013868614],"about_ca_topic_score_codex":0.00017084114,"about_ca_topic_score_gemma":0.0013485079,"teacher_disagreement_score":0.32332116,"about_ca_system_score_codex":0.000009421099,"about_ca_system_score_gemma":0.0000036231247,"threshold_uncertainty_score":0.35659844},"labels":[],"label_agreement":null},{"id":"W2035489880","doi":"10.3138/md.53.3.311","title":"“Ladies’ Voices Give Pleasure”: Gossip, Drama, and Gertrude Stein","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gossip; Drama; Pleasure; Aesthetics; Agency (philosophy); Identity (music); Space (punctuation); Sensibility; Sociology; Impromptu; Queer; Art; Psychology; Visual arts; Literature; Gender studies; Social psychology; Philosophy; Computer science; Linguistics","score_opus":0.01695131210178961,"score_gpt":0.2225554466222776,"score_spread":0.205604134520488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2035489880","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8770849,0.00093380606,0.000018281497,0.0009164372,0.0008031884,0.00013168105,0.000047406407,0.00012291402,0.11994138],"genre_scores_gemma":[0.9776769,0.00007522235,0.00006212191,0.00031269,0.0012257466,0.000022167369,0.0000075326598,0.00002593052,0.020591674],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902,0.000019144445,0.00018534651,0.00026089323,0.000176707,0.0003379266],"domain_scores_gemma":[0.9994603,0.00006252055,0.00006454923,0.000245946,0.00008531915,0.00008135827],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013257354,0.0002121581,0.00024032113,0.00006782412,0.0007713138,0.0003469308,0.00015410616,0.000069113325,0.00083163794],"category_scores_gemma":[0.000015137013,0.00016486355,0.00006489179,0.000019231242,0.00045269282,0.00034053766,0.000089403926,0.00031132184,0.00017301762],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001993286,0.00023723641,0.009597544,0.00026657595,0.00043933457,0.000030832663,0.59748274,0.000014120387,0.005098687,0.14967734,0.020150278,0.21680596],"study_design_scores_gemma":[0.00070918526,0.00016657535,0.0037272517,0.000042254585,0.00006875195,0.000010644196,0.0061658886,0.0011620721,0.0006583217,0.018265955,0.96848726,0.0005358156],"about_ca_topic_score_codex":0.0004921927,"about_ca_topic_score_gemma":0.01560924,"teacher_disagreement_score":0.948337,"about_ca_system_score_codex":0.000009055881,"about_ca_system_score_gemma":0.000022133114,"threshold_uncertainty_score":0.9105852},"labels":[],"label_agreement":null},{"id":"W2035779115","doi":"10.3138/ctr.162.002","title":"SUPREME GIFT—for Jeff Koons","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Performative utterance; Art history; Art; Performance art; White (mutation); Supreme court; Visual arts; Media studies; Law; Sociology; Political science; Aesthetics","score_opus":0.08115182589777609,"score_gpt":0.26385935758581835,"score_spread":0.18270753168804227,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2035779115","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032202573,0.2905624,0.0000021584583,0.010352279,0.0008779968,0.0006873763,0.00034075114,0.00005899192,0.696796],"genre_scores_gemma":[0.55262136,0.23824088,0.0003818646,0.06594014,0.013196086,0.0012996374,0.0006852889,0.00030564217,0.1273291],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991396,0.000027411865,0.0002021882,0.00015786577,0.00008888005,0.00038402932],"domain_scores_gemma":[0.99914634,0.00003275788,0.0000378905,0.00026228005,0.00012588056,0.00039487355],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027638825,0.00015746715,0.0003199864,0.000072088995,0.00029711306,0.000055206285,0.0001754535,0.00002563255,0.0013327609],"category_scores_gemma":[0.000023213122,0.000119308665,0.00013502309,0.000043619493,0.00011210372,0.00012497965,0.00001367054,0.00007321663,0.0006673188],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000039534602,0.000008261218,0.00012182962,0.0009888579,0.000060271737,0.000006679446,0.004310518,3.9347728e-7,2.2351551e-7,0.040126875,0.85401636,0.100355744],"study_design_scores_gemma":[0.00013155266,0.000058603728,0.0000062883696,0.00060687395,0.000089927315,0.000007030192,0.00066081365,0.0000027946924,0.0000014857948,0.00090047467,0.9973622,0.00017198821],"about_ca_topic_score_codex":0.027112387,"about_ca_topic_score_gemma":0.51392436,"teacher_disagreement_score":0.56946695,"about_ca_system_score_codex":0.00010178257,"about_ca_system_score_gemma":0.00036593902,"threshold_uncertainty_score":0.99958014},"labels":[],"label_agreement":null},{"id":"W2036748362","doi":"10.3138/ctr.150.17","title":"GLITTERfesto: An Open Call in Trinity Formation for a Revolutionary Movement of Activist Performance Based on the Premise That Social Justice is Fabulous","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Premise; Sociology; Aesthetics; Glory; Manifesto; Politics; Economic Justice; Transformative learning; Direct action; Social movement; Gender studies; Media studies; Law; Art; Political science; Epistemology; Philosophy","score_opus":0.09021256362613449,"score_gpt":0.2916680506602852,"score_spread":0.20145548703415073,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2036748362","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19167204,0.08747002,0.000041866326,0.049757287,0.0016701439,0.015463932,0.003465786,0.00008292382,0.650376],"genre_scores_gemma":[0.98474234,0.005060599,0.000014418476,0.009004035,0.00034945257,0.0003412073,0.000058006186,0.00001480709,0.0004151028],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990501,0.000096734526,0.00026433205,0.00012070055,0.00012735085,0.00034080207],"domain_scores_gemma":[0.9993747,0.000089892994,0.00012930686,0.00024136124,0.000063450454,0.00010133056],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007099478,0.00015367987,0.00029449654,0.00006693497,0.0005737494,0.000029119823,0.00029604096,0.000030319716,0.00041620675],"category_scores_gemma":[0.000011864113,0.00010392453,0.00007530125,0.00005827356,0.00008532451,0.0005195354,0.000026425052,0.0001099474,0.000014590549],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000545108,0.0007806711,0.0072756135,0.028214727,0.00017183798,0.0000022962936,0.08388619,0.000026589192,0.000010951282,0.031849895,0.4468512,0.40038493],"study_design_scores_gemma":[0.00040057936,0.00023065638,0.0031897933,0.0020489465,0.00017372928,0.0000010035474,0.0014899812,0.00039122705,0.000042169973,0.00011169648,0.99169105,0.00022917867],"about_ca_topic_score_codex":0.006601014,"about_ca_topic_score_gemma":0.04988468,"teacher_disagreement_score":0.7930703,"about_ca_system_score_codex":0.00023242822,"about_ca_system_score_gemma":0.00017121491,"threshold_uncertainty_score":0.9978803},"labels":[],"label_agreement":null},{"id":"W203684841","doi":"","title":"\"Fatherlands and Mother-tongues\": Family Histories and Futures in Recent Australian and Canadian Multicultural Theatre","year":2001,"lang":"en","type":"article","venue":"Queensland's institutional digital repository (The University of Queensland)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Futures contract; Sociology; Gender studies; History; Genealogy; Media studies; Pedagogy","score_opus":0.01397406066821792,"score_gpt":0.1835966466144356,"score_spread":0.16962258594621768,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W203684841","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9017039,0.0011125255,0.0000012160772,0.0009469162,0.0001994671,0.00013360911,0.00008675063,0.00002013015,0.09579547],"genre_scores_gemma":[0.9933622,0.0008808418,0.0000146239545,0.00005678564,0.00016730778,6.151798e-7,0.000020387093,0.000005661657,0.005491564],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928844,0.000026008893,0.0001451271,0.0002029215,0.0001323833,0.00020511993],"domain_scores_gemma":[0.999608,0.0000466004,0.000056352656,0.00010005037,0.00007832034,0.000110681336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00005590877,0.00016807446,0.00020105406,0.000103264676,0.00091451535,0.00010774084,0.000092458235,0.00006249261,0.00003350254],"category_scores_gemma":[0.000006536161,0.00012146297,0.00003767462,0.000041824776,0.0011315497,0.00041043572,0.000045647714,0.0001344389,0.000002431125],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00086428196,0.00015528673,0.7200944,0.00016067774,0.00039925554,0.0004981142,0.1843483,0.0001032304,0.00011033569,0.04178195,0.00812523,0.043358963],"study_design_scores_gemma":[0.00071722403,0.0001051598,0.21539137,0.00007802236,0.000037806574,0.00010768449,0.02768362,0.000039299655,0.0000064071346,0.00028870947,0.7553186,0.00022614133],"about_ca_topic_score_codex":0.063129045,"about_ca_topic_score_gemma":0.21836187,"teacher_disagreement_score":0.74719334,"about_ca_system_score_codex":0.000082543665,"about_ca_system_score_gemma":0.00007971071,"threshold_uncertainty_score":0.9431097},"labels":[],"label_agreement":null},{"id":"W2037565723","doi":"10.1017/s004055741400043x","title":"Naturalism in Theatre: Its Development and Legacy. By Kenneth Pickering and Jayne Thompson. Basingstoke, Hampshire, UK: Palgrave Macmillan, 2013; pp. ix + 232, 13 illustrations. $90 cloth, $32.00 paper.","year":2014,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Naturalism; History; Art history; Environmental ethics; Performance art; Media studies; Sociology; Philosophy; Epistemology","score_opus":0.023449985839535704,"score_gpt":0.22312361867097003,"score_spread":0.19967363283143433,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2037565723","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87026495,0.043881964,0.000009449783,0.0012457364,0.0007639707,0.0005036474,0.00021716137,0.00015002485,0.0829631],"genre_scores_gemma":[0.99017245,0.00783476,0.00009125715,0.00043143146,0.000376169,0.000033028355,0.00017866559,0.000048334932,0.00083393],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.997789,0.0002980518,0.000521966,0.0005097915,0.0002686096,0.00061255344],"domain_scores_gemma":[0.99896383,0.00037089616,0.00012635913,0.0002948836,0.0001030707,0.00014097114],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0011331341,0.00047779348,0.0005472535,0.00012332464,0.00078433333,0.0003459055,0.0001966189,0.00012961499,0.00043436617],"category_scores_gemma":[0.000023823563,0.00037435576,0.0000543225,0.000103584796,0.0003513743,0.00021431273,0.00014829225,0.00035251564,0.000041596588],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000762743,0.00020262018,0.12003284,0.00078294607,0.0008087204,0.000037598482,0.14473286,0.00006762581,0.0007827401,0.019026231,0.104114845,0.60864824],"study_design_scores_gemma":[0.0021254197,0.00025042126,0.1365594,0.0003115212,0.000054902637,0.000024748379,0.005388917,0.0003829595,0.00046021538,0.0013473372,0.85171527,0.0013788851],"about_ca_topic_score_codex":0.006682819,"about_ca_topic_score_gemma":0.08333944,"teacher_disagreement_score":0.74760044,"about_ca_system_score_codex":0.00004553346,"about_ca_system_score_gemma":0.000047164627,"threshold_uncertainty_score":0.99993175},"labels":[],"label_agreement":null},{"id":"W2037932681","doi":"10.3138/md.44.4.416","title":"Exiled from Alienation: Brechtian Aesthetics, the Death of the Director, and Peter Brook's <i>The Mahabharata</i>","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Alienation; Politics; Criticism; Pariah group; BENGAL; Aesthetics; History; Sociology; Art history; Religious studies; Art; Literature; Law; Political science; Philosophy; Archaeology","score_opus":0.023207222381576846,"score_gpt":0.21456122520266088,"score_spread":0.19135400282108403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2037932681","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9047275,0.0024414235,0.000031968248,0.005980277,0.0004868661,0.00023375521,0.00007698467,0.000035173813,0.085986026],"genre_scores_gemma":[0.9901835,0.0002521089,0.0000066123025,0.0010135577,0.00042385998,0.000016043003,0.000004435444,0.000012877846,0.008087028],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999344,0.000045315657,0.00015401475,0.00013218788,0.0001700551,0.00015443652],"domain_scores_gemma":[0.9994296,0.000088210596,0.00006874725,0.00033945363,0.000055749864,0.000018237775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011022404,0.0001230992,0.00012782172,0.000013796766,0.00056389754,0.0001318483,0.00025535206,0.000025453532,0.0002831152],"category_scores_gemma":[0.0000060704238,0.000053122407,0.000071018956,0.000019034233,0.0003554419,0.0000960315,0.00009708576,0.00011799026,0.000018448152],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027121976,0.0002827701,0.07018395,0.000055637796,0.0005254368,0.000010022436,0.5901673,0.0000972679,0.00066178635,0.16922666,0.023863144,0.14465484],"study_design_scores_gemma":[0.00039152123,0.000053229465,0.01578253,0.000045555873,0.00008835425,0.000008527117,0.0017259507,0.00072055677,0.00053309754,0.021577548,0.9589009,0.00017220533],"about_ca_topic_score_codex":0.0008641233,"about_ca_topic_score_gemma":0.0028833498,"teacher_disagreement_score":0.9350378,"about_ca_system_score_codex":0.000009203519,"about_ca_system_score_gemma":0.000011440249,"threshold_uncertainty_score":0.4337101},"labels":[],"label_agreement":null},{"id":"W2038257515","doi":"10.3138/ctr.147.3","title":"Toward the Activist Classroom","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethos; Dance; Politics; Visual arts; Media studies; Public speaking; Sociology; Art; Political science; Law","score_opus":0.08170516550779892,"score_gpt":0.2366546556435067,"score_spread":0.1549494901357078,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2038257515","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003021856,0.12312655,5.247864e-7,0.00668419,0.00042568913,0.00027244032,0.000043659347,0.000032829765,0.86911196],"genre_scores_gemma":[0.8859037,0.09326879,0.000011733496,0.012401324,0.000950863,0.000086519285,0.000011766772,0.000032293723,0.007333019],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992798,0.000042813914,0.00015898817,0.00012995134,0.00007608448,0.00031237042],"domain_scores_gemma":[0.9994458,0.00002352924,0.00004133136,0.000305929,0.00004066157,0.00014273456],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016801545,0.00014279255,0.000220603,0.000040493796,0.00042976052,0.00004033646,0.0002617685,0.000018534969,0.007822384],"category_scores_gemma":[0.000005561886,0.00007938129,0.00012246416,0.000044968347,0.00020226209,0.0001118168,0.00001866858,0.00013176902,0.0010122982],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000051642423,0.000018113611,0.00034917318,0.0011151879,0.000156778,0.000024149862,0.052083097,2.1462181e-8,3.8891122e-7,0.108427614,0.2943406,0.5434797],"study_design_scores_gemma":[0.00003344389,0.000025150075,0.0001980141,0.00052007503,0.00007664339,0.000007890787,0.0015321985,3.621476e-7,0.0000021796973,0.0007540435,0.9967271,0.00012291486],"about_ca_topic_score_codex":0.065672606,"about_ca_topic_score_gemma":0.46860915,"teacher_disagreement_score":0.8856015,"about_ca_system_score_codex":0.000051820207,"about_ca_system_score_gemma":0.00013913211,"threshold_uncertainty_score":0.9997655},"labels":[],"label_agreement":null},{"id":"W2039141152","doi":"10.3138/md.46.1.95","title":"Sycorax Revisited: Exile and Absence in Performance","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subjectivity; Aesthetics; Literature; Character (mathematics); Trope (literature); Tempest; Iconicity; Consciousness; Sociology; History; Art; Philosophy; Linguistics; Epistemology","score_opus":0.022589083883172618,"score_gpt":0.2218153183058475,"score_spread":0.19922623442267487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2039141152","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79068905,0.0016023231,0.000010168372,0.0000729324,0.00010895361,0.00007347711,0.0000048440907,0.00002878774,0.20740949],"genre_scores_gemma":[0.9924993,0.00053997786,0.00003765905,0.00017964047,0.00009992925,0.000011734327,0.0000017703104,0.000009437776,0.0066205524],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994252,0.000016219128,0.00013071952,0.00015167014,0.000080214784,0.00019602981],"domain_scores_gemma":[0.99977446,0.000019901589,0.000026041382,0.00012797491,0.000024670453,0.000026926866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001110137,0.000102927144,0.00013630197,0.00005728853,0.00020037104,0.00007474282,0.000056158442,0.000021839867,0.00041533826],"category_scores_gemma":[0.000007585157,0.00008484503,0.000018728188,0.000027176127,0.00011197822,0.00023366344,0.000021315464,0.0000954591,0.000078211335],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000103451464,0.00021522761,0.20190662,0.000599458,0.00006747329,0.00003231251,0.2587583,0.00014280323,0.00021363427,0.3505994,0.006866943,0.18049438],"study_design_scores_gemma":[0.0010026256,0.00022513937,0.018896097,0.00029880405,0.00002019953,0.00001953722,0.0046920674,0.004569384,0.00034996105,0.012536462,0.95672673,0.00066297],"about_ca_topic_score_codex":0.000052048345,"about_ca_topic_score_gemma":0.00026668241,"teacher_disagreement_score":0.9498598,"about_ca_system_score_codex":0.0000124688195,"about_ca_system_score_gemma":0.000009710988,"threshold_uncertainty_score":0.45476624},"labels":[],"label_agreement":null},{"id":"W203919147","doi":"10.3138/ctr.105.006","title":"Teaching Canadian Plays in Australia","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Syllabus; Theme (computing); Nationalism; History; Sociology; Media studies; Aesthetics; Political science; Law; Visual arts; Art; Pedagogy; Politics","score_opus":0.0515775367351702,"score_gpt":0.2698838585819305,"score_spread":0.21830632184676027,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W203919147","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009644035,0.051514726,6.3613385e-8,0.009585242,0.0003954709,0.00035939948,0.00010219864,0.000025271513,0.9283736],"genre_scores_gemma":[0.9466895,0.023362972,0.000007259541,0.0072758193,0.0007177125,0.000041618772,0.000041556486,0.000026455278,0.021837145],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987996,0.000055548222,0.00025020575,0.00018345097,0.00007710146,0.0006340708],"domain_scores_gemma":[0.99921393,0.000018728255,0.000029907951,0.00023480746,0.000023850216,0.0004787484],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029295645,0.00018118054,0.00031050568,0.00027193033,0.0004201509,0.000059437854,0.00020012593,0.000031737487,0.007691028],"category_scores_gemma":[0.000008910011,0.00015354145,0.000084692336,0.000055106248,0.0000755112,0.00016693318,0.000008592778,0.0002654934,0.0010378117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005779615,0.00002858269,0.022109661,0.0019206505,0.000112428,0.00086828443,0.020497344,0.000003885148,8.930079e-7,0.20766877,0.34585947,0.40092427],"study_design_scores_gemma":[0.000068018264,0.000016380995,0.00039383705,0.0014448275,0.000026222455,0.00002592836,0.0005135481,0.0000020317193,1.6634e-7,0.00028165727,0.9970269,0.00020045326],"about_ca_topic_score_codex":0.98897016,"about_ca_topic_score_gemma":0.9997882,"teacher_disagreement_score":0.9370454,"about_ca_system_score_codex":0.00033810816,"about_ca_system_score_gemma":0.0003431992,"threshold_uncertainty_score":0.99974},"labels":[],"label_agreement":null},{"id":"W2039555141","doi":"10.3138/md.49.2.147","title":"The Prompter’s Box: Modern Drama’s Allegories of Allegory","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Allegory; Drama; Visual arts; Art; Literature","score_opus":0.01829688578735346,"score_gpt":0.21751909911897258,"score_spread":0.1992222133316191,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2039555141","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32195595,0.007974524,0.0005966618,0.0029278588,0.0010407622,0.0004993068,0.00008762798,0.0002448721,0.66467243],"genre_scores_gemma":[0.9566335,0.00012443573,0.000042567208,0.0001112916,0.0009030176,0.000043188593,0.0000151744625,0.000029816509,0.042096976],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998715,0.000033287502,0.00036132493,0.00021816407,0.00028569804,0.00038654575],"domain_scores_gemma":[0.9992539,0.00008147323,0.00012421997,0.00037067547,0.00013863693,0.000031056526],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015894113,0.00022148792,0.00026537702,0.00004798847,0.00088980136,0.00020174678,0.000295005,0.000049864113,0.0002747857],"category_scores_gemma":[0.000006427324,0.00014231543,0.00013760342,0.00002222252,0.0005843816,0.00024518894,0.00010566451,0.0001496643,0.00006140427],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028849553,0.00038911926,0.0017080638,0.00019572634,0.00039827893,0.000012860653,0.16763006,0.00059360993,0.00052743725,0.638585,0.09982057,0.08985079],"study_design_scores_gemma":[0.0005924429,0.00017168038,0.00076936214,0.00004337237,0.000063409105,0.0000040764544,0.005311548,0.0042295135,0.0006704002,0.16756414,0.8201726,0.00040746422],"about_ca_topic_score_codex":0.0008004721,"about_ca_topic_score_gemma":0.0068105757,"teacher_disagreement_score":0.720352,"about_ca_system_score_codex":0.000014881873,"about_ca_system_score_gemma":0.000039610248,"threshold_uncertainty_score":0.68437225},"labels":[],"label_agreement":null},{"id":"W2040557562","doi":"10.1017/s0040557403000103","title":"Setting the Stage for Revolution: The Efficacy of Czech Theatre, 1975–1989","year":2003,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Faith; Catechism; Politics; Patience; Idealism; Affect (linguistics); Portrait; History; Aesthetics; Religious studies; Art; Sociology; Art history; Theology; Philosophy; Political science; Law; Epistemology","score_opus":0.04980622557285936,"score_gpt":0.26896077174941047,"score_spread":0.2191545461765511,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2040557562","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29777077,0.0065311864,0.000145264,0.00206327,0.0022191613,0.0019420283,0.0012588501,0.00017404604,0.6878954],"genre_scores_gemma":[0.98996025,0.00015331825,0.00003208463,0.00020246491,0.0005754932,0.000048512076,0.00003295082,0.000029522957,0.008965395],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983538,0.0004894987,0.00036070988,0.00020569687,0.00020998468,0.00038033605],"domain_scores_gemma":[0.9970339,0.0020782591,0.00015047494,0.0005450274,0.00016205313,0.000030296416],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026329507,0.00021701,0.00028277095,0.000041557912,0.0012820935,0.00007257566,0.00033814122,0.000040017363,0.0005705687],"category_scores_gemma":[0.000099593264,0.00010529279,0.00018527405,0.0000985184,0.0004887727,0.00011189918,0.000049009715,0.00017663087,0.00003842457],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013316984,0.0006294704,0.06841289,0.0005381382,0.0014503537,0.0000027136919,0.16098326,0.00037709775,0.00016658846,0.50681436,0.1517141,0.10757932],"study_design_scores_gemma":[0.00077078573,0.00018763114,0.011554892,0.00005137876,0.000087193606,0.0000024637934,0.008507176,0.000041519317,0.00035457095,0.0015303735,0.976661,0.00025096233],"about_ca_topic_score_codex":0.0013055626,"about_ca_topic_score_gemma":0.0070280014,"teacher_disagreement_score":0.82494694,"about_ca_system_score_codex":0.000018016504,"about_ca_system_score_gemma":0.000062410414,"threshold_uncertainty_score":0.9860956},"labels":[],"label_agreement":null},{"id":"W2041316436","doi":"10.3138/md.53.2.232","title":"Reappropriating the Pace-Egging Tradition: Ewan MacColl's <i>St. George and the Dragon</i>","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; George (robot); Pace; Narrative; Plot (graphics); Indigenous; Key (lock); Literature; History; Aesthetics; Art; Sociology; Art history; Geography; Computer science","score_opus":0.013981017202604527,"score_gpt":0.20345063304013353,"score_spread":0.189469615837529,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2041316436","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6726806,0.00072526536,0.000046084057,0.01782323,0.0010649754,0.0003811279,0.00006169976,0.00012680732,0.3070902],"genre_scores_gemma":[0.9924059,0.00004651458,0.000028064274,0.00091596815,0.0020069103,0.000048908936,0.000005839937,0.000017721053,0.0045241825],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926627,0.000041355466,0.00015757773,0.00016134551,0.00015112796,0.00022232058],"domain_scores_gemma":[0.9994417,0.00015886751,0.0000707306,0.00025883704,0.0000410923,0.000028770273],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.000387203,0.00014271015,0.00015555008,0.000022076174,0.0018357801,0.00039122318,0.00016601234,0.000032970973,0.00027775046],"category_scores_gemma":[0.000017218868,0.00006969431,0.00006965883,0.000022827118,0.00065726537,0.0001940393,0.00006703213,0.00034172347,0.00001974991],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000098009135,0.00003460144,0.0005019542,0.000040821247,0.00010652223,0.000003517519,0.33918527,0.000009253228,0.00020228211,0.5999834,0.010270545,0.04956381],"study_design_scores_gemma":[0.001831649,0.000054386113,0.00077224727,0.000042933687,0.00012597335,0.000032016957,0.030125663,0.00770735,0.00020930058,0.06847171,0.8902286,0.00039813164],"about_ca_topic_score_codex":0.00027158394,"about_ca_topic_score_gemma":0.0015134589,"teacher_disagreement_score":0.8799581,"about_ca_system_score_codex":0.000005465065,"about_ca_system_score_gemma":0.000016071312,"threshold_uncertainty_score":0.9994637},"labels":[],"label_agreement":null},{"id":"W2041505794","doi":"10.3138/md.45.3.349","title":"Modernity and Its Mirages: Wole Soyinka and the African State","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernity; Irony; Anomie; Bureaucracy; State (computer science); Population; Political science; History; Sociology; Literature; Law; Art; Politics","score_opus":0.03386771029743665,"score_gpt":0.2072515859469583,"score_spread":0.17338387564952165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2041505794","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87566626,0.008398606,0.000028133665,0.002799006,0.000100927515,0.00018375837,0.000038876973,0.00006648022,0.11271797],"genre_scores_gemma":[0.97547334,0.0010161635,0.000005031716,0.00033597936,0.00015437047,0.000018046887,9.504294e-7,0.000011855995,0.022984274],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994025,0.00003263752,0.00011360129,0.00014950596,0.00010236319,0.00019935264],"domain_scores_gemma":[0.9997066,0.00006238373,0.000035433713,0.00012184477,0.000033898308,0.000039788905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000103746555,0.00012487748,0.00016438928,0.000027592896,0.00063137757,0.00018484742,0.00007685309,0.000017435226,0.00032000736],"category_scores_gemma":[0.0000066732428,0.00007499715,0.00003114655,0.000012415989,0.00034978506,0.00017336772,0.000076871096,0.000113729126,0.000044679717],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013955243,0.00008240583,0.0004532331,0.00009344561,0.00016968587,0.000007128505,0.8606176,0.00005235224,0.000027859604,0.038927235,0.005643735,0.09378579],"study_design_scores_gemma":[0.006313151,0.00033677905,0.0019380823,0.000101845915,0.00023010424,0.000027901095,0.022383217,0.28416824,0.0002378973,0.12862286,0.55446345,0.0011764781],"about_ca_topic_score_codex":0.00015174125,"about_ca_topic_score_gemma":0.0007631776,"teacher_disagreement_score":0.83823436,"about_ca_system_score_codex":0.000005956904,"about_ca_system_score_gemma":0.0000026559323,"threshold_uncertainty_score":0.48561096},"labels":[],"label_agreement":null},{"id":"W2041992681","doi":"10.1353/ctr.2011.0009","title":"Stanislavsky as Catalyst","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Art history; Performance art; Art; History; Visual arts; Media studies; Sociology","score_opus":0.04636517305871438,"score_gpt":0.23215615197206152,"score_spread":0.18579097891334714,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2041992681","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00044364607,0.1523328,1.3772176e-7,0.0007992921,0.0003042201,0.00020881274,0.00007305818,0.000038455262,0.84579957],"genre_scores_gemma":[0.7435927,0.20580906,0.00003497425,0.016751872,0.0012260929,0.00011432792,0.00007886603,0.000075321164,0.032316778],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919146,0.000025654652,0.00019697555,0.00015997,0.000082954764,0.00034296277],"domain_scores_gemma":[0.9993457,0.000010545423,0.000040976847,0.00030717946,0.0000548301,0.00024074367],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013531053,0.00015890827,0.00027740526,0.00007442476,0.00035277594,0.000030152514,0.00019656889,0.000022570877,0.022176461],"category_scores_gemma":[0.000005662926,0.00011938481,0.0001137665,0.000048653666,0.000138699,0.00014085622,0.000015832014,0.00009234166,0.0038128016],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007114238,0.000031335552,0.00046779506,0.0021016302,0.00022133708,0.000109679844,0.041232098,1.8678058e-8,8.7976343e-7,0.31786612,0.26681498,0.371147],"study_design_scores_gemma":[0.00004360233,0.000043925596,0.000031222535,0.0007668009,0.00008775805,0.000012390235,0.0009076952,1.0886137e-7,0.000007968876,0.00096266327,0.9969671,0.00016880267],"about_ca_topic_score_codex":0.20372918,"about_ca_topic_score_gemma":0.70644236,"teacher_disagreement_score":0.8134828,"about_ca_system_score_codex":0.000064016094,"about_ca_system_score_gemma":0.00020543569,"threshold_uncertainty_score":0.99696285},"labels":[],"label_agreement":null},{"id":"W2042433952","doi":"10.1111/j.1440-1630.2004.00431.x","title":"FRAGILE LIVES: DEATH, DYING AND CARE","year":2004,"lang":"en","type":"article","venue":"Australian Occupational Therapy Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Unruh effect; Citation; Medicine; Psychology; Law; Political science; Physics","score_opus":0.09993941729738667,"score_gpt":0.31105486189128234,"score_spread":0.21111544459389567,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2042433952","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98762673,0.001672296,0.000018554634,0.000637981,0.00045054,0.000077205965,0.000027949545,0.00002746911,0.009461296],"genre_scores_gemma":[0.9959723,0.0009259898,0.00024594573,0.0002810607,0.0013345828,0.0000046389455,0.000010938583,0.000011435815,0.0012131226],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935037,0.000015910626,0.0001748606,0.00010127326,0.0001724492,0.00018516483],"domain_scores_gemma":[0.99965006,0.00001880318,0.00007305391,0.00005948789,0.00013072733,0.0000678625],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007197754,0.00012402167,0.000112442736,0.00007513678,0.0008805426,0.00022075248,0.00008124632,0.000023273671,0.0014338858],"category_scores_gemma":[0.0000027079184,0.00009390948,0.000058774014,0.000018698876,0.00011584744,0.0003483592,0.000010784146,0.00017945774,0.000043758893],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005922354,0.00019708768,0.08273423,0.00006175218,0.00061384734,0.00008382676,0.7189099,0.00056896737,0.0003182104,0.114978515,0.006199184,0.07474226],"study_design_scores_gemma":[0.004207217,0.000976474,0.10473734,0.0002518389,0.0000495717,0.00039461034,0.080987394,0.000002894232,0.0008856113,0.025398722,0.7813485,0.000759789],"about_ca_topic_score_codex":0.00008203896,"about_ca_topic_score_gemma":0.00008120775,"teacher_disagreement_score":0.77514935,"about_ca_system_score_codex":0.00004199392,"about_ca_system_score_gemma":0.000055881796,"threshold_uncertainty_score":0.99947894},"labels":[],"label_agreement":null},{"id":"W2042945867","doi":"10.1353/ctr.2011.0030","title":"When Broadway Was the Runway: Theatre, Fashion, and American Culture (review)","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spectacle; Publicity; Art; Advertising; Performance art; Media studies; History; Art history; Visual arts; Sociology; Political science; Law","score_opus":0.03028954364482832,"score_gpt":0.22647091749388237,"score_spread":0.19618137384905404,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2042945867","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00015303495,0.5650967,2.9522877e-7,0.006553369,0.00014806759,0.0005166065,0.00007498199,0.0000352532,0.42742172],"genre_scores_gemma":[0.029374491,0.9380073,0.000024684492,0.026789906,0.00051977934,0.00011042499,0.000033922963,0.000028867711,0.0051106187],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859416,0.00013013421,0.0003443514,0.0002920377,0.00014623962,0.0004930694],"domain_scores_gemma":[0.99891204,0.00003544465,0.0001262483,0.00053693674,0.00008991534,0.00029944384],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00033547118,0.00032538112,0.00061395555,0.00005777696,0.0007752001,0.000051747124,0.00037229527,0.000030432386,0.0038670793],"category_scores_gemma":[0.000011185607,0.00017523282,0.00018512542,0.000100174264,0.00062706304,0.00016226813,0.00004807071,0.00024408825,0.00024048837],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000023244772,0.000010498893,0.00034703946,0.0021340845,0.00011210685,0.000008842667,0.015382182,7.039922e-9,2.0250253e-7,0.012812263,0.5080518,0.4611386],"study_design_scores_gemma":[0.00006155324,0.00007722646,0.00016827542,0.0038266517,0.00029418233,0.00002618318,0.0022896298,4.0020893e-7,9.2936557e-7,0.00034292185,0.9926456,0.00026642586],"about_ca_topic_score_codex":0.044412136,"about_ca_topic_score_gemma":0.3459331,"teacher_disagreement_score":0.48459378,"about_ca_system_score_codex":0.00005250733,"about_ca_system_score_gemma":0.00012980304,"threshold_uncertainty_score":0.99704355},"labels":[],"label_agreement":null},{"id":"W2043008529","doi":"10.3138/md.43.2.147","title":"The Question of Liz: Staging the Prisoner in <i>Our Country's Good</i>","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subversion; Power (physics); Subjectivity; Thatcherism; Context (archaeology); Subsidy; Agency (philosophy); Principal (computer security); Sociology; Aesthetics; Law; History; Political science; Art; Social science; Politics; Epistemology; Philosophy","score_opus":0.012737883731149372,"score_gpt":0.2360267017061703,"score_spread":0.22328881797502093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2043008529","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8226513,0.0018014623,0.000012916661,0.0036167079,0.00023512122,0.00017571004,0.00001808586,0.00003791526,0.17145076],"genre_scores_gemma":[0.98374444,0.00039691912,0.0000029483624,0.0002062723,0.0002757495,0.000014346008,0.0000022059862,0.0000084272415,0.015348679],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994288,0.000037638725,0.00015783105,0.00008049658,0.00012868669,0.00016652698],"domain_scores_gemma":[0.999715,0.0000427917,0.000038211256,0.0001647062,0.00002945166,0.000009859879],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023062098,0.000078723664,0.00009448938,0.000015760163,0.00041391107,0.000091740076,0.00013264031,0.000017326585,0.0001250704],"category_scores_gemma":[0.0000035711705,0.000039807062,0.000030137568,0.000023795472,0.000111277215,0.00011337598,0.000019331374,0.00011160551,0.000030569507],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022889113,0.00016900108,0.014757251,0.00007328859,0.00011244103,0.00000402202,0.3272747,0.0015045966,0.00007912231,0.23855947,0.014680126,0.40255708],"study_design_scores_gemma":[0.00028493445,0.000049792216,0.0029047215,0.00006306197,0.000017223043,9.1084286e-7,0.0068024886,0.003234097,0.00008297188,0.005862143,0.9805743,0.00012337108],"about_ca_topic_score_codex":0.00083690736,"about_ca_topic_score_gemma":0.0049961847,"teacher_disagreement_score":0.96589416,"about_ca_system_score_codex":0.000013735184,"about_ca_system_score_gemma":0.000014288702,"threshold_uncertainty_score":0.31835112},"labels":[],"label_agreement":null},{"id":"W2043558376","doi":"10.3138/md.43.2.248","title":"Introduction: Remaking Modern Classics","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Literature; Rewriting; Art; Repertoire; Classics; History; Philosophy; Computer science","score_opus":0.023512128854197567,"score_gpt":0.2239859740213731,"score_spread":0.20047384516717554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2043558376","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27983737,0.0010536513,0.0003266916,0.010389782,0.0010459848,0.00013960467,0.000017757437,0.00031674196,0.7068724],"genre_scores_gemma":[0.86428505,0.00009944675,0.000053461186,0.00038978827,0.0063229515,0.000011091406,0.000008833602,0.000020281474,0.12880911],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999232,0.000015261463,0.00014163663,0.00021586122,0.00014934475,0.0002459216],"domain_scores_gemma":[0.9996359,0.0000119000515,0.00002962985,0.00024336953,0.000046342415,0.000032878575],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006746822,0.00013692038,0.0001531657,0.00003708002,0.000540688,0.00015793559,0.000107064145,0.000033262066,0.008628472],"category_scores_gemma":[0.0000025658896,0.00011485422,0.00006685838,0.00002222312,0.00014764583,0.00028508084,0.000022741873,0.00013659627,0.00077474525],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007464154,0.000072167415,0.0001165,0.000032969103,0.000080227896,0.000006458591,0.09856784,0.0007082371,0.000051361414,0.04663114,0.08034023,0.77331823],"study_design_scores_gemma":[0.00016164995,0.000040004103,0.00004667426,0.000011964146,0.000019120313,0.0000055216215,0.00046589738,0.006331244,0.00004377313,0.014905862,0.97780025,0.00016801989],"about_ca_topic_score_codex":0.000032874334,"about_ca_topic_score_gemma":0.00032152372,"teacher_disagreement_score":0.89746004,"about_ca_system_score_codex":0.000025832438,"about_ca_system_score_gemma":0.000012286712,"threshold_uncertainty_score":0.99580413},"labels":[],"label_agreement":null},{"id":"W2044458791","doi":"10.3138/md.50.1.36","title":"Uncloseting Drama: Gertrude Stein and the Wooster Group","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Drama; Interpretation (philosophy); Criticism; Performance art; Art; Adaptation (eye); Aesthetics; Literature; Art history; Visual arts; Psychology; Philosophy; Linguistics","score_opus":0.017348006684450516,"score_gpt":0.2202219929913325,"score_spread":0.20287398630688197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2044458791","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80174625,0.0019351371,0.00027017304,0.0015756815,0.0003741693,0.00018938196,0.000008208225,0.000080243146,0.19382077],"genre_scores_gemma":[0.9883824,0.00005131396,0.000034733617,0.0008968022,0.0008882533,0.00000894471,0.0000037278567,0.000016943659,0.009716871],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991888,0.000027085158,0.00018786138,0.00015747402,0.00014361237,0.00029521546],"domain_scores_gemma":[0.9995503,0.0001587679,0.000051087365,0.00016869258,0.00003563089,0.00003555326],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004924923,0.00013866431,0.00017099343,0.000040310377,0.0006829993,0.00021040716,0.00010793715,0.000031734,0.00019723488],"category_scores_gemma":[0.000010091158,0.00008048908,0.00005727858,0.00001829457,0.00043375164,0.00016279977,0.000098998484,0.00014365402,0.000067147186],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00060221396,0.00007755142,0.0029707714,0.00009268971,0.00019354334,0.00002094282,0.4389818,0.000007627387,0.00015391776,0.30042133,0.0040738056,0.25240383],"study_design_scores_gemma":[0.0033720154,0.00015237203,0.0032817852,0.00008941258,0.000102149206,0.000016328764,0.01935082,0.0014059648,0.00019445518,0.03304476,0.9384584,0.00053155114],"about_ca_topic_score_codex":0.00022666532,"about_ca_topic_score_gemma":0.0019603851,"teacher_disagreement_score":0.9343846,"about_ca_system_score_codex":0.000012936215,"about_ca_system_score_gemma":0.000004648895,"threshold_uncertainty_score":0.52531475},"labels":[],"label_agreement":null},{"id":"W2044866703","doi":"10.1353/tj.2000.0034","title":"Seventh Generation: An Anthology of Native American Plays (review)","year":2000,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Milestone; Silence; Native american; Performance art; Variety (cybernetics); History; Art; Visual arts; Art history; Genealogy; Aesthetics; Archaeology; Computer science","score_opus":0.03337235454121327,"score_gpt":0.27796581076801546,"score_spread":0.2445934562268022,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2044866703","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6601777,0.012834549,0.000010982491,0.002029478,0.0003767684,0.00012318326,0.000054099448,0.000029321778,0.32436395],"genre_scores_gemma":[0.96094525,0.031273473,0.00008735244,0.0009402509,0.0027778721,0.000004160128,0.000010586577,0.000013488644,0.003947556],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992447,0.0001040595,0.0002671194,0.000086652544,0.00013361835,0.0001638423],"domain_scores_gemma":[0.99960566,0.000019003872,0.00012917325,0.00011199136,0.000083002604,0.00005116358],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021580458,0.000108700704,0.00027540073,0.00005197355,0.00036109216,0.000021409915,0.000119456294,0.000012113601,0.013520452],"category_scores_gemma":[0.0000018203044,0.00007451684,0.000082950755,0.0000346957,0.00032967696,0.00021687723,0.000009327274,0.00015425903,0.000054417305],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011898128,0.00024057529,0.0005457339,0.000076546065,0.00022552055,0.000023742808,0.062071364,0.000057803925,0.00014370691,0.0036625185,0.0726831,0.8601504],"study_design_scores_gemma":[0.0005853267,0.0015249694,0.0009034365,0.0003134308,0.0001803924,0.0003868156,0.009123487,0.00017513477,0.00035764324,0.0008285953,0.98526794,0.00035280598],"about_ca_topic_score_codex":0.000059012942,"about_ca_topic_score_gemma":0.00048299626,"teacher_disagreement_score":0.91258484,"about_ca_system_score_codex":0.00001358011,"about_ca_system_score_gemma":0.000028916622,"threshold_uncertainty_score":0.98738134},"labels":[],"label_agreement":null},{"id":"W2045220824","doi":"10.3138/md.46.1.22","title":"Zones of Disturbance: Staging Exile and War for Young Audiences","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Entertainment; Diaspora; Context (archaeology); Injustice; Politics; Political violence; Space (punctuation); History; Sociology; Media studies; Criminology; Aesthetics; Gender studies; Political science; Psychology; Social psychology; Art; Law","score_opus":0.023883855607198617,"score_gpt":0.23406274555129863,"score_spread":0.21017888994410003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2045220824","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9008154,0.0057205083,0.0009151889,0.00019312199,0.00047631835,0.00020174695,0.00006264499,0.0000392554,0.09157577],"genre_scores_gemma":[0.9949299,0.00017726599,0.00017389079,0.0000406172,0.00011961242,0.000023605073,0.000002083134,0.0000073838182,0.004525607],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995515,0.000007691747,0.00011390376,0.000112330425,0.00006789268,0.00014672906],"domain_scores_gemma":[0.9997661,0.000035663958,0.000043062537,0.00007580502,0.00006259749,0.000016776245],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008069504,0.000079978854,0.0001383621,0.00002567071,0.0003043036,0.00003094525,0.000044994962,0.000012755249,0.000061975705],"category_scores_gemma":[0.000012978132,0.000060155366,0.000033367553,0.000010615549,0.00018515279,0.00014111715,0.000014480344,0.00002902179,0.0000019786562],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007290404,0.000113102906,0.028997991,0.0005078696,0.00014029078,0.0000014281386,0.4445668,0.000042617477,0.00020340682,0.48547685,0.0061041224,0.033772614],"study_design_scores_gemma":[0.0017438433,0.0006012123,0.005409835,0.00022675235,0.0001509617,0.0000056542704,0.07231056,0.003220461,0.0031640355,0.15480256,0.75750905,0.0008550899],"about_ca_topic_score_codex":0.00006104871,"about_ca_topic_score_gemma":0.0003916592,"teacher_disagreement_score":0.75140494,"about_ca_system_score_codex":0.000005003583,"about_ca_system_score_gemma":0.000008282229,"threshold_uncertainty_score":0.24530646},"labels":[],"label_agreement":null},{"id":"W2045378730","doi":"10.3138/md.52.4.469","title":"Popular Bodies, Canonical Voices: Paula Vogel's <i>Hot ‘n’ Throbbing</i> as Performative Burlesque","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Burlesque; Performative utterance; Spectacle; Literature; Art; Human sexuality; Embodied cognition; Exoticism; Aesthetics; Sociology; Gender studies; Philosophy; Epistemology; Law","score_opus":0.022373152521845532,"score_gpt":0.24458563623559115,"score_spread":0.22221248371374563,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2045378730","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5316904,0.002657809,0.00009782544,0.002469869,0.0006362957,0.00032494683,0.00007525494,0.00030288656,0.4617447],"genre_scores_gemma":[0.98206687,0.00024996596,0.000055037002,0.0027648134,0.0010616276,0.000020228284,0.00004693195,0.000025547852,0.013708965],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983921,0.000057553407,0.0003586972,0.0003196011,0.00031738717,0.0005546831],"domain_scores_gemma":[0.9992684,0.00004167173,0.000106364794,0.0003496406,0.00012630991,0.00010760331],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00019345629,0.00032988194,0.00039683378,0.00007879761,0.0011703435,0.00028271828,0.00028223175,0.000087981,0.000759022],"category_scores_gemma":[0.000019266921,0.00025887814,0.00016396154,0.000031108146,0.000252255,0.00057070324,0.000071989656,0.00038974866,0.0004902643],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037767773,0.00048812048,0.00088451535,0.00014657076,0.00034289723,0.00008605815,0.69983405,0.00023368686,0.00020846103,0.19294415,0.038140565,0.06631324],"study_design_scores_gemma":[0.000857744,0.0007047409,0.0004524086,0.00015046801,0.00010127593,0.00002740914,0.011407373,0.0012626302,0.00037160888,0.029667359,0.95426357,0.0007333975],"about_ca_topic_score_codex":0.0011051599,"about_ca_topic_score_gemma":0.003580491,"teacher_disagreement_score":0.91612303,"about_ca_system_score_codex":0.00007672334,"about_ca_system_score_gemma":0.00007538036,"threshold_uncertainty_score":0.99998635},"labels":[],"label_agreement":null},{"id":"W2046236898","doi":"10.3138/ctr.155.013","title":"Rewriting Distance: Bridging the Space between Dramaturg and Dancer","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bridging (networking); Performing arts; Visual arts; Rewriting; Space (punctuation); Dramaturgy; Aesthetics; The arts; Personal space; Dance; Art; Sociology; Psychology; Computer science; Social psychology; Linguistics; Philosophy","score_opus":0.021012510840864796,"score_gpt":0.2282980308177904,"score_spread":0.2072855199769256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2046236898","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007946255,0.55568117,0.0000033859085,0.043414734,0.00032666037,0.0007663435,0.00009026805,0.000053994594,0.39171723],"genre_scores_gemma":[0.90265936,0.085730694,0.000013481183,0.0051090093,0.002097191,0.00009274587,0.00001573976,0.000029146811,0.0042526475],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915755,0.00004244429,0.00019191063,0.0001624011,0.00008567351,0.0003600516],"domain_scores_gemma":[0.9994175,0.00007194277,0.000055625333,0.0002416836,0.000051137173,0.00016214253],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000199519,0.00015566059,0.00027975428,0.000034842484,0.0008237596,0.00020035636,0.00014905998,0.000020419664,0.0012708558],"category_scores_gemma":[0.000011254993,0.000094418596,0.00006463771,0.00005079365,0.00022687436,0.00021284375,0.000027374826,0.00016239443,0.0002089338],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[5.8266954e-7,0.000002185576,0.0041671814,0.0016902726,0.000077840814,0.000005381651,0.006488279,1.3099478e-7,6.619813e-7,0.029351475,0.22060212,0.7376139],"study_design_scores_gemma":[0.000039743576,0.000008342598,0.000784388,0.0020382882,0.00006395308,0.000005140025,0.0010747352,0.0000041540206,0.0000010527535,0.00042970706,0.9954047,0.00014574997],"about_ca_topic_score_codex":0.054512948,"about_ca_topic_score_gemma":0.15395568,"teacher_disagreement_score":0.8947131,"about_ca_system_score_codex":0.00005069033,"about_ca_system_score_gemma":0.00006193672,"threshold_uncertainty_score":0.99964213},"labels":[],"label_agreement":null},{"id":"W2046308752","doi":"10.3138/md.44.1.3","title":"Modem Drama/Modernity's Drama","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernity; Drama; Scholarship; Literature; Literary criticism; Criticism; Ideology; Context (archaeology); Poetry; History; Aesthetics; Art; Philosophy; Law; Politics; Political science; Epistemology","score_opus":0.03375149491321672,"score_gpt":0.23839139040671734,"score_spread":0.20463989549350062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2046308752","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51768845,0.0010696991,0.001110071,0.0017231073,0.0007426291,0.00023202383,0.000043715438,0.0004028767,0.47698742],"genre_scores_gemma":[0.93688375,0.00022992879,0.000065646935,0.0008809166,0.0015787748,0.000042658008,0.00002399899,0.00005404794,0.06024028],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99826825,0.00004110075,0.00033212308,0.00039506058,0.00033274782,0.0006307155],"domain_scores_gemma":[0.99912477,0.000055736764,0.00008716343,0.00047185173,0.00013864774,0.00012186128],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015157959,0.00033784972,0.00036555322,0.00011996966,0.0009301084,0.00038640754,0.00033554467,0.00009334381,0.0025266318],"category_scores_gemma":[0.000012432907,0.00028573995,0.00018012144,0.00005227317,0.00030133352,0.0005364084,0.00013478228,0.0002948916,0.001109452],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005093356,0.00088158844,0.00833972,0.00018779543,0.00062853144,0.00017480813,0.3529423,0.001810399,0.00039361566,0.2331034,0.051035248,0.3499933],"study_design_scores_gemma":[0.0007938964,0.000152821,0.0005022672,0.00005064325,0.00007008993,0.000022586524,0.0027354,0.017981386,0.000109962544,0.042496312,0.93445307,0.00063153816],"about_ca_topic_score_codex":0.00046593003,"about_ca_topic_score_gemma":0.0019283239,"teacher_disagreement_score":0.88341784,"about_ca_system_score_codex":0.000054156524,"about_ca_system_score_gemma":0.000038277274,"threshold_uncertainty_score":0.99995947},"labels":[],"label_agreement":null},{"id":"W2046686643","doi":"10.1353/ctr.2011.0044","title":"Money, Money: Is Theatre a Rich Man's Game?","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Economics; Visual arts; Aesthetics","score_opus":0.04401760212991669,"score_gpt":0.2304140415120544,"score_spread":0.18639643938213774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2046686643","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017901568,0.2473439,4.8278275e-7,0.0033161056,0.00041105505,0.00048162424,0.00021352984,0.00008156008,0.7463616],"genre_scores_gemma":[0.65120536,0.29227293,0.0000628091,0.031275928,0.0015848993,0.00023258949,0.000059552214,0.00013644715,0.023169488],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983386,0.00006364666,0.00038260213,0.00035424603,0.00017283422,0.00068811874],"domain_scores_gemma":[0.9987482,0.000024884686,0.00009098879,0.00062025024,0.000091501424,0.00042420177],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020895951,0.00037515565,0.0006047131,0.0001685741,0.00046881323,0.000067018,0.00039079078,0.00006456986,0.018834295],"category_scores_gemma":[0.0000045902143,0.00027277833,0.00026055542,0.000121750396,0.00021729674,0.00024080016,0.000044041517,0.00022218176,0.0025553515],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013604739,0.00005810605,0.0017616339,0.0023304375,0.0003562507,0.00009175823,0.052228417,8.303701e-8,9.682972e-7,0.01713634,0.57482207,0.35120037],"study_design_scores_gemma":[0.00012081437,0.00007060086,0.0001605307,0.0013805343,0.00022526775,0.000017275604,0.0010923487,0.0000020710418,0.000012511858,0.0010647788,0.99548215,0.00037114663],"about_ca_topic_score_codex":0.11701902,"about_ca_topic_score_gemma":0.36945134,"teacher_disagreement_score":0.7231921,"about_ca_system_score_codex":0.0001232815,"about_ca_system_score_gemma":0.00020752054,"threshold_uncertainty_score":0.99997246},"labels":[],"label_agreement":null},{"id":"W2046686887","doi":"10.7202/500812ar","title":"Stanislavski et Meyerhold : pionniers de la pédagogie théâtrale","year":2005,"lang":"fr","type":"article","venue":"Études littéraires","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Stanislavski's system; Humanities; Art history","score_opus":0.02605095625673606,"score_gpt":0.28265112110322393,"score_spread":0.2566001648464879,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2046686887","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18462062,0.058422692,0.000016723247,0.039726913,0.0010653487,0.00023155067,0.00043718456,0.00025704136,0.71522194],"genre_scores_gemma":[0.8191393,0.012884456,0.00045979902,0.0022095018,0.0039348467,0.000034904762,0.000015871705,0.00006006513,0.16126126],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979737,0.00022208676,0.00038641944,0.00034680017,0.000288899,0.0007820853],"domain_scores_gemma":[0.99890184,0.00042031764,0.00010519114,0.00033997043,0.00007835698,0.00015434633],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00063971034,0.00040137456,0.00037438094,0.000107311185,0.000845249,0.00045465076,0.0003163459,0.00017949595,0.0027822126],"category_scores_gemma":[0.000047069694,0.00036174944,0.00024818,0.00006881239,0.0011888382,0.0006976686,0.0001356425,0.00045380858,0.00030849423],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005311002,0.00030690222,0.00071504555,0.00018330441,0.0002759153,0.000026024985,0.08487727,0.0001788499,0.00005509814,0.7834216,0.08163096,0.04827593],"study_design_scores_gemma":[0.0004261259,0.00021160352,0.0018616142,0.00023103604,0.00013356356,0.000022192566,0.014603204,0.000079050726,0.0003008002,0.0027940108,0.9788896,0.0004472132],"about_ca_topic_score_codex":0.0011281071,"about_ca_topic_score_gemma":0.008443643,"teacher_disagreement_score":0.89725864,"about_ca_system_score_codex":0.00021628682,"about_ca_system_score_gemma":0.00023538458,"threshold_uncertainty_score":0.9998835},"labels":[],"label_agreement":null},{"id":"W2047217956","doi":"10.3138/md.45.3.409","title":"Elesin, Cuchulain, and the Kingdom: The Culture Hero's Sacrifice","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sacrifice; HERO; Storytelling; Perspective (graphical); Literature; Kingdom; Common ground; Art; History; Aesthetics; Narrative; Sociology; Visual arts; Communication","score_opus":0.032956492336705515,"score_gpt":0.21760105218746334,"score_spread":0.18464455985075784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2047217956","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13672733,0.021391153,0.000075666896,0.020232257,0.0007164401,0.000507973,0.000028340746,0.00017428414,0.82014656],"genre_scores_gemma":[0.96642363,0.0006160241,0.000007649254,0.0019164485,0.0008048912,0.000022450964,0.0000014151042,0.00001244473,0.030195028],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993518,0.00004896447,0.00012177782,0.00013787644,0.00013484908,0.00020473292],"domain_scores_gemma":[0.9995901,0.00007138127,0.000041459818,0.00023055811,0.000044865097,0.000021624686],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013832765,0.00013500873,0.00014378357,0.000013826648,0.001238656,0.0002911205,0.0001739925,0.000028383341,0.0005742655],"category_scores_gemma":[0.000010043288,0.000057339457,0.00006360173,0.00002011808,0.00062715524,0.0001274351,0.000053281583,0.00017741614,0.00010855492],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060914095,0.000039873612,0.00015981976,0.000028114886,0.0001251497,0.0000034209177,0.586476,0.000015666827,0.000016419272,0.25354993,0.12199498,0.037529714],"study_design_scores_gemma":[0.00061841536,0.000029027382,0.00007817354,0.000016292859,0.000049219972,0.0000073637925,0.007447489,0.0029870071,0.000015747744,0.01130412,0.9773144,0.00013271185],"about_ca_topic_score_codex":0.00020937412,"about_ca_topic_score_gemma":0.0006451925,"teacher_disagreement_score":0.85531944,"about_ca_system_score_codex":0.0000072788866,"about_ca_system_score_gemma":0.0000021731207,"threshold_uncertainty_score":0.9526866},"labels":[],"label_agreement":null},{"id":"W2047714275","doi":"10.1080/13569783.2012.694029","title":"Distancing at close range: investigating the significance of distancing in drama education","year":2012,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Distancing; Drama; Courage; Social distance; Range (aeronautics); Psychology; Social psychology; Sociology; Coronavirus disease 2019 (COVID-19); Art; Political science; Literature; Medicine; Law; Engineering","score_opus":0.044866304982288566,"score_gpt":0.31775481538533623,"score_spread":0.2728885104030477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2047714275","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95726615,0.0052667945,0.0000012909198,0.0015128116,0.0004348823,0.00040097232,0.0000036608214,0.0000039005877,0.035109565],"genre_scores_gemma":[0.99638134,0.0017724707,0.000038003625,0.00012356455,0.0012119192,0.000057414243,0.000002656112,0.00001588124,0.0003967437],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99816096,0.00020991868,0.00061408785,0.00011141763,0.00047187897,0.00043175198],"domain_scores_gemma":[0.9984471,0.00065333076,0.00032718063,0.00025766922,0.00022642774,0.0000882817],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042601563,0.00015127585,0.00025319267,0.0002759986,0.0007162211,0.000081802005,0.00032869048,0.000042573112,0.000061413106],"category_scores_gemma":[0.000036433405,0.000086933775,0.00004192078,0.0003168052,0.0006344705,0.00050463784,0.000088203335,0.00065808854,0.0000075991384],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00084456056,0.0005953612,0.16813505,0.0009335095,0.000057246416,3.117663e-7,0.5641834,0.00015181162,0.001502262,0.044331394,0.0031678737,0.21609718],"study_design_scores_gemma":[0.001723421,0.0005798225,0.15628622,0.0031815188,0.00011431812,0.000065005595,0.6318404,0.00044503427,0.008464384,0.021132352,0.17542891,0.0007385682],"about_ca_topic_score_codex":0.00038514446,"about_ca_topic_score_gemma":0.00096853793,"teacher_disagreement_score":0.2153586,"about_ca_system_score_codex":0.00022450877,"about_ca_system_score_gemma":0.0005110995,"threshold_uncertainty_score":0.5508666},"labels":[],"label_agreement":null},{"id":"W2048402844","doi":"10.3138/ctr.149.73","title":"Performance Studies in Canada","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"York University","keywords":"Performance studies; Mainstream; Performance art; Poetry; History; Art history; Media studies; Art; Sociology; Political science; Law; Literature; Anthropology","score_opus":0.06489141513167292,"score_gpt":0.2579067598270014,"score_spread":0.1930153446953285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2048402844","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042084858,0.6498227,5.775858e-9,0.0018659334,0.0011477211,0.00023069001,0.000034669138,0.000011780104,0.3048016],"genre_scores_gemma":[0.80084753,0.19331077,0.000002181903,0.004223035,0.00046779757,0.000038964405,0.0000055666715,0.000011254144,0.0010929239],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989679,0.00003268034,0.00023425353,0.000100845566,0.000101634,0.00056270894],"domain_scores_gemma":[0.9994954,0.00003439456,0.00003640927,0.00018241529,0.000040785628,0.00021062123],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002229136,0.00015398838,0.0003445321,0.00007228459,0.00021880114,0.000009151955,0.00012544169,0.000011469295,0.0012684511],"category_scores_gemma":[0.000009088,0.00011525115,0.00004125203,0.000070917944,0.00008969179,0.00022807429,0.000017089515,0.000109949244,0.00018671234],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003970988,0.00001751092,0.12845539,0.0073620533,0.0001683431,0.000024157254,0.018607233,0.0000023968787,2.149845e-7,0.00714441,0.43145707,0.40675724],"study_design_scores_gemma":[0.000047084985,0.000008538657,0.0014355157,0.0018797875,0.00003050457,0.000006754596,0.0026034417,0.0000017645194,0.0000013688771,0.000008770983,0.99381423,0.0001622569],"about_ca_topic_score_codex":0.98303837,"about_ca_topic_score_gemma":0.99986285,"teacher_disagreement_score":0.75876266,"about_ca_system_score_codex":0.0007602547,"about_ca_system_score_gemma":0.0008574678,"threshold_uncertainty_score":0.9996445},"labels":[],"label_agreement":null},{"id":"W2049641020","doi":"10.3138/ctr.162.003","title":"Showing Support: Some Reflections on Vancouver’s Dance Economies","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Precarity; Sociology; Visual arts; Adventure; Emotive; Aesthetics; Media studies; Art; Gender studies; Art history; Anthropology","score_opus":0.09940178925433472,"score_gpt":0.28732321751134937,"score_spread":0.18792142825701463,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2049641020","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00033213123,0.06363068,2.6518e-7,0.0048581376,0.0020621384,0.00026589597,0.00011524943,0.00006318523,0.9286723],"genre_scores_gemma":[0.53094184,0.20520899,0.00008774166,0.11133572,0.010538366,0.00043312303,0.00015738016,0.00019613259,0.1411007],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990805,0.000035504516,0.00023418493,0.00020002926,0.00008491503,0.00036486765],"domain_scores_gemma":[0.99923426,0.000027189468,0.00005298159,0.0002990912,0.00005713938,0.00032933513],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021541174,0.00018172736,0.00033283155,0.0001133487,0.00043926883,0.0000651422,0.00016086746,0.000026954365,0.0018256777],"category_scores_gemma":[0.00001379679,0.00014660721,0.00011503554,0.000045151137,0.00011326335,0.000319487,0.000015512102,0.00013462394,0.0012768811],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003612065,0.000009773991,0.00005160283,0.0003412367,0.000052445088,0.000011327304,0.0048613027,0.000005899819,1.3495652e-7,0.048419353,0.9061341,0.040109158],"study_design_scores_gemma":[0.00008948743,0.000093943374,0.000005340735,0.0007118756,0.000050375118,0.0000037015413,0.0013653233,0.0000013899421,0.0000023004945,0.0009831531,0.99650365,0.00018948255],"about_ca_topic_score_codex":0.019496676,"about_ca_topic_score_gemma":0.8006698,"teacher_disagreement_score":0.7875716,"about_ca_system_score_codex":0.00026607985,"about_ca_system_score_gemma":0.00039347043,"threshold_uncertainty_score":0.99950075},"labels":[],"label_agreement":null},{"id":"W2050113895","doi":"10.3138/md.2012-0465","title":"To Witness Mimesis: The Politics, Ethics, and Aesthetics of Testimonial Theatre in <i>Through the Wire</i>","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":38,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Testimonial; Witness; Scholarship; Realism; Politics; Aesthetics; Theatre studies; Political theatre; Art; Sociology; Literature; Political science; Law; Advertising; Drama","score_opus":0.031495281371314604,"score_gpt":0.2512085450625049,"score_spread":0.2197132636911903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2050113895","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8978607,0.0017784575,0.0000665846,0.05983701,0.00026911977,0.0005145353,0.000032537555,0.000035078134,0.039605953],"genre_scores_gemma":[0.9952255,0.000113717564,0.00004377764,0.002331308,0.00027242367,0.00004422603,0.0000011759274,0.000015745105,0.0019521177],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916214,0.00007872322,0.00020664008,0.0001383185,0.00016363159,0.00025054568],"domain_scores_gemma":[0.99929756,0.00025396215,0.000045075732,0.0002740719,0.00010181397,0.00002751187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020292506,0.0001384752,0.00017676753,0.000024996876,0.00053229695,0.00011746226,0.00021825182,0.000046854137,0.00006740393],"category_scores_gemma":[0.00002323966,0.00007007586,0.000038883176,0.000033799242,0.0007767893,0.00013420191,0.00010478145,0.0002993808,0.000031257674],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021144671,0.000088978384,0.0036477447,0.00007391313,0.00004600401,0.0000013777732,0.8011724,0.00015705058,0.000041642397,0.17111996,0.006218501,0.017411336],"study_design_scores_gemma":[0.0010527555,0.00051269354,0.0073691485,0.00036959816,0.00013178946,0.000015062083,0.09946668,0.0025845335,0.00058960775,0.4292583,0.45793736,0.000712489],"about_ca_topic_score_codex":0.0064066662,"about_ca_topic_score_gemma":0.0042110616,"teacher_disagreement_score":0.70170563,"about_ca_system_score_codex":0.000010891087,"about_ca_system_score_gemma":0.00003222651,"threshold_uncertainty_score":0.96850055},"labels":[],"label_agreement":null},{"id":"W2050329328","doi":"10.3138/ctr.160.011","title":"on the virtues of tailoring","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bespoke; Visual arts; Performance art; Sociology; Aesthetics; Art; Media studies; Art history; Political science; Law","score_opus":0.030999336316875858,"score_gpt":0.22269901163813335,"score_spread":0.1916996753212575,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2050329328","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002897935,0.053205237,7.3717285e-7,0.0075204563,0.00027953478,0.00020658718,0.000026996147,0.000016023509,0.9358465],"genre_scores_gemma":[0.9680046,0.022756595,0.0000026944356,0.0067998245,0.0004326833,0.000024111327,0.000003442882,0.000013193502,0.001962848],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949765,0.00004657718,0.00014334967,0.000078964295,0.00007050461,0.00016296141],"domain_scores_gemma":[0.9995115,0.00010778909,0.000041584062,0.00024202076,0.00003174026,0.000065374756],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00026057308,0.00009071239,0.00019971868,0.00003980041,0.00025090034,0.000017879387,0.00015174445,0.000010480625,0.0021633229],"category_scores_gemma":[0.000022494254,0.00004927174,0.00008215863,0.000030470817,0.00011905412,0.000039524944,0.000009118167,0.00007059672,0.00026942766],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000012080575,0.0000039586757,0.00005402844,0.0005508887,0.00003038446,4.7442737e-7,0.0016163161,4.601474e-7,7.244675e-7,0.7689717,0.04521802,0.18355185],"study_design_scores_gemma":[0.000023221324,0.000043397675,0.000019399764,0.001493443,0.000029406387,5.517543e-7,0.00020056691,0.000001964827,0.000010295252,0.0025529186,0.9955585,0.00006635219],"about_ca_topic_score_codex":0.012409099,"about_ca_topic_score_gemma":0.14396541,"teacher_disagreement_score":0.96510667,"about_ca_system_score_codex":0.000020191588,"about_ca_system_score_gemma":0.000038684386,"threshold_uncertainty_score":0.99874884},"labels":[],"label_agreement":null},{"id":"W2050553822","doi":"10.1017/s0307883310000064","title":"In the Kitchen, Cooking up Diaspora Possibilities: Bailey and Lewis’s <i>Sistahs</i>","year":2010,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Diaspora; Sensibility; Hegemony; Drama; Gender studies; Feminism; Rewriting; Sociology; History; Cultural hegemony; Art; Art history; Literature; Political science; Law","score_opus":0.06497210890212175,"score_gpt":0.34731126078233765,"score_spread":0.2823391518802159,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2050553822","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.613996,0.00024168528,6.661646e-7,0.0069796257,0.0010509697,0.00015488772,0.00005447427,0.000019273599,0.37750235],"genre_scores_gemma":[0.99034226,0.00016478237,0.000008981215,0.0003889836,0.0018495561,0.000046599038,0.000013857377,0.000011448431,0.007173554],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986015,0.00009745797,0.00019665596,0.000201246,0.0005723035,0.00033083683],"domain_scores_gemma":[0.9990415,0.0005033298,0.000027969565,0.0002185434,0.0001660682,0.00004260641],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0015966168,0.0001121496,0.000116220705,0.0001928151,0.00043399917,0.00034123147,0.00043953792,0.000035963873,0.002344481],"category_scores_gemma":[0.00004044448,0.00007073185,0.000054175292,0.00005501216,0.00072350865,0.0003869841,0.00013760019,0.00068584894,0.000084657615],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019767828,0.00017880526,0.009417269,0.000058381884,0.00012088503,0.00003193341,0.39334247,0.0000013782665,0.00057845423,0.50964564,0.060845852,0.025581244],"study_design_scores_gemma":[0.0004349096,0.00007237994,0.0014504971,0.00004248965,0.000005581775,0.00001568645,0.07730351,0.00006296127,0.00013159445,0.027792215,0.89254767,0.00014052416],"about_ca_topic_score_codex":0.0025913909,"about_ca_topic_score_gemma":0.0102324225,"teacher_disagreement_score":0.8317018,"about_ca_system_score_codex":0.000028295863,"about_ca_system_score_gemma":0.000050251292,"threshold_uncertainty_score":0.9985675},"labels":[],"label_agreement":null},{"id":"W2050589933","doi":"10.1353/mdr.2000.0052","title":"The Politics of Catastrophe: Confrontation or Confirmation in Howard Barker's Theatre","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.020470477102053027,"score_gpt":0.23399796913174478,"score_spread":0.21352749202969176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2050589933","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8184193,0.00072881556,0.000044112407,0.0009639315,0.00020664239,0.00021383434,0.00008575273,0.000031729596,0.17930593],"genre_scores_gemma":[0.9881207,0.00018305819,0.000013925004,0.000084872736,0.00017979048,0.000013153421,0.00001975773,0.0000076549,0.011377104],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942875,0.000028532186,0.00019987542,0.00007467705,0.00010739774,0.00016079262],"domain_scores_gemma":[0.99971306,0.00005776033,0.000041842308,0.00012794323,0.00004287549,0.000016488983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000079554666,0.000081383354,0.00011426034,0.000027386217,0.00027076888,0.00006305407,0.00008756734,0.000020160325,0.0009059098],"category_scores_gemma":[0.0000031794268,0.00004840853,0.00003056452,0.00001706676,0.00017287133,0.00013651275,0.000009479197,0.00006363467,0.00004412212],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005674072,0.00013211026,0.001539846,0.00011130461,0.000114675386,0.0000057501748,0.32928085,0.0008119407,0.000066119996,0.14172827,0.008172499,0.5174692],"study_design_scores_gemma":[0.0016038761,0.00034022884,0.005220743,0.00011503755,0.00005848543,0.0000059669437,0.026501412,0.011295182,0.0004964193,0.022518573,0.9315031,0.00034095632],"about_ca_topic_score_codex":0.00093756005,"about_ca_topic_score_gemma":0.0048054275,"teacher_disagreement_score":0.9233306,"about_ca_system_score_codex":0.000021764083,"about_ca_system_score_gemma":0.000028218967,"threshold_uncertainty_score":0.99190766},"labels":[],"label_agreement":null},{"id":"W2050940940","doi":"10.3138/md.46.4.614","title":"Video and Stage Space: Some European Perspectives","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Choreography; Interactivity; Space (punctuation); Visual arts; Aesthetics; Virtual space; Multimedia; Art; Sociology; Computer science; Artificial intelligence","score_opus":0.021016631706444952,"score_gpt":0.221826411008576,"score_spread":0.20080977930213106,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2050940940","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47037807,0.0037201263,0.000031936903,0.00043702262,0.00015009727,0.00006807176,0.000015930029,0.00007529165,0.5251235],"genre_scores_gemma":[0.9477696,0.0002585459,0.000031762116,0.00015056678,0.00032611354,0.0000031086156,0.0000011339158,0.000018784469,0.051440414],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944115,0.000045696397,0.000083195126,0.00016839866,0.00008054485,0.00018100873],"domain_scores_gemma":[0.9997542,0.000018629258,0.000025878328,0.00013060344,0.000032487267,0.000038210954],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011255348,0.00011449334,0.00011394191,0.000040671013,0.0003888052,0.00014982845,0.000051279167,0.0000118402695,0.0006249705],"category_scores_gemma":[0.0000112119815,0.00009114173,0.0000340832,0.000009981839,0.0001978025,0.00024399246,0.00003087637,0.00008367181,0.00012240553],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000108935155,0.00004004326,0.0006382649,0.000024105846,0.00004576135,0.000009065832,0.27929205,0.0000070545057,0.00007869858,0.71397036,0.0021632654,0.0037204276],"study_design_scores_gemma":[0.00041797443,0.00009574281,0.0009872672,0.000017964827,0.000020134792,0.0000032104322,0.044333365,0.0000935189,0.00012615562,0.011475687,0.94217384,0.00025511358],"about_ca_topic_score_codex":0.00004397736,"about_ca_topic_score_gemma":0.0001544332,"teacher_disagreement_score":0.9400106,"about_ca_system_score_codex":0.0000117763275,"about_ca_system_score_gemma":0.0000081707385,"threshold_uncertainty_score":0.6842989},"labels":[],"label_agreement":null},{"id":"W2051223801","doi":"10.3138/md.43.4.525","title":"Modem:Drama (defining the field), Part I","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Periodization; Drama; Scholarship; Privilege (computing); Field (mathematics); Object (grammar); Natural (archaeology); Epistemology; History; Moment (physics); Literature; Sociology; Aesthetics; Art; Philosophy; Law; Political science; Linguistics; Archaeology","score_opus":0.022634787607387463,"score_gpt":0.23228393625621455,"score_spread":0.20964914864882708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2051223801","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20101671,0.0016736285,0.000033302043,0.006029493,0.00041685117,0.000113203816,0.000021079994,0.00014031278,0.7905554],"genre_scores_gemma":[0.9307285,0.00018314482,0.000013239982,0.0033738404,0.0008996236,0.000026725498,0.0000064392934,0.0000165127,0.06475197],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921405,0.000023595676,0.00016543902,0.00016425792,0.00014663278,0.00028604525],"domain_scores_gemma":[0.9995267,0.00011245434,0.000027839624,0.00027311608,0.000028807752,0.000031083626],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010060093,0.0001409219,0.00014469778,0.000021354483,0.0008074079,0.00019738966,0.0001965794,0.00003561585,0.010374465],"category_scores_gemma":[0.000007553411,0.00008775223,0.000086327746,0.000020042387,0.00013001094,0.00017555582,0.000035645415,0.00016853352,0.0010706962],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079982085,0.000066461944,0.0003619003,0.000021422033,0.00010769783,0.0000072213143,0.1302257,0.000567309,0.0000037213124,0.12741171,0.14830077,0.5928461],"study_design_scores_gemma":[0.00016791369,0.000065515254,0.00006819659,0.000021673008,0.000022382179,0.0000021641263,0.0012072218,0.003436964,0.00003648234,0.01059618,0.9842211,0.00015420633],"about_ca_topic_score_codex":0.00024231554,"about_ca_topic_score_gemma":0.0006285091,"teacher_disagreement_score":0.83592033,"about_ca_system_score_codex":0.000008449804,"about_ca_system_score_gemma":0.000012926678,"threshold_uncertainty_score":0.9997071},"labels":[],"label_agreement":null},{"id":"W2052177437","doi":"10.1353/mdr.2006.0025","title":"Theatrical Events: Borders, Dynamics, Frames (review)","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dynamics (music); Suspect; Object (grammar); Media studies; History; Event (particle physics); Art; Performance art; Art history; Sociology; Visual arts; Literature; Humanities; Political science; Law; Philosophy; Linguistics","score_opus":0.015465548756728396,"score_gpt":0.252091405257801,"score_spread":0.2366258565010726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052177437","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.045166936,0.17542952,0.0010672313,0.053037085,0.0012703488,0.00080278853,0.00020966366,0.0005983623,0.72241807],"genre_scores_gemma":[0.95671195,0.011573327,0.00013257422,0.0041887844,0.0014692241,0.000031885695,0.000035990764,0.000029136845,0.02582711],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991346,0.00002263104,0.00021279401,0.00018165982,0.00017403536,0.00027427723],"domain_scores_gemma":[0.999597,0.000030396579,0.000045380686,0.00022346593,0.000056937515,0.000046823534],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000092800474,0.0001621986,0.0002326818,0.00004293894,0.00029874817,0.00003699423,0.00016962328,0.000035158322,0.0021176066],"category_scores_gemma":[0.000009006606,0.00012233757,0.00011560656,0.000024138973,0.00010198886,0.0002083977,0.000056918543,0.00015476292,0.0005860084],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036877886,0.00025006043,0.0010575886,0.00029470457,0.00015396069,0.000003552011,0.022103686,0.000048171776,0.0000016040133,0.075127795,0.16693898,0.73398304],"study_design_scores_gemma":[0.00021809517,0.00005909684,0.00011497185,0.00014288563,0.00004666894,0.0000022633953,0.00053666707,0.004045746,0.0000034364436,0.0044817957,0.990135,0.00021336567],"about_ca_topic_score_codex":0.000110213165,"about_ca_topic_score_gemma":0.0014170762,"teacher_disagreement_score":0.91154504,"about_ca_system_score_codex":0.000050545434,"about_ca_system_score_gemma":0.000017796436,"threshold_uncertainty_score":0.9987946},"labels":[],"label_agreement":null},{"id":"W2052651603","doi":"10.3138/ctr.156.005","title":"The Archive on Display: Issues of Curating Performance Remains","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Visual arts; Categorization; Space (punctuation); Art; Ballet; Computer science; Dance; Artificial intelligence","score_opus":0.02248719621753,"score_gpt":0.2392047094498133,"score_spread":0.2167175132322833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052651603","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023977052,0.20963137,2.880143e-7,0.015014454,0.00047392803,0.00093869073,0.00012074194,0.000032955148,0.7498105],"genre_scores_gemma":[0.67932093,0.30826604,0.000025636926,0.00312248,0.0008973912,0.00015506883,0.000024332483,0.00003232002,0.008155799],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991588,0.00004925926,0.00026078467,0.000116203926,0.0001085667,0.00030636688],"domain_scores_gemma":[0.9993322,0.000109330846,0.00008403223,0.0002993455,0.000067244975,0.00010784929],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018600284,0.00014167491,0.0002530811,0.000043527725,0.0007532622,0.000059893955,0.00021042049,0.0000139341255,0.0008630281],"category_scores_gemma":[0.000017005574,0.00007737864,0.00009177575,0.00004104552,0.00023791044,0.00013407134,0.000017273082,0.000121413075,0.0004982048],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000047322137,0.000013893618,0.0007202153,0.002219447,0.0001055695,0.000002165494,0.008666478,0.0000020973266,0.0000046171504,0.14357293,0.23047696,0.6142109],"study_design_scores_gemma":[0.000035172754,0.000079482255,0.00033399416,0.0025564323,0.000026082154,0.0000018884299,0.00082009076,0.000026425896,0.000008586577,0.00042834005,0.9955747,0.00010878368],"about_ca_topic_score_codex":0.026212176,"about_ca_topic_score_gemma":0.2591827,"teacher_disagreement_score":0.76509774,"about_ca_system_score_codex":0.000033003358,"about_ca_system_score_gemma":0.00008244233,"threshold_uncertainty_score":0.98027235},"labels":[],"label_agreement":null},{"id":"W2052687813","doi":"10.3138/ctr.150.36","title":"Writing on the Wall","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Art history; History","score_opus":0.05146949722759721,"score_gpt":0.24411300653543966,"score_spread":0.19264350930784246,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052687813","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012660301,0.19997014,4.1088864e-8,0.018390791,0.00029722872,0.00020969898,0.000022749678,0.000022104952,0.7798212],"genre_scores_gemma":[0.9092928,0.04538535,0.0000022947156,0.039293855,0.0015375677,0.00005369436,0.000008628415,0.000021153663,0.004404655],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999269,0.00004647488,0.00013969312,0.000074770265,0.00007703391,0.00039299572],"domain_scores_gemma":[0.9994831,0.000075143,0.000029640787,0.0002256558,0.000023697827,0.0001627669],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034955147,0.000115628776,0.00016347866,0.00003445607,0.0005724667,0.000040601528,0.00014044883,0.000014040438,0.0060180295],"category_scores_gemma":[0.000009744646,0.00006310867,0.00008847933,0.000032715943,0.000083485415,0.00010075987,0.000009916335,0.000117575604,0.0018332704],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000010155613,0.000011564249,0.00092228473,0.00054069835,0.00005221023,0.0000020994137,0.0070239943,5.069847e-8,2.3805052e-7,0.43860212,0.33764336,0.21520038],"study_design_scores_gemma":[0.000018446783,0.000012615332,0.000085869106,0.0010349769,0.000034707224,0.0000030055824,0.0005878899,4.1237104e-7,0.0000014947568,0.00011699789,0.9980078,0.00009581137],"about_ca_topic_score_codex":0.015505165,"about_ca_topic_score_gemma":0.12054666,"teacher_disagreement_score":0.90802675,"about_ca_system_score_codex":0.00005285594,"about_ca_system_score_gemma":0.000046427584,"threshold_uncertainty_score":0.9989439},"labels":[],"label_agreement":null},{"id":"W2053901929","doi":"10.3138/0586r.252","title":"Rethinking Sarah Kane’s Characters: A Human(ist) Form and Politics","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Naturalism; Subjectivity; Humanism; Character (mathematics); Politics; Scholarship; Natural (archaeology); Sociology; Scientism; Aesthetics; Epistemology; Literature; Philosophy; History; Art; Law; Political science; Archaeology","score_opus":0.03405459995061505,"score_gpt":0.23665658811296195,"score_spread":0.2026019881623469,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2053901929","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8835987,0.00022443698,0.000056010285,0.0007199378,0.00023508792,0.000082967854,0.000013478405,0.00010666846,0.114962704],"genre_scores_gemma":[0.98708344,0.000027649477,0.000028608336,0.00091425644,0.0013437967,0.000013510402,0.000012765804,0.000020520683,0.010555444],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992238,0.00001685145,0.00016658449,0.0001730906,0.00012625949,0.00029337063],"domain_scores_gemma":[0.99962413,0.000038571477,0.000053867196,0.0001841195,0.000048380836,0.00005090644],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013174987,0.0001486675,0.0001916795,0.000056323068,0.0007934766,0.00022391904,0.000098591,0.000042299383,0.00015441906],"category_scores_gemma":[0.000008309699,0.0001224816,0.000048051446,0.000009655619,0.00019784467,0.0002411109,0.00007032578,0.00014117453,0.00005123211],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001068134,0.00003665174,0.0013574583,0.00011141584,0.000058149013,0.000002084102,0.26946917,9.2315247e-7,0.0001051022,0.7102976,0.0016830176,0.016867746],"study_design_scores_gemma":[0.0006135382,0.00022402951,0.0031722866,0.000112012705,0.000058929614,0.000008206905,0.0013786451,0.0015928461,0.00013218125,0.39104238,0.6012246,0.0004403279],"about_ca_topic_score_codex":0.00024055643,"about_ca_topic_score_gemma":0.00072727294,"teacher_disagreement_score":0.5995416,"about_ca_system_score_codex":0.000020445748,"about_ca_system_score_gemma":0.0000074418535,"threshold_uncertainty_score":0.61028606},"labels":[],"label_agreement":null},{"id":"W2054051128","doi":"10.3138/md.49.1.1","title":"The Prompter’s Box: Toward a Close Reading of Modern Drama","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reading (process); Conviction; Drama; Order (exchange); Literature; Art; Linguistics; Philosophy; Political science; Law","score_opus":0.02488774718388835,"score_gpt":0.23359333332027407,"score_spread":0.20870558613638573,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2054051128","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6869794,0.0030965677,0.0003880881,0.0018158318,0.00054778194,0.0003617695,0.000059695223,0.00016129544,0.30658957],"genre_scores_gemma":[0.9801182,0.00007223283,0.00004857178,0.000087576474,0.000797836,0.000035352477,0.000009617937,0.000026876092,0.018803725],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988451,0.00002780764,0.00032414097,0.0002077081,0.00023545057,0.00035981846],"domain_scores_gemma":[0.99936956,0.00006697004,0.00011584701,0.00031221771,0.000106230604,0.00002919841],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016370414,0.00018786058,0.00024203958,0.00005112942,0.00065857026,0.00020387553,0.00023939474,0.000043083273,0.000105326006],"category_scores_gemma":[0.000007325486,0.000121405734,0.00012523991,0.000026158534,0.00031310506,0.0002032236,0.00008910428,0.00013739898,0.000052369014],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030844018,0.0003389593,0.0032792399,0.0002678132,0.0002932449,0.000016348118,0.24871337,0.00028803988,0.0012036979,0.46816874,0.025483012,0.2516391],"study_design_scores_gemma":[0.0010509585,0.00029766516,0.0016007201,0.00016809595,0.00012232036,0.000007095009,0.0042092935,0.011731206,0.0025500401,0.37310442,0.60449374,0.0006644213],"about_ca_topic_score_codex":0.000670763,"about_ca_topic_score_gemma":0.0015785965,"teacher_disagreement_score":0.5790107,"about_ca_system_score_codex":0.00002681199,"about_ca_system_score_gemma":0.000026026186,"threshold_uncertainty_score":0.50652564},"labels":[],"label_agreement":null},{"id":"W2054105689","doi":"10.3138/md.54.3.287","title":"“It Doesn't Count If It's Easy”: Facing Pain, Mediating Identity in Tony Kushner's <i>Angels in America</i>","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Solidarity; Politics; Ideology; Identity (music); Individualism; Aesthetics; Sociology; Psychoanalysis; Art; Gender studies; Psychology; Political science; Law","score_opus":0.033457965523222444,"score_gpt":0.24438063899363754,"score_spread":0.2109226734704151,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2054105689","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76108754,0.0008214614,0.0005310646,0.0013194828,0.00071980496,0.00034754557,0.00006438606,0.00012772191,0.23498102],"genre_scores_gemma":[0.99481845,0.00018201524,0.000077875135,0.002923868,0.00037330613,0.00005127907,0.000011982261,0.000024951445,0.0015363002],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984868,0.00009055299,0.00041537362,0.00028441177,0.00026114107,0.00046173006],"domain_scores_gemma":[0.9994532,0.00009436003,0.00011232375,0.00022566623,0.000061930696,0.0000525449],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056504825,0.00021851683,0.00033753135,0.00015142604,0.0002450325,0.00013670919,0.00023060563,0.00005500997,0.00075270777],"category_scores_gemma":[0.000040843435,0.00018693926,0.000073990996,0.00008413063,0.00017219616,0.0007592307,0.00011788676,0.0002594691,0.00012476355],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006167833,0.00021507172,0.040951658,0.00013158497,0.00006037296,0.000056569632,0.9072051,0.00016341163,0.00010755472,0.0033675225,0.0043347096,0.043344747],"study_design_scores_gemma":[0.0043573366,0.0007106727,0.033732366,0.0012358649,0.000140438,0.000010521208,0.23641264,0.024776135,0.0009606091,0.043927647,0.6504869,0.00324888],"about_ca_topic_score_codex":0.0065591345,"about_ca_topic_score_gemma":0.055017363,"teacher_disagreement_score":0.67079246,"about_ca_system_score_codex":0.00008424486,"about_ca_system_score_gemma":0.000029102106,"threshold_uncertainty_score":0.9915493},"labels":[],"label_agreement":null},{"id":"W2054787276","doi":"10.1080/10486800701605110","title":"‘Deformities of the Frame’: The Theatre of Anthony Neilson","year":2007,"lang":"en","type":"article","venue":"Contemporary Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Frame (networking); Art; Visual arts; Aesthetics; Computer graphics (images); Computer science; Telecommunications","score_opus":0.04197154077329278,"score_gpt":0.2611882644341526,"score_spread":0.2192167236608598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2054787276","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0063704667,0.44146284,0.0000051319626,0.0027241504,0.000540988,0.0006323578,0.00006995643,0.000029317465,0.5481648],"genre_scores_gemma":[0.9608337,0.03547704,0.0000052043397,0.0012344769,0.00040429347,0.0000150827,0.0000055710025,0.000021171767,0.002003428],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841654,0.00012821818,0.0007518316,0.0001595059,0.0002965163,0.00024739737],"domain_scores_gemma":[0.99843353,0.0002937971,0.00040739117,0.0007045413,0.00012686674,0.000033870616],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010840197,0.00023933893,0.00062974234,0.0000435634,0.0003640059,0.000019675692,0.000546682,0.000043497865,0.0004314121],"category_scores_gemma":[0.000016225093,0.0001021971,0.00045211552,0.00012604172,0.00089350354,0.00021147217,0.00013436831,0.00022067377,0.000018737208],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002569595,0.00037349114,0.015926309,0.01428163,0.000975502,0.000007159548,0.05480806,0.0000014069125,0.00013297028,0.17054427,0.12267157,0.6200207],"study_design_scores_gemma":[0.00016420304,0.0001249241,0.00045092637,0.0040066116,0.00013019449,0.000005446993,0.005414832,0.0000014588677,0.0004300194,0.0010605932,0.9880628,0.00014798356],"about_ca_topic_score_codex":0.00036626193,"about_ca_topic_score_gemma":0.00035227678,"teacher_disagreement_score":0.95446324,"about_ca_system_score_codex":0.000013543555,"about_ca_system_score_gemma":0.000088571476,"threshold_uncertainty_score":0.472366},"labels":[],"label_agreement":null},{"id":"W2054875305","doi":"10.1162/pajj_a_00037","title":"Maxwell's Ghosts","year":2011,"lang":"en","type":"article","venue":"PAJ A Journal of Performance and Art","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Icon; Drama; Citation; Criticism; Art; Section (typography); Art history; Postmodernism; Performance art; Visual arts; Literature; History; Computer science; Library science","score_opus":0.03692657436869296,"score_gpt":0.2029619904650419,"score_spread":0.16603541609634895,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2054875305","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7080365,0.00084936264,0.00000607782,0.000118139316,0.0005173718,0.000030401614,0.0000022998556,0.00000904861,0.29043078],"genre_scores_gemma":[0.9916053,0.0023026294,0.00007551587,0.0002166952,0.0007128078,0.0000011609732,7.5733965e-7,0.0000072822086,0.005077878],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994203,0.000008681243,0.00024379388,0.000056830977,0.00011247318,0.00015794064],"domain_scores_gemma":[0.999646,0.000011968869,0.0001285967,0.00006526541,0.00009302647,0.000055112912],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001828358,0.00009597299,0.00016876205,0.00008913227,0.0002294285,0.00003619189,0.000089684734,0.000016667935,0.0011939459],"category_scores_gemma":[0.0000033046213,0.0000641738,0.00005664348,0.000018626079,0.00016175963,0.0005251824,0.000024926312,0.00012688905,0.000094020426],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008889794,0.00041478273,0.12292972,0.00038561027,0.0005302174,0.00008508754,0.43218395,0.0000038436538,0.00020501825,0.04591787,0.1173967,0.27905822],"study_design_scores_gemma":[0.00034755483,0.0005672607,0.0054964386,0.00009240276,0.00003881558,0.00007722134,0.0029309879,0.000020362551,0.0004686426,0.00036634743,0.98946595,0.00012798591],"about_ca_topic_score_codex":0.0000044542676,"about_ca_topic_score_gemma":0.000024210829,"teacher_disagreement_score":0.8720693,"about_ca_system_score_codex":0.000005366063,"about_ca_system_score_gemma":0.00001599075,"threshold_uncertainty_score":0.9997191},"labels":[],"label_agreement":null},{"id":"W2055121443","doi":"10.1215/02705346-1415434","title":"From This Body to Yours: Porn, Affect, and Performance Art Documentation","year":2011,"lang":"en","type":"article","venue":"Camera Obscura Feminism Culture and Media Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pleasure; Documentation; Affect (linguistics); Performance studies; Visual arts; Aesthetics; Relation (database); Pornography; Work of art; Art; Affect theory; Sociology; Psychology; Psychoanalysis; Social psychology; Computer science; Communication; Feeling","score_opus":0.04299127393502216,"score_gpt":0.26778628249472164,"score_spread":0.22479500855969947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055121443","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8784112,0.018143637,0.0000017023092,0.00054046465,0.0013764438,0.0003411325,0.000095281655,0.00009978933,0.10099038],"genre_scores_gemma":[0.97005576,0.016664244,0.00018190753,0.0009155394,0.0014003908,0.00010242791,0.00005079894,0.00001767832,0.010611251],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989591,0.000022740769,0.00023027255,0.00033229348,0.00016566746,0.0002899047],"domain_scores_gemma":[0.9994483,0.000085289656,0.00008127997,0.00014655267,0.000120797435,0.00011780565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010422329,0.0002917883,0.00039773626,0.000065507316,0.00059128914,0.00008725742,0.00008467213,0.000051806066,0.00037523982],"category_scores_gemma":[0.000032446962,0.00019507216,0.00004708117,0.000042848176,0.00042879602,0.00044154137,0.00011526521,0.00015043127,0.00013684678],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006543871,0.000026754718,0.0029370452,0.00006613988,0.00027859627,0.000006109602,0.8723381,2.4688681e-8,0.00009368926,0.0020833446,0.10932344,0.0127813015],"study_design_scores_gemma":[0.0008038306,0.0007490289,0.012071701,0.0002626246,0.00036104984,0.000008877571,0.3613215,0.0000027946658,0.0015023936,0.0010829795,0.6212146,0.00061857176],"about_ca_topic_score_codex":0.000097431184,"about_ca_topic_score_gemma":0.00026711726,"teacher_disagreement_score":0.5118912,"about_ca_system_score_codex":0.00001633815,"about_ca_system_score_gemma":0.000010004572,"threshold_uncertainty_score":0.7954812},"labels":[],"label_agreement":null},{"id":"W2055127331","doi":"10.1353/mdr.2006.0068","title":"Staging the UK (review)","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Historiography; Performance art; Politics; Periodization; History; Narrative; Tragedy (event); Political theatre; Performance studies; Art history; Art; Media studies; Literature; Sociology; Law; Political science; Anthropology","score_opus":0.02112253160983665,"score_gpt":0.22540974626605367,"score_spread":0.20428721465621702,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055127331","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.070950754,0.05338354,0.000093444854,0.0055921576,0.00045849674,0.00021450513,0.000022092636,0.00011385364,0.86917114],"genre_scores_gemma":[0.9617389,0.0010942866,0.0000066017383,0.0015949003,0.0008485993,0.000017140464,0.000006136277,0.000008679274,0.034684766],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954677,0.000011684377,0.00010838728,0.00008239037,0.00009766738,0.00015309919],"domain_scores_gemma":[0.999758,0.000021143456,0.000027936832,0.0001535123,0.000030424335,0.000009007069],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000083197054,0.00007930964,0.000096573654,0.000012876772,0.0004165097,0.000057318586,0.0001050834,0.00000784546,0.0011453627],"category_scores_gemma":[0.0000017665731,0.000044403216,0.00005238778,0.000011707979,0.00010144911,0.0000625093,0.00003176919,0.000067109846,0.00018730466],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010528359,0.000058133683,0.003082466,0.00028946454,0.00006567496,0.000005993403,0.03518763,0.000066563705,0.00003158463,0.21333654,0.65908545,0.088779986],"study_design_scores_gemma":[0.00007770311,0.000011644222,0.0005723609,0.00009151932,0.000023900415,8.608723e-7,0.0004345871,0.00019368008,0.000022212771,0.008702366,0.9897715,0.00009769455],"about_ca_topic_score_codex":0.000473089,"about_ca_topic_score_gemma":0.0011916433,"teacher_disagreement_score":0.89078814,"about_ca_system_score_codex":0.000007794462,"about_ca_system_score_gemma":0.0000062671993,"threshold_uncertainty_score":0.9997677},"labels":[],"label_agreement":null},{"id":"W2055307482","doi":"10.1353/mdr.2011.0052","title":"Ruby Cohn (1922–2011)","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Criticism; Feeling; Literature; Art; Subject (documents); History; Art history; Theme (computing); Classics; Philosophy; Library science","score_opus":0.05505358607291785,"score_gpt":0.21996286718908048,"score_spread":0.16490928111616263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055307482","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21452995,0.0004938208,0.000053905922,0.00017561851,0.0008375663,0.00007818674,0.000019270974,0.00013599699,0.7836757],"genre_scores_gemma":[0.9578525,0.00004039576,0.000053445598,0.00033317503,0.00072904053,0.000013600419,0.0000045387765,0.000016475784,0.040956844],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994116,0.000010328701,0.00012202585,0.00013800494,0.000096446216,0.00022163174],"domain_scores_gemma":[0.9996815,0.000010630461,0.000032098593,0.00019132071,0.00004635922,0.00003814654],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00005611537,0.00011660429,0.00013188682,0.000040845232,0.0003072748,0.000050932937,0.00012844811,0.000026730848,0.007873502],"category_scores_gemma":[0.0000018265732,0.00008997231,0.00006006572,0.000007531598,0.00015549727,0.00018029539,0.000047312566,0.00008311528,0.0020567437],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011908592,0.00023075478,0.0043296474,0.00006092652,0.0001882574,0.000020528807,0.59529173,0.000002219177,0.00006784114,0.2552274,0.08089872,0.0635629],"study_design_scores_gemma":[0.00032160798,0.00014120262,0.0019783804,0.000016726326,0.000035949455,0.000003046653,0.0028409164,0.00023684787,0.00036910977,0.028975694,0.9647848,0.00029569588],"about_ca_topic_score_codex":0.0004647679,"about_ca_topic_score_gemma":0.0009739051,"teacher_disagreement_score":0.8838861,"about_ca_system_score_codex":0.000009314294,"about_ca_system_score_gemma":0.000009601406,"threshold_uncertainty_score":0.9987203},"labels":[],"label_agreement":null},{"id":"W2055309674","doi":"10.3138/md.47.2.200","title":"BLACKOUT: Utopian Technologies in Adrienne Kennedy's <i>Funnyhouse of a Negro</i>","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Realm; Impulse (physics); Aesthetics; Sensibility; Blackout; Art; Visual arts; History; Literature; Power (physics); Physics","score_opus":0.016902976278810933,"score_gpt":0.210503712698349,"score_spread":0.19360073641953807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055309674","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94945604,0.00084894337,0.000063126456,0.001356229,0.00017903077,0.00015504325,0.00002704855,0.0002570785,0.047657456],"genre_scores_gemma":[0.99763405,0.00017067914,0.000099592406,0.000092869224,0.00009702408,0.00002176961,0.0000034511377,0.00001785554,0.0018626953],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991596,0.000008007019,0.00024481674,0.00017966412,0.00011662744,0.00029132498],"domain_scores_gemma":[0.99958986,0.000018308163,0.00006334979,0.00026462038,0.00004525683,0.000018623196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007097472,0.00015030745,0.00025199857,0.00014929094,0.00012572811,0.000041989457,0.00020218453,0.000058610152,0.00007506556],"category_scores_gemma":[0.000013482386,0.00012191735,0.00006809508,0.00006160088,0.00035441632,0.00019922593,0.00008826865,0.00015005154,0.00004956624],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017965917,0.00058674056,0.006344181,0.000244758,0.00012151271,0.0000508931,0.3378117,0.0010708419,0.0009504075,0.554757,0.00087349606,0.09700879],"study_design_scores_gemma":[0.006027565,0.0011548375,0.0025850548,0.00070238614,0.00008799944,0.00001715586,0.07839826,0.0006686328,0.021215932,0.4138854,0.47379178,0.0014649732],"about_ca_topic_score_codex":0.0005650716,"about_ca_topic_score_gemma":0.008595472,"teacher_disagreement_score":0.4729183,"about_ca_system_score_codex":0.000034292938,"about_ca_system_score_gemma":0.00002531362,"threshold_uncertainty_score":0.49716455},"labels":[],"label_agreement":null},{"id":"W2055428988","doi":"10.3138/md.47.3.525","title":"Playing at Lives: Biography and Contemporary Feminist Drama","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Parade; Statue; Drama; Art; Style (visual arts); Art history; Biography; Visitor pattern; Ideology; History; Visual arts; Politics; Law; Political science","score_opus":0.03188375753916208,"score_gpt":0.22774303480703925,"score_spread":0.19585927726787716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055428988","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7306379,0.0034751398,0.000018513907,0.00042083187,0.00021000943,0.00011360052,0.000050997543,0.00010836756,0.26496464],"genre_scores_gemma":[0.9963276,0.00012831265,0.000050379207,0.000570416,0.00035372115,0.000015852218,0.000013498616,0.000020727746,0.0025195163],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992562,0.000010440415,0.00017160957,0.00021882549,0.00011665085,0.00022628423],"domain_scores_gemma":[0.9996664,0.00003051534,0.000053157983,0.00015887027,0.000028464225,0.00006257839],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000061693005,0.00017294823,0.00019449291,0.00009797756,0.0009786146,0.00018432994,0.00009082399,0.00003374612,0.00013596541],"category_scores_gemma":[0.0000029214139,0.00014098264,0.000081388454,0.000027707072,0.00041291217,0.00018842716,0.00009656939,0.00009636059,0.00009077379],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003147336,0.00028031904,0.061975103,0.00027322685,0.0004692133,0.00010168197,0.8010118,0.00003058452,0.0005545845,0.10895319,0.010569896,0.015465686],"study_design_scores_gemma":[0.004478501,0.0007521105,0.0074856277,0.00043890934,0.00012205261,0.00006186538,0.038365763,0.000336514,0.0009464051,0.04291769,0.9025297,0.0015648335],"about_ca_topic_score_codex":0.00040033236,"about_ca_topic_score_gemma":0.00067858293,"teacher_disagreement_score":0.89195985,"about_ca_system_score_codex":0.000021176444,"about_ca_system_score_gemma":0.000019212015,"threshold_uncertainty_score":0.7526811},"labels":[],"label_agreement":null},{"id":"W2055833543","doi":"10.1353/mdr.2006.0075","title":"Utopia in Performance: Finding Hope at the Theater (review)","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Utopia; Postmodernism; Politics; Aesthetics; Sociology; Art; Art history; Media studies; Literature; Law; Political science","score_opus":0.02286177250297151,"score_gpt":0.22926915154459823,"score_spread":0.20640737904162673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055833543","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7698207,0.0084591685,0.0000016042329,0.0012651485,0.00021496025,0.00016328516,0.000008377899,0.0000332639,0.22003351],"genre_scores_gemma":[0.89820033,0.001999519,0.0000025319434,0.0008157802,0.0004581024,0.000040162984,0.000012006729,0.000012894201,0.09845868],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992456,0.000021663016,0.00019494075,0.0001396671,0.0001327146,0.00026545435],"domain_scores_gemma":[0.99969995,0.00002568693,0.000038594433,0.00020084546,0.000022858201,0.000012042004],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015967332,0.00013231544,0.00016471518,0.000037477268,0.00045770753,0.000051418345,0.00014029867,0.000021429598,0.0017406585],"category_scores_gemma":[0.000001735871,0.0000747168,0.000060157992,0.000027561731,0.0001299808,0.00014966752,0.00008099585,0.000116919684,0.00038830345],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019523603,0.00035131176,0.12295886,0.00216663,0.00015219164,0.00003565693,0.15591085,0.0010024842,0.0002890995,0.076528795,0.3272768,0.3131321],"study_design_scores_gemma":[0.00029002316,0.000039584796,0.009696741,0.00033794326,0.0000228083,0.000004299026,0.00021755775,0.000783505,0.00020999975,0.0010174499,0.98716533,0.00021474416],"about_ca_topic_score_codex":0.00032749018,"about_ca_topic_score_gemma":0.0038839222,"teacher_disagreement_score":0.65988857,"about_ca_system_score_codex":0.000040960116,"about_ca_system_score_gemma":0.000008448009,"threshold_uncertainty_score":0.9991719},"labels":[],"label_agreement":null},{"id":"W2056236072","doi":"10.12745/et.3.1.581","title":"The Slaughter of the Innocents (Play 19)","year":2000,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Psychology; Aesthetics; Communication","score_opus":0.0115790505108614,"score_gpt":0.20104916662903904,"score_spread":0.18947011611817766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2056236072","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.60515034,0.00063602725,4.99188e-8,0.0015300643,0.000365797,0.00008751533,0.00002265587,0.000017848359,0.3921897],"genre_scores_gemma":[0.91595507,0.00016819859,0.0000015976505,0.00026502786,0.0005652742,0.0000073474207,9.4565036e-7,0.0000092381,0.083027326],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937767,0.000037491714,0.00015441871,0.00008644364,0.00015521576,0.00018878045],"domain_scores_gemma":[0.9995695,0.00005272543,0.00003930742,0.00029060518,0.000028791681,0.00001906982],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009791864,0.0000977529,0.00010021388,0.000013273686,0.000948906,0.00007242625,0.00027676416,0.000019731926,0.0028651056],"category_scores_gemma":[0.0000019819347,0.00004180025,0.00009390788,0.00003728371,0.00035677155,0.000097816875,0.0000387418,0.00010928092,0.00026115694],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017048632,0.00013636661,0.038375713,0.000041941214,0.00034995997,0.0000024866115,0.2912663,0.000014080206,0.0000499306,0.06467828,0.2096006,0.39531386],"study_design_scores_gemma":[0.00015016162,0.000041905823,0.008789567,0.000020914813,0.000016074215,9.3574704e-7,0.0010352302,0.0000019043777,0.00010414176,0.0016687296,0.9881033,0.00006714708],"about_ca_topic_score_codex":0.00039698137,"about_ca_topic_score_gemma":0.00081050274,"teacher_disagreement_score":0.7785027,"about_ca_system_score_codex":0.000007093808,"about_ca_system_score_gemma":0.000014529781,"threshold_uncertainty_score":0.9980464},"labels":[],"label_agreement":null},{"id":"W2056407966","doi":"10.1353/mdr.0.0127","title":"The Stanislavsky System of Acting: Legacy and Influence in Modern Performance (review)","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Magnum opus; Appropriation; Incarnation; History; Literature; Aesthetics; Sociology; Art; Epistemology; Philosophy; Theology","score_opus":0.01738967911681829,"score_gpt":0.2313953762796749,"score_spread":0.2140056971628566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2056407966","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93824023,0.021357361,0.0000097797765,0.00047162597,0.00007607124,0.00020331626,0.0000050771737,0.000037734255,0.0395988],"genre_scores_gemma":[0.9913988,0.0075752903,0.0000100198195,0.0001851623,0.0000796993,0.000011856974,8.610466e-7,0.000007604984,0.00073071907],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991541,0.000024852388,0.00029305732,0.00014258116,0.00015792102,0.00022749488],"domain_scores_gemma":[0.99951804,0.000051733896,0.00010371175,0.00021405797,0.00008828195,0.000024155743],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023717394,0.00013310887,0.00023693389,0.0000357004,0.00035011594,0.00008902308,0.00015693705,0.000022212003,0.0000072137086],"category_scores_gemma":[0.000012635146,0.00008526695,0.00003590139,0.00003181603,0.00014553114,0.0004816756,0.000036406764,0.00012832813,0.0000058406717],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012842087,0.000078374265,0.002724429,0.0018760525,0.000051943734,0.0000055540295,0.10127249,0.00028536143,0.00023861135,0.035653543,0.0005469671,0.8571383],"study_design_scores_gemma":[0.007061162,0.003737179,0.12721317,0.030641424,0.0005601545,0.00011347866,0.10680398,0.18754512,0.0031174154,0.024796853,0.5042168,0.0041932566],"about_ca_topic_score_codex":0.00008838286,"about_ca_topic_score_gemma":0.00035886478,"teacher_disagreement_score":0.85294497,"about_ca_system_score_codex":0.000024895851,"about_ca_system_score_gemma":0.000019544868,"threshold_uncertainty_score":0.3477085},"labels":[],"label_agreement":null},{"id":"W2056925809","doi":"10.1353/mdr.0.0118","title":"Understanding Tony Kushner (review)","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Criticism; Art history; History; Art; Literature","score_opus":0.1050832166022787,"score_gpt":0.26380712360751823,"score_spread":0.15872390700523953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2056925809","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006979296,0.019835562,0.00073815585,0.0069260453,0.0004244658,0.00017861594,0.000011669204,0.00017716344,0.964729],"genre_scores_gemma":[0.97637475,0.0027666867,0.00001743312,0.0042396267,0.0004967591,0.0000045223865,0.000005537202,0.000008562411,0.016086131],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994137,0.000010352574,0.00013116765,0.00012298579,0.0001192377,0.00020250263],"domain_scores_gemma":[0.9997554,0.00001333858,0.00003081457,0.00014414989,0.000024889956,0.00003141278],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007461884,0.0001100258,0.00015901572,0.00003259388,0.0003183448,0.00005591524,0.000089423826,0.000017338483,0.0012895392],"category_scores_gemma":[0.0000036658596,0.000082639446,0.0000688606,0.000017377213,0.00006409902,0.00016077142,0.000015844324,0.00007975839,0.00019287098],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026524192,0.000104155304,0.00012892096,0.00020937285,0.00007693413,0.000011879216,0.055498503,0.000020728326,0.00005837817,0.5432529,0.3163766,0.084235154],"study_design_scores_gemma":[0.00026352625,0.00013618736,0.00015291489,0.0003643147,0.00005316204,0.0000034555974,0.0014327784,0.0004062219,0.00003541506,0.06919133,0.92766553,0.00029517498],"about_ca_topic_score_codex":0.000015345908,"about_ca_topic_score_gemma":0.00011740303,"teacher_disagreement_score":0.96939546,"about_ca_system_score_codex":0.000037894017,"about_ca_system_score_gemma":0.000008574575,"threshold_uncertainty_score":0.9996234},"labels":[],"label_agreement":null},{"id":"W2056946275","doi":"10.3138/md.45.2.282","title":"Panych and Gorling: \"Sheer\" Texts \"Written\" in(to) Perception","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Imaginary; FLAGS register; Construct (python library); Perception; Aesthetics; Structuring; Power (physics); Interrogation; Sociology; Visual arts; Linguistics; History; Art; Epistemology; Psychology; Political science; Computer science; Law; Psychoanalysis; Philosophy","score_opus":0.034756662135100466,"score_gpt":0.22917569933751172,"score_spread":0.19441903720241127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2056946275","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90019697,0.0005912512,0.00002414615,0.0016472717,0.00015771197,0.000113123635,0.000007233143,0.000052474345,0.09720983],"genre_scores_gemma":[0.98542076,0.00016647739,0.000036235506,0.0005300234,0.00041491003,0.00001598305,0.0000021356109,0.000012633173,0.013400833],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993953,0.000011713238,0.00012754714,0.00016769861,0.00009412567,0.00020361648],"domain_scores_gemma":[0.9997893,0.000014972237,0.000016326458,0.000112137204,0.00002620383,0.00004103918],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005900852,0.00010753184,0.00013032679,0.00008550102,0.00022657732,0.00011139795,0.00006039561,0.000028130888,0.0012745267],"category_scores_gemma":[0.000004441455,0.000089385925,0.000026436672,0.00002325533,0.00007312126,0.00016191292,0.000040344676,0.000092987604,0.00035715027],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029877532,0.00014463486,0.010385999,0.00006095621,0.000028774362,0.000009337279,0.5142279,0.00005842791,0.0003179064,0.0067257113,0.01117651,0.45683393],"study_design_scores_gemma":[0.0014542679,0.00036344174,0.05823507,0.00017288803,0.00004580244,0.00001337604,0.016228966,0.024146266,0.000040416697,0.009785006,0.88860893,0.0009055488],"about_ca_topic_score_codex":0.00014390936,"about_ca_topic_score_gemma":0.0013704664,"teacher_disagreement_score":0.8774324,"about_ca_system_score_codex":0.00001822902,"about_ca_system_score_gemma":0.000001977808,"threshold_uncertainty_score":0.99963844},"labels":[],"label_agreement":null},{"id":"W2057178986","doi":"10.1080/1048680032000118387","title":"On and Off: A Tour of Theatre Festivals in Canada and the United States","year":2003,"lang":"en","type":"article","venue":"Contemporary Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Art history","score_opus":0.031960120346043466,"score_gpt":0.2307695278617861,"score_spread":0.1988094075157426,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2057178986","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15637778,0.6526465,1.9553671e-7,0.0028364845,0.000116637115,0.0006874496,0.00006466139,0.000011973987,0.18725833],"genre_scores_gemma":[0.85080236,0.14690565,0.0000015337995,0.0019021964,0.000023777655,0.000023226063,0.00000984735,0.000009764693,0.0003216241],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898523,0.00026604347,0.00034798103,0.00014455695,0.00011378525,0.00014242767],"domain_scores_gemma":[0.99915385,0.00047827538,0.00010672779,0.00019156323,0.000031635536,0.00003797215],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045552908,0.00017118242,0.00052319566,0.00005119333,0.00012767769,0.00001906659,0.00008024997,0.000013410926,0.00015212859],"category_scores_gemma":[0.000022187343,0.00008943889,0.000043863667,0.00007347541,0.0002742262,0.0000769625,0.000025749865,0.00011570275,0.0000016857919],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00079209526,0.00023554474,0.052836742,0.01369487,0.00083652907,0.00008864042,0.046258047,0.00001749046,0.0000026273103,0.45856872,0.1607456,0.26592308],"study_design_scores_gemma":[0.0010186573,0.00009128052,0.00026798772,0.0037945486,0.00005722792,0.000007001018,0.0037435668,0.00001428207,0.0000067465144,0.0029814953,0.9878482,0.00016896866],"about_ca_topic_score_codex":0.4445684,"about_ca_topic_score_gemma":0.5629299,"teacher_disagreement_score":0.82710266,"about_ca_system_score_codex":0.000021352183,"about_ca_system_score_gemma":0.00019262772,"threshold_uncertainty_score":0.55913025},"labels":[],"label_agreement":null},{"id":"W2057269002","doi":"10.3138/md.48.4.635","title":"<i>Theoria Negativa</i>: Making Sense of Boal’s Reading of Aristotle","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reading (process); Resistance (ecology); Literature; Philosophy; Art; Linguistics","score_opus":0.021472704979692878,"score_gpt":0.24166703264659806,"score_spread":0.22019432766690517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2057269002","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6136691,0.0005294485,0.0002448175,0.00030803308,0.0002570327,0.00008898529,0.000033446766,0.00004589606,0.38482323],"genre_scores_gemma":[0.9952512,0.000023856799,0.00027952474,0.000094876305,0.00049717136,0.0000030763783,0.0000022105087,0.000014243755,0.003833844],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934894,0.00001857419,0.00024267106,0.00010770074,0.00012497733,0.00015714615],"domain_scores_gemma":[0.9995646,0.000054630556,0.000119575656,0.00017337967,0.00007123253,0.000016576118],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011181703,0.00010118233,0.00021831614,0.00005952302,0.00014525426,0.000021180987,0.00007249325,0.000026553316,0.00040050436],"category_scores_gemma":[0.0000109140055,0.000083229505,0.00007390282,0.000020310526,0.00017548655,0.00014635151,0.000044179655,0.00007440738,0.000027666216],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020818613,0.00019722109,0.0014444102,0.00026384217,0.00019451536,0.0000052885903,0.3922859,0.00038119833,0.005307508,0.49916407,0.0060207634,0.09452707],"study_design_scores_gemma":[0.0014134904,0.0003481032,0.0006684729,0.0005797551,0.00017196947,0.000012413643,0.011736805,0.0072956337,0.030745545,0.092033684,0.8542723,0.0007218262],"about_ca_topic_score_codex":0.00011631402,"about_ca_topic_score_gemma":0.0003432715,"teacher_disagreement_score":0.8482515,"about_ca_system_score_codex":0.000014242899,"about_ca_system_score_gemma":0.000012846311,"threshold_uncertainty_score":0.4385242},"labels":[],"label_agreement":null},{"id":"W2058819022","doi":"10.1017/s030788330135037x","title":"Reading Theatre.","year":2001,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Art history; Media studies; History; Art; Sociology; Philosophy; Linguistics","score_opus":0.11559962015053915,"score_gpt":0.37162349526698285,"score_spread":0.2560238751164437,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2058819022","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03588519,0.00020671861,0.0000092132,0.0057030944,0.0009706805,0.00010921389,0.000027328157,0.00009104658,0.9569975],"genre_scores_gemma":[0.9586914,0.0007217456,0.00002510747,0.00013246943,0.0039443625,0.00003225612,0.000023420795,0.000018772966,0.036410462],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984494,0.00007652368,0.00017831346,0.00020545893,0.0006610604,0.00042924573],"domain_scores_gemma":[0.9992742,0.00018760776,0.000024541921,0.00020174867,0.00023949532,0.00007240335],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007216803,0.00011403163,0.0001189054,0.0002962478,0.0006133735,0.00023171779,0.00040941837,0.000027876624,0.011737345],"category_scores_gemma":[0.000012308674,0.00008598953,0.00007638219,0.00007347144,0.00036813162,0.00033092182,0.00014690595,0.00030145765,0.0016531791],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027449726,0.00019191118,0.008663813,0.000017470504,0.00026703713,0.00006405212,0.022848468,0.000011538368,0.000235426,0.5646827,0.09636429,0.30637875],"study_design_scores_gemma":[0.00021494445,0.000073546405,0.00017705376,0.00003828985,0.0000040168075,0.000016285088,0.004374312,0.000137678,0.000088469016,0.010059681,0.98471165,0.00010405744],"about_ca_topic_score_codex":0.0005760553,"about_ca_topic_score_gemma":0.00048014155,"teacher_disagreement_score":0.9228062,"about_ca_system_score_codex":0.000088448876,"about_ca_system_score_gemma":0.00003578198,"threshold_uncertainty_score":0.99912417},"labels":[],"label_agreement":null},{"id":"W2059313814","doi":"10.1080/08929090903281428","title":"Ontario Teachers as Target TYA Audiences","year":2009,"lang":"en","type":"article","venue":"Youth Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Outreach; Context (archaeology); Public relations; Pedagogy; Focus (optics); Sociology; Psychology; Political science; History","score_opus":0.024322692078139578,"score_gpt":0.22625461965729393,"score_spread":0.20193192757915435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2059313814","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36955154,0.00067768566,0.0000058198125,0.0012577383,0.0009228436,0.000051141717,0.0000083496425,0.00003957091,0.62748533],"genre_scores_gemma":[0.97009265,0.00009708614,0.00007657469,0.0008265417,0.0021827894,9.737e-7,0.0000034750237,0.000008548214,0.026711354],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99891925,0.000035297904,0.00026600275,0.00013879959,0.00025941938,0.000381211],"domain_scores_gemma":[0.9995656,0.000016117487,0.000112339105,0.00012618888,0.00006285788,0.000116874486],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00026912574,0.00018862815,0.00022695279,0.000098166485,0.0011102593,0.00029767616,0.00022307961,0.000036804835,0.0067297514],"category_scores_gemma":[0.0000050984636,0.00012522703,0.0001587247,0.000028767008,0.00014479567,0.00041325195,0.000019078012,0.00044833613,0.00035734262],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079533,0.00010103732,0.007265706,0.0000027780131,0.000115708535,0.000030450215,0.9080976,0.000014401971,0.000008446171,0.006091614,0.014769427,0.06342328],"study_design_scores_gemma":[0.00049717666,0.0007478681,0.0030868507,0.000068707064,0.00009103415,0.000089030626,0.092395365,0.000003649356,0.00003502273,0.01435578,0.8883045,0.00032503987],"about_ca_topic_score_codex":0.002481925,"about_ca_topic_score_gemma":0.016369727,"teacher_disagreement_score":0.87353504,"about_ca_system_score_codex":0.000091346126,"about_ca_system_score_gemma":0.00012320904,"threshold_uncertainty_score":0.99417824},"labels":[],"label_agreement":null},{"id":"W2059324449","doi":"10.3138/md.49.2.206","title":"A Moral Dialectic: Shelagh Stephenson’s <i>An Experiment with an Air Pump</i>","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ideology; Drama; Space (punctuation); Dialectic; Aesthetics; Literature; Art; History; Philosophy; Epistemology; Linguistics; Law; Politics","score_opus":0.02397884629489926,"score_gpt":0.2269068175612203,"score_spread":0.20292797126632103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2059324449","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88208365,0.00029066173,0.000077516874,0.00024765905,0.00020579487,0.00017488604,0.000023188344,0.00019439514,0.11670225],"genre_scores_gemma":[0.9887001,0.000006038453,0.00019295535,0.0003710845,0.0011440206,0.000063598265,0.000032569627,0.00003839338,0.009451261],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99894786,0.000030853094,0.00017003338,0.00028185075,0.00021579061,0.0003536254],"domain_scores_gemma":[0.9994999,0.0000108921295,0.000048657104,0.00030361596,0.000067962676,0.000068971756],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000057862922,0.0002198777,0.00021212037,0.00005079523,0.00053962856,0.00019579803,0.00014124626,0.000033532153,0.00039259004],"category_scores_gemma":[6.264492e-7,0.00015945466,0.000049004426,0.000021967824,0.00019253172,0.00055778574,0.000032520922,0.00010443517,0.0000584883],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016699545,0.0032140315,0.014766816,0.00014493782,0.0003774331,0.00013549175,0.65233874,0.0034862312,0.0016998292,0.2729423,0.013505521,0.03571869],"study_design_scores_gemma":[0.0070233457,0.009354033,0.009294326,0.00018902536,0.00040685554,0.00006885069,0.05015266,0.017682772,0.011927783,0.06400371,0.8261133,0.0037833485],"about_ca_topic_score_codex":0.0023990795,"about_ca_topic_score_gemma":0.014016808,"teacher_disagreement_score":0.81260777,"about_ca_system_score_codex":0.00003896295,"about_ca_system_score_gemma":0.000025620646,"threshold_uncertainty_score":0.7821708},"labels":[],"label_agreement":null},{"id":"W2059981706","doi":"10.12745/et.5.1.629","title":"Book Review: Alan Dessen and Leslie Thomson (eds.). &lt;em&gt;Dictionary of Stage Directions in English Drama&lt;/em&gt;.","year":2002,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Stage (stratigraphy); Art; Performance art; Art history; Literature; Geology","score_opus":0.014580857993323553,"score_gpt":0.2138394589279326,"score_spread":0.19925860093460904,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2059981706","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09292037,0.643955,8.7822946e-7,0.0009932513,0.0006703855,0.00046446116,0.0002512912,0.00018204514,0.26056233],"genre_scores_gemma":[0.48520947,0.3632903,0.00004258106,0.0021164468,0.002018975,0.00016458174,0.000048953418,0.000080189995,0.14702848],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99869233,0.00008415776,0.0003926199,0.00027766754,0.00023810218,0.00031514216],"domain_scores_gemma":[0.9993124,0.00010136892,0.00011423182,0.00029371196,0.00011142691,0.00006687841],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020383274,0.00024630397,0.00042945315,0.00016657077,0.00040307624,0.000082910585,0.00013633704,0.000066362656,0.0062144333],"category_scores_gemma":[0.000016292752,0.00020375378,0.00011795304,0.000102778286,0.00022263608,0.00050081225,0.00006938541,0.00022853495,0.00008144907],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054027623,0.00031083435,0.0039830147,0.00072451174,0.00019143459,0.000019364103,0.111640915,0.000006581289,0.00006376827,0.002527942,0.8072425,0.0732351],"study_design_scores_gemma":[0.0003479399,0.00017969661,0.0031403294,0.0005687658,0.00006465106,0.0000033466256,0.0018460077,0.000021118227,0.000032458953,0.00007198514,0.9934961,0.00022756007],"about_ca_topic_score_codex":0.00013609581,"about_ca_topic_score_gemma":0.0017326239,"teacher_disagreement_score":0.3922891,"about_ca_system_score_codex":0.00002727909,"about_ca_system_score_gemma":0.000014379895,"threshold_uncertainty_score":0.994694},"labels":[],"label_agreement":null},{"id":"W2060274469","doi":"10.1353/tj.2007.0095","title":"Doctoral Projects in Progress in Theatre Arts, 2007","year":2007,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Library science; Scope (computer science); Sociology; Public relations; Political science; Visual arts; Computer science; Art","score_opus":0.0429392395915966,"score_gpt":0.28106102886173034,"score_spread":0.23812178927013375,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2060274469","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6992479,0.004329537,0.0000037839443,0.0009729832,0.001208142,0.00023113041,0.00000679431,0.000045041696,0.29395467],"genre_scores_gemma":[0.99565095,0.00022826005,0.00007759186,0.00017499471,0.0027710586,0.000007171867,0.0000025925399,0.000023407969,0.0010639705],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.998343,0.00004886954,0.0004994887,0.00016802587,0.0002684251,0.0006721756],"domain_scores_gemma":[0.9995405,0.000057312485,0.00010883162,0.00014792864,0.000054055,0.000091389236],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010660386,0.00022026635,0.000306266,0.00044319598,0.00029213415,0.0001625557,0.00020039424,0.000059274702,0.001053678],"category_scores_gemma":[0.0000028422767,0.00015482197,0.00009662873,0.00011417938,0.00022019545,0.000418125,0.000044414875,0.00058866787,0.00008301954],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006889091,0.00053144386,0.4676849,0.000077053264,0.00007569824,0.00062974513,0.12867172,0.000011017041,0.000014684263,0.0076835975,0.012324559,0.38160667],"study_design_scores_gemma":[0.0032977408,0.000690306,0.067475274,0.0007021967,0.00004408391,0.00035241398,0.060941644,0.000049361577,0.00015219416,0.004870873,0.86063117,0.00079274754],"about_ca_topic_score_codex":0.00019720654,"about_ca_topic_score_gemma":0.01130749,"teacher_disagreement_score":0.8483066,"about_ca_system_score_codex":0.00010883516,"about_ca_system_score_gemma":0.00006766781,"threshold_uncertainty_score":0.9998595},"labels":[],"label_agreement":null},{"id":"W2060275864","doi":"10.1386/padm.2.1.69/1","title":"<i>Juliette at Zulu Time</i> : Robert Lepage and the aesthetics of ?techno-en-scene?","year":2006,"lang":"en","type":"article","venue":"International Journal of Performance Arts and Digital Media","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Zulu; Art; Aesthetics; Visual arts; Art history; Philosophy","score_opus":0.005320751398714382,"score_gpt":0.18120703542688255,"score_spread":0.17588628402816817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2060275864","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9397505,0.0013989481,0.0000063487496,0.0021583776,0.0005213005,0.00005020889,0.000042620017,0.000008397425,0.056063276],"genre_scores_gemma":[0.9954347,0.0012515966,0.000026215726,0.00015099676,0.0008319913,0.0000012969675,0.0000068697454,0.0000083285395,0.0022879865],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991082,0.0000073733017,0.00037225988,0.000071942115,0.00032379653,0.00011643507],"domain_scores_gemma":[0.99933445,0.00012606762,0.00023083904,0.00006506915,0.00021128931,0.00003228119],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019042646,0.00011491075,0.00020300181,0.000087943175,0.00012928153,0.00015531322,0.00017089602,0.000024107192,0.00008600076],"category_scores_gemma":[0.000018509452,0.00006634727,0.000070901944,0.000017686525,0.0006288822,0.0006207019,0.00010188204,0.00011012846,0.00001850407],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0038949205,0.00067006255,0.06860836,0.00018919921,0.0009428922,0.00011413459,0.09161201,0.0002818946,0.0007034151,0.20824583,0.06437202,0.56036526],"study_design_scores_gemma":[0.003017638,0.00033239246,0.005159058,0.00025405752,0.00007058013,0.0004113712,0.00090663275,0.00079881004,0.0010941871,0.0048681763,0.9828302,0.00025686575],"about_ca_topic_score_codex":0.000012534566,"about_ca_topic_score_gemma":0.000063147614,"teacher_disagreement_score":0.9184582,"about_ca_system_score_codex":0.000017120423,"about_ca_system_score_gemma":0.000015354226,"threshold_uncertainty_score":0.2705563},"labels":[],"label_agreement":null},{"id":"W2060696574","doi":"10.3138/md.0485r","title":"“High and Aloof”: Verse, Violence, and the Audience in Djuna Barnes’s <i>The Antiphon</i>","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Literature; Art; Witness; Entertainment; Subject (documents); History; Visual arts; Philosophy; Linguistics","score_opus":0.007909814005456352,"score_gpt":0.1881636848475396,"score_spread":0.18025387084208325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2060696574","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9736574,0.0019884573,0.000033052846,0.0021320411,0.00027092185,0.00014989373,0.0000067941687,0.000024600939,0.021736816],"genre_scores_gemma":[0.996384,0.0014666509,0.000008406791,0.000880436,0.00025603638,0.000018006127,0.0000010093994,0.0000074441746,0.000977987],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993798,0.000051266084,0.00012434318,0.00015777111,0.00009820837,0.00018860008],"domain_scores_gemma":[0.9996033,0.00015085944,0.00003548152,0.00016708602,0.000022212584,0.000021064665],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030206738,0.000112521724,0.00016212375,0.000028495058,0.00051498495,0.00013260385,0.0001240831,0.000020867785,0.000038892747],"category_scores_gemma":[0.000015631127,0.000056531164,0.000023715846,0.000024919756,0.00088733336,0.00013174932,0.00009449711,0.00012000321,0.000019133835],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029637685,0.00005414084,0.012563981,0.00008503156,0.00006282744,0.000004500849,0.2693423,0.00009194223,0.0000405666,0.48335287,0.0032729,0.23083256],"study_design_scores_gemma":[0.0074016587,0.00032140317,0.040348943,0.0006233532,0.00013920451,0.000025814377,0.017756714,0.024305439,0.00019211207,0.2724333,0.635514,0.0009380059],"about_ca_topic_score_codex":0.0007704718,"about_ca_topic_score_gemma":0.0030194006,"teacher_disagreement_score":0.63224113,"about_ca_system_score_codex":0.000004330686,"about_ca_system_score_gemma":0.0000051170696,"threshold_uncertainty_score":0.39608997},"labels":[],"label_agreement":null},{"id":"W2061909813","doi":"10.7202/041503ar","title":"Le nouveau cirque américain","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cirque; Humanities; Art; Art history; Geography","score_opus":0.014570897345335431,"score_gpt":0.22555558208974177,"score_spread":0.21098468474440635,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2061909813","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10856943,0.002885172,0.00001160497,0.09568263,0.008329129,0.00087220914,0.00088084186,0.00057175127,0.78219724],"genre_scores_gemma":[0.7500225,0.003364265,0.00032142116,0.0010047477,0.0063514654,0.0001417823,0.000099985155,0.00021103384,0.23848283],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99477065,0.00020162384,0.0012983475,0.0012160046,0.00055718404,0.0019561907],"domain_scores_gemma":[0.9966925,0.00045301512,0.0004936622,0.001338166,0.0004148842,0.00060777215],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","insufficient_payload"],"category_scores_codex":[0.0006260967,0.0012828711,0.0013746467,0.00038063395,0.0024295386,0.0006903036,0.0012567501,0.0006735457,0.0018071353],"category_scores_gemma":[0.00014423805,0.0012967672,0.0009970147,0.00029729414,0.0027237083,0.0015243341,0.00030202654,0.0021462,0.0010201444],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017627818,0.00080587005,0.00035111935,0.00090222113,0.0004640403,0.00017385231,0.024013132,0.00004229703,0.00078946893,0.8847387,0.078711845,0.008831198],"study_design_scores_gemma":[0.00045402715,0.00051111664,0.00092597207,0.0006641899,0.00036904454,0.0001983478,0.0035150398,0.00009073759,0.00048041195,0.0027003377,0.98851323,0.0015775498],"about_ca_topic_score_codex":0.008705185,"about_ca_topic_score_gemma":0.48252055,"teacher_disagreement_score":0.90980136,"about_ca_system_score_codex":0.0001244097,"about_ca_system_score_gemma":0.0009900804,"threshold_uncertainty_score":0.9999923},"labels":[],"label_agreement":null},{"id":"W2061921400","doi":"10.1300/j082v43n03_15","title":"Seeing Double, Thinking Twice","year":2003,"lang":"en","type":"article","venue":"Journal of Homosexuality","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology; Social psychology","score_opus":0.05683902501331277,"score_gpt":0.28125314817176567,"score_spread":0.22441412315845288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2061921400","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7026624,0.0016217182,0.000048569025,0.00031489725,0.0016869316,0.00004406676,0.0000032638682,0.000018722289,0.29359943],"genre_scores_gemma":[0.99617493,0.00006575607,0.0001838266,0.00026248264,0.0008891789,6.308825e-7,3.837412e-7,0.000008351666,0.0024144396],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990551,0.00006294378,0.00038374634,0.000068194444,0.00025732213,0.00017271748],"domain_scores_gemma":[0.99932367,0.00006352241,0.00026505682,0.00010941643,0.00019226935,0.000046071214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009797632,0.000099576006,0.00022870884,0.000060136415,0.0004076189,0.0001242256,0.00013359774,0.00002252513,0.0006937062],"category_scores_gemma":[0.000026177835,0.000069951115,0.0000950928,0.000031673426,0.00009687702,0.0004167902,0.000018923518,0.00022297942,0.000025039573],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027852328,0.00029645005,0.012811293,0.00014273568,0.00040829257,0.00006491274,0.253659,0.000029541869,0.00019516601,0.7067086,0.017834812,0.00757065],"study_design_scores_gemma":[0.00077539915,0.00023604801,0.00069852563,0.000045439137,0.00005317983,0.00006254919,0.019541603,0.0000012010324,0.00053326064,0.012128853,0.9657689,0.00015506582],"about_ca_topic_score_codex":0.000050912615,"about_ca_topic_score_gemma":0.00020762286,"teacher_disagreement_score":0.9479341,"about_ca_system_score_codex":0.000027006057,"about_ca_system_score_gemma":0.000044571567,"threshold_uncertainty_score":0.75955963},"labels":[],"label_agreement":null},{"id":"W2062271078","doi":"10.1017/s0266464x00013671","title":"Aphrodite Speaks: on the Recent Performance Art of Carolee Schneemann","year":2000,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Strong","keywords":"Exhibition; Art; Painting; Art history; Merge (version control); Visual arts; Modern art; Performance art; Computer science","score_opus":0.017535513587721662,"score_gpt":0.20233105695951348,"score_spread":0.18479554337179183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2062271078","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45191067,0.00026453554,5.4485827e-7,0.0034111468,0.00034758225,0.00017556844,0.000023412067,0.00006285082,0.5438037],"genre_scores_gemma":[0.95556927,0.0006123034,0.000010229092,0.0008569463,0.0015768469,0.000016398915,0.000011005221,0.000025052343,0.041321967],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988027,0.00004528091,0.00031615444,0.00022105435,0.00028388266,0.00033093098],"domain_scores_gemma":[0.99923867,0.00007658886,0.000074553405,0.0004952803,0.000053851036,0.00006103371],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016423184,0.00023707932,0.0002672719,0.00006974089,0.00039827646,0.000075620046,0.00028344148,0.00003987232,0.015796727],"category_scores_gemma":[0.0000012370722,0.0001411071,0.00012607627,0.00006939778,0.000245848,0.000211463,0.000008226803,0.00020058549,0.002778821],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002583734,0.00010568253,0.00028153294,0.000036644287,0.000106868014,0.000001712731,0.06561298,0.000018107707,0.000025063122,0.01140071,0.16981,0.75234234],"study_design_scores_gemma":[0.00034857512,0.0013751768,0.00048879173,0.00010329947,0.00003731919,0.0000023481393,0.0041447952,0.00003098772,0.00018377975,0.0009878275,0.9921059,0.00019120365],"about_ca_topic_score_codex":0.00017288244,"about_ca_topic_score_gemma":0.00061316486,"teacher_disagreement_score":0.8222959,"about_ca_system_score_codex":0.000019452089,"about_ca_system_score_gemma":0.000037313297,"threshold_uncertainty_score":0.99799764},"labels":[],"label_agreement":null},{"id":"W2062955501","doi":"10.3138/md.0623","title":"Ventriloquist Theatre and the Omniscient Narrator: <i>Gatz</i> and <i>El pasado es un animal grotesco</i>","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Drama; Literature; Politics; Art; Aesthetics; History; Political science; Law","score_opus":0.009341265676855982,"score_gpt":0.1962471789693649,"score_spread":0.1869059132925089,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2062955501","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8735869,0.004441388,0.00005046845,0.004929697,0.0003599707,0.00026242668,0.000028341285,0.00008301685,0.116257794],"genre_scores_gemma":[0.99653107,0.00020992526,0.000017687127,0.0012275914,0.00073705806,0.00002197401,0.0000034042175,0.000018443257,0.0012328642],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99903584,0.000067072535,0.00019107398,0.0002509338,0.00017537618,0.0002797099],"domain_scores_gemma":[0.99951136,0.00010418473,0.00006270083,0.00021933544,0.00003954902,0.00006284786],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033377076,0.00019368195,0.0002456854,0.000032629843,0.0011695559,0.0003476204,0.00013338868,0.00003364523,0.000099053286],"category_scores_gemma":[0.000009048406,0.00011275215,0.00005949434,0.000022414328,0.0009835813,0.00016353396,0.00013974942,0.00013248276,0.000027596676],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006379428,0.000121988,0.0048042834,0.00014089524,0.00018510781,0.000006039715,0.21457233,0.000009096053,0.0003238643,0.67953694,0.008846915,0.09081459],"study_design_scores_gemma":[0.0026099093,0.00032908143,0.00070702937,0.00006253336,0.000107163156,0.000020462108,0.0053693834,0.0032621562,0.00029988494,0.040380433,0.9464346,0.00041735062],"about_ca_topic_score_codex":0.00012318396,"about_ca_topic_score_gemma":0.00025956347,"teacher_disagreement_score":0.9375877,"about_ca_system_score_codex":0.0000075713137,"about_ca_system_score_gemma":0.000009607146,"threshold_uncertainty_score":0.8995397},"labels":[],"label_agreement":null},{"id":"W2063371069","doi":"10.1017/s0040557408001336","title":"City Stages: Theatre and Urban Space in a Global City. By Michael McKinnie. Toronto, Buffalo, London: University of Toronto Press, 2007; pp. xii + 178. $45 cloth.","year":2008,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Media studies; History; Urban space; Performance art; Space (punctuation); Art history; Sociology; Regional science; Computer science","score_opus":0.022752817610850663,"score_gpt":0.21915925367429848,"score_spread":0.19640643606344782,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2063371069","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6548096,0.09942334,0.000006264805,0.00012263344,0.00039045434,0.00037918787,0.0024231377,0.000101524616,0.24234389],"genre_scores_gemma":[0.971733,0.02176137,0.000019304709,0.000049969363,0.00026934923,0.0000025333416,0.00008962351,0.000024254496,0.0060505946],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99809575,0.00030787603,0.0003228046,0.00044760728,0.0002957379,0.0005302056],"domain_scores_gemma":[0.9989962,0.00015238384,0.00014585597,0.00043817496,0.0001296285,0.00013774965],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00051623315,0.00038389096,0.0006342562,0.000013286561,0.00048516504,0.000039758685,0.00032646058,0.00012765864,0.0024374807],"category_scores_gemma":[0.000009193021,0.0003506055,0.000115595845,0.00003876694,0.0007134369,0.00066566525,0.00020371136,0.00016327926,0.0000107719625],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00078690925,0.0003313812,0.6982134,0.000090201254,0.00019625593,0.000023386327,0.03809936,0.0000029284802,0.00001514521,0.0010880608,0.2582736,0.0028793705],"study_design_scores_gemma":[0.0017963868,0.00037535484,0.2636369,0.00008912187,0.000060842387,0.000010020847,0.007144986,0.000017806124,0.00004622346,0.00007918991,0.72615093,0.0005922716],"about_ca_topic_score_codex":0.7099957,"about_ca_topic_score_gemma":0.85357815,"teacher_disagreement_score":0.4678773,"about_ca_system_score_codex":0.00026238433,"about_ca_system_score_gemma":0.000080363345,"threshold_uncertainty_score":0.9998946},"labels":[],"label_agreement":null},{"id":"W2063977543","doi":"10.3138/ctr.147.5","title":"Building the Activist Classroom: Learning to Collaborate, Learning through Performance in English 2470: Canadian Drama","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Process (computing); Visual arts; Pedagogy; Multimedia; Mathematics education; Computer science; Media studies; Sociology; Psychology; Art","score_opus":0.03400345875819036,"score_gpt":0.23711310463696503,"score_spread":0.20310964587877467,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2063977543","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06959392,0.039919153,0.000001023491,0.0026507762,0.0008661078,0.0009911329,0.00004068071,0.00010141795,0.88583577],"genre_scores_gemma":[0.9707508,0.021070704,0.000053043448,0.0033157556,0.00060408347,0.00013030402,0.000012650211,0.000053938038,0.0040087057],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980132,0.00017352945,0.0003741109,0.00033579356,0.00015219123,0.0009511873],"domain_scores_gemma":[0.998899,0.00006610944,0.000093054936,0.00032136124,0.00019906474,0.0004213991],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00058150274,0.0003187858,0.0004718292,0.00023850624,0.001504774,0.00016290353,0.00042517835,0.000063131185,0.0017195272],"category_scores_gemma":[0.000087741035,0.00023743883,0.00009458185,0.00044724182,0.00016228748,0.0004319993,0.00004181025,0.000677078,0.00032083024],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038891903,0.000039567254,0.048311062,0.0025298395,0.00026052553,0.00012298938,0.45945945,0.0001920782,0.000004088575,0.045210324,0.040947244,0.40288395],"study_design_scores_gemma":[0.00009610949,0.00009941184,0.0017470234,0.0019282803,0.00004672812,0.0000046763075,0.008736508,0.000013562476,0.000005601735,0.000056209363,0.9869312,0.0003346954],"about_ca_topic_score_codex":0.68353075,"about_ca_topic_score_gemma":0.9861322,"teacher_disagreement_score":0.94598395,"about_ca_system_score_codex":0.000500901,"about_ca_system_score_gemma":0.0008658558,"threshold_uncertainty_score":0.99979514},"labels":[],"label_agreement":null},{"id":"W2064105467","doi":"10.1353/mdr.2006.0036","title":"Performing Opposition: Modern Theater and the Scandalized Audience (review)","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Opposition (politics); Realism; Spectacle; Naturalism; Drama; Hollywood; Art; Adventure; History; Literature; Art history; Media studies; Sociology; Philosophy; Law; Political science; Politics","score_opus":0.019718270775096382,"score_gpt":0.23350770979302768,"score_spread":0.2137894390179313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2064105467","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31311858,0.1649672,0.00045650086,0.03777279,0.0004987886,0.0010198187,0.00004337041,0.00022838908,0.48189455],"genre_scores_gemma":[0.9783708,0.009568296,0.000047156936,0.0034996008,0.00067026773,0.00006135796,0.000003820444,0.000012977044,0.007765747],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992149,0.000036046324,0.00019041942,0.00017308898,0.0001551569,0.00023037945],"domain_scores_gemma":[0.9996209,0.000044523018,0.000048086265,0.0001958921,0.00005501252,0.000035551446],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021996578,0.00015110793,0.00023342037,0.000024242328,0.0008390157,0.00011122447,0.00013524358,0.000019529216,0.0006550773],"category_scores_gemma":[0.0000052887954,0.00008210265,0.00007479656,0.000015120275,0.0004516636,0.0003114264,0.0000780049,0.00011074525,0.00007252933],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002571608,0.000056791007,0.00018457179,0.00036458205,0.00013692143,0.0000029555158,0.21889736,0.000073887924,0.0000405157,0.04753784,0.012430755,0.72001666],"study_design_scores_gemma":[0.002792626,0.0000917656,0.00016793782,0.0007455717,0.0002074853,0.00004149119,0.0015031069,0.046231166,0.00013751259,0.014849728,0.932728,0.00050364295],"about_ca_topic_score_codex":0.000060653605,"about_ca_topic_score_gemma":0.00029457326,"teacher_disagreement_score":0.9202972,"about_ca_system_score_codex":0.000016310742,"about_ca_system_score_gemma":0.000011360572,"threshold_uncertainty_score":0.71726364},"labels":[],"label_agreement":null},{"id":"W2064180352","doi":"10.3138/ctr.156.010","title":"To Carry the Archive with Us: The Multi-Burdened Crawls of William Pope.L and Didier Morelli","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Performative utterance; Art; Art history; Performance art; Cartography; Humanities; Visual arts; Geography; Aesthetics","score_opus":0.019378881381823747,"score_gpt":0.218706288572086,"score_spread":0.19932740719026223,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2064180352","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08744125,0.6160722,0.0000109396615,0.06251862,0.00045917154,0.0054546124,0.0005786538,0.000051452927,0.2274131],"genre_scores_gemma":[0.8404992,0.13183747,0.00015084959,0.019231243,0.00070527225,0.0005069015,0.0000200998,0.000066080545,0.0069828425],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991976,0.00006758572,0.00019765628,0.00015241778,0.000098116245,0.00028660623],"domain_scores_gemma":[0.99924886,0.00008179436,0.000056304005,0.0003695069,0.00007777027,0.00016574116],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015464159,0.00017214053,0.00030469475,0.00004251468,0.00048154237,0.00006631423,0.00023703022,0.000015001692,0.00066949445],"category_scores_gemma":[0.000008185559,0.000072035196,0.000067254434,0.000059742666,0.00040363977,0.00008561535,0.000034508677,0.000113080096,0.00011326817],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025771342,0.000049466915,0.015130986,0.0037395137,0.0008917617,0.000016311164,0.11917535,0.000018295064,0.00001934739,0.023186198,0.30222413,0.5355229],"study_design_scores_gemma":[0.00008198907,0.00007245062,0.0022260887,0.0012145835,0.000111746675,0.000005972135,0.0015837388,0.0000050155195,0.0000051608426,0.00018216988,0.99437666,0.00013440178],"about_ca_topic_score_codex":0.11557877,"about_ca_topic_score_gemma":0.56917596,"teacher_disagreement_score":0.753058,"about_ca_system_score_codex":0.000020490614,"about_ca_system_score_gemma":0.00009007407,"threshold_uncertainty_score":0.89031065},"labels":[],"label_agreement":null},{"id":"W2064248619","doi":"10.1353/tj.0.0119","title":"Dawn’s Light: The Journey of Gordon Hirabayashi (review)","year":2008,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Opera; Performance art; History; Art history; Art; Cartography; Geography","score_opus":0.04424685884148417,"score_gpt":0.24053110982448306,"score_spread":0.1962842509829989,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2064248619","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06778128,0.11286899,0.000005917443,0.013147089,0.0015368299,0.00020038948,0.000020047655,0.000040069506,0.8043994],"genre_scores_gemma":[0.8588604,0.124200955,0.00002053219,0.0013176035,0.0033547708,0.000005336954,0.0000016874664,0.000024044957,0.012214669],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988623,0.000083007086,0.00042140533,0.00008483103,0.00029814275,0.0002502793],"domain_scores_gemma":[0.99928504,0.000056181114,0.0002304593,0.00022392518,0.00014129913,0.00006306561],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044649927,0.00015692927,0.00031385207,0.00006313534,0.0011087746,0.000031220403,0.00031237496,0.000022318047,0.005157712],"category_scores_gemma":[0.000009456188,0.00007817307,0.00023146729,0.00004474103,0.00030488128,0.00021485217,0.00004672477,0.00037050046,0.00022023212],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059308222,0.00012666895,0.0014034768,0.00018133852,0.0002796219,0.00003963792,0.05761843,0.0000030350739,0.00007441216,0.0066424226,0.90103185,0.03253977],"study_design_scores_gemma":[0.00024291768,0.0001650058,0.00036665713,0.00044688245,0.000097917415,0.00058389123,0.0028224946,0.0000036657548,0.00011810772,0.00063753064,0.994386,0.00012892348],"about_ca_topic_score_codex":0.000041308227,"about_ca_topic_score_gemma":0.00013445942,"teacher_disagreement_score":0.7921847,"about_ca_system_score_codex":0.000019920206,"about_ca_system_score_gemma":0.00006414795,"threshold_uncertainty_score":0.9957517},"labels":[],"label_agreement":null},{"id":"W2064295646","doi":"10.1353/mdr.0.0069","title":"J.B. Priestley (review)","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Elite; Historicism; Marxist philosophy; Criticism; Epithet; Politics; Literature; Philosophy; History; Sociology; Law; Art; Political science","score_opus":0.044584652704245935,"score_gpt":0.2382335357640796,"score_spread":0.19364888305983366,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2064295646","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10486802,0.04847307,0.00005098614,0.0021492064,0.0005621972,0.00020840435,0.000020953943,0.00021167788,0.8434555],"genre_scores_gemma":[0.917588,0.013283099,0.000030028606,0.0023590596,0.0006570479,0.000023921808,0.000008439129,0.0000151174845,0.06603526],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994939,0.000009236387,0.000118292955,0.000105944004,0.000111141686,0.00016150561],"domain_scores_gemma":[0.9997279,0.000012698241,0.000026838925,0.0001562963,0.000048215377,0.000028049153],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000040997635,0.00009341179,0.00014621628,0.000020656053,0.00040582987,0.000014595386,0.00009050618,0.000013144311,0.0017923653],"category_scores_gemma":[0.00000548458,0.000070210015,0.000058847334,0.000012889668,0.00017925091,0.00012833829,0.00003188039,0.0000677361,0.00068060856],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024584568,0.00013695938,0.0019128647,0.000501064,0.000108477296,0.00004249658,0.13484077,0.0000063994626,0.000025240632,0.047702603,0.7442349,0.070463635],"study_design_scores_gemma":[0.000102719816,0.000032547785,0.0003330547,0.000088654066,0.000013063539,0.000009882049,0.00013792868,0.000050799295,0.000025725945,0.0012225087,0.9978633,0.000119818316],"about_ca_topic_score_codex":0.000055605364,"about_ca_topic_score_gemma":0.00013623721,"teacher_disagreement_score":0.81272,"about_ca_system_score_codex":0.000008405716,"about_ca_system_score_gemma":0.000015315754,"threshold_uncertainty_score":0.9991201},"labels":[],"label_agreement":null},{"id":"W2064904771","doi":"10.3138/ctr.160.003","title":"Aesthetic Diversities in Acting Training","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rigour; Training (meteorology); Moderation; Work (physics); Aesthetics; Sociology; Psychology; Art; Engineering; Social psychology; Epistemology; Philosophy; Geography","score_opus":0.04398273301219938,"score_gpt":0.22974811478398033,"score_spread":0.18576538177178095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2064904771","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005051756,0.06836003,7.342424e-7,0.0043824133,0.00030630303,0.00018648453,0.000016427219,0.000035063513,0.9216608],"genre_scores_gemma":[0.977557,0.016669575,0.000010060587,0.003778277,0.00031376976,0.000015487538,0.000007959301,0.000015430749,0.0016324224],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992745,0.00005202049,0.00016092413,0.0001230194,0.00006468419,0.0003248855],"domain_scores_gemma":[0.99966586,0.000024584706,0.0000340874,0.00014192854,0.000019545903,0.000114006485],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027780994,0.0001190871,0.00026997572,0.00011201305,0.0003007498,0.000040427454,0.00012470383,0.000018217088,0.0012765406],"category_scores_gemma":[0.00000895218,0.00009829072,0.000070506,0.000045622724,0.00009308808,0.00012601819,0.000013022584,0.00011000473,0.00020428943],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.677606e-7,0.0000030424599,0.0003801775,0.0005345824,0.000007153242,0.0000067803303,0.028604157,0.0000012199334,1.1061313e-7,0.023520136,0.0060008154,0.94094086],"study_design_scores_gemma":[0.00007208099,0.000020796495,0.000037296966,0.0018861792,0.00002357841,0.0000053976323,0.0046410663,0.0000094852585,2.5898726e-7,0.00034169393,0.99282897,0.00013317683],"about_ca_topic_score_codex":0.04240426,"about_ca_topic_score_gemma":0.58344454,"teacher_disagreement_score":0.98682815,"about_ca_system_score_codex":0.00007165068,"about_ca_system_score_gemma":0.00008463431,"threshold_uncertainty_score":0.9996364},"labels":[],"label_agreement":null},{"id":"W2065554983","doi":"10.1353/mdr.2005.0032","title":"Disability and Contemporary Performance: Bodies on Edge (review)","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Undoing; Disability studies; Aesthetics; Identity (music); Meaning (existential); Privilege (computing); Performance studies; Sociology; Power (physics); Performing arts; Psychology; Art; Gender studies; Visual arts; Psychoanalysis; Political science; Law; Psychotherapist","score_opus":0.04231814687667505,"score_gpt":0.2528623189829307,"score_spread":0.21054417210625564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2065554983","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68609864,0.031799227,0.0000010652489,0.0037729307,0.00018161364,0.00021370029,0.000028688994,0.00009230477,0.27781186],"genre_scores_gemma":[0.9834057,0.006666036,0.00000885042,0.0017836116,0.0007616025,0.000030237732,0.00000876301,0.000012001894,0.0073232003],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930173,0.000019360203,0.00018933059,0.00018834663,0.000121583376,0.00017963328],"domain_scores_gemma":[0.9996473,0.000036397876,0.00004013127,0.00020075307,0.0000338887,0.000041514257],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013082848,0.00015702436,0.00022995258,0.000018395922,0.00037796175,0.000044782148,0.000079837075,0.000022384489,0.00044747567],"category_scores_gemma":[0.000006300098,0.000112389054,0.0000525052,0.000008223362,0.00041545296,0.00028406898,0.000051797724,0.000115476905,0.00016786499],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017508528,0.00044476174,0.03363536,0.001836744,0.00012512448,0.0000021995083,0.07294446,0.000015277092,0.000010265946,0.010479502,0.1491193,0.7312119],"study_design_scores_gemma":[0.000327483,0.00018114221,0.008483138,0.0003558638,0.000021826061,0.0000016797726,0.00047698704,0.0006400877,0.000056722456,0.00044139088,0.9887732,0.00024046122],"about_ca_topic_score_codex":0.000032952532,"about_ca_topic_score_gemma":0.00022645951,"teacher_disagreement_score":0.8396539,"about_ca_system_score_codex":0.00002174662,"about_ca_system_score_gemma":0.000010776896,"threshold_uncertainty_score":0.48995447},"labels":[],"label_agreement":null},{"id":"W2065676568","doi":"10.3138/ctr.152.13","title":"The Spirit of Potentials: An <i>Interview</i> with Bretta Gerecke","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Trilogy; Monster; Art; Opera; Visual arts; Performance art; Art history; Aesthetics; Sociology","score_opus":0.0407391529101737,"score_gpt":0.2464170269299811,"score_spread":0.20567787401980742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2065676568","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018386014,0.7188522,0.0000014584663,0.0080663925,0.00047254039,0.00043064807,0.00010716653,0.000024904695,0.27020606],"genre_scores_gemma":[0.8105689,0.17549185,0.000024433968,0.008018741,0.001598922,0.000071520786,0.000032698823,0.0000531247,0.004139752],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989797,0.00010366166,0.00026374054,0.00010731819,0.00011596468,0.0004296219],"domain_scores_gemma":[0.99914604,0.000034826167,0.00009333274,0.0004004631,0.00008403343,0.00024129661],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005638318,0.00015926365,0.00031930022,0.000038344908,0.0004820724,0.000048458365,0.0002547589,0.000019848514,0.0014639167],"category_scores_gemma":[0.000004376666,0.00008293815,0.00010542228,0.000051206636,0.00026367817,0.00025260833,0.000017046008,0.00009572653,0.00012631943],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000083311215,0.000036317404,0.0011371601,0.0018224397,0.00019630214,0.0000034368154,0.005882742,1.4825301e-7,0.0000018527049,0.04256788,0.13182876,0.8165146],"study_design_scores_gemma":[0.00005475802,0.000072440154,0.00015641167,0.0013001078,0.00013250054,0.000012596908,0.0008426614,4.4830404e-7,0.000007960661,0.00005108849,0.997239,0.00013001914],"about_ca_topic_score_codex":0.016711125,"about_ca_topic_score_gemma":0.4176334,"teacher_disagreement_score":0.86541027,"about_ca_system_score_codex":0.000032349835,"about_ca_system_score_gemma":0.00010312418,"threshold_uncertainty_score":0.9994489},"labels":[],"label_agreement":null},{"id":"W2065722451","doi":"10.1353/ctr.2011.0085","title":"About U th Ink","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science; Mathematics; World Wide Web","score_opus":0.05468712585137407,"score_gpt":0.22932058698919983,"score_spread":0.17463346113782574,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2065722451","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002845586,0.24858902,1.6666307e-7,0.0005553127,0.00030554167,0.0001624359,0.00003560446,0.00003282293,0.7500345],"genre_scores_gemma":[0.38148406,0.55011207,0.0000638981,0.036002364,0.0021341054,0.00014318302,0.000058857222,0.0000841697,0.02991728],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927294,0.000025858508,0.00018028368,0.00013549405,0.00006484653,0.00032060355],"domain_scores_gemma":[0.9993745,0.000009795339,0.00003367622,0.00025982253,0.000045913504,0.00027630792],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011277153,0.000141809,0.00025335434,0.000069600945,0.000313527,0.000027407967,0.00018213563,0.000021781752,0.014677777],"category_scores_gemma":[0.000005480726,0.00010267539,0.00010369687,0.000042646476,0.00013031467,0.00012612864,0.000014193983,0.0000952317,0.0016557307],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000036855467,0.000014864387,0.0011922938,0.0016203178,0.00009724397,0.000027296594,0.029007616,1.052877e-8,1.2432996e-7,0.14320247,0.25195614,0.57287794],"study_design_scores_gemma":[0.0000401303,0.000032692828,0.000068256304,0.0011780047,0.000049692353,0.0000050133667,0.00057468115,2.0432077e-7,0.0000019315776,0.0005977754,0.99730307,0.00014854094],"about_ca_topic_score_codex":0.0633165,"about_ca_topic_score_gemma":0.46254483,"teacher_disagreement_score":0.74534696,"about_ca_system_score_codex":0.00004248701,"about_ca_system_score_gemma":0.00017409166,"threshold_uncertainty_score":0.9991216},"labels":[],"label_agreement":null},{"id":"W2066473597","doi":"10.3138/ctr.162.013","title":"A Sufficiently Advanced Racket: Performance on the Margins of Art and Commerce","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nothing; John Cage; Silence; Art; Visual arts; Performing arts; Conversation; Performance art; Indie film; Superstar; Media studies; Advertising; Art history; Sociology; Aesthetics; Philosophy; Business","score_opus":0.0462358973430626,"score_gpt":0.23988745876745218,"score_spread":0.19365156142438958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2066473597","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09286299,0.13147442,2.091665e-7,0.0150516825,0.00031314587,0.0005986206,0.00011518665,0.000020405809,0.7595633],"genre_scores_gemma":[0.9284346,0.060477052,0.000005690021,0.0065877326,0.0001523555,0.00003499358,0.000012567519,0.000017163964,0.00427783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999302,0.000047162703,0.00018815196,0.000118873286,0.00011345281,0.00023034352],"domain_scores_gemma":[0.9993698,0.000059738144,0.000061338586,0.0002712209,0.000076375014,0.00016150538],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032425876,0.00013551753,0.00027336768,0.000055381945,0.00024583127,0.000023326293,0.0001500076,0.000015863294,0.00048660865],"category_scores_gemma":[0.000015958678,0.00007959869,0.00005250748,0.00005909337,0.00023968713,0.00008445563,0.000019489416,0.000106903186,0.00021142022],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004526623,0.000059332713,0.0022488188,0.0028419644,0.00012405735,0.0000067619085,0.02493338,0.000009987153,0.000001956389,0.10179195,0.4604958,0.40744072],"study_design_scores_gemma":[0.00010968162,0.00013212954,0.00023650542,0.0014835927,0.000035833265,0.000003891398,0.001478738,0.000011411652,0.0000052456962,0.000045077217,0.99635285,0.000105065796],"about_ca_topic_score_codex":0.0024764468,"about_ca_topic_score_gemma":0.06509525,"teacher_disagreement_score":0.83557165,"about_ca_system_score_codex":0.000043849475,"about_ca_system_score_gemma":0.00012444485,"threshold_uncertainty_score":0.9519643},"labels":[],"label_agreement":null},{"id":"W2067362372","doi":"10.3138/md.0597","title":"<i>Salesman</i>in Abu Dhabi: The Geopathology of Objects","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Aesthetics; Behold; Media studies; History; Sociology; Visual arts; Art","score_opus":0.015473747533529621,"score_gpt":0.21090635933921115,"score_spread":0.19543261180568153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2067362372","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73182625,0.00036518814,0.00003916358,0.00049450534,0.00029047256,0.000082720406,0.0000063328007,0.00002687031,0.2668685],"genre_scores_gemma":[0.99586016,0.00003756402,0.0000114019285,0.00037523115,0.000330786,0.000014043971,0.0000022405811,0.000010084654,0.0033584957],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940306,0.000045793437,0.0001638188,0.0001142293,0.00008478495,0.00018831476],"domain_scores_gemma":[0.99960756,0.000082598046,0.00005022997,0.00021317827,0.000033171393,0.000013288781],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018965866,0.000092474125,0.00017395717,0.000044766846,0.00015541569,0.000023046934,0.00015128625,0.000026902662,0.00015156678],"category_scores_gemma":[0.000010757903,0.000057619713,0.000050792187,0.000018538161,0.0002750823,0.000067320136,0.00004992614,0.00010106595,0.00006805248],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000117324365,0.00022583781,0.021796122,0.00017067663,0.00006789249,0.000009732555,0.5315962,0.00032922433,0.0006754321,0.36569858,0.0053093755,0.07400365],"study_design_scores_gemma":[0.002219538,0.0007328572,0.038332827,0.00017061377,0.00009376031,0.000020103258,0.013434521,0.0073455926,0.0018995601,0.16002235,0.7749611,0.0007671688],"about_ca_topic_score_codex":0.00020667384,"about_ca_topic_score_gemma":0.0047033443,"teacher_disagreement_score":0.7696517,"about_ca_system_score_codex":0.000006224532,"about_ca_system_score_gemma":0.000008869112,"threshold_uncertainty_score":0.26245764},"labels":[],"label_agreement":null},{"id":"W2067566095","doi":"10.1177/1359105307086707","title":"From Page to Stage","year":2008,"lang":"en","type":"article","venue":"Journal of Health Psychology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":63,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Rehabilitation Institute; York University; Public Health Ontario; University of Toronto; Toronto Public Health","funders":"","keywords":"Narrative; Discipline; Sociology; Work (physics); Engineering ethics; Psychology; Social science; Engineering; Art","score_opus":0.1297051293511195,"score_gpt":0.3851827730401701,"score_spread":0.2554776436890506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2067566095","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9058555,0.0018613788,0.00009870753,0.046241865,0.003680481,0.000076539596,0.0000357014,0.000013964803,0.042135864],"genre_scores_gemma":[0.9546859,0.0012607283,0.00031835787,0.035643283,0.003225145,0.0000016831121,0.0000014828086,0.000011140761,0.0048522567],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990967,0.0000683302,0.00044836578,0.00007600726,0.00010750595,0.00020311006],"domain_scores_gemma":[0.9994437,0.000038494258,0.00024197181,0.00010983233,0.00007641509,0.00008957959],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027465602,0.0000723663,0.000283394,0.000112708105,0.00029248785,0.000008147939,0.0001207153,0.00002107997,0.0019035537],"category_scores_gemma":[0.000008777039,0.000052274812,0.00006124422,0.000022470578,0.00008724035,0.00008868417,0.000013482387,0.00017837044,0.00018806776],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001542222,0.00010881575,0.0026070944,0.0000136631625,0.000062345025,0.000058286332,0.12015462,0.0000026620578,0.00003136038,0.0009529845,0.8630018,0.012852116],"study_design_scores_gemma":[0.00038000892,0.00078230654,0.0105645675,0.000019366058,0.0000031112256,0.000038973263,0.0016272208,2.859284e-7,0.0000036092686,0.00042836068,0.9860992,0.000053002743],"about_ca_topic_score_codex":0.00012766455,"about_ca_topic_score_gemma":0.0002014008,"teacher_disagreement_score":0.12309735,"about_ca_system_score_codex":0.000019996049,"about_ca_system_score_gemma":0.000054786527,"threshold_uncertainty_score":0.99900883},"labels":[],"label_agreement":null},{"id":"W2067709797","doi":"10.3138/md.46.3.470","title":"Brian Friel and the Scene of Writing: Reading <i>Give Me Your Answer, Do!</i>","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Context (archaeology); Reading (process); George (robot); Relation (database); Literature; Philosophy; History; Sociology; Linguistics; Art history; Art; Computer science; Archaeology","score_opus":0.024586673235255613,"score_gpt":0.23047230888781445,"score_spread":0.20588563565255882,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2067709797","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6030017,0.0036381844,0.0001222034,0.0006751699,0.0002598383,0.00017679564,0.000027574699,0.000040055595,0.3920585],"genre_scores_gemma":[0.9952819,0.0003248963,0.000043722957,0.00023926674,0.00021830316,0.000005626397,0.0000015884103,0.000012789697,0.0038719426],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936193,0.000051671217,0.00017883682,0.0001146517,0.000110779496,0.0001821009],"domain_scores_gemma":[0.9996018,0.000086408945,0.00006495798,0.00015945341,0.000060832772,0.000026581567],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028327206,0.000112286696,0.0002001573,0.00003153717,0.00042044566,0.00008173978,0.00008232188,0.000025113704,0.00014014194],"category_scores_gemma":[0.00001865568,0.00007202293,0.000047276648,0.000019309067,0.00037985324,0.0001257176,0.000032420965,0.00009335387,0.000009021437],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018849332,0.000060101233,0.002845743,0.00009761905,0.00016202733,0.0000030370443,0.39912015,0.000017890141,0.0003746652,0.57766914,0.0026914028,0.016769717],"study_design_scores_gemma":[0.008576344,0.000424582,0.0012790952,0.00046857068,0.0004892362,0.000051151816,0.15977073,0.0038894347,0.0050422642,0.15205958,0.66676843,0.0011805588],"about_ca_topic_score_codex":0.00028924135,"about_ca_topic_score_gemma":0.0002493808,"teacher_disagreement_score":0.66407704,"about_ca_system_score_codex":0.000006140131,"about_ca_system_score_gemma":0.0000132207415,"threshold_uncertainty_score":0.32337707},"labels":[],"label_agreement":null},{"id":"W2067735810","doi":"10.1080/13569780903286048","title":"‘A complicated tangle of circumstances’","year":2009,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Aesthetics; Epistemology; Context (archaeology); Sociology; Drama; Meaning (existential); Visual arts; Art; History; Philosophy","score_opus":0.05326366132109967,"score_gpt":0.32472744183126656,"score_spread":0.2714637805101669,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2067735810","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77101314,0.0015727854,0.0000013367904,0.0017335055,0.00012887249,0.00015263613,0.000002310014,0.0000037941936,0.2253916],"genre_scores_gemma":[0.9940133,0.0051896633,0.00002274058,0.00011762453,0.00046741214,0.0000051181382,0.0000013994622,0.000005769787,0.00017697182],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989085,0.00006088188,0.00039013175,0.00007627379,0.00033316403,0.00023103123],"domain_scores_gemma":[0.99913734,0.00017806535,0.00017127053,0.00017517136,0.0002885785,0.00004956315],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014526969,0.00009351027,0.00020896041,0.00027687696,0.00032607673,0.0000476325,0.0002805588,0.000028379853,0.00009344785],"category_scores_gemma":[0.0000046537675,0.00005680216,0.000031509055,0.0002022053,0.0003864167,0.00021217241,0.000023974084,0.00038607157,0.000008817439],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000984148,0.00050841825,0.0025900828,0.00018707663,0.00005048063,6.3593353e-7,0.08153498,0.00007293468,0.0012169016,0.047194384,0.0059395223,0.8597204],"study_design_scores_gemma":[0.0024820704,0.0038829823,0.05294975,0.0015683062,0.00009913777,0.00011391111,0.1580808,0.00046158547,0.01154783,0.08379669,0.6843633,0.00065361435],"about_ca_topic_score_codex":0.00004462804,"about_ca_topic_score_gemma":0.000042504715,"teacher_disagreement_score":0.85906684,"about_ca_system_score_codex":0.000036141373,"about_ca_system_score_gemma":0.00017794663,"threshold_uncertainty_score":0.25079516},"labels":[],"label_agreement":null},{"id":"W2067791423","doi":"10.3138/md.44.4.458","title":"Howard Barker: Polemic Theory and Dramatic Practice. Nietzsche, Metatheatre, and the Play <i>The Europeans</i>","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Literature; Performance art; Point (geometry); History; Sociology; Art; Psychoanalysis; Art history; Psychology","score_opus":0.013401786534180525,"score_gpt":0.2219233467497097,"score_spread":0.20852156021552917,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2067791423","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40515077,0.03508428,0.00049731834,0.020071391,0.0004920537,0.0007527771,0.000034024048,0.00017260757,0.53774476],"genre_scores_gemma":[0.9794767,0.003741541,0.0000303358,0.003766999,0.0004831015,0.000031975916,0.0000028278937,0.0000320775,0.012434463],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986505,0.0004147225,0.00023079745,0.00022345355,0.00018885902,0.00029166444],"domain_scores_gemma":[0.9983992,0.001064984,0.000098859746,0.00032625408,0.000060941682,0.000049790513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012836646,0.00022295972,0.00025662853,0.00003769259,0.0011024278,0.0004436092,0.00020289297,0.000028766366,0.00017169137],"category_scores_gemma":[0.00009048174,0.000107473665,0.000073896845,0.00003572164,0.0010884114,0.0003777003,0.00014093847,0.0002617245,0.00006276095],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013996591,0.00009407167,0.00069501053,0.00007983957,0.0006817543,0.00002947582,0.4246149,0.000020380407,0.000045476725,0.4701429,0.011998369,0.09019818],"study_design_scores_gemma":[0.0015721053,0.000088719775,0.00030724748,0.000045185403,0.0004327171,0.00012853998,0.023355238,0.0010118257,0.000012412193,0.04409391,0.92867213,0.00027994695],"about_ca_topic_score_codex":0.00014990728,"about_ca_topic_score_gemma":0.0002369308,"teacher_disagreement_score":0.9166738,"about_ca_system_score_codex":0.000008151168,"about_ca_system_score_gemma":0.0000149651605,"threshold_uncertainty_score":0.84790945},"labels":[],"label_agreement":null},{"id":"W2068122147","doi":"10.3138/ctr.155.009","title":"What Are You Doing? Dramaturgical Approaches to <i>Eesti: Myths and Machines</i>","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mythology; Meaning (existential); Process (computing); Documentation; Journaling file system; Sociology; Visual arts; Art; Epistemology; Literature; Computer science; Philosophy","score_opus":0.04753896346269,"score_gpt":0.21889526879244703,"score_spread":0.17135630532975704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2068122147","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004718503,0.5889972,9.884385e-7,0.07649989,0.00087017857,0.0013296446,0.000083475294,0.00008221399,0.3274179],"genre_scores_gemma":[0.51924264,0.3782237,0.00026454424,0.07640288,0.0032608584,0.00079519657,0.000096483236,0.0001456579,0.021568028],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989149,0.00004811504,0.00023517064,0.0002728902,0.00010590538,0.00042303067],"domain_scores_gemma":[0.9990917,0.000036580015,0.000049420407,0.00028497513,0.00004233361,0.00049498066],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014892862,0.00024524002,0.00044347675,0.00009167356,0.00043054932,0.00043870803,0.00016801745,0.0000406393,0.0022534672],"category_scores_gemma":[0.000007412759,0.00017059503,0.0000922847,0.000068895184,0.00014439302,0.00047270267,0.000045914705,0.00015449958,0.0008683387],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002781501,0.00001489358,0.0005103402,0.001976965,0.00006696913,0.000015386124,0.00794063,7.6753025e-7,3.9271941e-7,0.013951736,0.1742377,0.80128145],"study_design_scores_gemma":[0.00006747354,0.00003072393,0.00017509423,0.0025640465,0.000057876423,0.000020480205,0.001977025,0.000008409631,5.2499746e-7,0.00026665433,0.99458605,0.00024563706],"about_ca_topic_score_codex":0.016752703,"about_ca_topic_score_gemma":0.16643499,"teacher_disagreement_score":0.8203484,"about_ca_system_score_codex":0.00004643193,"about_ca_system_score_gemma":0.00006521599,"threshold_uncertainty_score":0.9999096},"labels":[],"label_agreement":null},{"id":"W2068478602","doi":"10.1353/mdr.2006.0016","title":"Virtual Theatres: An Introduction (review)","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theme (computing); George (robot); Art; Visual arts; Virtual reality; Art history; Computer science; World Wide Web; Human–computer interaction","score_opus":0.020922305446962237,"score_gpt":0.2411073702702141,"score_spread":0.22018506482325184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2068478602","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46078828,0.057084665,0.00045600397,0.06728052,0.0031234103,0.00080973236,0.00008627327,0.0009275753,0.40944353],"genre_scores_gemma":[0.96168834,0.0024592262,0.000042971264,0.0018195505,0.009518988,0.00002241189,0.000028174292,0.000018462748,0.024401885],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993572,0.000023186674,0.00014935069,0.00017381195,0.00011981483,0.00017663644],"domain_scores_gemma":[0.9996456,0.000008841159,0.00003189048,0.00022858598,0.000048717327,0.000036398797],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000102549486,0.000115625604,0.00014679381,0.000034865327,0.00029392497,0.000051571333,0.00010420544,0.000018580467,0.0027657105],"category_scores_gemma":[0.0000041649773,0.000087042325,0.0000529407,0.000014509252,0.00009864002,0.00043437054,0.000024694327,0.000089206274,0.00041262608],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025978228,0.000125532,0.000038399845,0.00006292843,0.000041112657,7.2612033e-7,0.046305675,0.00011490436,0.0000559264,0.051323973,0.12421349,0.77769136],"study_design_scores_gemma":[0.00012119522,0.00012038582,0.000030991094,0.00003335953,0.000025992482,0.000002541306,0.0009989981,0.0007680957,0.00006808433,0.0007206229,0.99697644,0.0001332688],"about_ca_topic_score_codex":0.00003779506,"about_ca_topic_score_gemma":0.00095819676,"teacher_disagreement_score":0.872763,"about_ca_system_score_codex":0.000019388439,"about_ca_system_score_gemma":0.00000941477,"threshold_uncertainty_score":0.9981459},"labels":[],"label_agreement":null},{"id":"W2069193327","doi":"10.3138/md.46.4.542","title":"Ambient Space in Twentieth-Century Theatre: The Space of Silence","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Space (punctuation); Art; Silence; Natural (archaeology); Literature; Narrative; Banquet; Dramaturgy; Realism; Aesthetics; History; Visual arts; Art history; Philosophy; Archaeology","score_opus":0.017689366111675153,"score_gpt":0.22078195449974666,"score_spread":0.2030925883880715,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2069193327","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7722425,0.004503504,0.00004481683,0.0012844327,0.0009130449,0.00022371724,0.000014718386,0.000031178795,0.22074208],"genre_scores_gemma":[0.9947317,0.00051420595,0.000023292536,0.000118448625,0.00011884949,0.000015521777,0.0000012561994,0.000012445712,0.00446424],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917203,0.000057868507,0.0001795263,0.00015660201,0.00017928549,0.00025468052],"domain_scores_gemma":[0.9995383,0.000056547746,0.00006575946,0.00027424534,0.000041535823,0.000023621184],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019098085,0.00013334845,0.0001772782,0.000049086695,0.00020506856,0.000050757924,0.00015563676,0.000027268532,0.00039175013],"category_scores_gemma":[0.000009453979,0.00008406884,0.00007408338,0.00004899397,0.0002562739,0.00011952821,0.000031853728,0.00014201527,0.000042446063],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000908769,0.00040208397,0.013164984,0.0001453492,0.00010294829,0.000009252911,0.48416677,0.0004725083,0.0011154622,0.47487554,0.009829563,0.015624651],"study_design_scores_gemma":[0.0007396812,0.00015126527,0.0016803545,0.0001338928,0.000040721658,0.00000347488,0.038870934,0.00053293235,0.004025559,0.015436311,0.9380429,0.0003419977],"about_ca_topic_score_codex":0.00040259658,"about_ca_topic_score_gemma":0.0011235304,"teacher_disagreement_score":0.9282133,"about_ca_system_score_codex":0.000020266476,"about_ca_system_score_gemma":0.000023079696,"threshold_uncertainty_score":0.42893893},"labels":[],"label_agreement":null},{"id":"W2069532555","doi":"10.3138/md.0668","title":"Mouthing Off: The Negativity of Monologue in Mac Wellman’s <i>A Murder of Crows</i>","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Postmodernism; Negativity effect; Art; Literature; Sociology; Psychoanalysis; Visual arts; Aesthetics; Psychology; Social psychology","score_opus":0.01833053259994828,"score_gpt":0.21533998172161398,"score_spread":0.1970094491216657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2069532555","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93092227,0.00036754482,0.00012004124,0.00058752426,0.00013887581,0.000097053366,0.000016863403,0.000017724913,0.06773213],"genre_scores_gemma":[0.9974467,0.00003605312,0.000022124248,0.00014988029,0.00013367234,0.0000084788535,0.0000020703408,0.0000096395925,0.002191348],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931526,0.000053643034,0.00024907527,0.00010991714,0.000115740644,0.00015634447],"domain_scores_gemma":[0.9994987,0.000108051114,0.00010897783,0.00022212062,0.00005021047,0.000011931797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025902345,0.00010006646,0.0002281705,0.000049456492,0.00015294224,0.000015749829,0.00016261628,0.000032013253,0.0001368017],"category_scores_gemma":[0.000018581164,0.0000646793,0.0000619064,0.000024300112,0.00033769902,0.000112598136,0.00007245127,0.00012797824,0.000011822901],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016366386,0.00031891232,0.034995746,0.00031366257,0.00016155026,0.0000024370238,0.7584119,0.0016727495,0.0013182027,0.10981085,0.0030474719,0.089782864],"study_design_scores_gemma":[0.0053331307,0.001020744,0.06869816,0.0007300981,0.00027189835,0.000008868633,0.045901768,0.089314856,0.03029732,0.19527178,0.56147933,0.0016720783],"about_ca_topic_score_codex":0.0015560111,"about_ca_topic_score_gemma":0.00461188,"teacher_disagreement_score":0.7125101,"about_ca_system_score_codex":0.000007928725,"about_ca_system_score_gemma":0.000011622289,"threshold_uncertainty_score":0.26375455},"labels":[],"label_agreement":null},{"id":"W2069755132","doi":"10.7202/1028521ar","title":"« Blesser » le spectateur blanc américain : Les Nègres aux États-Unis, 1961-1964 et 20031","year":2015,"lang":"fr","type":"article","venue":"Études françaises","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.05061557587504929,"score_gpt":0.2727469450331376,"score_spread":0.22213136915808834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2069755132","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21847315,0.09447549,0.000016595604,0.01742313,0.0028535011,0.0004298778,0.00045749164,0.00024515373,0.66562563],"genre_scores_gemma":[0.93556017,0.0090391915,0.00017040428,0.0013254486,0.002691258,0.000056939636,0.00004326383,0.000102425496,0.05101088],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972763,0.00016508128,0.0005895042,0.000547462,0.0005179981,0.00090366],"domain_scores_gemma":[0.99837965,0.00023422716,0.00019724027,0.0004954573,0.00040137625,0.00029204902],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00039453528,0.00064932817,0.00073491497,0.00019203953,0.002253039,0.00046525203,0.0004725886,0.00015879975,0.0021501833],"category_scores_gemma":[0.000081617385,0.0005701765,0.00025750103,0.00016225802,0.0021582467,0.00059394457,0.00023490035,0.000472655,0.0012903645],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016180654,0.0005724322,0.003477965,0.000327697,0.0003998146,0.00010747221,0.06160973,0.00013306776,0.000043953416,0.7452964,0.18025546,0.007614188],"study_design_scores_gemma":[0.0011227011,0.00042430856,0.0014086957,0.00030789908,0.00016813504,0.000019421785,0.034593996,0.000054198597,0.00027517305,0.0032642202,0.95762247,0.0007387764],"about_ca_topic_score_codex":0.023956798,"about_ca_topic_score_gemma":0.056584474,"teacher_disagreement_score":0.777367,"about_ca_system_score_codex":0.00007538574,"about_ca_system_score_gemma":0.0005904536,"threshold_uncertainty_score":0.999675},"labels":[],"label_agreement":null},{"id":"W2070017380","doi":"10.3138/ctr.148.5","title":"Is Anyone Political Anymore?","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The arts; Politics; Power (physics); Context (archaeology); Sociology; Sense of community; Aesthetics; Transition (genetics); Media studies; Visual arts; Art; Social science; Political science; History; Law","score_opus":0.07113251420121816,"score_gpt":0.2501271867056866,"score_spread":0.17899467250446846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2070017380","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00048095806,0.1047452,2.577672e-7,0.004368,0.0002751823,0.00018947606,0.00013057301,0.000036725116,0.8897736],"genre_scores_gemma":[0.8786155,0.05535616,0.00004802581,0.05220403,0.0014087622,0.000061492006,0.000029293826,0.00005291234,0.012223824],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989888,0.000026726271,0.00020348479,0.0001656345,0.00008242174,0.000532901],"domain_scores_gemma":[0.99921834,0.000011970677,0.000027750566,0.00028819725,0.00005488242,0.00039887414],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011293602,0.00015875643,0.00029297257,0.0000764437,0.00028492344,0.000026194679,0.00016987606,0.00002785996,0.025399541],"category_scores_gemma":[0.0000048705956,0.000118896634,0.00012977098,0.000044898254,0.00020338429,0.00011470629,0.00001661075,0.00010502758,0.0017989759],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000031259735,0.00002298481,0.0012168684,0.0012540247,0.00009974096,0.000037444635,0.012066283,1.7448224e-9,2.3995466e-7,0.6183073,0.27974188,0.08725011],"study_design_scores_gemma":[0.00004924529,0.00003640513,0.00021183344,0.0007620814,0.00008090003,0.000011119547,0.000587427,3.8456045e-7,0.0000067656392,0.0018696527,0.9962138,0.00017041659],"about_ca_topic_score_codex":0.087305896,"about_ca_topic_score_gemma":0.26941362,"teacher_disagreement_score":0.87813455,"about_ca_system_score_codex":0.00006517278,"about_ca_system_score_gemma":0.00014466648,"threshold_uncertainty_score":0.99897826},"labels":[],"label_agreement":null},{"id":"W2070119308","doi":"10.1080/00085006.2013.11092732","title":"Love and Alcohol: Performance in the Fiction and Life of Writer-Singer Nataliia Medvedeva","year":2013,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Human sexuality; Literature; Psychology; History; Gender studies; Art; Sociology","score_opus":0.018946438766317037,"score_gpt":0.19771441155353223,"score_spread":0.17876797278721518,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2070119308","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79149604,0.0013091551,1.47410955e-8,0.0012561212,0.00010184599,0.000118058764,0.000016003874,0.0000038454386,0.20569889],"genre_scores_gemma":[0.9972172,0.0005934767,0.0000030256226,0.0008943225,0.00011059586,0.00000946196,0.000004169164,0.0000065450427,0.0011611952],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946606,0.000018257097,0.00012927648,0.00010715973,0.00007000532,0.00020926108],"domain_scores_gemma":[0.9997159,0.000036932164,0.000030684627,0.0001075,0.000024962463,0.000083973944],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000109553366,0.00009247361,0.00011509835,0.00009475575,0.0001703705,0.000070310096,0.00007336618,0.000029403167,0.00061298086],"category_scores_gemma":[0.000008453992,0.00006400876,0.000018636845,0.00003373127,0.000256812,0.00020635851,0.000011713013,0.00009226185,0.000028182607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038698825,0.00004420583,0.097894326,0.00044389805,0.00025294232,0.000011312512,0.69773054,0.000012454497,0.00024177242,0.0216911,0.037078567,0.14456017],"study_design_scores_gemma":[0.00047967967,0.00012864977,0.23423916,0.00008395334,0.000031301042,0.000009117,0.05107281,0.00016662157,0.000027253136,0.00010396246,0.71341515,0.00024237165],"about_ca_topic_score_codex":0.05219185,"about_ca_topic_score_gemma":0.31397313,"teacher_disagreement_score":0.6763366,"about_ca_system_score_codex":0.000026353193,"about_ca_system_score_gemma":0.00006383782,"threshold_uncertainty_score":0.9541197},"labels":[],"label_agreement":null},{"id":"W2070511400","doi":"10.1353/mdr.0.0144","title":"Signatures of the Past: Cultural Memory in Contemporary Anglophone North American Drama (review)","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Cultural memory; Politics; History; Cultural studies; Media studies; Sociology; Literature; Art; Anthropology; Political science; Law","score_opus":0.022544381418946137,"score_gpt":0.23924063570043072,"score_spread":0.2166962542814846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2070511400","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9457657,0.0073965266,5.3582755e-7,0.0013360255,0.00048538044,0.00024288303,0.00004578402,0.000030121497,0.044697065],"genre_scores_gemma":[0.9960264,0.0005530346,0.000011340022,0.0010280422,0.00041885715,0.000023021219,0.0000106382695,0.000013415457,0.0019152474],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917513,0.00003894969,0.0002583175,0.0001569511,0.00017910349,0.00019157061],"domain_scores_gemma":[0.9994167,0.00003645152,0.00014528005,0.00028383825,0.00008791894,0.00002979494],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009186638,0.00015936227,0.0003149301,0.000039067247,0.00017050872,0.000027398142,0.0002675413,0.000023484285,0.00015061143],"category_scores_gemma":[0.0000146861485,0.00009099711,0.00011693475,0.00009404649,0.00060765544,0.00015262232,0.00008743943,0.00034581203,0.000016639655],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026121212,0.0007017451,0.23063175,0.0015346018,0.00033603722,0.00003253014,0.30436954,0.0000995799,0.0025976056,0.004241172,0.18466426,0.27052996],"study_design_scores_gemma":[0.0016010158,0.00032758332,0.48642388,0.00075778656,0.00010666928,0.00000851654,0.0110096745,0.00041944676,0.0010636043,0.0011248566,0.49609226,0.0010647245],"about_ca_topic_score_codex":0.0010319977,"about_ca_topic_score_gemma":0.020752719,"teacher_disagreement_score":0.31142798,"about_ca_system_score_codex":0.000008402166,"about_ca_system_score_gemma":0.000030139287,"threshold_uncertainty_score":0.99711597},"labels":[],"label_agreement":null},{"id":"W2071064772","doi":"10.3138/md.45.1.138","title":"The Laramie Project: Western Pastoral","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mainstream; White (mutation); Context (archaeology); Middle class; Gender studies; Race (biology); History; Criminology; Sociology; Media studies; Political science; Law","score_opus":0.04996522317474314,"score_gpt":0.2381390715955537,"score_spread":0.18817384842081056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2071064772","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3824776,0.0048282556,0.000036633097,0.00564769,0.0013442328,0.00034497454,0.000033333272,0.0002704589,0.6050168],"genre_scores_gemma":[0.89165676,0.00013850434,0.0000044649673,0.00030818232,0.00081238087,0.000025053028,0.0000015638157,0.000012684022,0.10704042],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993979,0.000015854532,0.00011097935,0.00011104104,0.00012347067,0.00024076019],"domain_scores_gemma":[0.99969894,0.000031721225,0.000030441242,0.00018612781,0.0000347364,0.00001802073],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000057083224,0.00010297986,0.00009378738,0.000021697175,0.0008638753,0.0002536172,0.00014593334,0.000019041188,0.00033065872],"category_scores_gemma":[0.000003292257,0.000059982074,0.00005252267,0.000014244733,0.00018485909,0.00014400722,0.00004501987,0.000097672746,0.0004885872],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047770154,0.00017560301,0.0049138805,0.00004457668,0.000167702,0.00001492913,0.38471502,0.00001657906,0.000016505064,0.053848524,0.19476378,0.3612751],"study_design_scores_gemma":[0.00014743164,0.000054402743,0.00017507646,0.000008246525,0.000010139337,0.000001954727,0.001309367,0.0013659501,0.000009073752,0.001188738,0.9956219,0.000107675856],"about_ca_topic_score_codex":0.00012412439,"about_ca_topic_score_gemma":0.002391637,"teacher_disagreement_score":0.80085814,"about_ca_system_score_codex":0.00001254823,"about_ca_system_score_gemma":0.0000046683544,"threshold_uncertainty_score":0.6644318},"labels":[],"label_agreement":null},{"id":"W2071155228","doi":"10.1177/1056492602111003","title":"The Present through the Eyes of the Past... A Play","year":2002,"lang":"en","type":"article","venue":"Journal of Management Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Psychology; Sociology; Optometry; Medicine","score_opus":0.0675915035818307,"score_gpt":0.2633569597097902,"score_spread":0.19576545612795948,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2071155228","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16011304,0.01939249,0.000057759455,0.062205378,0.008154568,0.00062492286,0.000008914566,0.000021139249,0.7494218],"genre_scores_gemma":[0.96759534,0.0048208605,0.000013846748,0.0005549245,0.0026559678,0.0000067249566,1.0282918e-7,0.000008687084,0.02434354],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990054,0.00006722105,0.00035253048,0.000053159616,0.00036291732,0.00015877825],"domain_scores_gemma":[0.999187,0.00013306017,0.00033541964,0.00025813826,0.000074478354,0.000011899274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032403617,0.0000947918,0.00013150649,0.000026359845,0.00074640795,0.000103311,0.000540288,0.000011651167,0.0003823491],"category_scores_gemma":[0.0000063024504,0.000033469125,0.00017610253,0.00004321876,0.0005344144,0.00019340863,0.00018072923,0.00015831327,0.000019887377],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040047085,0.000099208395,0.00053032825,0.000056706045,0.00060110417,0.00000534772,0.12060735,0.00014663434,0.0000011997945,0.0962314,0.76076144,0.020919243],"study_design_scores_gemma":[0.00020625592,0.0000838728,0.0015044417,0.000060201317,0.00010182541,0.0000040952154,0.035501495,0.000016387037,0.0000151567965,0.002402283,0.9600565,0.000047490466],"about_ca_topic_score_codex":0.000012205236,"about_ca_topic_score_gemma":0.000046381807,"teacher_disagreement_score":0.8074823,"about_ca_system_score_codex":0.000012966921,"about_ca_system_score_gemma":0.0000031785598,"threshold_uncertainty_score":0.57408416},"labels":[],"label_agreement":null},{"id":"W2071743031","doi":"10.3138/md.45.3.338","title":"Soyinka and the Canon's Mouth","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Discipline; Performing arts; The arts; History; Media studies; Sociology; Literature; Art; Visual arts; Social science","score_opus":0.02700740872892135,"score_gpt":0.1976662136589583,"score_spread":0.17065880493003696,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2071743031","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28539386,0.006860916,0.000017038918,0.0061954604,0.00031421013,0.00015057153,0.000019242667,0.00008177143,0.7009669],"genre_scores_gemma":[0.9504421,0.0001931108,0.0000045785036,0.00058784214,0.00041930753,0.000011734469,8.403931e-7,0.000007433604,0.04833305],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996172,0.0000143302495,0.00007232141,0.00008665092,0.00007375038,0.00013574121],"domain_scores_gemma":[0.9997869,0.000032919386,0.000019383902,0.00011650002,0.000025375208,0.000018926996],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005673224,0.0000770019,0.00010225815,0.000016390335,0.0004710732,0.00011935377,0.000068047666,0.00001336431,0.0009834351],"category_scores_gemma":[0.000004173611,0.000042066375,0.000028732708,0.000009827256,0.00034716993,0.00008540328,0.00003689178,0.000069092384,0.00012114204],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047550486,0.0000346643,0.00033399745,0.000025115016,0.00009605485,0.0000035909138,0.5532465,0.000011467222,0.0000073291612,0.22769065,0.03242543,0.18607764],"study_design_scores_gemma":[0.0016452918,0.000041723357,0.0002345135,0.000016987955,0.0000579938,0.0000056775484,0.005146004,0.009053266,0.000027651318,0.024839535,0.9586961,0.0002352278],"about_ca_topic_score_codex":0.00021697684,"about_ca_topic_score_gemma":0.00096425903,"teacher_disagreement_score":0.9262707,"about_ca_system_score_codex":0.00000458935,"about_ca_system_score_gemma":0.0000024505255,"threshold_uncertainty_score":0.9999298},"labels":[],"label_agreement":null},{"id":"W2072092640","doi":"10.1080/08929092.2011.569461","title":"Theatre and Knowing: Considering the Pedagogical Spaces in Devised Theatre","year":2011,"lang":"en","type":"article","venue":"Youth Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Sociology; Theatre studies; Argument (complex analysis); Context (archaeology); Entertainment; The arts; Pedagogy; Field (mathematics); Event (particle physics); Visual arts; Aesthetics; Art; Drama; History","score_opus":0.15225277434921689,"score_gpt":0.2713668009383791,"score_spread":0.11911402658916223,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2072092640","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.648118,0.003909731,0.0000056673994,0.0011139939,0.0005767867,0.0001794993,0.00001835468,0.0000521876,0.34602576],"genre_scores_gemma":[0.9969694,0.00077250483,0.00005235095,0.00030730703,0.001209349,0.0000070733795,0.0000014865036,0.000029345234,0.00065120636],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998443,0.00015689954,0.00042266963,0.00022844519,0.00024067826,0.00050829333],"domain_scores_gemma":[0.9993324,0.00013883511,0.0001272064,0.00022619014,0.00005375253,0.0001216059],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00060567405,0.00030504537,0.0003636744,0.00015361297,0.0011220012,0.0003303991,0.00026655642,0.000066510074,0.001076499],"category_scores_gemma":[0.000007992073,0.00016234153,0.00014950804,0.00006190458,0.0005080121,0.00037608814,0.000117464995,0.0006391715,0.00004769728],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022440743,0.00011200929,0.05430019,0.00003285353,0.00016634451,0.00008032914,0.87210196,0.000004971172,0.000016664166,0.007946809,0.0005967819,0.06441671],"study_design_scores_gemma":[0.0019415865,0.000499538,0.0069236625,0.00042920184,0.0002813284,0.00046552302,0.76915556,0.00006699667,0.00011153524,0.010683327,0.20871119,0.00073057075],"about_ca_topic_score_codex":0.00035015243,"about_ca_topic_score_gemma":0.0017242656,"teacher_disagreement_score":0.34885135,"about_ca_system_score_codex":0.00002899844,"about_ca_system_score_gemma":0.00005755009,"threshold_uncertainty_score":0.9998366},"labels":[],"label_agreement":null},{"id":"W2072121338","doi":"10.3138/md.46.3.404","title":"Been There, Done That: Paving the Way for <i>The Vagina Monologues</i>","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Feminism; Consciousness; Art; Media studies; Literature; Aesthetics; Visual arts; History; Sociology; Gender studies; Psychology; Law; Political science","score_opus":0.04122971058609872,"score_gpt":0.23076378493838193,"score_spread":0.1895340743522832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2072121338","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33594078,0.028172873,0.0077100233,0.022004558,0.0036457563,0.0021623324,0.00020484751,0.0004475606,0.59971124],"genre_scores_gemma":[0.979314,0.0002432084,0.00003267672,0.0009104407,0.00052653294,0.00012733987,0.000003907326,0.000023311617,0.018818563],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992724,0.000033131404,0.00012181744,0.00015403074,0.000114105926,0.00030450601],"domain_scores_gemma":[0.9993317,0.00023649941,0.000051776038,0.00031310905,0.00004791333,0.000019016745],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00024437933,0.0001486551,0.00014157488,0.00001861009,0.0013555238,0.00018273767,0.00024605714,0.000031758125,0.0002053046],"category_scores_gemma":[0.000012344122,0.00007164691,0.00010141321,0.000017565453,0.00023660473,0.00012580301,0.000039635033,0.00013530297,0.0000637318],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010375776,0.00015058002,0.002842297,0.000089166824,0.0006121847,0.000003735042,0.24108276,0.00022044113,0.00011202625,0.4963211,0.07298931,0.18547262],"study_design_scores_gemma":[0.0002840456,0.000053732325,0.0005019834,0.000012984686,0.00006096386,0.0000019293564,0.0050341794,0.00044070336,0.00036379436,0.02094507,0.9721543,0.00014631976],"about_ca_topic_score_codex":0.00019479128,"about_ca_topic_score_gemma":0.0015968656,"teacher_disagreement_score":0.899165,"about_ca_system_score_codex":0.000012822903,"about_ca_system_score_gemma":0.000011881956,"threshold_uncertainty_score":0.99994457},"labels":[],"label_agreement":null},{"id":"W2072870996","doi":"10.3138/ctr.150.80","title":"A Few Rules, Some Platitudes, a Bit of Advice, and a Prayer for Producers of (Radical/Political/Meaningful) Theatre","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Prayer; Bit (key); Advice (programming); Politics; Aesthetics; Art; Sociology; Law; Visual arts; Philosophy; Computer science; Political science; Theology; Computer security","score_opus":0.028272507879712323,"score_gpt":0.25274006221717066,"score_spread":0.22446755433745832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2072870996","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008696844,0.71514475,0.0000013593233,0.0060583563,0.00040017552,0.002032094,0.0011879873,0.00005894279,0.2664195],"genre_scores_gemma":[0.9479669,0.045885492,0.00029942265,0.0028928805,0.0013003281,0.00020668667,0.000078495985,0.000069430826,0.001300364],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985348,0.00004801879,0.00045000375,0.00019649824,0.00013901581,0.0006316604],"domain_scores_gemma":[0.9989508,0.00012197946,0.00013593513,0.00030280743,0.000085918975,0.00040258715],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041070834,0.00022684786,0.0006672249,0.00014209494,0.00019624249,0.000017807124,0.00015275908,0.000050886098,0.00046954234],"category_scores_gemma":[0.00003210162,0.00016681793,0.00016415276,0.000060540107,0.00040734682,0.00024873196,0.000027622702,0.000105452265,0.000018432118],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002811371,0.00009734579,0.0018027705,0.018674191,0.0003563144,0.0000018602022,0.0094559295,1.08006674e-7,0.000009624635,0.78526145,0.043278255,0.14103405],"study_design_scores_gemma":[0.00021618797,0.00011714412,0.00010459341,0.0027642783,0.00032469412,0.000009288531,0.0007480447,0.000001918565,0.000027277478,0.0011482417,0.99433506,0.0002032955],"about_ca_topic_score_codex":0.014147488,"about_ca_topic_score_gemma":0.04025179,"teacher_disagreement_score":0.9510568,"about_ca_system_score_codex":0.00006690999,"about_ca_system_score_gemma":0.00025678676,"threshold_uncertainty_score":0.9924174},"labels":[],"label_agreement":null},{"id":"W2072890109","doi":"10.1353/tj.2005.0047","title":"Theater sans frontieres: Essays on the Dramatic Universe of Robert Lepage, and: The Theatre of Form and the Production of Meaning: Contemporary Canadian Dramaturgies (review)","year":2005,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Meaning (existential); Wonder; History; Theatre director; Art history; Casual; Performance art; Art; Literature; Law; Philosophy; Political science","score_opus":0.015273157996259114,"score_gpt":0.20400372016507373,"score_spread":0.18873056216881462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2072890109","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15737294,0.07566124,0.0000036977565,0.074266255,0.0006246626,0.0013461992,0.00006645504,0.00001995353,0.6906386],"genre_scores_gemma":[0.97911346,0.019213418,0.00001194141,0.00048009816,0.0003455395,0.000007732793,0.0000013971713,0.00001374483,0.0008126963],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99869615,0.00026961692,0.0004979853,0.00010459432,0.00023633231,0.00019530549],"domain_scores_gemma":[0.9988162,0.00035438716,0.00036638035,0.0002903211,0.00012657496,0.00004615072],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013856881,0.00019080388,0.0005222635,0.000099965866,0.00068688294,0.000044940243,0.00025235102,0.000032143245,0.00022809803],"category_scores_gemma":[0.000028090775,0.00007130501,0.00016621719,0.000050630348,0.0016436542,0.00024699536,0.000054563072,0.0003005489,0.0000017310343],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0024124072,0.0001242097,0.0004894678,0.000930614,0.0012792083,0.0000034822147,0.45076317,0.000054205033,0.000033144464,0.4057814,0.06491203,0.07321667],"study_design_scores_gemma":[0.00872384,0.0009861678,0.0005086687,0.009764675,0.0018668735,0.00032770797,0.39820787,0.0005830996,0.0009206315,0.07329961,0.5040539,0.0007569426],"about_ca_topic_score_codex":0.0068123527,"about_ca_topic_score_gemma":0.024792997,"teacher_disagreement_score":0.8217405,"about_ca_system_score_codex":0.000024695351,"about_ca_system_score_gemma":0.00010761111,"threshold_uncertainty_score":0.9998014},"labels":[],"label_agreement":null},{"id":"W2073468691","doi":"10.3138/ctr.143.24","title":"The Stanislavski Game: Improvisation in the Rehearsal of Scripted Plays","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Stanislavski's system; Context (archaeology); Power (physics); Aesthetics; Visual arts; Process (computing); Adaptation (eye); Art; Sociology; Psychology; History; Computer science","score_opus":0.01867632136175201,"score_gpt":0.23215451759866015,"score_spread":0.21347819623690814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2073468691","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07152366,0.21401519,5.956393e-7,0.04075212,0.0020524585,0.0021290157,0.00028080912,0.000041305113,0.66920483],"genre_scores_gemma":[0.97027385,0.026705759,0.0000036294716,0.0020771532,0.00036261848,0.00004732451,0.0000118341995,0.000011973463,0.00050583924],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999147,0.00007497599,0.00026959038,0.00010239442,0.00012383384,0.00028220884],"domain_scores_gemma":[0.99935055,0.000107110114,0.00007188356,0.00035066792,0.000060813738,0.000058952966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071360293,0.000111204405,0.00019594732,0.000050641665,0.00035431996,0.00006172702,0.0002876846,0.000027400174,0.00045971072],"category_scores_gemma":[0.00003056997,0.000055480956,0.00007737963,0.00007936196,0.00025898957,0.00009070228,0.00001095291,0.00024902323,0.000047620088],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001699942,0.00003063814,0.0009634359,0.0012234538,0.00006956732,0.000010269273,0.038744427,3.529419e-7,0.000046289948,0.3450556,0.10175156,0.5120874],"study_design_scores_gemma":[0.00006978832,0.000035607263,0.00064274995,0.0003154583,0.000031352767,0.0000042509923,0.0016865623,0.000004202849,0.0000061384508,0.00069132284,0.9964368,0.000075787044],"about_ca_topic_score_codex":0.04699009,"about_ca_topic_score_gemma":0.8772327,"teacher_disagreement_score":0.8987502,"about_ca_system_score_codex":0.000030094736,"about_ca_system_score_gemma":0.00021715202,"threshold_uncertainty_score":0.95935607},"labels":[],"label_agreement":null},{"id":"W2073934377","doi":"10.7202/902255ar","title":"Festival Elektra 2001","year":2002,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sonne; Communication; Psychology; Geology; Oceanography","score_opus":0.09396685558249691,"score_gpt":0.2452350016576731,"score_spread":0.1512681460751762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2073934377","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021481128,0.077355765,0.000021383874,0.011175525,0.004405454,0.0003845914,0.00023934849,0.00027724233,0.8846596],"genre_scores_gemma":[0.54874367,0.00488153,0.000012825033,0.0010578015,0.005690086,0.000036646252,0.000019445308,0.000055561843,0.43950245],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975619,0.00013924568,0.000626892,0.000490507,0.00028774457,0.0008937411],"domain_scores_gemma":[0.9986385,0.00018294371,0.00021372977,0.00044324365,0.0003096339,0.00021192951],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031749677,0.0005428538,0.00063530885,0.00017338037,0.0009946162,0.00037264318,0.0003251594,0.00019082396,0.017818911],"category_scores_gemma":[0.00006912593,0.0005153696,0.0003088464,0.0001105056,0.0012654687,0.00076961546,0.000079406695,0.0003829978,0.0018000574],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016332426,0.00034753868,0.0018814913,0.00038450302,0.00029515725,0.00013352995,0.08959835,9.769005e-7,0.00003590471,0.4630226,0.38909525,0.05518838],"study_design_scores_gemma":[0.00054562127,0.00028581716,0.0003250313,0.00040421676,0.000100899924,0.0000438379,0.0037455272,0.00013545026,0.000047030604,0.015011984,0.97869796,0.0006566339],"about_ca_topic_score_codex":0.0016046672,"about_ca_topic_score_gemma":0.0009203794,"teacher_disagreement_score":0.5896027,"about_ca_system_score_codex":0.000092992,"about_ca_system_score_gemma":0.00004622073,"threshold_uncertainty_score":0.9997298},"labels":[],"label_agreement":null},{"id":"W2074606604","doi":"10.3138/md.46.2.261","title":"Mapping the Placeless Place: Pedestrian Performance in the Urban Spaces of Los Angeles","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Amateur; Disappointment; EPIC; Art history; Performance art; History; Opera; Art; Cartography; Visual arts; Literature; Psychology; Geography; Archaeology","score_opus":0.037566539031368,"score_gpt":0.22181722313206906,"score_spread":0.18425068410070106,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2074606604","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88333225,0.0016573375,0.000008389285,0.00038425133,0.00014313917,0.00018776035,0.000022266966,0.000017267554,0.114247344],"genre_scores_gemma":[0.99700075,0.00011652817,0.000007984965,0.00014707657,0.00022338271,0.000028472812,0.0000023091034,0.000010838556,0.0024626767],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916214,0.00008731296,0.00019707381,0.00012469233,0.00018637137,0.00024242647],"domain_scores_gemma":[0.99950343,0.00012601638,0.00007943953,0.00024235278,0.000034908844,0.0000138582955],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038371116,0.00013760134,0.00017022212,0.0000627008,0.00043813084,0.00011152926,0.00025530494,0.000028452603,0.00012713524],"category_scores_gemma":[0.000012839414,0.00007179999,0.00005341331,0.00006389891,0.00026180278,0.00015724554,0.000025542156,0.00017219294,0.000009880182],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010126335,0.00019392646,0.067947164,0.00034963834,0.00009407401,0.0000061388937,0.8331283,0.00058370695,0.00005922351,0.07169347,0.014957038,0.010886065],"study_design_scores_gemma":[0.00086531835,0.000152974,0.012542158,0.00018150451,0.000031441603,0.00000949483,0.13159128,0.0023323,0.00033665766,0.0018868893,0.84971607,0.00035390593],"about_ca_topic_score_codex":0.00012435645,"about_ca_topic_score_gemma":0.002952754,"teacher_disagreement_score":0.83475906,"about_ca_system_score_codex":0.000013610434,"about_ca_system_score_gemma":0.00002796625,"threshold_uncertainty_score":0.33697924},"labels":[],"label_agreement":null},{"id":"W2075696356","doi":"10.3138/ctr.150.47","title":"TYA = <i>i</i> Assessing the Fair Market Value of Young People","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Value (mathematics); Tone (literature); Scripting language; Art; Aesthetics; Perception; Sociology; Visual arts; Literature; Political science; Philosophy; Computer science; Law; Epistemology","score_opus":0.022851726002411726,"score_gpt":0.2506169758505627,"score_spread":0.22776524984815097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2075696356","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025364736,0.24811761,9.013334e-7,0.002484618,0.00063928025,0.00025729561,0.000058379028,0.000017087728,0.74588835],"genre_scores_gemma":[0.9521464,0.04169915,0.000012455065,0.0022593422,0.0008914947,0.00003140848,0.0000099324025,0.000021901848,0.0029278887],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902356,0.00010097705,0.00024999198,0.00009557879,0.00011990846,0.0004099754],"domain_scores_gemma":[0.9993153,0.00007956042,0.00008715179,0.0003081996,0.000053194293,0.00015656966],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00056634523,0.00014940179,0.0003276031,0.00004820843,0.00046942534,0.000052449595,0.00020548225,0.000023012708,0.0029806674],"category_scores_gemma":[0.000013922357,0.00008918321,0.00014313436,0.000078410194,0.0001387445,0.00028678702,0.000025092042,0.00011610735,0.000109131375],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000032499083,0.000046773297,0.042022374,0.0050466154,0.00025852222,0.0000024762073,0.035608996,6.273685e-7,0.000003678964,0.09976674,0.63227534,0.18496463],"study_design_scores_gemma":[0.000037522237,0.000009951571,0.0031949177,0.0011130765,0.00013727378,0.000010192653,0.0020600546,0.0000029019711,0.0000033425604,0.00009090315,0.9932137,0.00012617574],"about_ca_topic_score_codex":0.040232982,"about_ca_topic_score_gemma":0.27249503,"teacher_disagreement_score":0.94960994,"about_ca_system_score_codex":0.000054131546,"about_ca_system_score_gemma":0.00013656305,"threshold_uncertainty_score":0.99793077},"labels":[],"label_agreement":null},{"id":"W2075727561","doi":"10.3138/ctr.141.49","title":"Portrait of the Artist as Artist: The Celebration of Autobiography","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Portrait; Biography; Art; Totem; Performing arts; Visual arts; DECIPHER; Art history; Literature; History","score_opus":0.011026224280184372,"score_gpt":0.21184942947636676,"score_spread":0.20082320519618238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2075727561","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03334641,0.08696697,3.8656938e-7,0.015617908,0.0012269742,0.00092759315,0.00031206605,0.000022273733,0.8615794],"genre_scores_gemma":[0.9885979,0.007895733,0.0000049435334,0.001660085,0.00023458884,0.000023207562,0.000008394066,0.00001064081,0.0015644754],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992835,0.000040301773,0.00029719967,0.00009349312,0.00011262051,0.0001729104],"domain_scores_gemma":[0.9992711,0.000032728938,0.00014788371,0.0004002918,0.000083156614,0.000064822336],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024105061,0.000108443186,0.00023228522,0.000052492505,0.00032935556,0.000021066848,0.00025540756,0.000025855377,0.002142161],"category_scores_gemma":[0.000013921173,0.0000543571,0.00021611647,0.00011369001,0.00047403105,0.00006701377,0.000016127382,0.00015441826,0.000038245853],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000050863678,0.000038701157,0.0045010354,0.0020496112,0.0001968725,0.0000024955232,0.010474257,5.7949495e-7,0.00019876169,0.66552454,0.11220138,0.2048067],"study_design_scores_gemma":[0.00003664813,0.000025148298,0.0017584101,0.0005177251,0.00010031232,0.000005487529,0.00026486415,9.3877986e-7,0.00013792596,0.0011361461,0.9959438,0.000072585055],"about_ca_topic_score_codex":0.036670603,"about_ca_topic_score_gemma":0.673239,"teacher_disagreement_score":0.9552515,"about_ca_system_score_codex":0.000008819246,"about_ca_system_score_gemma":0.00021466901,"threshold_uncertainty_score":0.99877},"labels":[],"label_agreement":null},{"id":"W2077761484","doi":"10.2307/3737482","title":"Theory/Theatre: An Introduction","year":2001,"lang":"en","type":"article","venue":"The Modern Language Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":84,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Art; History","score_opus":0.025314362893898296,"score_gpt":0.2683408573738783,"score_spread":0.24302649447998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2077761484","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030378206,0.6899981,0.00017854966,0.021395566,0.0008167507,0.00067062886,0.000018899522,0.0002997159,0.25624362],"genre_scores_gemma":[0.74651915,0.19174166,0.00002737398,0.0066547287,0.010563932,0.000092602386,0.000054262317,0.000050990562,0.04429532],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932235,0.00012298464,0.000147689,0.00013614945,0.00010460261,0.00016621701],"domain_scores_gemma":[0.9994603,0.000026841542,0.00004645259,0.0004123764,0.000028983988,0.00002508586],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004842643,0.00011751139,0.00018871279,0.000017987335,0.00031804963,0.000046475452,0.00017812739,0.000011565973,0.0043679583],"category_scores_gemma":[0.000008574873,0.000060825867,0.000074238524,0.00003259146,0.00012270319,0.00018347235,0.000029557968,0.00009926198,0.000281996],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020264864,0.000040265855,0.0000083136765,0.00030935343,0.00004919574,0.0000058917794,0.052886043,0.0000022105055,0.000030384346,0.06535949,0.0099042775,0.8713843],"study_design_scores_gemma":[0.000065539745,0.000044004973,0.000009109111,0.00017371147,0.000106828,0.000032491138,0.0020538121,0.000037408216,0.000010837542,0.006565621,0.9907808,0.00011988584],"about_ca_topic_score_codex":0.00006402459,"about_ca_topic_score_gemma":0.00029249446,"teacher_disagreement_score":0.98087645,"about_ca_system_score_codex":0.000010755732,"about_ca_system_score_gemma":0.000006444248,"threshold_uncertainty_score":0.99654216},"labels":[],"label_agreement":null},{"id":"W2078162247","doi":"10.3138/md.49.1.12","title":"Cognitive Catharsis in <i>The Caucasian Chalk Circle</i>","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pity; Catharsis; Contempt; Irony; Chorus; Literature; Philosophy; Aesthetics; Art; Psychology; Social psychology","score_opus":0.019867225771672898,"score_gpt":0.22384846907582268,"score_spread":0.20398124330414977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2078162247","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6255411,0.0005929597,0.00001502967,0.0013952997,0.00016356344,0.0001449983,0.00004456503,0.00003835837,0.3720641],"genre_scores_gemma":[0.9955045,0.000020018404,0.0000025365225,0.00076080335,0.000780032,0.000040974275,0.000020565256,0.000012243729,0.0028583142],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993014,0.000030261614,0.00013973634,0.00014582789,0.00013817701,0.00024465114],"domain_scores_gemma":[0.99974483,0.0000527121,0.000031788015,0.0001206587,0.000036625188,0.0000133914145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000107868385,0.00010968086,0.00012653567,0.000053073847,0.00031144448,0.00011354319,0.00012178752,0.000025144998,0.00028553116],"category_scores_gemma":[0.0000034630077,0.000082032886,0.000055801127,0.00003325467,0.00015229952,0.0001352479,0.000022181835,0.00012158668,0.00015411821],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000090968046,0.00061759225,0.01586066,0.00008949665,0.00007858992,0.00011558805,0.76558006,0.00003396703,0.000045681878,0.08730523,0.021064302,0.10911785],"study_design_scores_gemma":[0.0031181271,0.0004075256,0.08981442,0.00028789497,0.00019849386,0.00003942753,0.09064453,0.0009099096,0.00040081036,0.11330267,0.6995108,0.0013653837],"about_ca_topic_score_codex":0.0026145414,"about_ca_topic_score_gemma":0.018332222,"teacher_disagreement_score":0.67844653,"about_ca_system_score_codex":0.00001503852,"about_ca_system_score_gemma":0.000011688149,"threshold_uncertainty_score":0.9995807},"labels":[],"label_agreement":null},{"id":"W2079171359","doi":"10.3138/md.43.4.567","title":"Luminous Writing, Embodiment, and Modern Drama: Mme Blavatsky and Bertolt Brecht","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Print culture; Psychic; The Internet; Literature; Art; History; Media studies; Visual arts; World Wide Web; Computer science; Sociology","score_opus":0.0185681312623377,"score_gpt":0.22318521735789182,"score_spread":0.20461708609555412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2079171359","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.803814,0.0039602024,0.000016413716,0.00070194073,0.00010483477,0.00016509223,0.000038823295,0.00012258299,0.19107611],"genre_scores_gemma":[0.9641825,0.00083373714,0.000045749406,0.00062879996,0.00054735254,0.000023780534,0.000012672661,0.000035088568,0.033690315],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987476,0.000024458477,0.0002574406,0.00036702724,0.00017476616,0.00042871654],"domain_scores_gemma":[0.99953353,0.00004271376,0.000050540555,0.00022582235,0.000047013335,0.00010036924],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010370265,0.0002690199,0.0003079592,0.000065340944,0.00078996917,0.00036662206,0.00011101852,0.000071222275,0.0011543569],"category_scores_gemma":[0.0000032243297,0.00023362892,0.000056622048,0.000020269776,0.00038211112,0.00034220656,0.00007684567,0.00018040264,0.00009500037],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014654275,0.00022393638,0.007197247,0.00018400367,0.00025223632,0.000038919476,0.22267602,0.000043397158,0.000173413,0.01378389,0.0069982023,0.7482822],"study_design_scores_gemma":[0.003952646,0.000796086,0.006559569,0.0003155069,0.00036752885,0.00017251157,0.006292544,0.032701343,0.00050782633,0.066306755,0.8799187,0.0021090114],"about_ca_topic_score_codex":0.0005327637,"about_ca_topic_score_gemma":0.00095670274,"teacher_disagreement_score":0.87292045,"about_ca_system_score_codex":0.000018741448,"about_ca_system_score_gemma":0.00001569209,"threshold_uncertainty_score":0.9997587},"labels":[],"label_agreement":null},{"id":"W2079351637","doi":"10.3138/ctr.150.61","title":"Tangible Archives of the Intangible, or Archiving the Ineluctable Modality of the Theatrical","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Archivist; Art; Visual arts; Modality (human–computer interaction); Performing arts; History; Computer science; Archaeology","score_opus":0.03672690233718249,"score_gpt":0.2424191185421834,"score_spread":0.20569221620500092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2079351637","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020964248,0.2973218,0.0000044342355,0.020085476,0.0013096024,0.0016647878,0.00037514864,0.000026807838,0.6582477],"genre_scores_gemma":[0.97605,0.0178346,0.000012804852,0.0013589496,0.0005124945,0.00003680486,0.0000021587969,0.000019510564,0.0041726464],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99863434,0.00024660624,0.00037929206,0.000113790855,0.00018571594,0.00044026764],"domain_scores_gemma":[0.9987191,0.00026904282,0.00015964732,0.0007057244,0.000036361722,0.00011011136],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004560468,0.00017594095,0.00038117854,0.00005327044,0.00062198855,0.00002056829,0.0006994611,0.000022484122,0.00070233457],"category_scores_gemma":[0.000051213625,0.00006316581,0.00032663232,0.0002154223,0.00067874446,0.000106048115,0.00014209672,0.00022100881,0.000012608064],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071415656,0.00022936604,0.07000531,0.01037608,0.00096306246,0.0000019277422,0.10463174,0.000022383778,0.000096185446,0.34638384,0.06660042,0.40061828],"study_design_scores_gemma":[0.000083989835,0.000023328668,0.0044222237,0.0020698411,0.00024927992,0.000011786905,0.0013183353,0.000009131837,0.00013456026,0.0015384299,0.9900031,0.00013598062],"about_ca_topic_score_codex":0.028446242,"about_ca_topic_score_gemma":0.13325478,"teacher_disagreement_score":0.95508575,"about_ca_system_score_codex":0.00003701645,"about_ca_system_score_gemma":0.00027950123,"threshold_uncertainty_score":0.9780234},"labels":[],"label_agreement":null},{"id":"W2079417740","doi":"10.3138/md.48.3.492","title":"Out of the Box: Performance, Drama, and Interactive Software","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Referent; Point (geometry); Computer science; Period (music); Software; Visual arts; Art; Multimedia; Computer graphics (images); Literature; Aesthetics; Linguistics; Philosophy; Programming language; Mathematics","score_opus":0.017772672184468596,"score_gpt":0.2253472457392954,"score_spread":0.2075745735548268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2079417740","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9368553,0.00048160556,0.000083101855,0.0006771225,0.00041647517,0.00012113532,0.000028259314,0.000041122006,0.06129584],"genre_scores_gemma":[0.9822135,0.000073144714,0.00006954195,0.0002718141,0.00044029998,0.0000092339915,0.0000017009305,0.000011382717,0.016909394],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945587,0.000012998545,0.00014636462,0.00011583027,0.00011408644,0.00015483177],"domain_scores_gemma":[0.9996481,0.000034783014,0.000065891334,0.00016855431,0.000061777646,0.00002090433],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000052012852,0.000112084424,0.00014569877,0.00003252414,0.00033095706,0.000054775723,0.00012223885,0.000023902108,0.0002527342],"category_scores_gemma":[0.0000075262324,0.00006913712,0.000054980927,0.000012738165,0.00025404996,0.00029430268,0.000104926774,0.00012271758,0.000045429504],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011486897,0.00012264769,0.018452933,0.00012837737,0.00015987483,5.733637e-7,0.44408166,0.00010947492,0.00010197969,0.0051699644,0.007032122,0.5245255],"study_design_scores_gemma":[0.00069404143,0.00017617604,0.010701656,0.00017059932,0.00007385374,0.0000039569973,0.0053539407,0.0032109541,0.0022130276,0.0015665753,0.9755032,0.00033202214],"about_ca_topic_score_codex":0.00004004283,"about_ca_topic_score_gemma":0.0008678806,"teacher_disagreement_score":0.96847105,"about_ca_system_score_codex":0.00001549672,"about_ca_system_score_gemma":0.000013653187,"threshold_uncertainty_score":0.28193298},"labels":[],"label_agreement":null},{"id":"W2079660180","doi":"10.3138/md.0625r.66","title":"The Imagistic Theatre of Robert Whitman","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Sensibility; Perception; Painting; Event (particle physics); Architecture; Aesthetics; Visual arts; Art; Cognitive science; History; Psychology; Literature; Philosophy; Epistemology","score_opus":0.0319081278362725,"score_gpt":0.2362942167458741,"score_spread":0.2043860889096016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2079660180","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08880462,0.0030773946,0.0000807843,0.0019956273,0.00068967394,0.00012075311,0.000021674037,0.000060666902,0.9051488],"genre_scores_gemma":[0.98120725,0.000043483848,0.000012430657,0.00008797643,0.0004062811,0.00000831506,0.0000026593398,0.000010545862,0.01822106],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945396,0.000018048531,0.00013944859,0.00008403272,0.00014045033,0.00016405516],"domain_scores_gemma":[0.99956244,0.000047380356,0.000043580138,0.00021009134,0.000101421516,0.0000350869],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013186537,0.000086579035,0.00011716452,0.000019080797,0.00028915066,0.000076365446,0.00015314075,0.000013973243,0.000085314394],"category_scores_gemma":[0.000009459158,0.00004844965,0.000049208393,0.000013415459,0.00029098403,0.000092480244,0.000049825096,0.00006476775,0.00008473788],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026051994,0.00015512179,0.0030138486,0.00007006149,0.0002281825,0.0000061052224,0.29223904,0.00020163646,0.00006171046,0.324247,0.12006613,0.25945067],"study_design_scores_gemma":[0.00029964373,0.0001273418,0.00013828922,0.000019436164,0.00003097046,0.0000019570973,0.006683477,0.0015434691,0.00008004113,0.05010036,0.94084823,0.000126784],"about_ca_topic_score_codex":0.00033926804,"about_ca_topic_score_gemma":0.0019441887,"teacher_disagreement_score":0.89240265,"about_ca_system_score_codex":0.000011899708,"about_ca_system_score_gemma":0.000024961193,"threshold_uncertainty_score":0.22239424},"labels":[],"label_agreement":null},{"id":"W2080155923","doi":"10.1353/ctr.2012.0014","title":"Études théâtrales and Performance Studies in Quebec","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Public administration; Politics; Performance studies; Federalist; Sociology; Law","score_opus":0.07426828800143935,"score_gpt":0.27887130270063226,"score_spread":0.2046030146991929,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2080155923","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.088427275,0.7704891,1.1130986e-8,0.002132452,0.000319246,0.00023769547,0.000016285554,0.000020579479,0.13835736],"genre_scores_gemma":[0.6680873,0.32729807,0.000004662413,0.0014982233,0.00032950848,0.000033956298,0.0000035240946,0.000009827203,0.0027349554],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991681,0.00003427669,0.0002009166,0.00011406912,0.00006436171,0.00041827856],"domain_scores_gemma":[0.9995951,0.000039919185,0.00003288533,0.00014119392,0.000030535408,0.00016037977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002615044,0.00016023533,0.00034235607,0.000103307626,0.00024381027,0.000027256241,0.00008320868,0.000020118468,0.00034180153],"category_scores_gemma":[0.0000087788085,0.00011481781,0.000043244516,0.00005161623,0.00026169317,0.00040562925,0.000021914811,0.000095881274,0.000096657786],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008020548,0.000036200774,0.0697646,0.01153992,0.00020397844,0.0000110356805,0.063983016,3.1886174e-7,7.404923e-7,0.095872074,0.059939615,0.69864047],"study_design_scores_gemma":[0.000050311348,0.000021917358,0.0026260072,0.0026992015,0.000044766857,0.00000668951,0.0028598444,5.88736e-7,0.000001580702,0.000027015536,0.99149954,0.00016251317],"about_ca_topic_score_codex":0.08573812,"about_ca_topic_score_gemma":0.9343777,"teacher_disagreement_score":0.9315599,"about_ca_system_score_codex":0.000106743406,"about_ca_system_score_gemma":0.000082260405,"threshold_uncertainty_score":0.92035},"labels":[],"label_agreement":null},{"id":"W2080175795","doi":"10.3138/ctr.160.001b","title":"An Approach to Actor Training—Humber Theatre","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Employability; Meaning (existential); Training (meteorology); Vocational education; Visual arts; Performance art; Aesthetics; Sociology; Pedagogy; Art; Psychology; Art history; Geography","score_opus":0.05133431340916074,"score_gpt":0.25083843331299827,"score_spread":0.19950411990383754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2080175795","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001246896,0.02027027,0.000009002833,0.0032397793,0.0003874244,0.00051513617,0.00011410106,0.00008960599,0.97412777],"genre_scores_gemma":[0.9617795,0.00705981,0.00018941723,0.023319773,0.0029237438,0.00016920408,0.00010576295,0.00008450776,0.004368312],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854356,0.000106749394,0.00027397322,0.00033942173,0.00015272,0.00058359787],"domain_scores_gemma":[0.9986319,0.00003548573,0.000045380802,0.0005626548,0.00006207706,0.00066252035],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00040414737,0.00027724565,0.0005138695,0.00012488577,0.000506936,0.000121256606,0.000364579,0.000045252695,0.0021298344],"category_scores_gemma":[0.000009990681,0.00020470565,0.00015055251,0.000091441885,0.00011695789,0.0002043622,0.000017086239,0.0001555728,0.0008183834],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004286407,0.000035542642,0.00014658204,0.0009343935,0.00006949862,0.0000022660709,0.02414155,0.0000026433174,0.0000019228282,0.057195123,0.08373708,0.8337291],"study_design_scores_gemma":[0.000080496,0.00008326667,0.00006643052,0.00064648595,0.000078123194,0.0000075354255,0.0014418382,0.000014718977,0.0000011873096,0.00022335618,0.9970522,0.0003043393],"about_ca_topic_score_codex":0.01959123,"about_ca_topic_score_gemma":0.19964918,"teacher_disagreement_score":0.96975946,"about_ca_system_score_codex":0.000074160336,"about_ca_system_score_gemma":0.00016089053,"threshold_uncertainty_score":0.9999596},"labels":[],"label_agreement":null},{"id":"W2080223366","doi":"10.3138/ctr.160.002","title":"Acting Training Institutions: A State of the Nation","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Training (meteorology); State (computer science); Moderation; Psychology; Sociology; Political science; Management; Social psychology; Geography; Computer science","score_opus":0.08833724157530957,"score_gpt":0.26312038066559773,"score_spread":0.17478313909028814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2080223366","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045873374,0.049535193,0.0000071166473,0.0056489008,0.0007003196,0.00038345507,0.000062284584,0.000025382558,0.93905],"genre_scores_gemma":[0.988708,0.008214958,0.000008343338,0.0019893767,0.00024279859,0.000015715605,0.000004235951,0.0000072110615,0.0008093546],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949604,0.0000470353,0.00016836298,0.00006999645,0.000069245856,0.00014930224],"domain_scores_gemma":[0.99964386,0.0000327444,0.00006995731,0.0001531366,0.000048958664,0.00005135676],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002559857,0.000072139264,0.00016383384,0.000043364966,0.00040580757,0.000018850018,0.00011827779,0.000008593012,0.00022641454],"category_scores_gemma":[0.00003549399,0.000044420136,0.00007623521,0.000056598037,0.00012115463,0.000093930685,0.00001021781,0.00007195106,0.000027460017],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[5.1259826e-7,0.0000025233824,0.000073529125,0.0006470245,0.000024408719,1.9565475e-7,0.012768598,0.0000048755933,0.0000013325981,0.050904963,0.002563373,0.9330087],"study_design_scores_gemma":[0.00003600392,0.000009578691,0.000049690876,0.0018111572,0.000032258893,0.0000014376556,0.00047313274,0.000009558738,0.0000053967983,0.0005922615,0.99692076,0.00005876227],"about_ca_topic_score_codex":0.016158098,"about_ca_topic_score_gemma":0.47427297,"teacher_disagreement_score":0.9943574,"about_ca_system_score_codex":0.000040430798,"about_ca_system_score_gemma":0.00020136299,"threshold_uncertainty_score":0.9903934},"labels":[],"label_agreement":null},{"id":"W2080500463","doi":"10.1017/s0307883309004672","title":"Nick Enright: An Actor’s Playwright","year":2009,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Lever; Media studies; Art history; History; Sociology; Art; Engineering; Mechanical engineering","score_opus":0.11323318487262123,"score_gpt":0.3849135437389792,"score_spread":0.27168035886635794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2080500463","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10452857,0.00015346684,0.0000043158334,0.0046805753,0.00072530325,0.00011942762,0.000056232133,0.00009371122,0.8896384],"genre_scores_gemma":[0.9772967,0.00012898065,0.00003575152,0.00023671053,0.0037331935,0.000011472045,0.000056312354,0.000011237097,0.018489633],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983991,0.00008556636,0.00017831364,0.00022537034,0.0007125145,0.00039917967],"domain_scores_gemma":[0.99930185,0.00007381073,0.000026560178,0.00023367742,0.00025959226,0.00010450245],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00052381156,0.000125072,0.0001252805,0.0002596294,0.0005938619,0.00026829395,0.000510281,0.000035537043,0.011019378],"category_scores_gemma":[0.000008793942,0.000088600194,0.00006664788,0.000045567707,0.00027807796,0.0005879808,0.00005880826,0.00032432858,0.00085053814],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023104876,0.00037886776,0.00044511474,0.000007364134,0.000115503484,0.000022880095,0.027184429,0.0000053103713,0.0003754769,0.7745687,0.064857006,0.13180834],"study_design_scores_gemma":[0.00027022755,0.0003407261,0.000704657,0.000023026427,0.0000038843164,0.0000051917996,0.0017905353,0.00015845794,0.00039104166,0.021254122,0.9749251,0.00013300171],"about_ca_topic_score_codex":0.00023111644,"about_ca_topic_score_gemma":0.0008760751,"teacher_disagreement_score":0.9100681,"about_ca_system_score_codex":0.000079278616,"about_ca_system_score_gemma":0.0000496661,"threshold_uncertainty_score":0.9999274},"labels":[],"label_agreement":null},{"id":"W2080623400","doi":"10.3138/ctr.151.30","title":"Can Research Become Ceremony? Performance Ethnography and Indigenous Epistemologies","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethnography; Indigenous; Reflexivity; Sociology; Ceremony; Embodied cognition; Anthropology; Performance studies; Experiential learning; Gender studies; Aesthetics; Epistemology; History; Art; Pedagogy; Ecology; Philosophy; Archaeology","score_opus":0.10817084615052053,"score_gpt":0.3097003679880932,"score_spread":0.20152952183757267,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2080623400","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19317006,0.5898561,2.982975e-8,0.0042926054,0.0004528733,0.00059025415,0.00009460663,0.000053578788,0.21148992],"genre_scores_gemma":[0.7952692,0.20151855,0.000008881418,0.0012535991,0.00053606235,0.00006111751,0.000015134405,0.000020793013,0.0013166569],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982703,0.00013622151,0.00024634862,0.00018819372,0.0001859289,0.0009730325],"domain_scores_gemma":[0.9990179,0.00009149386,0.00004595278,0.00033211446,0.00010627853,0.00040627894],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0010426609,0.00020177173,0.00037451883,0.00030776756,0.0013405224,0.00007772337,0.00022490609,0.000052646206,0.000663015],"category_scores_gemma":[0.000015277426,0.00015150564,0.00008355214,0.0001657879,0.00057419215,0.0002526854,0.000054889333,0.0003250326,0.00018707482],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000068637914,0.00003579683,0.09772104,0.0069693145,0.00016920324,0.000011731012,0.09187782,1.2528486e-7,0.0000011496724,0.012811021,0.04390763,0.74648833],"study_design_scores_gemma":[0.00005860039,0.00007945554,0.004992685,0.0010983244,0.000045722878,0.000022860391,0.00293573,3.6723267e-7,0.000003835538,0.00016935809,0.9903721,0.00022096497],"about_ca_topic_score_codex":0.06667925,"about_ca_topic_score_gemma":0.33290893,"teacher_disagreement_score":0.9464645,"about_ca_system_score_codex":0.00011092735,"about_ca_system_score_gemma":0.00016662231,"threshold_uncertainty_score":0.9999596},"labels":[],"label_agreement":null},{"id":"W2080959366","doi":"10.3138/ctr.153.010","title":"Studio 180’s Political Engagements: Finding the Jewish Soul in Canadian Theatre","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Parade; Oppression; Politics; Judaism; Sociology; Art; Political theatre; Soul; Economic Justice; Performance art; Converse; Gender studies; Visual arts; Media studies; Art history; History; Law; Political science; Theology","score_opus":0.039472339099359884,"score_gpt":0.256390130027474,"score_spread":0.21691779092811414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2080959366","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035095084,0.12387141,1.18271934e-7,0.051576838,0.0006371572,0.0014342698,0.00018246046,0.000039383543,0.81874883],"genre_scores_gemma":[0.9638282,0.013189246,0.0000045781053,0.01847597,0.0008299919,0.0002857072,0.000034524004,0.00004263032,0.0033091276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997347,0.000199493,0.00044031296,0.0003078287,0.00018974506,0.0015156211],"domain_scores_gemma":[0.99843144,0.00013232284,0.000054149652,0.0005035127,0.00008420802,0.0007943873],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00063894846,0.00032350395,0.0004961837,0.00026781065,0.0011123857,0.00023047923,0.00048579962,0.000060067578,0.008999096],"category_scores_gemma":[0.000035546702,0.00021099778,0.00016698087,0.00016811637,0.0002747931,0.0002816493,0.000045663546,0.00044851477,0.0017861009],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000019987174,0.000034820245,0.018496372,0.0013153501,0.0002706746,0.00007700104,0.01385713,0.0000013107863,4.208002e-7,0.26833695,0.38598442,0.31162354],"study_design_scores_gemma":[0.00012620694,0.000028543096,0.0013009006,0.0012744587,0.00007948976,0.000007773464,0.004327721,0.0000056984754,4.7148595e-7,0.0012981812,0.9912692,0.0002813599],"about_ca_topic_score_codex":0.9581819,"about_ca_topic_score_gemma":0.9976253,"teacher_disagreement_score":0.96031874,"about_ca_system_score_codex":0.00069379585,"about_ca_system_score_gemma":0.00076912006,"threshold_uncertainty_score":0.99899113},"labels":[],"label_agreement":null},{"id":"W2081257653","doi":"10.3138/ctr.148.54","title":"Staging the Internet: Representation (Bodies, Memories) and Digital Audiences","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Wilderness; Downtown; Representation (politics); The Internet; Feeling; Aesthetics; Visual arts; Media studies; Sociology; History; Psychology; Art; Political science; Computer science; Social psychology; World Wide Web; Law; Politics","score_opus":0.05635691211324214,"score_gpt":0.24169609686610957,"score_spread":0.18533918475286743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2081257653","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0039901054,0.15816091,0.0000011455865,0.0023346767,0.00035215484,0.00027712184,0.00005031801,0.000028199389,0.83480537],"genre_scores_gemma":[0.9394685,0.053139534,0.000005713492,0.00166244,0.00028749913,0.000029868272,0.000010700857,0.00001109123,0.005384663],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942064,0.000022828961,0.00015445794,0.00013556507,0.000065903216,0.0002006082],"domain_scores_gemma":[0.9996336,0.00003060655,0.00004538992,0.00016481856,0.00003677531,0.000088814806],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000121704485,0.000108274995,0.00016609715,0.000038809285,0.0003451203,0.00011712993,0.00013528734,0.000010566739,0.0012275175],"category_scores_gemma":[0.000012016655,0.00006262541,0.00004633905,0.000030769665,0.00030655751,0.00029574774,0.00002942398,0.00006978665,0.00007943807],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000051595557,0.0000076114407,0.009723,0.0006723519,0.00012233038,0.000013602048,0.123633355,3.668968e-8,1.065342e-7,0.051853452,0.050960768,0.76300824],"study_design_scores_gemma":[0.000031885244,0.000025015448,0.00045207707,0.00055542676,0.000047263864,0.000006503039,0.005686239,0.0000020491716,0.0000029971552,0.0009840563,0.9921029,0.000103558115],"about_ca_topic_score_codex":0.037087567,"about_ca_topic_score_gemma":0.30810097,"teacher_disagreement_score":0.94114214,"about_ca_system_score_codex":0.000024589528,"about_ca_system_score_gemma":0.00004940029,"threshold_uncertainty_score":0.99968547},"labels":[],"label_agreement":null},{"id":"W2081321996","doi":"10.1353/mdr.2006.0044","title":"Looking into the Abyss: Essays on Scenography (review)","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scenography; Dramaturgy; Performance art; Argument (complex analysis); Narrative; Visual arts; Performance studies; Art; History; Aesthetics; Art history; Literature; Sociology; Anthropology","score_opus":0.015252713735022022,"score_gpt":0.2253084063668888,"score_spread":0.2100556926318668,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2081321996","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05586691,0.05800509,0.000062700594,0.0051914877,0.00057512434,0.0003076944,0.00001712117,0.0001692537,0.8798046],"genre_scores_gemma":[0.9872418,0.0030481806,0.000012218814,0.0022416716,0.0010860355,0.000037046288,0.000011681048,0.0000185991,0.0063027497],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992796,0.000024723337,0.000164918,0.0001482119,0.00017292939,0.00020961171],"domain_scores_gemma":[0.9996056,0.00004011486,0.000049842773,0.00024423172,0.00004458213,0.000015624135],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013288797,0.00014228662,0.00015566488,0.000046866244,0.0007241204,0.0000893123,0.000172797,0.000018775325,0.000386694],"category_scores_gemma":[0.0000028469062,0.00008249591,0.000116729425,0.000033705932,0.00019280588,0.00009840956,0.000038378323,0.00012826602,0.0002055525],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004045305,0.0002166046,0.0016250089,0.000505275,0.00014209255,0.000008952346,0.09026839,0.00012976941,0.000033249526,0.3541395,0.19444838,0.3584423],"study_design_scores_gemma":[0.00015856231,0.00006267519,0.00037167422,0.00037381638,0.000045092627,8.720232e-7,0.00073220563,0.00017994207,0.000045265697,0.04020445,0.95763576,0.00018969206],"about_ca_topic_score_codex":0.00046902196,"about_ca_topic_score_gemma":0.0015884723,"teacher_disagreement_score":0.9313749,"about_ca_system_score_codex":0.000011939113,"about_ca_system_score_gemma":0.000006877036,"threshold_uncertainty_score":0.5569422},"labels":[],"label_agreement":null},{"id":"W2081814471","doi":"10.1017/s0149767714000047","title":"Textual Matters: Making Narrative and Kinesthetic Sense of Crystal Pite's Dance-Theater","year":2014,"lang":"en","type":"article","venue":"Dance Research Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Dance; Movement (music); Visual arts; Aesthetics; Art; Materiality (auditing); Scripting language; Literature; Computer science","score_opus":0.05730485222686088,"score_gpt":0.3307907796426068,"score_spread":0.2734859274157459,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2081814471","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95808506,0.00082071306,0.000068694215,0.003432379,0.00017255523,0.00012764815,0.00001830237,0.000015910695,0.037258748],"genre_scores_gemma":[0.99722165,0.0002336465,0.000086184606,0.00020333461,0.0010402496,0.000006071371,0.0000011081469,0.000015425601,0.0011923093],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99844706,0.00024001714,0.0002622796,0.00015304034,0.0004531864,0.0004444229],"domain_scores_gemma":[0.9992058,0.00016091013,0.00009327349,0.00014106689,0.00032250362,0.00007640272],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012047545,0.00012731938,0.00023362145,0.00019893964,0.0009192941,0.00024214284,0.00013191826,0.000026564197,0.0004630895],"category_scores_gemma":[0.00004118288,0.00008907137,0.00005503455,0.000053960408,0.00094708585,0.00034181675,0.00009105913,0.0004746009,0.000023775963],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010666756,0.00029032154,0.007926955,0.0006487858,0.0003804858,0.00017375528,0.7201931,0.000058235273,0.008228599,0.13097873,0.066045076,0.06400929],"study_design_scores_gemma":[0.0019014548,0.0018126087,0.005981152,0.001622121,0.00003571798,0.0009275893,0.1898151,0.00052325975,0.0008152892,0.012473358,0.7835138,0.0005785791],"about_ca_topic_score_codex":0.00003575939,"about_ca_topic_score_gemma":0.00015547834,"teacher_disagreement_score":0.7174687,"about_ca_system_score_codex":0.00002816898,"about_ca_system_score_gemma":0.000033189724,"threshold_uncertainty_score":0.707056},"labels":[],"label_agreement":null},{"id":"W2082346695","doi":"10.1353/mdr.2012.0032","title":"Reality Principles: From the Absurd to the Virtual (review)","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Absurdism; Postmodernism; Biography; Mainstream; Art history; Art; Modernism (music); Epigraph; Literature; Politics; Aesthetics; Philosophy; Law","score_opus":0.07351891187719496,"score_gpt":0.27027186650582113,"score_spread":0.1967529546286262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2082346695","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.417933,0.08537439,0.00034643602,0.07226608,0.0033941863,0.0013867661,0.0006193546,0.00026060524,0.41841918],"genre_scores_gemma":[0.97691923,0.001521489,0.0000062672198,0.008760905,0.002944051,0.000057775695,0.000014591569,0.000012795037,0.009762881],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992173,0.00006054826,0.00016873181,0.00011335315,0.00017681863,0.0002632809],"domain_scores_gemma":[0.99931353,0.00012708,0.000043309676,0.00042828094,0.000039952698,0.00004784909],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00037906668,0.00012127311,0.00014807422,0.0000074655454,0.0006073369,0.000061834064,0.00028966737,0.000016788494,0.0009955389],"category_scores_gemma":[0.00002539909,0.000054279782,0.00007677021,0.000019084697,0.00011810882,0.00013381561,0.00013641553,0.00012308716,0.0009057296],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033180822,0.00008967588,0.0025755123,0.00004667214,0.00014846516,5.3994734e-7,0.35945222,0.000033589535,0.000008195248,0.075559326,0.44107983,0.12097281],"study_design_scores_gemma":[0.000053512933,0.00002146334,0.0047930875,0.00007699038,0.000037097103,3.8558025e-7,0.0021791877,0.000048132646,0.000010519255,0.00045389382,0.99222887,0.000096842654],"about_ca_topic_score_codex":0.0010418455,"about_ca_topic_score_gemma":0.0037313162,"teacher_disagreement_score":0.55898625,"about_ca_system_score_codex":0.000015884476,"about_ca_system_score_gemma":0.000010905232,"threshold_uncertainty_score":0.9999177},"labels":[],"label_agreement":null},{"id":"W2082403054","doi":"10.3138/md.43.3.453","title":"<i>Twister: </i>Ken Kesey' s Multimedia Theatre","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Performing arts; Art; Narrative; Visual arts; Politics; History; Literature","score_opus":0.018980851119393426,"score_gpt":0.21860863742441325,"score_spread":0.19962778630501982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2082403054","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2113499,0.0007064899,0.000008643106,0.0009380753,0.000314847,0.00012419102,0.000044159922,0.00017523045,0.78633845],"genre_scores_gemma":[0.91770256,0.00014302133,0.000049490598,0.00065769296,0.0011420836,0.000020933392,0.000017022461,0.000024281713,0.08024295],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914825,0.000019154628,0.00016929803,0.00019945622,0.00015662758,0.0003071981],"domain_scores_gemma":[0.9996061,0.000030769796,0.000024493645,0.00025107217,0.000031247408,0.000056359633],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000059348735,0.00017090174,0.00018670803,0.0000380783,0.00038240798,0.000136073,0.00016743904,0.00003730584,0.012385483],"category_scores_gemma":[0.0000013605688,0.00012947065,0.00009474809,0.000018409337,0.00019302542,0.00022046619,0.000028846247,0.00012084699,0.0020606501],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000724699,0.000100468395,0.00074172486,0.000028731129,0.00007374699,0.000010752343,0.12596126,0.00003918993,0.000039082348,0.0021209754,0.020223765,0.85058784],"study_design_scores_gemma":[0.00040046131,0.000067325236,0.00019296979,0.000023312274,0.00002551565,0.0000034033867,0.0009402214,0.0019241574,0.000072109724,0.00420647,0.99191403,0.00023004043],"about_ca_topic_score_codex":0.00026358975,"about_ca_topic_score_gemma":0.00085075654,"teacher_disagreement_score":0.97169024,"about_ca_system_score_codex":0.000015026037,"about_ca_system_score_gemma":0.000012340027,"threshold_uncertainty_score":0.99871635},"labels":[],"label_agreement":null},{"id":"W2082977858","doi":"10.3138/md.49.1.98","title":"Between Colonial Past and European Future: Identity Crises in Recent Portuguese Drama","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Portuguese; Drama; National identity; Identity (music); Colonialism; History; Representation (politics); Construct (python library); Art history; Humanities; Literature; Art; Political science; Aesthetics; Law; Philosophy; Linguistics; Archaeology; Politics","score_opus":0.025519713768527866,"score_gpt":0.2421545769761588,"score_spread":0.21663486320763092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2082977858","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9167544,0.0018597769,0.00002314757,0.0015594609,0.0004219485,0.0001336562,0.00005359114,0.000074813666,0.07911918],"genre_scores_gemma":[0.9927401,0.00039221047,0.000016896363,0.00014273738,0.0044104476,0.000006544136,0.000035828703,0.000021940017,0.0022332831],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990449,0.00005795031,0.00025303775,0.00021812564,0.00015852215,0.00026747462],"domain_scores_gemma":[0.9996785,0.000022161152,0.000060621434,0.00014407295,0.000054067936,0.00004056186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018725409,0.00016019371,0.0002122841,0.000081279104,0.0002942753,0.00020248086,0.00011736208,0.000031330914,0.00020511032],"category_scores_gemma":[0.0000037742898,0.00013728133,0.00003973763,0.000037128048,0.00016910177,0.00038173798,0.00010134483,0.00014408735,0.000065566666],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019035379,0.00046955838,0.37334204,0.00018934731,0.0001504852,0.00019510034,0.11996342,0.000037201615,0.000101111946,0.06713745,0.045167357,0.39305657],"study_design_scores_gemma":[0.0007315503,0.00009924594,0.4141277,0.00003299464,0.000040122875,0.000002830288,0.0013308165,0.000039557322,0.00003017554,0.009915079,0.57333577,0.00031416482],"about_ca_topic_score_codex":0.0010659436,"about_ca_topic_score_gemma":0.013864454,"teacher_disagreement_score":0.5281684,"about_ca_system_score_codex":0.000026092772,"about_ca_system_score_gemma":0.000010904477,"threshold_uncertainty_score":0.7736691},"labels":[],"label_agreement":null},{"id":"W2083094552","doi":"10.3138/ctr.143.55","title":"Improvising In and Out of the Box","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Process (computing); Aesthetics; Sociology; Visual arts; Art; Computer science","score_opus":0.019290963893274202,"score_gpt":0.2296381614479798,"score_spread":0.2103471975547056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083094552","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08489334,0.19654407,9.680185e-8,0.008799125,0.0015460384,0.0006320961,0.00008148696,0.000013516365,0.70749027],"genre_scores_gemma":[0.9834429,0.014196191,0.0000054600378,0.0013105547,0.00018965853,0.0000077327995,0.0000010534923,0.000007549859,0.00083888025],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960554,0.000015745023,0.0001325131,0.000070449925,0.000038421134,0.00013731125],"domain_scores_gemma":[0.9997172,0.000016176547,0.000032054126,0.00016342477,0.000018585091,0.000052574716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014128802,0.00006679961,0.0001618663,0.0000355786,0.00012590192,0.000015717755,0.00009311362,0.000015787493,0.0003703482],"category_scores_gemma":[0.000008976174,0.000039129693,0.000041527983,0.000025183475,0.00015555232,0.000051224397,0.000016079111,0.00012540269,0.000011508982],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000020500609,0.000011440866,0.011232459,0.0028031536,0.000032275224,0.0000036239408,0.027751397,6.066836e-8,0.00009000896,0.035479587,0.0102731865,0.91232073],"study_design_scores_gemma":[0.000043567627,0.000007646034,0.00072077126,0.0008682404,0.000016113589,0.0000017989304,0.00037176022,7.932543e-7,0.000013966833,0.00030654686,0.99758905,0.00005976226],"about_ca_topic_score_codex":0.03540982,"about_ca_topic_score_gemma":0.90025884,"teacher_disagreement_score":0.98731583,"about_ca_system_score_codex":0.000010891417,"about_ca_system_score_gemma":0.000089031644,"threshold_uncertainty_score":0.9710135},"labels":[],"label_agreement":null},{"id":"W2083152660","doi":"10.3138/ctr.159.011","title":"Inside Information: Ken Cameron’s <i>How iRan</i>","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Immigration; Style (visual arts); Sociology; Media studies; Point (geometry); Multidisciplinary approach; Social media; Digital media; Visual arts; Aesthetics; Art; World Wide Web; Political science; Literature; Computer science; Law; Social science","score_opus":0.023074107281602474,"score_gpt":0.2090960481436637,"score_spread":0.18602194086206122,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083152660","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00022050315,0.051902726,0.000003765223,0.02142485,0.00055791024,0.00033524077,0.00011031883,0.00006486243,0.9253798],"genre_scores_gemma":[0.7534031,0.12122088,0.000059210928,0.10898555,0.0033004133,0.00017789402,0.0002801738,0.00005986074,0.012512872],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915415,0.000048047976,0.00022496375,0.00010906627,0.000118105316,0.00034566133],"domain_scores_gemma":[0.9992857,0.000031103737,0.0000702302,0.00031018662,0.000072929266,0.00022987243],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022460423,0.00017815117,0.0003278602,0.000096419964,0.000432147,0.00013919866,0.0001873158,0.000029797631,0.001885959],"category_scores_gemma":[0.00001840027,0.00013579798,0.0001120235,0.00005619965,0.000117991236,0.00054296665,0.000018066528,0.00012273648,0.0014293646],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000011945704,0.0000027543128,0.00015433069,0.0011381338,0.0000359386,0.0000014986849,0.0038087794,3.7229546e-7,1.0743178e-7,0.023630636,0.51071733,0.46050888],"study_design_scores_gemma":[0.000088726156,0.000032829612,0.0000404465,0.00082218385,0.00005504541,0.0000065032764,0.0004506379,0.000004323451,0.0000013413777,0.0002106075,0.9980993,0.00018804216],"about_ca_topic_score_codex":0.030626899,"about_ca_topic_score_gemma":0.4396578,"teacher_disagreement_score":0.91286695,"about_ca_system_score_codex":0.000073593,"about_ca_system_score_gemma":0.0001165204,"threshold_uncertainty_score":0.99934816},"labels":[],"label_agreement":null},{"id":"W2083349765","doi":"10.3138/ctr.145.88","title":"Views and Reviews","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Miller; Bridge (graph theory); Performance art; Art history; Stanislavski's system; Terrorism; Realism; History; Art; Sociology; Media studies; Psychoanalysis; Visual arts; Psychology; Archaeology","score_opus":0.10661405642252532,"score_gpt":0.25255229178699395,"score_spread":0.14593823536446865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083349765","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007772137,0.4936118,1.5866998e-7,0.0005249943,0.00013938131,0.0002558559,0.000014836651,0.000012990784,0.5053623],"genre_scores_gemma":[0.012154812,0.97058374,0.00005187283,0.0100849625,0.00040307586,0.0000797863,0.000008604621,0.000019809722,0.0066133384],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992559,0.00004971132,0.0002455589,0.00015067805,0.000042143463,0.00025600177],"domain_scores_gemma":[0.999462,0.00000915014,0.00005078206,0.00023519505,0.000025353118,0.00021749445],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027125308,0.0001512542,0.0003837012,0.000057620993,0.00026915644,0.000023534667,0.00011331472,0.000018364395,0.008057957],"category_scores_gemma":[0.000007275893,0.000102614045,0.00008965007,0.00003549722,0.0001376768,0.00012160207,0.000015502212,0.00008054674,0.0009709609],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000011203572,0.000006196458,0.000294701,0.0020008385,0.000026676911,0.000007364437,0.010134314,6.549407e-10,2.1096682e-7,0.031907666,0.20617773,0.7494432],"study_design_scores_gemma":[0.00003329095,0.000026184734,0.000067322675,0.0017683251,0.00007209349,0.000008695863,0.00016658472,1.2652731e-7,9.227248e-7,0.00037756283,0.9973388,0.00014009852],"about_ca_topic_score_codex":0.027688755,"about_ca_topic_score_gemma":0.46757898,"teacher_disagreement_score":0.79116106,"about_ca_system_score_codex":0.000024051531,"about_ca_system_score_gemma":0.000051078172,"threshold_uncertainty_score":0.9998069},"labels":[],"label_agreement":null},{"id":"W2083380957","doi":"10.3138/ctr.159.003","title":"iTalk, YouListen, WePerform: Participatory Media on the Canadian Stage","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Social media; Context (archaeology); Media studies; Sociology; Mediation; Space (punctuation); Digital media; Visual arts; Multimedia; Art; World Wide Web; Computer science; History; Social science","score_opus":0.0787789215480397,"score_gpt":0.2518939244241563,"score_spread":0.1731150028761166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083380957","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045028897,0.038657553,9.438642e-8,0.025066994,0.000882784,0.00051535835,0.00030283566,0.00004548567,0.930026],"genre_scores_gemma":[0.9522042,0.009609934,0.0000017278032,0.03218207,0.0011043398,0.00011170438,0.000034599478,0.00003925122,0.004712144],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983646,0.00014175753,0.0002985216,0.00023957927,0.00020519142,0.0007503309],"domain_scores_gemma":[0.99839324,0.0001525606,0.000065061206,0.00059452554,0.00008444265,0.00071017933],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00068508607,0.00027110113,0.0003850721,0.0001331228,0.0015217753,0.00014535287,0.00038175928,0.000052721232,0.009864699],"category_scores_gemma":[0.00007303951,0.00016409786,0.00015859083,0.00008188223,0.00032238095,0.000119774246,0.00001691434,0.0002887487,0.0023324648],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004259018,0.000013388072,0.0006972367,0.00085971155,0.000115637515,0.000021013622,0.012096477,0.0000019988345,2.7056794e-7,0.46834722,0.35746583,0.16037695],"study_design_scores_gemma":[0.00006289987,0.000048734644,0.00023099323,0.00088051736,0.00007389994,0.0000022120482,0.00078571186,0.000010772876,0.00000257749,0.00028759174,0.99737495,0.00023911356],"about_ca_topic_score_codex":0.72605395,"about_ca_topic_score_gemma":0.99854654,"teacher_disagreement_score":0.94770133,"about_ca_system_score_codex":0.00027838367,"about_ca_system_score_gemma":0.000510485,"threshold_uncertainty_score":0.9997781},"labels":[],"label_agreement":null},{"id":"W2083735403","doi":"10.3138/md.47.3.349","title":"Telling a Spatial History of the Columbian Exposition of 1893","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ideology; Historiography; Exposition (narrative); Race (biology); Class (philosophy); Aesthetics; Epistemology; Sociology; History; Literature; Philosophy; Art; Gender studies; Law; Politics; Archaeology; Political science","score_opus":0.023145454755999065,"score_gpt":0.1946105266675165,"score_spread":0.17146507191151744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083735403","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9076378,0.00084101787,0.0003716835,0.00022905508,0.00068625895,0.000115421,0.000017816124,0.000019471156,0.090081476],"genre_scores_gemma":[0.9958943,0.000015240558,0.000020015608,0.000055360186,0.00024421085,0.0000041686862,0.000001523022,0.0000062919494,0.003758873],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999617,0.000009068131,0.00013342398,0.00006055698,0.00010248696,0.00007751313],"domain_scores_gemma":[0.99974436,0.0000082,0.00007319093,0.00011826156,0.00004692336,0.0000090696585],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00003895927,0.00005061933,0.000101410275,0.000020242303,0.00009198919,0.000007378627,0.00007777911,0.000016778282,0.00017304669],"category_scores_gemma":[0.0000022333816,0.000038753016,0.00006460721,0.000007927276,0.00020592911,0.000060717968,0.00002263665,0.00004805615,0.0000054317866],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013220427,0.0002988622,0.0017962469,0.00029886563,0.00014690975,0.0000020144225,0.86673576,0.0018756557,0.007869888,0.05474058,0.002917195,0.0631858],"study_design_scores_gemma":[0.0050984994,0.0015143746,0.010427707,0.0013892624,0.00044297831,0.000010537697,0.01761928,0.004484729,0.046396993,0.111347094,0.80007404,0.0011944814],"about_ca_topic_score_codex":0.0028056735,"about_ca_topic_score_gemma":0.0064248694,"teacher_disagreement_score":0.8491165,"about_ca_system_score_codex":0.000063704116,"about_ca_system_score_gemma":0.000043422457,"threshold_uncertainty_score":0.4241358},"labels":[],"label_agreement":null},{"id":"W2084128412","doi":"10.1016/j.sbspro.2014.07.120","title":"Artists-Museums Collaborations: Current Research and Future Trends in Ancient Drama Studies","year":2014,"lang":"en","type":"article","venue":"Procedia - Social and Behavioral Sciences","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Visual arts; Art; Ancient Greek; Mediation; Literature; Sociology; Social science","score_opus":0.2936549911808265,"score_gpt":0.4472285663454712,"score_spread":0.1535735751646447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2084128412","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9865947,0.0057217972,1.05969704e-7,0.003523838,0.00054032943,0.00009669694,0.00001607602,0.000022485001,0.0034839886],"genre_scores_gemma":[0.99688303,0.0011216819,0.000014908042,0.000035436206,0.0015457108,0.000059185517,0.0000028191675,0.000003235434,0.00033396055],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99895096,0.00004827508,0.00015185008,0.00024328107,0.0003011753,0.00030445456],"domain_scores_gemma":[0.99966955,0.000034127388,0.000037222846,0.000033132856,0.00018274471,0.00004319368],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00073933735,0.000102669466,0.00016586507,0.00018132584,0.0019901558,0.00027695304,0.00008548442,0.000027235963,0.000042786265],"category_scores_gemma":[0.000010293176,0.000070097005,0.000016018392,0.00033915023,0.0018896777,0.00033715277,0.00008191897,0.00013537177,0.0000035717533],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014621909,0.00022316731,0.052545637,0.0000612797,0.000005793191,8.5293203e-7,0.26862895,1.1788892e-7,0.00003249074,0.107530236,0.0056661847,0.56529063],"study_design_scores_gemma":[0.0005386395,0.0011406738,0.10420487,0.000067256755,0.00003181916,0.0000016008557,0.22628495,0.000027749833,0.00003988394,0.010418084,0.6568456,0.00039883744],"about_ca_topic_score_codex":0.00015932288,"about_ca_topic_score_gemma":0.010105957,"teacher_disagreement_score":0.65117943,"about_ca_system_score_codex":0.000022829783,"about_ca_system_score_gemma":0.000033565186,"threshold_uncertainty_score":0.9993091},"labels":[],"label_agreement":null},{"id":"W2084141282","doi":"10.1353/utq.2005.0116","title":"Between the Lines: The Process of Dramaturgy (review)","year":2004,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Reading (process); Newspaper; Conversation; Drama; History; Art; Media studies; Visual arts; Sociology; Art history; Literature; Law; Political science","score_opus":0.012612759295556646,"score_gpt":0.21341029974912848,"score_spread":0.20079754045357184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2084141282","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65404844,0.047893975,0.00006112613,0.009762156,0.0004980165,0.0008249154,0.00017423967,0.00008210406,0.286655],"genre_scores_gemma":[0.997298,0.0012949171,0.000007978918,0.0000799535,0.00016649184,2.4713313e-7,0.0000035017633,0.000003125858,0.0011457712],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996106,0.000018669498,0.00010159595,0.00006582827,0.00011293556,0.00009034102],"domain_scores_gemma":[0.9995718,0.00003771495,0.00010293335,0.00016770053,0.00010616678,0.000013708963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008916449,0.000069824666,0.00016146892,0.00000643,0.00028773933,0.000006120731,0.00029233078,0.000015130345,0.0005524575],"category_scores_gemma":[0.0000017378447,0.000039626237,0.0000873789,0.000010629552,0.00033809527,0.00018457341,0.000013259124,0.000048809034,0.000011844704],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054772427,0.000094103176,0.00056246325,0.0008358444,0.00031637875,0.0000021121805,0.90047795,0.000007943909,0.000009952838,0.029522378,0.011369174,0.056746952],"study_design_scores_gemma":[0.0007415856,0.0008844395,0.0070053814,0.00073786837,0.00035530017,0.0000013691183,0.31772324,0.000002611556,0.00004119847,0.0017570094,0.6705371,0.00021288925],"about_ca_topic_score_codex":0.012114882,"about_ca_topic_score_gemma":0.036990758,"teacher_disagreement_score":0.6591679,"about_ca_system_score_codex":0.000020341855,"about_ca_system_score_gemma":0.000026559037,"threshold_uncertainty_score":0.9944635},"labels":[],"label_agreement":null},{"id":"W2084233685","doi":"10.3138/md.0596r.94","title":"Vanishing Acts: Sarah Kane’s Texts for Performance and Postdramatic Theatre","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Event (particle physics); Space (punctuation); Performance art; Aesthetics; Computer science; History; Art; Linguistics; Art history; Philosophy","score_opus":0.04069951561296094,"score_gpt":0.23978694006147147,"score_spread":0.19908742444851052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2084233685","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8253402,0.0017479331,0.00015203793,0.0010056201,0.0005353844,0.0003979163,0.000044224682,0.0001447819,0.17063189],"genre_scores_gemma":[0.99185896,0.00006947184,0.00018495842,0.00037894121,0.0006406564,0.00004137246,0.000014066771,0.000028204671,0.0067833527],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912906,0.000014654714,0.00019017867,0.00019868583,0.00015312198,0.00031429852],"domain_scores_gemma":[0.9995057,0.000063424624,0.000058875237,0.00018250615,0.00009977425,0.000089729394],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018892002,0.00018259535,0.00022520554,0.00005305084,0.00046903035,0.00028528986,0.00012982356,0.00004152123,0.000055534478],"category_scores_gemma":[0.000014537203,0.00013968437,0.000048749647,0.000017146203,0.00014005463,0.0005543038,0.00006584876,0.00010078791,0.00005725544],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041298693,0.00018367256,0.004864125,0.00081963936,0.0002529215,0.000006164958,0.57477295,0.00017955009,0.000113131144,0.03701017,0.027838238,0.35354644],"study_design_scores_gemma":[0.002271557,0.0009751585,0.00055545155,0.00025605824,0.00014408614,0.000025485631,0.017512392,0.028255945,0.00026156387,0.03726482,0.91168725,0.00079024036],"about_ca_topic_score_codex":0.000057372235,"about_ca_topic_score_gemma":0.00030852942,"teacher_disagreement_score":0.883849,"about_ca_system_score_codex":0.00002808478,"about_ca_system_score_gemma":0.00003230828,"threshold_uncertainty_score":0.5696163},"labels":[],"label_agreement":null},{"id":"W2084455066","doi":"10.3138/ctr.143.17","title":"“Moments You Just Cannot Write”: Suitcase In Point Theatre and the Spectacle of Improvisation","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Spectacle; Musical; Jazz; Art; Visual arts; Aesthetics; John Cage; Performance studies; Performance art; Sociology; Art history","score_opus":0.01853482139900173,"score_gpt":0.23462235273017779,"score_spread":0.21608753133117606,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2084455066","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35722452,0.1595716,2.5131916e-7,0.030795287,0.0012064427,0.0022622,0.00044355364,0.00003963617,0.4484565],"genre_scores_gemma":[0.9749461,0.022626454,0.000004819293,0.0014133939,0.00030565052,0.000044314715,0.000015563712,0.000015690572,0.00062803866],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990374,0.00006303758,0.0003289308,0.00016522178,0.00010129046,0.0003041215],"domain_scores_gemma":[0.9993732,0.00006047361,0.00008607826,0.00029987327,0.000050536946,0.00012985436],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000573079,0.00016044543,0.00037607597,0.000110850626,0.00028220777,0.00004491292,0.00015106089,0.000033385426,0.0010041919],"category_scores_gemma":[0.000017882383,0.00009774855,0.00008586552,0.00007762494,0.0003876928,0.00013744559,0.00002669476,0.00022307731,0.000028202452],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006911507,0.00006509595,0.007820663,0.0038654406,0.00015298993,0.000032320102,0.06312388,6.050966e-7,0.00005038654,0.13733454,0.015614602,0.7718704],"study_design_scores_gemma":[0.0008715595,0.00005972017,0.0012856828,0.0010893194,0.00014460793,0.000022840044,0.0058008446,0.000017054794,0.000024662493,0.0011578727,0.9892808,0.00024503533],"about_ca_topic_score_codex":0.22230923,"about_ca_topic_score_gemma":0.88243854,"teacher_disagreement_score":0.9736662,"about_ca_system_score_codex":0.000049172784,"about_ca_system_score_gemma":0.00016194835,"threshold_uncertainty_score":0.99990904},"labels":[],"label_agreement":null},{"id":"W2084742577","doi":"10.3138/ctr.155.012","title":"Transmission: Dramaturgical Bodies","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Process (computing); Transmission (telecommunications); Work (physics); Sociology; Aesthetics; Visual arts; Art; Computer science; Telecommunications; Engineering; Mechanical engineering","score_opus":0.022921187568443024,"score_gpt":0.22662695491896725,"score_spread":0.20370576735052423,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2084742577","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019000098,0.30468297,8.2776995e-7,0.0156226875,0.00022056457,0.000351786,0.000019939705,0.0000482335,0.678863],"genre_scores_gemma":[0.38645425,0.5170497,0.000100594945,0.032801017,0.002533237,0.00041155083,0.00007640114,0.000081464044,0.060491804],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991682,0.000031459163,0.00020586723,0.00014875736,0.000092373935,0.00035331814],"domain_scores_gemma":[0.99938077,0.000024793922,0.0000263949,0.00019897566,0.000060253355,0.00030880346],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000083439474,0.00016260224,0.00030480747,0.00005827996,0.0004164166,0.000093929484,0.00015411945,0.000029668383,0.04016583],"category_scores_gemma":[0.0000030213637,0.000106774285,0.00013827547,0.000028801385,0.00014634273,0.00019000213,0.000009403689,0.00012153919,0.003177246],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.4041613e-7,0.0000074336635,0.000043911463,0.0010313068,0.00004026847,0.0000082739225,0.0034882855,5.5110565e-8,5.8400775e-7,0.028600195,0.4456422,0.52113664],"study_design_scores_gemma":[0.000052265616,0.000021483687,0.000040483512,0.0012657268,0.00004195606,0.000008365397,0.00031286583,0.0000025874542,0.0000013622824,0.0011465434,0.99694633,0.00016005112],"about_ca_topic_score_codex":0.037217896,"about_ca_topic_score_gemma":0.07947815,"teacher_disagreement_score":0.6183712,"about_ca_system_score_codex":0.00003925298,"about_ca_system_score_gemma":0.000096509604,"threshold_uncertainty_score":0.9975989},"labels":[],"label_agreement":null},{"id":"W2085218238","doi":"10.1353/mdr.2007.0003","title":"Dramaturgy: A Revolution in Theatre (review)","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Drama; Context (archaeology); Art; German; Literature; Subtext; Theatre director; Theatre studies; History; Archaeology","score_opus":0.015185320124992978,"score_gpt":0.22105426618591095,"score_spread":0.20586894606091796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2085218238","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11563934,0.07852143,0.000045636563,0.0027628639,0.00042193968,0.00034334054,0.000026118361,0.0001611177,0.8020782],"genre_scores_gemma":[0.9856205,0.0020203867,0.00002109219,0.0005331134,0.0006060108,0.000034438304,0.000021687998,0.000013710885,0.011129076],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992911,0.000022395427,0.00020264805,0.00014755625,0.00011475719,0.00022153974],"domain_scores_gemma":[0.99973714,0.000016310416,0.000039501254,0.00016066017,0.000031146716,0.000015261723],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010230815,0.00012051666,0.00018909,0.00005853561,0.0001559613,0.00003482703,0.0000870674,0.000026724363,0.0005044255],"category_scores_gemma":[0.0000024156723,0.00009375473,0.00006633234,0.000034034656,0.00008202366,0.00016307792,0.000027832735,0.00010581216,0.0001833474],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012255358,0.0006510255,0.012295678,0.001957038,0.0000832012,0.0000512042,0.049614012,0.00021048565,0.00018062333,0.2604532,0.3959336,0.2784474],"study_design_scores_gemma":[0.0003505142,0.000038475097,0.0027229397,0.000608281,0.00002455381,0.0000035075352,0.00035866784,0.00067732256,0.00001966555,0.025070095,0.9698829,0.00024305869],"about_ca_topic_score_codex":0.0011491337,"about_ca_topic_score_gemma":0.0058313753,"teacher_disagreement_score":0.86998117,"about_ca_system_score_codex":0.000033985223,"about_ca_system_score_gemma":0.00001240744,"threshold_uncertainty_score":0.5523106},"labels":[],"label_agreement":null},{"id":"W2085834985","doi":"10.3138/ctr.155.011","title":"Delicious Risk: Progress Lab 1422’s Obstructions as ”Group Dramaturgy”","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Task (project management); Set (abstract data type); Visual arts; Performance art; Engineering; Management; Art; Art history; Computer science","score_opus":0.014422086893597995,"score_gpt":0.22617700044352404,"score_spread":0.21175491354992604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2085834985","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015048107,0.47930712,4.7412695e-7,0.008911213,0.0011932511,0.0013827462,0.0002128768,0.00017419837,0.49377],"genre_scores_gemma":[0.712695,0.2615102,0.000110324465,0.008742832,0.0023654818,0.0008607749,0.00013299611,0.00010446186,0.013477927],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987124,0.000071827766,0.00031105656,0.00024221568,0.00013236425,0.0005300949],"domain_scores_gemma":[0.9989669,0.000033762255,0.00010001555,0.0004037381,0.0001348251,0.00036081363],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013536392,0.00024964602,0.00038894164,0.00011345605,0.00091963,0.00019269691,0.00024114497,0.00005054219,0.011818199],"category_scores_gemma":[0.000014128347,0.0001859926,0.00017183782,0.000094262214,0.00028645326,0.00029021435,0.000027996419,0.00023541454,0.004508306],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000014324171,0.000018357656,0.0010923212,0.00084286183,0.0001378984,0.000010518519,0.004130787,2.8158678e-7,2.8799562e-7,0.029407417,0.1804538,0.783904],"study_design_scores_gemma":[0.00008717281,0.0000493854,0.00039017817,0.00095635076,0.0001338882,0.00002381494,0.0008808538,0.0000034215207,8.313454e-7,0.0014311842,0.9957899,0.00025304867],"about_ca_topic_score_codex":0.21168637,"about_ca_topic_score_gemma":0.4932367,"teacher_disagreement_score":0.81533605,"about_ca_system_score_codex":0.00010883741,"about_ca_system_score_gemma":0.00014587557,"threshold_uncertainty_score":0.9962668},"labels":[],"label_agreement":null},{"id":"W2085954628","doi":"10.3138/ctr.145.52","title":"Peterborough In Memoriam","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Character (mathematics); Drama; Phenomenon; Performance art; Art history; Art; History; Visual arts; Philosophy; Epistemology","score_opus":0.05511948696243547,"score_gpt":0.2311398560560636,"score_spread":0.17602036909362814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2085954628","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006617538,0.12779312,7.757434e-8,0.00078550325,0.00085318845,0.0002142746,0.000026107993,0.000021771251,0.8696442],"genre_scores_gemma":[0.7368107,0.23731796,0.00006936934,0.013653775,0.0027935589,0.00015812812,0.000029330678,0.00006319324,0.009103986],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999272,0.000031037704,0.00019953918,0.00013357316,0.000055286393,0.00030858707],"domain_scores_gemma":[0.999589,0.00001075729,0.000028451004,0.00021345154,0.00002515711,0.00013316123],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015469665,0.00012547518,0.0002568129,0.00009324629,0.00012845971,0.000016870854,0.0001526008,0.000019212526,0.00913088],"category_scores_gemma":[0.000004630168,0.00009671661,0.00007365757,0.000053928845,0.000082490995,0.00013262985,0.000011861077,0.00009455815,0.00072344416],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011796324,0.00005984049,0.004526669,0.0034668143,0.00011438036,0.00019218495,0.07433598,1.0212282e-7,3.621556e-7,0.17039266,0.2836995,0.4631997],"study_design_scores_gemma":[0.00006221686,0.000024866173,0.0002785393,0.0011110394,0.00002642837,0.000004357163,0.00044936666,3.1862558e-7,0.0000013687284,0.000661375,0.9972459,0.00013422249],"about_ca_topic_score_codex":0.13227507,"about_ca_topic_score_gemma":0.8270627,"teacher_disagreement_score":0.8605402,"about_ca_system_score_codex":0.00006317402,"about_ca_system_score_gemma":0.00010773252,"threshold_uncertainty_score":0.9917749},"labels":[],"label_agreement":null},{"id":"W2086247527","doi":"10.1353/mdr.2011.0037","title":"Toward a Definition of Post-Brechtian Performance: The Example of In the Jungle of the Cities at the Berliner Ensemble, 1971","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jungle; Meaning (existential); Divergence (linguistics); Term (time); Performance art; Order (exchange); Literature; Sociology; History; Epistemology; Art history; Art; Philosophy; Linguistics","score_opus":0.09572836146350804,"score_gpt":0.22501398021282418,"score_spread":0.12928561874931616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2086247527","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8887979,0.00054090715,0.0000050301596,0.0006175784,0.000121524405,0.00023490805,0.000059969243,0.000007335155,0.10961485],"genre_scores_gemma":[0.9982217,0.00014334959,0.000011081139,0.00030245504,0.000093577444,0.000026668307,0.00000767449,0.000011407645,0.0011821153],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99903256,0.00010064725,0.00032257126,0.00010420277,0.00025521975,0.00018481546],"domain_scores_gemma":[0.9990819,0.00015512947,0.00018343196,0.00044131622,0.0001299589,0.0000082524775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003950454,0.00013227742,0.00019818028,0.000040587685,0.00037339734,0.000018742989,0.00043752516,0.000035577996,0.00035055418],"category_scores_gemma":[0.00001247935,0.000050630904,0.00012984706,0.00006131634,0.0007463365,0.000111795875,0.000141592,0.00015092675,0.000010838994],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000162914,0.00013061776,0.008019498,0.00016943454,0.00008644041,4.0255483e-7,0.90054494,0.00002951175,0.0003393149,0.08185008,0.0013576654,0.0073091853],"study_design_scores_gemma":[0.0030769678,0.0021589936,0.24011207,0.00089069066,0.0007297148,0.00004156343,0.5374674,0.0020147564,0.042369887,0.07702341,0.09305471,0.0010598074],"about_ca_topic_score_codex":0.00509339,"about_ca_topic_score_gemma":0.0112426225,"teacher_disagreement_score":0.3630775,"about_ca_system_score_codex":0.00001233317,"about_ca_system_score_gemma":0.000030883373,"threshold_uncertainty_score":0.7699716},"labels":[],"label_agreement":null},{"id":"W2087077343","doi":"10.3138/ctr.150.22","title":"Performance as an Act of Survival","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Polysemy; Gesture; Power (physics); Art; Performance art; Aesthetics; Visual arts; Art history; Linguistics; Philosophy","score_opus":0.042992508271512006,"score_gpt":0.25871136773944986,"score_spread":0.21571885946793784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2087077343","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0981802,0.114723474,3.4144513e-8,0.00048728692,0.0006384556,0.00020425815,0.00004987235,0.000022575663,0.7856938],"genre_scores_gemma":[0.9401026,0.056226682,0.0000045711936,0.000937505,0.00076886656,0.000013334192,0.000019979367,0.000016556249,0.0019099375],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915165,0.00004547778,0.0002110523,0.00009506731,0.00010609435,0.0003906848],"domain_scores_gemma":[0.99929905,0.000019161249,0.00005763261,0.0002735902,0.000055605018,0.00029495123],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031945753,0.00013886415,0.00033029687,0.00006814372,0.00022917899,0.000015202842,0.00016438555,0.000023255368,0.005079144],"category_scores_gemma":[0.000005829258,0.000103800936,0.00008590125,0.000047969945,0.0001235001,0.00038336846,0.000012654467,0.00008200152,0.0004990701],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012554154,0.00008059161,0.03439487,0.005468177,0.00015795806,0.000003078665,0.02282249,4.069022e-7,0.000005365115,0.07107637,0.022726294,0.8432518],"study_design_scores_gemma":[0.00004957778,0.000069632224,0.0011516297,0.0007674835,0.00006774361,0.000005200998,0.00051220815,0.0000013093015,0.000015472277,0.000028868799,0.9971867,0.0001441563],"about_ca_topic_score_codex":0.027507411,"about_ca_topic_score_gemma":0.13901441,"teacher_disagreement_score":0.9744604,"about_ca_system_score_codex":0.000041563628,"about_ca_system_score_gemma":0.00014334245,"threshold_uncertainty_score":0.99583036},"labels":[],"label_agreement":null},{"id":"W2087212256","doi":"10.3138/md.43.1.32","title":"\"It's the Do-Gooders Bum My Ass\": Modem Canadian Drama and the Crisis of Liberalism","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Magistrate; Paternalism; Media studies; Law; Political science; Sociology; Art; Gender studies; History","score_opus":0.015991247490516863,"score_gpt":0.20914563027532715,"score_spread":0.19315438278481029,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2087212256","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44464383,0.0032967888,0.0000106840625,0.064965464,0.00028376622,0.000380371,0.00011790653,0.000048686758,0.4862525],"genre_scores_gemma":[0.9819648,0.0004454407,0.0000088867755,0.0045079947,0.00032736943,0.000026860862,0.000004579911,0.00001975637,0.012694302],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99903685,0.00006506288,0.0002180471,0.00017650184,0.00017428509,0.0003292467],"domain_scores_gemma":[0.9993878,0.00008787277,0.000048564536,0.00034750727,0.00005881834,0.00006945293],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022397508,0.00017383951,0.00023921876,0.000047765934,0.0009452578,0.00026396912,0.0002656714,0.00004762742,0.001450092],"category_scores_gemma":[0.0000048056404,0.00009124678,0.00010131494,0.000033070162,0.00067740935,0.00018539834,0.000037903777,0.0001801556,0.000045240784],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016352753,0.000036167632,0.00025255242,0.000039321185,0.00030903853,0.000004583551,0.74536705,0.00047232956,0.0000026635823,0.098242074,0.09082637,0.06428432],"study_design_scores_gemma":[0.001262572,0.00006523023,0.0005054643,0.000042863907,0.00015288923,0.000007310171,0.022185469,0.0071229343,0.000027220145,0.045367625,0.9229382,0.00032217897],"about_ca_topic_score_codex":0.12480142,"about_ca_topic_score_gemma":0.2781218,"teacher_disagreement_score":0.8321119,"about_ca_system_score_codex":0.000020621908,"about_ca_system_score_gemma":0.00005226006,"threshold_uncertainty_score":0.9994627},"labels":[],"label_agreement":null},{"id":"W2087248474","doi":"10.3138/ctr.147.12","title":"Activist Awareness in the Theatre of the Oppressed Classroom","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Class (philosophy); Political theatre; Politics; Sociology; Theatre studies; Reflection (computer programming); Pedagogy; Visual arts; Media studies; Art; Political science; Drama; Computer science; Law; Epistemology; Philosophy","score_opus":0.061761826027274876,"score_gpt":0.24457041189597156,"score_spread":0.1828085858686967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2087248474","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014021551,0.08029193,3.0395134e-7,0.0042360607,0.00048766512,0.0007731452,0.00013131252,0.0000153686,0.90004265],"genre_scores_gemma":[0.98248786,0.014244463,0.000002366695,0.0023975072,0.00018212167,0.00006375367,0.0000049686596,0.000015991942,0.00060097314],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989522,0.00017289289,0.0002777005,0.00015040819,0.00013890819,0.00030788817],"domain_scores_gemma":[0.99915904,0.00006479697,0.000090907946,0.0005771576,0.00004391461,0.00006418675],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034725305,0.00017306558,0.00033287363,0.00006170953,0.00035422915,0.000025977008,0.0006354708,0.000030813724,0.0011860987],"category_scores_gemma":[0.000007882274,0.00008208691,0.00017218504,0.00012846639,0.00028519487,0.000109841676,0.000031861284,0.00018503032,0.000041584684],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050926374,0.0002543518,0.039155718,0.007215327,0.00035461283,0.00004486189,0.17355043,0.0000016986056,0.000011627987,0.14901525,0.12069873,0.5096465],"study_design_scores_gemma":[0.00009697717,0.000032851112,0.0029038475,0.0017763523,0.00009293431,0.0000058653786,0.0031734335,0.0000010562518,0.000024235318,0.0006760327,0.99107623,0.00014019832],"about_ca_topic_score_codex":0.10799651,"about_ca_topic_score_gemma":0.696733,"teacher_disagreement_score":0.9684663,"about_ca_system_score_codex":0.00004402522,"about_ca_system_score_gemma":0.0002508773,"threshold_uncertainty_score":0.99972695},"labels":[],"label_agreement":null},{"id":"W2087735080","doi":"10.3138/md.51.1.1","title":"Jane Harrison and the Savage Dionysus: Archaeological Voyages, Ritual Origins, Anthropology, and the Modern Theatre","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Spectacle; Modernism (music); Art; Beauty; Rite; Literature; Dance; Reading (process); History; Art history; Aesthetics; Philosophy; Theology","score_opus":0.025196828951101622,"score_gpt":0.23615797852174805,"score_spread":0.21096114957064643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2087735080","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9014915,0.026915474,0.0003459887,0.023719482,0.000417744,0.0005820922,0.00006420056,0.00013820178,0.04632529],"genre_scores_gemma":[0.98703754,0.007667545,0.000023209734,0.0008055758,0.0006857577,0.00004448089,0.000007639345,0.000017227756,0.0037110378],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987995,0.00017335676,0.00022383044,0.00028570078,0.00017568935,0.0003418932],"domain_scores_gemma":[0.99920875,0.0003561739,0.00006382014,0.00028123517,0.000039682825,0.00005031384],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.00030345665,0.00023902427,0.00040396405,0.0000359172,0.0019898738,0.00009349138,0.00020280191,0.0000691774,0.00019625101],"category_scores_gemma":[0.000018138653,0.000105026156,0.00008771521,0.000020522593,0.010717352,0.00014859217,0.00024254533,0.0003242752,0.000019684197],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015686257,0.00010123166,0.003697448,0.00004214738,0.00026298946,0.00004494647,0.47786176,0.000022502778,0.000009979411,0.46289068,0.0047353026,0.04876237],"study_design_scores_gemma":[0.018976608,0.00062300696,0.003049341,0.00008222542,0.00036874568,0.00054254447,0.028428728,0.033210766,0.0000654294,0.44631708,0.46729454,0.0010409777],"about_ca_topic_score_codex":0.0013628489,"about_ca_topic_score_gemma":0.0018471216,"teacher_disagreement_score":0.46255925,"about_ca_system_score_codex":0.00001319619,"about_ca_system_score_gemma":0.000016582719,"threshold_uncertainty_score":0.9993094},"labels":[],"label_agreement":null},{"id":"W2088479428","doi":"10.3138/md.50.4.532","title":"Waiting for Recognition: An Aristotle for “Non-Aristotelian” Drama","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Plot (graphics); Pathos; Drama; CLARITY; Poetics; Literature; Value (mathematics); Reading (process); Power (physics); Philosophy; Character (mathematics); Close reading; Epistemology; Art; Linguistics; Computer science; Mathematics; Poetry; Physics","score_opus":0.05640573864466116,"score_gpt":0.27282289690055644,"score_spread":0.21641715825589528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088479428","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8650005,0.00047096808,0.036591515,0.0010410455,0.0020004562,0.0013898103,0.00046093878,0.0003508916,0.092693895],"genre_scores_gemma":[0.9898415,0.000009735184,0.0016392547,0.00048871734,0.003048759,0.00012064082,0.00016613258,0.00004799416,0.004637248],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988608,0.0000076523165,0.00028995296,0.00027423582,0.00011505082,0.00045235033],"domain_scores_gemma":[0.9992201,0.00019456459,0.00009146589,0.00019272284,0.00022400079,0.00007714664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040300994,0.00018372003,0.00022290823,0.000087425746,0.0010314191,0.00017888335,0.00013103249,0.000069305715,0.00019876422],"category_scores_gemma":[0.00003212352,0.00016530452,0.0001408575,0.000022342718,0.00012306018,0.00029165566,0.000025567986,0.000098376455,0.000054240263],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005276667,0.0002393071,0.000262703,0.00026291635,0.00012547577,0.000004188493,0.110888764,0.000019330284,0.00030406503,0.013901105,0.009223979,0.86424047],"study_design_scores_gemma":[0.0018846289,0.0008516714,0.00024123993,0.00009653619,0.00012363837,0.0000058713163,0.01300759,0.013209246,0.0022298018,0.09919698,0.8684211,0.00073171366],"about_ca_topic_score_codex":0.00016167526,"about_ca_topic_score_gemma":0.0020049873,"teacher_disagreement_score":0.86350876,"about_ca_system_score_codex":0.000030646977,"about_ca_system_score_gemma":0.000024006431,"threshold_uncertainty_score":0.7932946},"labels":[],"label_agreement":null},{"id":"W2088598466","doi":"10.3138/md.44.1.16","title":"Aesthetic Prejudice in Modern Drama","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Drama; Aesthetics; Realism; Subject (documents); Performativity; Politics; Representation (politics); Prejudice (legal term); Literature; Art; Philosophy; Sociology; Epistemology; Psychology; Law","score_opus":0.026193832096147274,"score_gpt":0.2334631312165858,"score_spread":0.2072692991204385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088598466","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73648185,0.0013293201,0.0001384228,0.001273787,0.0002566517,0.00016059338,0.000009303034,0.000121768106,0.2602283],"genre_scores_gemma":[0.9790639,0.00021887862,0.00002477648,0.0004899175,0.00035773014,0.00003855982,0.000007320919,0.000030674542,0.0197682],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998841,0.000029446805,0.00024643485,0.0002645868,0.00019461353,0.00042394688],"domain_scores_gemma":[0.99954057,0.000017685237,0.000049247017,0.0002858744,0.00005220847,0.000054390082],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011460699,0.00020010569,0.00024272253,0.00011812106,0.00029384496,0.00015158563,0.00019914958,0.000053385153,0.0006303225],"category_scores_gemma":[0.0000049046657,0.00017273106,0.00007778263,0.00004716091,0.00017232237,0.00030288348,0.00006909729,0.00018900908,0.00030660015],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023691187,0.00051772135,0.01236608,0.00007647742,0.000052283147,0.00012866058,0.36972865,0.0011889376,0.000094764786,0.042916216,0.0063029206,0.5663904],"study_design_scores_gemma":[0.0019450026,0.000299367,0.0027431825,0.00018007371,0.000054505832,0.0000604641,0.006730575,0.04048249,0.000057961053,0.1188217,0.8276784,0.00094627164],"about_ca_topic_score_codex":0.0005853958,"about_ca_topic_score_gemma":0.0055945176,"teacher_disagreement_score":0.8213755,"about_ca_system_score_codex":0.000041607058,"about_ca_system_score_gemma":0.000022938324,"threshold_uncertainty_score":0.7043768},"labels":[],"label_agreement":null},{"id":"W2088677092","doi":"10.3138/ctr.150.14","title":"A Statement of Objectives (and a Conversation)","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Honesty; Conversation; Diversity (politics); Dramaturgy; Representation (politics); Aesthetics; Sociology; Audience reception; Economic Justice; Statement (logic); Media studies; Art; Visual arts; Psychology; Social psychology; Political science; Law; Communication; Anthropology","score_opus":0.027592890232649474,"score_gpt":0.24512039336696975,"score_spread":0.2175275031343203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088677092","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009940997,0.6162075,8.4693414e-7,0.003175848,0.00032348692,0.00042376627,0.00011044104,0.000014908553,0.36980224],"genre_scores_gemma":[0.927927,0.070330955,0.000010033981,0.0009267637,0.00017385643,0.000018259512,0.0000064325886,0.00000618223,0.00060049805],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999561,0.000023609931,0.00014330875,0.000052583226,0.000046628156,0.00017287362],"domain_scores_gemma":[0.99970233,0.000019598625,0.00004174863,0.00008422966,0.000032431304,0.00011968638],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016345383,0.000070034104,0.00017269343,0.00004611938,0.000100764235,0.000008528607,0.00003518207,0.000008235113,0.0016421694],"category_scores_gemma":[0.000004356361,0.000051752773,0.00003576505,0.000021002632,0.0001067069,0.00013982476,0.000007943487,0.000030847947,0.000055073437],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008450333,0.00004821803,0.019081164,0.008472363,0.00037428338,0.000002033712,0.17058769,1.2935115e-7,0.0000044445205,0.22499335,0.05850454,0.51792336],"study_design_scores_gemma":[0.000053684238,0.00002096313,0.0005569463,0.0006110739,0.0000580569,0.0000016167575,0.0023855148,3.1770549e-7,0.000006570833,0.00010709655,0.9961305,0.000067604735],"about_ca_topic_score_codex":0.019311618,"about_ca_topic_score_gemma":0.09118209,"teacher_disagreement_score":0.937626,"about_ca_system_score_codex":0.000032833213,"about_ca_system_score_gemma":0.000060628503,"threshold_uncertainty_score":0.99927044},"labels":[],"label_agreement":null},{"id":"W2088714971","doi":"10.1353/mdr.2007.0056","title":"Theatre, Performance and Technology: The Development of Technology in the Twentieth Century (review)","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scenography; Realism; Representation (politics); Aesthetics; Visual arts; Meaning (existential); Formative assessment; History; Drama; Art; Literature; Politics; Sociology; Epistemology; Philosophy; Law; Political science","score_opus":0.016409744850052164,"score_gpt":0.2322801466268152,"score_spread":0.21587040177676303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088714971","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91209465,0.04500598,0.000022196482,0.0048342976,0.00014928063,0.00035704192,0.0000030375113,0.00005014925,0.037483346],"genre_scores_gemma":[0.9923446,0.006885297,0.00008543905,0.00027044694,0.0000510008,0.000032274915,0.0000016467754,0.000007465926,0.0003217981],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991951,0.000012316155,0.00028442807,0.00012740065,0.00013320232,0.0002475725],"domain_scores_gemma":[0.99958366,0.00003775276,0.000074548174,0.00024650292,0.000048601312,0.000008960907],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057608855,0.000121283265,0.00017838636,0.00016207318,0.00036175773,0.000014316457,0.00029544078,0.000049860537,0.000028111044],"category_scores_gemma":[0.000006097426,0.00006007982,0.000023330571,0.00015062632,0.00049348397,0.0000683587,0.00010499394,0.00021877309,0.000011757792],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019772313,0.00008242204,0.015243754,0.0003320007,0.00004875012,0.000002042863,0.07856939,8.8522575e-7,0.000058847963,0.020172136,0.0009910119,0.884479],"study_design_scores_gemma":[0.00036538436,0.00010863053,0.0067765443,0.0005868287,0.000040571926,0.000013782192,0.029613908,0.000073942625,0.00085747725,0.0053657973,0.9559669,0.0002302696],"about_ca_topic_score_codex":0.000009237288,"about_ca_topic_score_gemma":0.0006129197,"teacher_disagreement_score":0.95497584,"about_ca_system_score_codex":0.000013247623,"about_ca_system_score_gemma":0.000022043512,"threshold_uncertainty_score":0.27823848},"labels":[],"label_agreement":null},{"id":"W2088912413","doi":"10.3138/md.44.3.355","title":"Modernism and Anti-theatricality: An Afterword","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Prejudice (legal term); Modernity; Demise; Hatred; Modernism (music); Opposition (politics); Philosophy; Literature; Aesthetics; Art; Epistemology; Law; Political science","score_opus":0.037660921223386906,"score_gpt":0.24907384894468068,"score_spread":0.21141292772129378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088912413","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.915776,0.00083144044,0.00042281186,0.0007805922,0.00016424184,0.000092443195,0.000015783486,0.0001267994,0.08178987],"genre_scores_gemma":[0.9919703,0.0003055559,0.000053947384,0.0004828791,0.0006652813,0.000011401307,0.0000065935615,0.000018659239,0.00648539],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923956,0.000023389905,0.00014053924,0.0002193211,0.00012327947,0.00025389442],"domain_scores_gemma":[0.9996347,0.000018370558,0.000026769243,0.00020723221,0.000037511352,0.00007544717],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000079762896,0.00014373058,0.00018489757,0.000055949047,0.00041066535,0.00019432402,0.00009386732,0.000035433364,0.0004165186],"category_scores_gemma":[0.0000022646425,0.00011389017,0.00004038164,0.000017600907,0.0001715044,0.00034263273,0.000054264827,0.00009673265,0.000060799324],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022536116,0.0005100085,0.035303947,0.00010052788,0.00019741256,0.0000807527,0.28430626,0.000102874845,0.00035527124,0.07809601,0.0026495655,0.598072],"study_design_scores_gemma":[0.00091479963,0.0002737958,0.0069488348,0.000033588065,0.00008352425,0.000037407273,0.0035448372,0.017609125,0.0000633612,0.05996961,0.90984625,0.0006748404],"about_ca_topic_score_codex":0.00023674215,"about_ca_topic_score_gemma":0.00067757675,"teacher_disagreement_score":0.9071967,"about_ca_system_score_codex":0.000009881691,"about_ca_system_score_gemma":0.000007974507,"threshold_uncertainty_score":0.46443063},"labels":[],"label_agreement":null},{"id":"W2089579171","doi":"10.1353/tj.2006.0014","title":"Reading the Material Theatre (review)","year":2005,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Semiotics; Reading (process); Ideology; Sociology; Cultural materialism (cultural studies); Context (archaeology); Cultural studies; Performance studies; Aesthetics; Materialism; Media studies; Publicity; Social semiotics; Art; Epistemology; History; Literature; Linguistics; Anthropology; Philosophy; Law; Politics; Political science","score_opus":0.020142097052247093,"score_gpt":0.24143848125358128,"score_spread":0.22129638420133418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2089579171","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03096226,0.02139711,0.0000064007927,0.030220075,0.0026020405,0.00024367496,0.000040927614,0.00010667289,0.91442084],"genre_scores_gemma":[0.9307792,0.031109735,0.0000610047,0.005030014,0.023642309,0.000014041908,0.0000060898988,0.000039668073,0.009317944],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989392,0.00008053262,0.00032395098,0.000101922626,0.00022435395,0.00033001462],"domain_scores_gemma":[0.9995077,0.000049444272,0.000116065756,0.00020664706,0.00005875294,0.0000613895],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005222383,0.00017698132,0.00023518049,0.000045783963,0.0012436879,0.00019455985,0.0002925963,0.00002276376,0.0108455615],"category_scores_gemma":[0.0000031321122,0.00008743753,0.00016174065,0.000028022732,0.00016730253,0.00032034676,0.000051071125,0.0003033709,0.0005319529],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008059174,0.000058505924,0.00013314286,0.00009849429,0.00017833953,0.000011011567,0.028054947,0.000008753776,0.000094483505,0.009027748,0.43586957,0.5263844],"study_design_scores_gemma":[0.00017310648,0.0000641047,0.000036517376,0.00032038105,0.00009327041,0.000205618,0.0024580464,0.0000104821265,0.00010011695,0.0007130742,0.9956883,0.00013694311],"about_ca_topic_score_codex":0.00003779903,"about_ca_topic_score_gemma":0.00017361228,"teacher_disagreement_score":0.9051029,"about_ca_system_score_codex":0.000044944085,"about_ca_system_score_gemma":0.000028419672,"threshold_uncertainty_score":0.99005866},"labels":[],"label_agreement":null},{"id":"W2089601087","doi":"10.3138/md.44.2.133","title":"Oh for Unruly Audiences! Or, Patterns of Participation in Twentieth-Century Theatre","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":50,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Aesthetics; History; Media studies; Literature; Sociology; Visual arts; Epistemology; Art; Political science; Philosophy; Law","score_opus":0.044281320221406496,"score_gpt":0.28324209280744217,"score_spread":0.23896077258603568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2089601087","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9794443,0.00034834753,0.0003830592,0.00034637106,0.0003800622,0.00024397473,0.00005500073,0.000029513089,0.018769372],"genre_scores_gemma":[0.9965523,0.00035624678,0.000021260741,0.00010097063,0.00024291506,0.000068409216,0.000015854092,0.000010726713,0.0026313162],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992688,0.000016618449,0.00023202403,0.00013882441,0.000107736996,0.00023600511],"domain_scores_gemma":[0.99967855,0.000053288528,0.00006768407,0.00012473397,0.00005319432,0.000022566188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010132444,0.00010325501,0.0001768468,0.000066967696,0.00013824357,0.000035238823,0.00009419583,0.000027890981,0.00038188125],"category_scores_gemma":[0.0000062903378,0.00007339289,0.000060341943,0.000029225495,0.000068644644,0.00018535924,0.000019795283,0.000051839557,0.000009867806],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000945297,0.0007690975,0.1912819,0.0003989655,0.00013600467,0.000011008754,0.38733092,0.00044493127,0.00022563477,0.0368951,0.00095315394,0.380608],"study_design_scores_gemma":[0.004912154,0.0015668676,0.045396112,0.00059063174,0.00018649774,0.0000047057833,0.032784283,0.012874388,0.0013724136,0.031201174,0.8680721,0.0010386911],"about_ca_topic_score_codex":0.0004937557,"about_ca_topic_score_gemma":0.013968251,"teacher_disagreement_score":0.86711895,"about_ca_system_score_codex":0.00001684822,"about_ca_system_score_gemma":0.000014468789,"threshold_uncertainty_score":0.77946115},"labels":[],"label_agreement":null},{"id":"W2090038935","doi":"10.3138/ctr.143.47","title":"“a one-shot affair”: Cabaret as Improvised Curation","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Aesthetics; Sociology; Sympathy; Art; Media studies; Visual arts; Psychology; Social psychology","score_opus":0.042167588289555594,"score_gpt":0.26004431901761904,"score_spread":0.21787673072806346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2090038935","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0069210054,0.05144807,4.0079797e-7,0.01486529,0.0013357679,0.0006876057,0.00016833728,0.00008864849,0.92448485],"genre_scores_gemma":[0.9637899,0.024690572,0.000017114506,0.0050806575,0.001588765,0.0000801207,0.00010227131,0.000034943972,0.004615659],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990636,0.000027809787,0.00023535149,0.0001984925,0.00011707195,0.0003576864],"domain_scores_gemma":[0.99921477,0.00002280879,0.00005828393,0.0003431523,0.00009085003,0.00027012016],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001798817,0.00017469525,0.0003002622,0.000118399876,0.0004473357,0.00009786905,0.00018136342,0.000046510075,0.009946958],"category_scores_gemma":[0.000018151253,0.00014602605,0.000119430144,0.00006917221,0.00014102549,0.0003034826,0.000014306231,0.0002446313,0.0013078378],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007553144,0.00003287804,0.00017904837,0.0020506443,0.00011899237,0.000018526933,0.010110574,9.406646e-8,0.00014449058,0.22560363,0.07530706,0.6864265],"study_design_scores_gemma":[0.000085443346,0.000048650734,0.000027744478,0.0005043265,0.000080859434,0.000007336596,0.000481114,0.0000023648875,0.000027276954,0.00063011725,0.99789566,0.00020908489],"about_ca_topic_score_codex":0.03525203,"about_ca_topic_score_gemma":0.7758787,"teacher_disagreement_score":0.9568689,"about_ca_system_score_codex":0.000046723773,"about_ca_system_score_gemma":0.00031504617,"threshold_uncertainty_score":0.99946976},"labels":[],"label_agreement":null},{"id":"W2090527911","doi":"10.1037/a0021707","title":"Testimonial theatre-making: Establishing or dissociating the self.","year":2011,"lang":"en","type":"article","venue":"Psychology of Aesthetics Creativity and the Arts","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":66,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Testimonial; Psychology; Advertising; Business","score_opus":0.06759841746483226,"score_gpt":0.2965955185674444,"score_spread":0.22899710110261218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2090527911","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.493767,0.00046878806,0.000030662024,0.0056060604,0.00036816913,0.00023947685,0.000012855511,0.00006328564,0.4994437],"genre_scores_gemma":[0.9983077,0.00026606306,0.00018805492,0.0005694544,0.00018941873,0.000017992856,7.801258e-7,0.000012007168,0.00044850187],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991172,0.00015766597,0.00022583653,0.00016266797,0.000109527646,0.00022711947],"domain_scores_gemma":[0.998903,0.0005607105,0.00017960448,0.00028056937,0.000054341872,0.000021806642],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075545226,0.00014866232,0.00026249245,0.000034487857,0.0009132027,0.00006435437,0.00022900666,0.000042596985,0.00019323877],"category_scores_gemma":[0.000057515157,0.00006698471,0.00007501095,0.000042392487,0.0017032669,0.00015548445,0.00008495624,0.00020104913,0.000008871749],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008204562,0.00032532215,0.016682263,0.000030020614,0.00021352322,0.00000639175,0.5310077,0.0000012066326,0.0000052024684,0.40335155,0.0016781576,0.045878176],"study_design_scores_gemma":[0.0074683866,0.0025782385,0.054610167,0.0004178985,0.0011200687,0.0002585504,0.0631843,0.0005137427,0.00027433498,0.30807745,0.56032526,0.0011715827],"about_ca_topic_score_codex":0.00018306759,"about_ca_topic_score_gemma":0.0008524712,"teacher_disagreement_score":0.5586471,"about_ca_system_score_codex":0.000004335576,"about_ca_system_score_gemma":0.000013902861,"threshold_uncertainty_score":0.70237094},"labels":[],"label_agreement":null},{"id":"W2091062718","doi":"10.3138/md.48.4.819","title":"JudyLee Oliva’s <i>The Fire and the Rose </i>and the Modeling of Platial Theories in Native American Dramaturgy","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Drama; Native american; Performance art; Art; History; Visual arts; Literature; Media studies; Art history; Sociology; Genealogy","score_opus":0.010960667913032922,"score_gpt":0.21793221115316838,"score_spread":0.20697154324013545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2091062718","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9617916,0.0049488684,0.000114254995,0.010191411,0.00008379611,0.00029794703,0.000017866092,0.000019786536,0.02253451],"genre_scores_gemma":[0.99758095,0.00062434044,0.000009948304,0.0006321853,0.00039588872,0.000033578293,0.0000010826393,0.000010807251,0.0007112456],"study_design_codex":"qualitative","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.99924487,0.000107151485,0.00021321118,0.00012491638,0.00013718104,0.00017269824],"domain_scores_gemma":[0.99927413,0.00041132944,0.000088676104,0.00016671477,0.000045148256,0.000013979423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038048564,0.00013621752,0.00027284623,0.000024306482,0.0005867465,0.00012684222,0.00015217671,0.000018075383,0.000021491787],"category_scores_gemma":[0.000025551282,0.000056260225,0.000053779793,0.000030479463,0.0026302142,0.0001495805,0.00010887648,0.0001923856,0.0000016173684],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008357751,0.00001978599,0.00009543991,0.000015374935,0.00007015553,3.3529898e-7,0.6105744,0.0023613425,0.0000019411777,0.34844887,0.000088698725,0.037487887],"study_design_scores_gemma":[0.0046380097,0.00009153315,0.00017867505,0.000080619815,0.00009531633,0.0000054541683,0.05957916,0.7623931,0.00004238821,0.15742537,0.015207675,0.00026265727],"about_ca_topic_score_codex":0.002361456,"about_ca_topic_score_gemma":0.007526445,"teacher_disagreement_score":0.76003176,"about_ca_system_score_codex":0.000008983563,"about_ca_system_score_gemma":0.000014385962,"threshold_uncertainty_score":0.96911335},"labels":[],"label_agreement":null},{"id":"W2091249145","doi":"10.1177/1077800405284601","title":"Found Poetry as Literature Review","year":2006,"lang":"en","type":"article","venue":"Qualitative Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":125,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Poetry; Appropriation; The arts; Literature; Suite; Sociology; Epistemology; Aesthetics; Art; History; Visual arts; Philosophy","score_opus":0.07556640743625101,"score_gpt":0.37743381047518265,"score_spread":0.30186740303893167,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2091249145","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041782275,0.23891401,0.00001594867,0.0035166084,0.0015396144,0.00029472107,0.000096802934,0.00014731377,0.7136927],"genre_scores_gemma":[0.751017,0.026908183,0.00022782851,0.016744437,0.011993222,0.00016119757,0.00039616608,0.00007344049,0.19247857],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900556,0.00015982002,0.0002702833,0.00017856606,0.00017481558,0.0002109497],"domain_scores_gemma":[0.9993843,0.00017422206,0.00008557558,0.00016262394,0.00016679133,0.000026490154],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00035559823,0.00016664187,0.0002487325,0.00005883943,0.00031858083,0.000102614715,0.00010275394,0.00003094796,0.0017674837],"category_scores_gemma":[0.000033279273,0.00012229281,0.00010714303,0.00006993747,0.00042741097,0.00033186201,0.000030756433,0.00014543733,0.0009251285],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001100827,0.000031510222,0.000015080318,0.0005876829,0.000031670013,0.000008480796,0.3119215,1.2242002e-7,0.000004821464,0.42523935,0.26080248,0.0013462717],"study_design_scores_gemma":[0.00014568522,0.00011166612,0.00007112302,0.0018051406,0.000028737111,0.0000047389167,0.046403106,3.2585405e-7,0.000016052825,0.035147235,0.9160578,0.00020837325],"about_ca_topic_score_codex":0.00014443911,"about_ca_topic_score_gemma":0.00020754724,"teacher_disagreement_score":0.70923465,"about_ca_system_score_codex":0.000020585128,"about_ca_system_score_gemma":0.00001676344,"threshold_uncertainty_score":0.9998528},"labels":[],"label_agreement":null},{"id":"W2091659955","doi":"10.3138/md.45.2.246","title":"\"No, the Centre Should Be Invisible\": Radical Revisioning of Chekhov in Floyd Favel Starr's <i>House of Sonya</i>","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Politics; Relation (database); Identity (music); Resistance (ecology); Orality; Aesthetics; Sociology; History; Art; Law; Political science; Literacy","score_opus":0.052516557850782644,"score_gpt":0.2367126578030671,"score_spread":0.18419609995228448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2091659955","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88570863,0.0050397487,0.000029792636,0.007107405,0.00040355758,0.0004159117,0.000094418596,0.00010036636,0.10110019],"genre_scores_gemma":[0.9935526,0.0006310895,0.000046524576,0.0005546874,0.00027022042,0.000005308563,0.0000029123362,0.000026713744,0.004909914],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884284,0.000049566002,0.00039005702,0.0001696079,0.00027677967,0.00027118216],"domain_scores_gemma":[0.99936867,0.00010060926,0.000111979214,0.00029339455,0.00008289635,0.00004243808],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020290815,0.00015858737,0.00032674678,0.00007454807,0.00018854393,0.00004229022,0.00023465694,0.000052471114,0.0016129443],"category_scores_gemma":[0.000040355375,0.00010332229,0.000106329295,0.000054547327,0.00035978743,0.00015621637,0.00009877435,0.00022344457,0.00003837426],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002465955,0.0009192914,0.011510128,0.00079813733,0.0003172072,0.000018378994,0.7189245,0.0008134914,0.0011470121,0.039112035,0.13845854,0.08773468],"study_design_scores_gemma":[0.001954967,0.00028452542,0.0011099247,0.0006797043,0.00010163775,0.0000027838398,0.011892638,0.021056276,0.0020559072,0.0027863132,0.95752954,0.0005457968],"about_ca_topic_score_codex":0.00041757312,"about_ca_topic_score_gemma":0.0009972892,"teacher_disagreement_score":0.819071,"about_ca_system_score_codex":0.000018263348,"about_ca_system_score_gemma":0.00001502146,"threshold_uncertainty_score":0.9992997},"labels":[],"label_agreement":null},{"id":"W2091696525","doi":"10.3138/ctr.159.001b","title":"A Photographic Journey through Digital Technology in Canadian Performances","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Social media; Subject (documents); Space (punctuation); Augmented reality; Art; Digital media; Media studies; Multimedia; Sociology; Computer science; World Wide Web; Human–computer interaction","score_opus":0.020100404660285915,"score_gpt":0.22986006309350834,"score_spread":0.20975965843322242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2091696525","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0147811705,0.15224634,3.729415e-7,0.014006202,0.00045750002,0.00045902873,0.00013121327,0.00006172421,0.81785643],"genre_scores_gemma":[0.94249487,0.052601885,0.000006618328,0.0037677118,0.00030195684,0.000057886045,0.0000251151,0.000023079087,0.00072088576],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99851257,0.00002804317,0.00031594982,0.00022930655,0.000096121745,0.00081799866],"domain_scores_gemma":[0.9991958,0.000022472828,0.00005553928,0.0003136546,0.000057427736,0.00035510716],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024244508,0.00022959927,0.00043492563,0.00059568096,0.0004648843,0.00012639895,0.00031045324,0.00006806739,0.0014172192],"category_scores_gemma":[0.00002287677,0.0001824756,0.00011280094,0.00030980373,0.00029143633,0.00040462488,0.000016964019,0.00025648926,0.00044506424],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000062540817,0.0000348133,0.062431112,0.0026974422,0.00015605778,0.000068566056,0.015331595,0.0000025105148,6.6900213e-7,0.20167565,0.06298166,0.6546137],"study_design_scores_gemma":[0.000106210355,0.0000550584,0.00014413828,0.0017202346,0.000025695641,0.000019125171,0.0007208651,0.000010029322,0.0000012214723,0.0022451235,0.9947096,0.00024269662],"about_ca_topic_score_codex":0.8207903,"about_ca_topic_score_gemma":0.99735993,"teacher_disagreement_score":0.93172795,"about_ca_system_score_codex":0.00017264897,"about_ca_system_score_gemma":0.000497336,"threshold_uncertainty_score":0.9994956},"labels":[],"label_agreement":null},{"id":"W2091943710","doi":"10.7202/041468ar","title":"La théâtralité « dans » le cinéma : considérations préliminaires","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.016190449982076242,"score_gpt":0.23331692839606902,"score_spread":0.21712647841399277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2091943710","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2649025,0.0017608525,0.000018053353,0.07771438,0.0044274866,0.0008854409,0.0011198347,0.00056295394,0.6486085],"genre_scores_gemma":[0.7511231,0.0023659177,0.00036905915,0.00048220076,0.0033157445,0.00020792068,0.00013930352,0.00020874293,0.24178803],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.994391,0.00047836962,0.0014728397,0.0012616771,0.000601428,0.0017946352],"domain_scores_gemma":[0.99608314,0.00090360426,0.0005493641,0.0014135987,0.00043987832,0.00061041064],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.0008916463,0.0014073405,0.0013641148,0.00039911727,0.0031237348,0.0008802063,0.0011613242,0.0008289152,0.0013320417],"category_scores_gemma":[0.00020389672,0.001395937,0.0010113595,0.00031780018,0.0049451836,0.0017361849,0.00028346546,0.0022787934,0.00046302477],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015060154,0.0009999407,0.00094903004,0.0009911607,0.00058507064,0.00025261808,0.06028101,0.000060693583,0.0014625199,0.8767397,0.04880922,0.008718445],"study_design_scores_gemma":[0.0004898923,0.00049726735,0.005240666,0.00086422794,0.0006689597,0.00051275734,0.009928904,0.000099899145,0.0010460996,0.0028715767,0.9761513,0.001628487],"about_ca_topic_score_codex":0.0065642903,"about_ca_topic_score_gemma":0.5470559,"teacher_disagreement_score":0.92734206,"about_ca_system_score_codex":0.00013884349,"about_ca_system_score_gemma":0.0011268024,"threshold_uncertainty_score":0.9998677},"labels":[],"label_agreement":null},{"id":"W2092185502","doi":"10.3138/md.43.2.204","title":"Black Cats and Green Trees: The Art of Maria Irene Fornes","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Greenwich; Apartment; Tree (set theory); Art; Art history; Window (computing); Painting; Moment (physics); Visual arts; Geography; Geology; Computer science; Mathematics; Law; Political science","score_opus":0.02143331455509149,"score_gpt":0.21336041691166083,"score_spread":0.19192710235656935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2092185502","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79019743,0.0006159719,0.0000038579033,0.001338466,0.000053475476,0.00008460438,0.00002735236,0.000022835357,0.207656],"genre_scores_gemma":[0.9287198,0.00023137324,0.000005774245,0.00017221874,0.00027156522,0.000006165967,0.00000436395,0.0000083751565,0.070580356],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955964,0.000012730729,0.000119802295,0.0000962273,0.000081353275,0.00013024014],"domain_scores_gemma":[0.9997501,0.000030218227,0.000026868887,0.00015122059,0.000023875798,0.000017716206],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000056622528,0.00009049563,0.00013098953,0.000018759023,0.000212616,0.00004473975,0.000086191765,0.000018754778,0.001484109],"category_scores_gemma":[0.0000012128855,0.00005356745,0.000039720664,0.000012120253,0.00033838645,0.00009761034,0.000025110707,0.00004911833,0.00009546773],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016718812,0.00011654924,0.0035237637,0.00011385494,0.00022752146,0.000004103388,0.3437939,0.00008502701,0.00008627305,0.026539253,0.024210569,0.60113204],"study_design_scores_gemma":[0.0005369454,0.00017883349,0.008136398,0.00004817398,0.00008098758,0.000003887975,0.0037252614,0.0027601812,0.00013692051,0.031722445,0.952437,0.0002329984],"about_ca_topic_score_codex":0.0006105104,"about_ca_topic_score_gemma":0.0057230517,"teacher_disagreement_score":0.9282264,"about_ca_system_score_codex":0.0000035372207,"about_ca_system_score_gemma":0.0000063727525,"threshold_uncertainty_score":0.9994287},"labels":[],"label_agreement":null},{"id":"W2092530887","doi":"10.3138/ctr.141.10","title":"“This Famous Duke of Milan of Whom So Often I Have Heard Renown”: William Hutt at the Stratford and New Burbage Festivals","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Epitome; Style (visual arts); Character (mathematics); Reputation; Art; Art history; Performance art; History; Literature; Sociology","score_opus":0.030858609269783673,"score_gpt":0.2394659269985125,"score_spread":0.2086073177287288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2092530887","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10068085,0.4981494,4.2081126e-7,0.014542025,0.0007915486,0.0013270287,0.00095779216,0.000039110917,0.3835118],"genre_scores_gemma":[0.7332443,0.17051391,0.00007675138,0.0042311703,0.0014295806,0.000045363588,0.00007833782,0.00008617761,0.090294406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988688,0.000045522014,0.00040841635,0.00020215825,0.00014628647,0.0003288207],"domain_scores_gemma":[0.99894345,0.000087859175,0.00015873491,0.0004732764,0.000088172514,0.00024849307],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029000864,0.0002200974,0.0005838898,0.00007110669,0.0005233215,0.000057696398,0.00022688218,0.00005821725,0.003796134],"category_scores_gemma":[0.000022846174,0.00013585764,0.00015452289,0.000051764466,0.00077841233,0.00010045124,0.000048403323,0.000215871,0.00005155089],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021220489,0.000028802915,0.0059745843,0.0036748247,0.0002729315,0.000014441866,0.021949798,3.1662964e-7,0.00021708853,0.011201454,0.54622555,0.41041896],"study_design_scores_gemma":[0.00012538802,0.00009621354,0.00050910324,0.0011173418,0.00016185275,0.000017258559,0.00031752678,7.129816e-7,0.000073766605,0.0002655152,0.9971551,0.00016024137],"about_ca_topic_score_codex":0.10896189,"about_ca_topic_score_gemma":0.7948464,"teacher_disagreement_score":0.68588454,"about_ca_system_score_codex":0.00003353057,"about_ca_system_score_gemma":0.00040254282,"threshold_uncertainty_score":0.99711454},"labels":[],"label_agreement":null},{"id":"W2093241604","doi":"10.3138/ctr.150.70","title":"Dangers of the Theatrical–Dramaturgical Complex: A Call to Artists to Run Faster and Jump Higher on Their Own Two Feet","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Dance; Allegiance; Visual arts; Dramaturgy; Power (physics); Aesthetics; Politics; Law; Political science","score_opus":0.04598248091317342,"score_gpt":0.2595784665991442,"score_spread":0.21359598568597077,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2093241604","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0825359,0.123296656,0.0000014633748,0.05640383,0.0015473544,0.0027380993,0.0008397363,0.0000683059,0.7325687],"genre_scores_gemma":[0.9731872,0.0023337225,0.00001978518,0.020986708,0.0007264637,0.000055930883,0.0000072563203,0.000026843654,0.0026560856],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987708,0.00010022985,0.00027486891,0.00019427536,0.00014893229,0.0005109337],"domain_scores_gemma":[0.99889606,0.00007847254,0.000052597275,0.00040610624,0.000048000515,0.0005187413],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022427995,0.00024011085,0.0004674186,0.00009136556,0.00031050574,0.000044925913,0.0002406811,0.000032293,0.0013579361],"category_scores_gemma":[0.0000075482703,0.00012677637,0.00014038007,0.00012545961,0.00015052332,0.000074976284,0.000070481874,0.0001456889,0.00024703136],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060606555,0.00011216729,0.0062547084,0.0017602525,0.00030245393,0.000007334113,0.033238906,0.000003520717,0.000032180076,0.06053784,0.5153417,0.38234833],"study_design_scores_gemma":[0.000108774795,0.000070761635,0.004690772,0.0010052151,0.000074082905,0.000005769832,0.00018907302,6.354944e-7,0.000007815911,0.00005318875,0.9936101,0.00018383133],"about_ca_topic_score_codex":0.007867044,"about_ca_topic_score_gemma":0.06309488,"teacher_disagreement_score":0.8906513,"about_ca_system_score_codex":0.00008230331,"about_ca_system_score_gemma":0.000049769176,"threshold_uncertainty_score":0.99955493},"labels":[],"label_agreement":null},{"id":"W2093310992","doi":"10.3138/utq.72.4.770","title":"Introduction: A Plague on Your (Opera) Houses","year":2003,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Plague (disease); Opera; History; Art; Ancient history; Art history","score_opus":0.016075577601162766,"score_gpt":0.19004894354329793,"score_spread":0.17397336594213517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2093310992","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35014215,0.00047356536,0.000026798183,0.0008447886,0.0010404128,0.000111642665,0.000034348017,0.00008921252,0.64723706],"genre_scores_gemma":[0.9688779,0.000059878956,0.00005077409,0.000041807976,0.00053767057,1.2682159e-7,0.0000029329813,0.0000055108426,0.030423358],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995834,0.000030896274,0.00006134232,0.00012185223,0.00008738257,0.000115101546],"domain_scores_gemma":[0.9997255,0.000014491526,0.000037965237,0.00014053797,0.000053963417,0.000027497304],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000570459,0.00008223551,0.00012347844,0.000019191282,0.0003072032,0.000016356218,0.00008424686,0.00002043047,0.0070510944],"category_scores_gemma":[0.0000021977894,0.00008014399,0.000059258993,0.0000061582214,0.00012864498,0.00029459043,0.0000042630118,0.000042307813,0.00013409887],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021696438,0.00023899747,0.0003221606,0.000040104223,0.00017972427,0.000009844341,0.45030302,0.000008470264,0.00006633701,0.36504117,0.1577487,0.025824526],"study_design_scores_gemma":[0.00028620934,0.0007027215,0.00031361397,0.000008772674,0.000021855261,0.0000011848352,0.09450227,0.000002257958,0.000041787956,0.00008443455,0.90393543,0.00009947392],"about_ca_topic_score_codex":0.0059625087,"about_ca_topic_score_gemma":0.044929273,"teacher_disagreement_score":0.74618673,"about_ca_system_score_codex":0.000048667083,"about_ca_system_score_gemma":0.000014163852,"threshold_uncertainty_score":0.9938566},"labels":[],"label_agreement":null},{"id":"W2093624271","doi":"10.3138/ctr.144.85","title":"Views and Reviews","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Delegation; Art history; Brick; Art; Performance art; Media studies; Visual arts; History; Archaeology; Sociology; Political science; Law","score_opus":0.043770831861930364,"score_gpt":0.25628676614963647,"score_spread":0.2125159342877061,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2093624271","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00056893413,0.50061035,9.512186e-8,0.0039780578,0.0004931341,0.00037538187,0.000028213279,0.000019058587,0.49392676],"genre_scores_gemma":[0.026188688,0.94478333,0.00006037185,0.016824914,0.001510145,0.00011105568,0.000020327672,0.000029458035,0.010471729],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992722,0.000032753454,0.00023343872,0.00015529372,0.000049175567,0.00025713656],"domain_scores_gemma":[0.99938494,0.000018115088,0.00004792148,0.00027456132,0.000029218614,0.00024521415],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003364216,0.00015155005,0.0003738864,0.00005628835,0.00034176302,0.000054491775,0.000120083816,0.000025476475,0.006083821],"category_scores_gemma":[0.000016000595,0.000102769285,0.00008873053,0.000035350564,0.00016575663,0.0001152818,0.000015291775,0.00018818445,0.0008541848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.1958697e-7,0.000003367859,0.00017706852,0.0013209004,0.000013224457,0.0000032824314,0.0016629007,1.3951381e-9,0.0000042731326,0.029662393,0.22654334,0.7406088],"study_design_scores_gemma":[0.000035266537,0.0000135505215,0.000039504415,0.00093342364,0.000052456373,0.0000129728605,0.000060533457,3.1394546e-7,0.0000011635302,0.0002493889,0.9984618,0.00013965655],"about_ca_topic_score_codex":0.013450713,"about_ca_topic_score_gemma":0.7617556,"teacher_disagreement_score":0.7719184,"about_ca_system_score_codex":0.0000130663275,"about_ca_system_score_gemma":0.00006783202,"threshold_uncertainty_score":0.99992377},"labels":[],"label_agreement":null},{"id":"W2094233508","doi":"10.1353/mdr.2011.0044","title":"Representing the Past: Essays in Performance Historiography (review)","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Historiography; Narrative; History; Art history; Classics; Literature; Art; Archaeology","score_opus":0.04401902632152314,"score_gpt":0.22142765971321787,"score_spread":0.17740863339169474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2094233508","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27030572,0.026564047,0.0000116364845,0.0005433933,0.0005788166,0.00023539583,0.0000040419723,0.00007477222,0.7016822],"genre_scores_gemma":[0.9888553,0.0050923056,0.000017372708,0.00048480218,0.00039213826,0.00005483813,0.0000021692158,0.000013528149,0.0050875214],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921584,0.000028339016,0.00021569298,0.00016311755,0.00012968868,0.00024732665],"domain_scores_gemma":[0.9995514,0.000021873604,0.00006624068,0.00029695698,0.00004357814,0.000019931716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023856106,0.00012363974,0.00016675636,0.00007150276,0.00035543388,0.00002509793,0.000221442,0.000018527902,0.0005981902],"category_scores_gemma":[0.0000051744328,0.0000777686,0.0000897329,0.000057842797,0.00016934398,0.00020590036,0.00006970029,0.00015762316,0.00008493527],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007764132,0.00025991726,0.21454753,0.001148167,0.00013960194,0.000017139386,0.48512334,0.000013688962,0.000012453881,0.029063493,0.07261421,0.19698282],"study_design_scores_gemma":[0.00038762786,0.000102797196,0.02642731,0.00071912725,0.00007397068,0.000005337236,0.0025697406,0.00088451506,0.00003700629,0.0048693866,0.9634764,0.00044675995],"about_ca_topic_score_codex":0.00040425395,"about_ca_topic_score_gemma":0.00073308573,"teacher_disagreement_score":0.8908622,"about_ca_system_score_codex":0.000014760705,"about_ca_system_score_gemma":0.00000717268,"threshold_uncertainty_score":0.6549763},"labels":[],"label_agreement":null},{"id":"W2094690967","doi":"10.1163/156852407x164650","title":"The Temporal Theatres of Sculpture and Drama: Wole Soyinka and New York's Metropolitan Museum of Art","year":2007,"lang":"en","type":"article","venue":"KronoScope","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"The King's University; Western University","funders":"","keywords":"Sculpture; Modernism (music); Drama; Art; Aesthetics; Literature; Art history; Visual arts","score_opus":0.024654592184384382,"score_gpt":0.23895980750185988,"score_spread":0.2143052153174755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2094690967","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7503019,0.022129478,0.000014755876,0.0019180592,0.0004449431,0.00022254093,0.00003536493,0.000032710326,0.22490025],"genre_scores_gemma":[0.9938982,0.0003472968,0.00008874555,0.00005849443,0.00032412464,0.0000014656819,0.0000028607553,0.000009886751,0.005268926],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993599,0.000015299129,0.00021690114,0.00010838286,0.00010464287,0.00019485343],"domain_scores_gemma":[0.99957705,0.000100011406,0.00008336232,0.00015166469,0.000036745158,0.000051187882],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021487968,0.000114589486,0.00020393262,0.00005092127,0.0002969703,0.000045677672,0.00008684489,0.000029875955,0.00014374175],"category_scores_gemma":[0.000008269565,0.00006690329,0.00004072055,0.000030699546,0.00057838176,0.00009836104,0.000053229724,0.000082009145,0.0000051585585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005964568,0.00016733631,0.07930474,0.00037008763,0.0006520476,0.000004020932,0.17023301,0.0000017511478,0.0007472915,0.50262445,0.20517322,0.040125575],"study_design_scores_gemma":[0.0005760941,0.0004584704,0.0114758415,0.000090774105,0.000078835496,0.0000021510646,0.05742923,0.0000041423496,0.0031972884,0.0031424596,0.9233588,0.00018589682],"about_ca_topic_score_codex":0.001650032,"about_ca_topic_score_gemma":0.008302761,"teacher_disagreement_score":0.7181856,"about_ca_system_score_codex":0.000010243084,"about_ca_system_score_gemma":0.000024601657,"threshold_uncertainty_score":0.46331355},"labels":[],"label_agreement":null},{"id":"W2095328678","doi":"10.3138/md.43.2.288","title":"Suzuki Tadashi's \"The Chekhov\": <i>Three Sisters, The Cherry Orchard, </i>and <i>Uncle Vania</i>","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Comedy; Drama; Communism; Politics; Art; Art history; Political science; Literature; Law","score_opus":0.0200873873784576,"score_gpt":0.20326505384941737,"score_spread":0.18317766647095976,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2095328678","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7605315,0.0048444853,0.00001770198,0.015091688,0.00042719522,0.00036288635,0.00005253359,0.00015132558,0.2185207],"genre_scores_gemma":[0.9609188,0.00031689525,0.0000076181573,0.0030949016,0.0011199286,0.00004192705,0.0000038503695,0.000028840524,0.03446725],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989924,0.000023112389,0.00019288242,0.00022956014,0.00021333327,0.0003487379],"domain_scores_gemma":[0.999389,0.0000875978,0.000043603108,0.00039265098,0.000041463973,0.000045682602],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022157477,0.00020981545,0.00019063042,0.000018408218,0.0013133329,0.00032453454,0.00030132596,0.000040964154,0.002169213],"category_scores_gemma":[0.000004338762,0.00011085565,0.00009672251,0.000031533687,0.0005638457,0.00020877061,0.00008551753,0.0002310615,0.000321986],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035696523,0.00020215286,0.0018513975,0.00011823494,0.00047251448,0.000018679673,0.38699093,0.0001232103,0.00046677244,0.037772182,0.10206964,0.46955732],"study_design_scores_gemma":[0.00033667235,0.00006400516,0.0010628898,0.000020798936,0.000056616434,0.000008109089,0.0017170239,0.0005885139,0.00005247452,0.005896053,0.98998654,0.00021032365],"about_ca_topic_score_codex":0.0005753582,"about_ca_topic_score_gemma":0.006193013,"teacher_disagreement_score":0.88791686,"about_ca_system_score_codex":0.000016852786,"about_ca_system_score_gemma":0.000017903412,"threshold_uncertainty_score":0.9999868},"labels":[],"label_agreement":null},{"id":"W2096053180","doi":"10.21083/irss.v32i0.386","title":"My Words Should Catch Your Words: myth, writing and social ritual in A.L. Kennedy’s &lt;i&gt;Everything You Need&lt;/i&gt;","year":2007,"lang":"en","type":"article","venue":"International Review of Scottish Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mythology; Narrative; Drama; Vision; Presentation (obstetrics); Conviction; Reading (process); Identity (music); Agency (philosophy); Media studies; Sociology; Aesthetics; Literature; History; Linguistics; Art; Law; Philosophy; Political science","score_opus":0.05341404655537838,"score_gpt":0.3244402352180835,"score_spread":0.2710261886627051,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2096053180","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3640612,0.5028933,0.000019027742,0.011356256,0.0026023807,0.0005501135,0.00016019875,0.000093211376,0.118264295],"genre_scores_gemma":[0.8345789,0.158824,0.0001538295,0.0018098131,0.0019481112,0.00003935786,0.000024522014,0.000026560032,0.0025949369],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99765384,0.000046876445,0.0009785183,0.0003324476,0.0005854269,0.0004028635],"domain_scores_gemma":[0.9987684,0.00029193694,0.0003265285,0.00011811895,0.00045450567,0.000040516432],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0013927119,0.00030371474,0.000746554,0.00023940731,0.00044212726,0.000089560366,0.00028265067,0.000056377103,0.00018992703],"category_scores_gemma":[0.0002277276,0.000265141,0.00017566417,0.00010985787,0.0005490322,0.0005042589,0.00031040263,0.00025790304,0.000019425417],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002271136,0.0004645038,0.022471212,0.011448846,0.0024897365,0.00011516671,0.32770556,0.000004486699,0.00029778658,0.17359194,0.1268011,0.33438256],"study_design_scores_gemma":[0.0010860828,0.00012399063,0.010045078,0.014868911,0.00020165418,0.000026319194,0.05291431,0.000012433106,0.00004768842,0.0017763615,0.9182049,0.00069223944],"about_ca_topic_score_codex":0.00009297399,"about_ca_topic_score_gemma":0.0026462462,"teacher_disagreement_score":0.79140383,"about_ca_system_score_codex":0.00012383833,"about_ca_system_score_gemma":0.000034046378,"threshold_uncertainty_score":0.9999801},"labels":[],"label_agreement":null},{"id":"W2097361678","doi":"10.3138/md.46.3.339","title":"<i>Mother Courage </i>and Its Abject: Reading the Violence of Identification","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto; Western University","funders":"","keywords":"Courage; Reading (process); Surprise; Criticism; Feminist theory; Close reading; Narrative; Identification (biology); Literature; Psychoanalysis; Aesthetics; Sociology; Art; Feminism; Gender studies; Psychology; Law; Political science","score_opus":0.020656799149118353,"score_gpt":0.2271961440870817,"score_spread":0.20653934493796333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2097361678","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9122098,0.002174861,0.00014201077,0.00022120083,0.00019726278,0.00012123051,0.000012300778,0.000024086503,0.084897235],"genre_scores_gemma":[0.9945524,0.0003071673,0.000003953477,0.00008602427,0.00007243291,0.000008400647,7.70473e-7,0.000007436225,0.004961466],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960124,0.000021324075,0.00011711485,0.00008636701,0.00007977446,0.00009416865],"domain_scores_gemma":[0.99974114,0.000034363133,0.000054316344,0.00011298644,0.000046536985,0.000010673129],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001511369,0.000061909384,0.000078428704,0.000019929434,0.0002589852,0.000050462153,0.000064358865,0.0000133885715,0.0001506658],"category_scores_gemma":[0.000010802306,0.000039467883,0.000022632908,0.000014031118,0.00009552493,0.000107042935,0.000011963964,0.000047223915,0.000025383693],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024206056,0.00006372987,0.0014862906,0.0001232141,0.00008601559,0.0000011703877,0.22812921,0.000050993483,0.0052577574,0.7276999,0.0010342072,0.03604333],"study_design_scores_gemma":[0.001803129,0.00032477124,0.009738222,0.0009005157,0.00033424568,0.00003164184,0.043103803,0.011896626,0.08222423,0.23570558,0.6125965,0.001340755],"about_ca_topic_score_codex":0.00004200498,"about_ca_topic_score_gemma":0.0001022666,"teacher_disagreement_score":0.61156225,"about_ca_system_score_codex":0.000004652643,"about_ca_system_score_gemma":0.000006148144,"threshold_uncertainty_score":0.1991931},"labels":[],"label_agreement":null},{"id":"W2097383386","doi":"10.3138/md.50.4.487","title":"A Difficult Birth: Bringing Staging Studies to the Pages of <i>Modern Drama</i>","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Scholarship; Literature; Theatre studies; German; Art; History; Political science; Law","score_opus":0.038220099396115065,"score_gpt":0.25954506957066864,"score_spread":0.22132497017455358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2097383386","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95288014,0.0069267657,0.0015738633,0.0024219062,0.00069186464,0.00031691242,0.000039993654,0.00016519369,0.034983374],"genre_scores_gemma":[0.99060184,0.00024592123,0.00007184882,0.00065413327,0.00079141615,0.000016760738,0.0000026119694,0.00003084166,0.0075846068],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998581,0.00002375336,0.00035736695,0.00025264372,0.00030034012,0.00048491117],"domain_scores_gemma":[0.99911886,0.00018227464,0.00010384266,0.00032282056,0.00021592597,0.000056280616],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043752577,0.000232255,0.0003377079,0.00011825535,0.0007348757,0.0001226406,0.0002660574,0.00002809341,0.000053019918],"category_scores_gemma":[0.000037548452,0.00014687616,0.00010715147,0.00008307466,0.0002472145,0.00017355951,0.000211609,0.00016223434,0.000044742417],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000104064704,0.00011289327,0.0028672393,0.00023275509,0.0004388712,0.00001431035,0.77080476,0.0006812196,0.0013230923,0.009421893,0.0089996485,0.20499925],"study_design_scores_gemma":[0.0014392964,0.00047779814,0.0071571264,0.00081696996,0.00026369563,0.000011895818,0.15091759,0.003359412,0.007926725,0.012140798,0.81408757,0.0014011547],"about_ca_topic_score_codex":0.00012816352,"about_ca_topic_score_gemma":0.0036679106,"teacher_disagreement_score":0.80508786,"about_ca_system_score_codex":0.000036483652,"about_ca_system_score_gemma":0.000015496147,"threshold_uncertainty_score":0.5989436},"labels":[],"label_agreement":null},{"id":"W2098099168","doi":"10.25071/1916-4467.32072","title":"The Bohemian Curriculum: Expanding Consciousness, Evolving Culture","year":2011,"lang":"en","type":"article","venue":"Journal of the Canadian Association for Curriculum Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Sociology; Consciousness; Mainstream; Ideology; Aesthetics; Identity (music); Opposition (politics); Curriculum; Epistemology; Social psychology; Psychology; Pedagogy; Political science; Politics","score_opus":0.03015500871599616,"score_gpt":0.25385264322228784,"score_spread":0.22369763450629168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2098099168","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39968225,0.117373705,0.000009446716,0.04651143,0.06563856,0.0028983105,0.0005584739,0.00016440036,0.36716342],"genre_scores_gemma":[0.9860668,0.0011532909,0.00003130836,0.0003073202,0.0015524266,0.00002280242,0.0000010491108,0.000014481609,0.010850476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99870026,0.000063561725,0.0004355563,0.00009211365,0.0002980312,0.00041049506],"domain_scores_gemma":[0.99739826,0.00013864656,0.00084198307,0.00012210358,0.0014023199,0.000096680655],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0008711821,0.00016402795,0.00029059016,0.00008329037,0.0046406216,0.00020713768,0.00036582348,0.000055892186,0.00004075597],"category_scores_gemma":[0.00074860855,0.00008017068,0.00032428984,0.00009177362,0.00019781964,0.0003107865,0.000047083096,0.00027116312,0.00000942644],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005779891,0.000028106595,0.11423681,0.000027855722,0.0010336835,0.0000020203522,0.09692446,0.000001928573,0.0000023517828,0.024606423,0.7626013,0.00052925514],"study_design_scores_gemma":[0.0005075228,0.00011655163,0.0037893115,0.00022447934,0.00036078537,0.0000095881305,0.12729707,0.000016115062,0.00003547123,0.0077629806,0.85963535,0.00024476097],"about_ca_topic_score_codex":0.007919936,"about_ca_topic_score_gemma":0.5887416,"teacher_disagreement_score":0.5863846,"about_ca_system_score_codex":0.0009887312,"about_ca_system_score_gemma":0.00019055152,"threshold_uncertainty_score":0.99868643},"labels":[],"label_agreement":null},{"id":"W2100452652","doi":"10.1353/mdr.2007.0061","title":"''Form Follows Function'': Meaning and Politics in Martin Crimp's Fewer Emergencies","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Trilogy; Political radicalism; Meaning (existential); Crimp; Politics; Function (biology); Sociology; Aesthetics; Epistemology; Literature; Art; Philosophy; Political science; Law","score_opus":0.02856004320196002,"score_gpt":0.23787657068917015,"score_spread":0.20931652748721014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2100452652","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76989335,0.0006315966,0.00014791376,0.00022070596,0.00047247557,0.00007557209,0.0000057150037,0.00005398298,0.2284987],"genre_scores_gemma":[0.9847766,0.00004382204,0.000035279263,0.00031244472,0.00059832295,0.0000058819764,0.0000038641097,0.00001516536,0.014208602],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913776,0.000007881516,0.00022265797,0.00014509198,0.00012729166,0.00035930812],"domain_scores_gemma":[0.9997308,0.000028755921,0.000035615747,0.000108410175,0.000048881426,0.00004753095],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002072348,0.00012936215,0.00014948957,0.0001091361,0.00036913579,0.000077062614,0.00005520771,0.00003463924,0.00041710003],"category_scores_gemma":[0.000010028076,0.00010871445,0.000041704046,0.000028541746,0.00011294643,0.00022905877,0.00005187051,0.000110982284,0.00003658922],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013847198,0.00013456328,0.054710515,0.0001256393,0.00012435674,0.0000223967,0.38551328,0.000028542112,0.00021770017,0.49916652,0.00878349,0.051034503],"study_design_scores_gemma":[0.00097151595,0.00026855746,0.02097183,0.00007018382,0.00007309254,0.0000065232325,0.03486801,0.0016891826,0.00022005165,0.088302314,0.85195684,0.00060191646],"about_ca_topic_score_codex":0.00062396494,"about_ca_topic_score_gemma":0.013114422,"teacher_disagreement_score":0.8431733,"about_ca_system_score_codex":0.000027622227,"about_ca_system_score_gemma":0.00001087305,"threshold_uncertainty_score":0.7318155},"labels":[],"label_agreement":null},{"id":"W2100469158","doi":"10.3138/ctr.150.34","title":"On the Beauty of Our Perpetual Marginality, and Why it Might be Time for All of Us to Figure Out Our Position on Social Housing","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Beauty; Politics; Manifesto; Aesthetics; Art; Position (finance); Sociology; Political science; Law; Economics","score_opus":0.06987754804503306,"score_gpt":0.29328761228301253,"score_spread":0.2234100642379795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2100469158","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2550117,0.08022163,0.0000029875598,0.47770432,0.0012251757,0.003930176,0.004410375,0.00004551494,0.17744812],"genre_scores_gemma":[0.9768682,0.0022078662,0.000009686156,0.018786056,0.00091486954,0.000036711994,0.000040639265,0.00002125261,0.0011146952],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992341,0.000063723695,0.00020059134,0.000105552295,0.000109560344,0.00028650172],"domain_scores_gemma":[0.9995566,0.00004652505,0.000081060425,0.00013487172,0.00006348254,0.00011748321],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035577785,0.00014287505,0.00033679567,0.000059102134,0.00030295496,0.000021254116,0.0000971736,0.000033091274,0.00024238504],"category_scores_gemma":[0.000013765288,0.000092187125,0.00012406509,0.000025425656,0.000038272323,0.00006980416,0.000014278013,0.00007390434,0.000029576006],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005420645,0.000057802765,0.0001832065,0.002298019,0.0001959833,0.0000010479613,0.027334927,5.363055e-7,0.000021909274,0.03545244,0.9036313,0.030768586],"study_design_scores_gemma":[0.00009422348,0.00016148371,0.00017950329,0.001396428,0.00017922795,0.0000011938046,0.0016895003,0.0000010402098,0.000030938158,0.00013804008,0.99599874,0.00012969984],"about_ca_topic_score_codex":0.0046573514,"about_ca_topic_score_gemma":0.053496666,"teacher_disagreement_score":0.72185653,"about_ca_system_score_codex":0.00006051892,"about_ca_system_score_gemma":0.000055439625,"threshold_uncertainty_score":0.96377456},"labels":[],"label_agreement":null},{"id":"W2100718709","doi":"","title":"Women as “Dasein”: A Philosophical Approach To Maria Irene Fornes' Fefu and Her Friends","year":2010,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Existentialism; Perspective (graphical); Philosophy; Key (lock); Psychoanalysis; Literature; Aesthetics; Sociology; Epistemology; Psychology; Art; Visual arts","score_opus":0.017287592190517013,"score_gpt":0.2680388492292032,"score_spread":0.25075125703868617,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2100718709","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85281867,0.011449441,2.646152e-7,0.0010261111,0.00044443502,0.00016040186,0.000051001076,0.000036259247,0.13401343],"genre_scores_gemma":[0.9915786,0.00036935814,0.00014377561,0.001337137,0.0012341887,0.00010469518,0.000014102263,0.00001508516,0.0052030846],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991108,0.000022512075,0.0001633614,0.00028883063,0.00010209871,0.0003123579],"domain_scores_gemma":[0.99962294,0.00005485126,0.000026278161,0.00016691766,0.000046897694,0.00008209493],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019228128,0.00020954252,0.0003114884,0.00011716492,0.00031084768,0.00014888319,0.00007939604,0.000070205606,0.000108105065],"category_scores_gemma":[0.0000323045,0.00014183059,0.000028883282,0.000081044935,0.00034358035,0.00017110833,0.00017183006,0.00034647062,0.000007902539],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009356305,0.000064655505,0.0005897153,0.00018521292,0.00011670591,0.000033747172,0.8573158,1.0480797e-7,0.000076107775,0.13368477,0.002108495,0.0057311393],"study_design_scores_gemma":[0.0019036747,0.00072575413,0.0031291964,0.0003348605,0.000077025084,0.00009531246,0.24137615,0.000014693516,0.00005311287,0.033341553,0.71797824,0.000970428],"about_ca_topic_score_codex":0.000041908545,"about_ca_topic_score_gemma":0.00042928234,"teacher_disagreement_score":0.7158697,"about_ca_system_score_codex":0.000011036289,"about_ca_system_score_gemma":0.0000072277116,"threshold_uncertainty_score":0.57836837},"labels":[],"label_agreement":null},{"id":"W2101000818","doi":"10.1177/0741713603257094","title":"Deep Listening in a Feminist Popular Theatre Project: Upsetting the Position of Audience in Participatory Education","year":2003,"lang":"en","type":"article","venue":"Adult Education Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":61,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta; University of British Columbia","funders":"","keywords":"Active listening; Sociology; Storytelling; Citizen journalism; Democracy; Politics; Pedagogy; Media studies; Public relations; Political science; Narrative; Art; Law","score_opus":0.018311646273755026,"score_gpt":0.2788695600141118,"score_spread":0.26055791374035675,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2101000818","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9448168,0.0005829432,0.0000055845007,0.00061569683,0.0006922754,0.00034687246,0.000002599449,0.000014683359,0.05292252],"genre_scores_gemma":[0.9987466,0.00001497697,0.000074068375,0.00036026043,0.00018254943,0.0002519945,0.000012030385,0.000009244876,0.00034827707],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990468,0.00012213759,0.00036268577,0.00016147464,0.00011327599,0.00019363195],"domain_scores_gemma":[0.99949145,0.000048050406,0.00014662203,0.00017619859,0.0001187079,0.000018944844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027029385,0.00011136861,0.00013299075,0.00015419145,0.00021989424,0.00005552906,0.00009716376,0.000027383732,0.000042824086],"category_scores_gemma":[0.000026695503,0.00008536397,0.000038197275,0.00013701775,0.00011744772,0.00025322745,0.000004131838,0.00011728989,0.000012571373],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018021517,0.00045637586,0.048235923,0.00009203687,0.000009221266,2.8509805e-7,0.759701,0.0000065770582,0.000034876954,0.1262128,0.0004989997,0.06473385],"study_design_scores_gemma":[0.00032279058,0.0003482536,0.020080557,0.00050462165,0.00003419225,0.000008686352,0.95278144,0.00020448216,0.00012469073,0.0056669177,0.019644488,0.00027887366],"about_ca_topic_score_codex":0.001915147,"about_ca_topic_score_gemma":0.011209265,"teacher_disagreement_score":0.19308041,"about_ca_system_score_codex":0.0000634783,"about_ca_system_score_gemma":0.00030493116,"threshold_uncertainty_score":0.62550336},"labels":[],"label_agreement":null},{"id":"W2102965593","doi":"10.1162/dram_a_00448","title":"Behind the Scenes of <i>Heroic Abhimanyu</i>","year":2015,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Future Earth","funders":"","keywords":"Uttar pradesh; Mythology; Style (visual arts); Art; Visual arts; Literature; History; Sociology; Socioeconomics","score_opus":0.0807554311763589,"score_gpt":0.2723455568365347,"score_spread":0.1915901256601758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2102965593","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011592786,0.6750279,0.0000013432493,0.016299937,0.000767621,0.00064951903,0.000026130063,0.00005309508,0.29558167],"genre_scores_gemma":[0.7457651,0.20720518,0.000019010211,0.009146181,0.0022506048,0.0001311969,0.0000142037825,0.000046315454,0.03542225],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912417,0.000089058325,0.0002894574,0.000104299055,0.0002135183,0.00017950607],"domain_scores_gemma":[0.99920446,0.00008326277,0.00013142548,0.00040626602,0.00014057191,0.000034010456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006863856,0.00013534586,0.00030422938,0.000014589384,0.0003039215,0.00005268284,0.00035883684,0.000015212681,0.0006868808],"category_scores_gemma":[0.000034815144,0.00005832325,0.00013289553,0.00004029614,0.00040625205,0.00010992362,0.00008155415,0.000121135585,0.00045648267],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029266945,0.000104522405,0.00042324953,0.002552245,0.00021367801,0.000003161811,0.06320427,0.0000027901283,0.000007912358,0.0942649,0.6949086,0.14428537],"study_design_scores_gemma":[0.00011126008,0.00005548857,0.000055341505,0.0007674486,0.00011739715,0.000004638326,0.0015104172,0.0000029746263,0.000022428503,0.0011496344,0.99611497,0.00008801832],"about_ca_topic_score_codex":0.00019354955,"about_ca_topic_score_gemma":0.00046907522,"teacher_disagreement_score":0.7341723,"about_ca_system_score_codex":0.0000098008,"about_ca_system_score_gemma":0.000035878395,"threshold_uncertainty_score":0.7520863},"labels":[],"label_agreement":null},{"id":"W2104038680","doi":"10.5539/ells.v2n2p84","title":"Gender is Performative in Illusive Beliefs","year":2012,"lang":"en","type":"article","venue":"English Language and Literature Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performativity; Performative utterance; Gender studies; Sociology; Queer theory; Queer; Gender identity; Transgender; Aesthetics; Identity (music); Art","score_opus":0.018210048696812017,"score_gpt":0.25774895911687745,"score_spread":0.23953891042006542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2104038680","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7388203,0.15865389,1.5408733e-7,0.00012434417,0.00083850813,0.00011000949,0.00007458647,0.000046316003,0.1013319],"genre_scores_gemma":[0.9899653,0.0023824698,0.000023679057,0.0006467425,0.003162245,0.000027788936,0.000016846981,0.000011701667,0.0037632126],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992044,0.00004285565,0.00016926164,0.00013915943,0.00010795594,0.00033636624],"domain_scores_gemma":[0.9995891,0.0000818034,0.00004171131,0.000108493536,0.00013437543,0.000044556826],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002013327,0.0001981684,0.0002599871,0.00011307098,0.00039888438,0.00009508935,0.000055610843,0.000041716128,0.00026610921],"category_scores_gemma":[0.000061562976,0.00013354135,0.000048260412,0.00006741353,0.00018262454,0.00075646833,0.00009359184,0.00027965647,0.000018116769],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011725138,0.000026388661,0.0023235946,0.00009536632,0.0001157267,0.000007738866,0.97714806,8.7900936e-8,0.000002638431,0.0096016275,0.009093397,0.0015736512],"study_design_scores_gemma":[0.00028138052,0.00003817222,0.0011588582,0.000118590266,0.000022193239,0.0000028508732,0.8041301,9.2213133e-7,0.000056938363,0.00015081326,0.1938454,0.00019380826],"about_ca_topic_score_codex":0.000020085681,"about_ca_topic_score_gemma":0.00013931445,"teacher_disagreement_score":0.251145,"about_ca_system_score_codex":0.000021309255,"about_ca_system_score_gemma":0.000004827646,"threshold_uncertainty_score":0.54456586},"labels":[],"label_agreement":null},{"id":"W2104302095","doi":"10.3968/j.css.1923669720070304.009","title":"Winnie： a Lonely Fighter against Nothingness","year":2010,"lang":"en","type":"article","venue":"Canadian social science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nothing; Humanities; Courage; Philosophy; Art; Theology; Epistemology","score_opus":0.01675822640990304,"score_gpt":0.2220969776755186,"score_spread":0.20533875126561554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2104302095","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36337522,0.000010484659,2.1657995e-7,0.0009963673,0.0012091879,0.0000401522,0.000028149132,0.000021054128,0.6343192],"genre_scores_gemma":[0.9922049,0.0000018918502,0.000008903882,0.0024219379,0.0015870505,0.000005575545,0.000001895382,0.000005594428,0.0037622238],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999193,0.000004290795,0.000076617245,0.00015348737,0.00016060832,0.00041199004],"domain_scores_gemma":[0.9995894,0.000009053666,0.000022782595,0.00009163365,0.00010369683,0.00018345739],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018465304,0.00007658213,0.00008015146,0.00010759207,0.002408494,0.00027774385,0.00029494005,0.000027856751,0.0010377187],"category_scores_gemma":[0.000015769983,0.00006498026,0.000032461714,0.00010438165,0.0014728672,0.0003702612,0.000024709427,0.00015742937,0.00021300766],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000039300185,0.000014983534,0.0055097463,0.000013087485,0.000011445531,0.00001824743,0.26184586,1.7037908e-7,0.0015686818,0.63768595,0.03795994,0.055367943],"study_design_scores_gemma":[0.000052214295,0.000007542105,0.0020048493,0.000003411476,0.00000284911,4.6671633e-7,0.004213028,0.0000069153857,0.000078066514,0.00035681154,0.99314225,0.00013159274],"about_ca_topic_score_codex":0.016118878,"about_ca_topic_score_gemma":0.46930873,"teacher_disagreement_score":0.9551823,"about_ca_system_score_codex":0.00005954063,"about_ca_system_score_gemma":0.00032541208,"threshold_uncertainty_score":0.9998755},"labels":[],"label_agreement":null},{"id":"W2104729131","doi":"10.1177/1077800408326658","title":"I Reach for Rum","year":2008,"lang":"en","type":"article","venue":"Qualitative Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Autoethnography; Sociology; Media studies; Epistemology; Gender studies; Philosophy","score_opus":0.3114523087200079,"score_gpt":0.40016939095521337,"score_spread":0.08871708223520547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2104729131","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72982454,0.0011948751,0.0006737588,0.0018255808,0.002341326,0.00043003782,0.00018811425,0.00019117241,0.2633306],"genre_scores_gemma":[0.96961856,0.000058819754,0.00031447015,0.00058164954,0.001971176,0.000097445554,0.000029776644,0.000015738025,0.027312389],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993727,0.000056896366,0.00016239713,0.00012762395,0.000091532434,0.00018881973],"domain_scores_gemma":[0.99941343,0.00029931238,0.000046999543,0.00009978786,0.000114631504,0.000025831414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023849552,0.000100048805,0.00015498238,0.00004622254,0.0005980122,0.000016753535,0.00007134146,0.000019331344,0.0004077869],"category_scores_gemma":[0.000036200297,0.00007772666,0.00007861411,0.000017731485,0.0006545063,0.00017673046,0.000017548182,0.000054746928,0.00019222045],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032084758,0.000022119746,0.000031123196,0.000019302339,0.00003378789,7.7428564e-7,0.7114989,2.2787557e-7,0.000010471108,0.19182956,0.09556026,0.00096137286],"study_design_scores_gemma":[0.00027777452,0.00022066447,0.00011301853,0.000012298256,0.000009272937,0.0000014793245,0.27032766,0.000003979951,0.00010606041,0.011064925,0.7177233,0.00013956026],"about_ca_topic_score_codex":0.00006606817,"about_ca_topic_score_gemma":0.00010765232,"teacher_disagreement_score":0.62216306,"about_ca_system_score_codex":0.000014093003,"about_ca_system_score_gemma":0.000017118633,"threshold_uncertainty_score":0.45994866},"labels":[],"label_agreement":null},{"id":"W2105034704","doi":"10.1017/s0266464x00014056","title":"‘The Artwork Judges Them’: the Theatre Critic in a Changing Landscape","year":2000,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Criticism; Art; Art criticism; Contradiction; Performance art; Dramaturgy; Humanities; Art history; Aesthetics; Literature; Philosophy","score_opus":0.014319138401689736,"score_gpt":0.21241715542078174,"score_spread":0.198098017019092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2105034704","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23891802,0.0035198235,0.0000018465431,0.015570253,0.00068266474,0.00036083735,0.000015956713,0.00015326994,0.7407773],"genre_scores_gemma":[0.96437895,0.00033872828,0.0000062494737,0.0008008808,0.002865133,0.000055390472,0.0000058803903,0.000032980934,0.031515785],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841654,0.00010422783,0.00030937846,0.00024834077,0.0002272579,0.0006942669],"domain_scores_gemma":[0.9990539,0.0003358974,0.000041966356,0.00047856974,0.00002536692,0.00006430083],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034699697,0.00027088504,0.00024799074,0.000091493406,0.0014807287,0.00041003674,0.00042317365,0.000047625515,0.004660187],"category_scores_gemma":[0.0000017414534,0.0001357289,0.00015091708,0.00017657324,0.00026708367,0.0002312578,0.000017951546,0.0002904581,0.0010920373],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009894011,0.000042061452,0.0013646662,0.0000129706705,0.000058450398,0.0000079808,0.19001997,0.000009158099,0.0000019579222,0.018354816,0.027371611,0.7626574],"study_design_scores_gemma":[0.00051421975,0.00024850699,0.0003949449,0.000082234284,0.000040692463,0.000015117094,0.07055567,0.00010606706,0.000004947873,0.013085526,0.9146992,0.00025288045],"about_ca_topic_score_codex":0.00039624237,"about_ca_topic_score_gemma":0.008229248,"teacher_disagreement_score":0.8873276,"about_ca_system_score_codex":0.000021455851,"about_ca_system_score_gemma":0.000038098322,"threshold_uncertainty_score":0.9998192},"labels":[],"label_agreement":null},{"id":"W2105660590","doi":"10.3138/md.51.2.259","title":"“How Will They Ever Heal …?” Bearing Witness to Abuse and the Importance of Female Community in Sarah Daniels's <i>Beside Herself</i>, <i>Head-Rot Holiday</i>, and <i>The Madness of Esme and Shaz</i>","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Witness; Subversion; Harm; Criminology; Psychology; Psychoanalysis; Head (geology); Gender studies; Sociology; Psychiatry; Social psychology; Law; Political science; Politics","score_opus":0.03330057514996667,"score_gpt":0.23244076973569405,"score_spread":0.19914019458572738,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2105660590","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9928372,0.0024196478,0.00002072377,0.0013868185,0.000063325395,0.00044914038,0.000034605717,0.000016447717,0.0027721263],"genre_scores_gemma":[0.9976954,0.00078847405,0.000027871596,0.0006198308,0.000080764614,0.0000391855,0.0000024187716,0.00002034427,0.00072570634],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988536,0.00019180139,0.00032362554,0.00018674496,0.00018565857,0.000258573],"domain_scores_gemma":[0.9990237,0.00032422697,0.00013856794,0.0003825697,0.00008017614,0.000050759474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057859963,0.0002122427,0.0005357269,0.000056834873,0.0007057605,0.00008389168,0.00021487633,0.000046268244,0.000005852457],"category_scores_gemma":[0.00002274504,0.00012618712,0.000052447496,0.000048487374,0.0018445568,0.0003393554,0.00020056512,0.00030020165,3.7050006e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013001552,0.0001249197,0.1537646,0.00029402523,0.00010604615,0.0000074346103,0.82653004,0.00008618941,0.00012429187,0.01621162,0.0001146841,0.0013360204],"study_design_scores_gemma":[0.06512559,0.0017382347,0.36990213,0.0025081306,0.0007701673,0.00048588315,0.40923017,0.006162432,0.0033227846,0.09974711,0.037518702,0.0034886738],"about_ca_topic_score_codex":0.005033815,"about_ca_topic_score_gemma":0.03085442,"teacher_disagreement_score":0.41729984,"about_ca_system_score_codex":0.000011031648,"about_ca_system_score_gemma":0.000020029007,"threshold_uncertainty_score":0.98682994},"labels":[],"label_agreement":null},{"id":"W2107403148","doi":"10.7202/041612ar","title":"Le théâtre féministe des années 80 en Angleterre : une dramaturgie transgressive","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.015310084857346567,"score_gpt":0.23390163458148347,"score_spread":0.2185915497241369,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2107403148","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38386884,0.0072190487,0.000010866069,0.06439944,0.005180354,0.0010919535,0.0017571269,0.0006382314,0.53583413],"genre_scores_gemma":[0.84988797,0.006776094,0.00043278298,0.0005524278,0.0050042905,0.00019554357,0.00019887036,0.00029553886,0.13665646],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99363494,0.0003394344,0.001542015,0.0014782217,0.00068487204,0.0023205325],"domain_scores_gemma":[0.99607944,0.00068744976,0.00061946467,0.0013985581,0.0005168545,0.00069822656],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.00059917255,0.0017515029,0.0017960585,0.0004431195,0.0040497114,0.00091758015,0.0015423055,0.0009221914,0.0012027047],"category_scores_gemma":[0.0001286339,0.0016852048,0.0013369819,0.0004518614,0.0061135204,0.0021953494,0.00026926704,0.0023870363,0.00037357214],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048903126,0.0010304768,0.0006127924,0.0021466867,0.0008859755,0.000524748,0.09360747,0.00006388914,0.0012188465,0.8577396,0.0194936,0.022186883],"study_design_scores_gemma":[0.000687691,0.000870458,0.00244575,0.002069165,0.00061440375,0.00039547915,0.012980155,0.00007080779,0.0010415992,0.0039671473,0.9728765,0.0019808821],"about_ca_topic_score_codex":0.0078115403,"about_ca_topic_score_gemma":0.46586448,"teacher_disagreement_score":0.95338285,"about_ca_system_score_codex":0.00015257533,"about_ca_system_score_gemma":0.0009944082,"threshold_uncertainty_score":0.99991447},"labels":[],"label_agreement":null},{"id":"W2107611961","doi":"10.3138/md.53.2.159","title":"Capitalism and Crime: Brechtian Economies in <i>The Threepenny Opera</i> and <i>Love, Crime and Johannesburg</i><sup>1</sup>","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Capitalism; Marxist philosophy; Lawlessness; Conviction; Sociology; Opera; Late capitalism; Law; History; Political science; Art history; Politics","score_opus":0.014558307567932851,"score_gpt":0.21499082143903636,"score_spread":0.2004325138711035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2107611961","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9315297,0.0033958643,0.0000028555532,0.0022203778,0.00017936132,0.00021408046,0.00004081043,0.000028618117,0.06238833],"genre_scores_gemma":[0.9944271,0.0006232551,0.0000306297,0.0014372774,0.0005176008,0.000019333223,0.0000056912936,0.000022173026,0.002916929],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906296,0.000030259987,0.0002089863,0.00030181915,0.000091643145,0.0003043283],"domain_scores_gemma":[0.9995312,0.000095236785,0.00003940998,0.0002349924,0.000035290424,0.000063873755],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023840068,0.00023146499,0.00027124878,0.00007743406,0.00042319074,0.0005190909,0.00014766655,0.00007447608,0.00017637166],"category_scores_gemma":[0.000009313276,0.00016384463,0.000032416257,0.000017872535,0.0005978076,0.0004796238,0.00011754642,0.00029967143,0.000025123443],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000966253,0.00012721466,0.009667541,0.00018388977,0.000113044145,0.000026221851,0.82737863,0.00001676472,0.00032170984,0.1090334,0.014853838,0.03818114],"study_design_scores_gemma":[0.0028120377,0.00039675753,0.02061823,0.0001045581,0.00016145718,0.00018317276,0.05825295,0.00651498,0.00026895467,0.07850781,0.83088446,0.0012946627],"about_ca_topic_score_codex":0.001113319,"about_ca_topic_score_gemma":0.004778165,"teacher_disagreement_score":0.81603056,"about_ca_system_score_codex":0.0000060350358,"about_ca_system_score_gemma":0.000015980357,"threshold_uncertainty_score":0.668139},"labels":[],"label_agreement":null},{"id":"W2108594326","doi":"10.21083/nrsc.v0i8.3502","title":"Lessons from the Edge of the Stage: The Tintamarre Project","year":2015,"lang":"fr","type":"article","venue":"Nouvelle Revue Synergies Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Mount Allison University","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.044047444095559087,"score_gpt":0.2406975945379177,"score_spread":0.19665015044235862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2108594326","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28239533,0.0838833,0.0000024080866,0.3297904,0.029341394,0.0013970985,0.00731218,0.00004724812,0.2658306],"genre_scores_gemma":[0.66981333,0.0018680119,0.000008012926,0.0008921902,0.0031974537,0.00004302101,0.000019702751,0.000034156088,0.32412413],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982988,0.00024177763,0.0003847051,0.00023727264,0.0004027722,0.0004346354],"domain_scores_gemma":[0.99806577,0.0005670856,0.00025899525,0.0008425879,0.00020949321,0.00005608486],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0003199366,0.00028715187,0.0003441644,0.000016562766,0.0014667473,0.00011550024,0.00091252744,0.00007106379,0.0005252779],"category_scores_gemma":[0.00010161583,0.00012102402,0.0001676456,0.00013906583,0.0010695192,0.000109668275,0.0003815565,0.0004374345,0.000015316818],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003201857,0.000029759149,0.001319309,0.0001367952,0.00028792417,0.00000617875,0.08876431,0.00017667728,0.0000032622438,0.03538216,0.8643695,0.009492109],"study_design_scores_gemma":[0.00017213523,0.000036709447,0.0007019839,0.00021382603,0.00013055476,0.0000025987438,0.16836666,0.000072274066,0.00008736911,0.00017220931,0.8298775,0.00016620252],"about_ca_topic_score_codex":0.956202,"about_ca_topic_score_gemma":0.99013364,"teacher_disagreement_score":0.387418,"about_ca_system_score_codex":0.00021347297,"about_ca_system_score_gemma":0.0027811357,"threshold_uncertainty_score":0.9998332},"labels":[],"label_agreement":null},{"id":"W2108923795","doi":"10.3138/ctr.162.015","title":"Unsustainable Acts of Love and Resistance: The Politics of Value and Cost in One-on-One Performances","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Value (mathematics); Perspective (graphical); Resistance (ecology); Aesthetics; Offset (computer science); Positive economics; Sociology; Economics; Law and economics; Neoclassical economics; Political science; Art; Law; Computer science; Visual arts","score_opus":0.04936453816062679,"score_gpt":0.2530324210588909,"score_spread":0.2036678828982641,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2108923795","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042010646,0.42164227,9.850972e-8,0.0065429164,0.00008145801,0.00061547616,0.00011295082,0.0000041142675,0.5289901],"genre_scores_gemma":[0.89041406,0.10598503,0.000012436258,0.0007752195,0.00011688432,0.000010017532,0.0000033984068,0.000009769646,0.0026731875],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927634,0.00004888618,0.00023716147,0.00009700336,0.00010919539,0.00023139684],"domain_scores_gemma":[0.99944884,0.00007168381,0.000080905054,0.0001726004,0.00010190758,0.00012409053],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037794356,0.00010482844,0.0003405221,0.00008333476,0.00010934363,0.000018775138,0.00009255763,0.000021677048,0.000062652194],"category_scores_gemma":[0.000029545725,0.000069885056,0.00002586769,0.00006760839,0.000356159,0.00009526684,0.0000193307,0.00008760402,0.0000054707048],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030205638,0.000050431554,0.00592843,0.011979101,0.00012008464,0.0000059148438,0.05163765,0.0000041058865,8.894298e-7,0.8904515,0.015578299,0.024213402],"study_design_scores_gemma":[0.00022126356,0.00009370086,0.000686127,0.003558446,0.00007060972,0.0000013626361,0.008363822,0.0000038309972,0.0000107305605,0.0038819388,0.9829977,0.00011046687],"about_ca_topic_score_codex":0.014472931,"about_ca_topic_score_gemma":0.18496567,"teacher_disagreement_score":0.9674194,"about_ca_system_score_codex":0.000062817715,"about_ca_system_score_gemma":0.00025759928,"threshold_uncertainty_score":0.9920898},"labels":[],"label_agreement":null},{"id":"W2112556647","doi":"10.1111/j.1741-3737.2003.00771.x","title":"Family Theory Versus the Theories Families Live By","year":2003,"lang":"en","type":"article","venue":"Journal of Marriage and the Family","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":161,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Realm; Metaphor; Sociology; Space (punctuation); Spirituality; Mythology; Epistemology; Everyday life; Energy (signal processing); Social psychology; Psychology; Geography; History; Computer science; Philosophy","score_opus":0.013724532694631768,"score_gpt":0.20930898249707192,"score_spread":0.19558444980244014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2112556647","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52215225,0.05337239,0.000038286056,0.0011780371,0.0032156578,0.0001863471,0.000033914937,0.000017369377,0.41980574],"genre_scores_gemma":[0.9840208,0.010088884,0.000009326304,0.0013885638,0.0007458388,0.000005574828,6.959807e-7,0.000013917699,0.003726386],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987604,0.00037497084,0.00033021602,0.000087628825,0.00023706243,0.00020971468],"domain_scores_gemma":[0.9981736,0.0012446996,0.00023183553,0.00017708457,0.0001329359,0.000039859933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016924723,0.00017703968,0.00030083733,0.00004594577,0.0009026172,0.00020338593,0.0002569502,0.0000320603,0.00018893783],"category_scores_gemma":[0.00012993476,0.0000735123,0.00017189325,0.000034544268,0.001244467,0.00024788798,0.00004425303,0.0002968474,0.000024088422],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018727394,0.000031397292,0.00008314383,0.000013506094,0.0004807818,0.0000069939742,0.088008724,0.000002244307,0.000053077863,0.86759335,0.035620745,0.0062333085],"study_design_scores_gemma":[0.0028437169,0.00031081977,0.00022928364,0.000033977307,0.0002180911,0.0000141844175,0.25200814,0.000001998741,0.000052585612,0.078544125,0.665598,0.00014510639],"about_ca_topic_score_codex":0.000078896,"about_ca_topic_score_gemma":0.00006266522,"teacher_disagreement_score":0.7890492,"about_ca_system_score_codex":0.000011507305,"about_ca_system_score_gemma":0.000038882226,"threshold_uncertainty_score":0.69422925},"labels":[],"label_agreement":null},{"id":"W2113003185","doi":"","title":"More Drama in School Leadership: Developing Creative and Ethical Capacities in the Next Generation of School Leaders.","year":2014,"lang":"en","type":"article","venue":"Canadian Journal of Educational Administration and Policy","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Parallels; Ambiguity; Leadership style; Educational leadership; Psychology; Embodied cognition; Ethical decision; Ethical leadership; Transactional leadership; Creativity; Pedagogy; Engineering ethics; Sociology; Public relations; Social psychology; Political science; Engineering; Epistemology; Computer science","score_opus":0.20806832623133661,"score_gpt":0.34058732436982997,"score_spread":0.13251899813849335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2113003185","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8338438,0.0005046292,0.0000030919364,0.15792674,0.000102558835,0.00006679408,0.000010508726,5.844659e-7,0.0075412705],"genre_scores_gemma":[0.9942922,0.000067082554,0.00006144214,0.003911216,0.0011803192,0.000004782986,0.000008797052,0.0000032950613,0.00047086546],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9993705,0.000082969236,0.0002801403,0.00005973582,0.000088277244,0.00011836418],"domain_scores_gemma":[0.999474,0.00014640039,0.0001030926,0.00003980908,0.00012118262,0.00011553579],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031178806,0.00007330089,0.000118514254,0.0003036845,0.00018448725,0.000118792224,0.000060986637,0.000049224655,0.00021369144],"category_scores_gemma":[0.00039937816,0.00005578987,0.000018915549,0.0000617184,0.0005039221,0.00020487577,0.000002143203,0.00025237945,0.0000017458786],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016561627,0.000012285854,0.016393885,0.000053552958,0.000015598936,9.603982e-7,0.18403892,0.0000072215057,0.000022301017,0.7945135,0.0038967384,0.0010284814],"study_design_scores_gemma":[0.00090271415,0.00052302965,0.3545693,0.0004363523,0.00003125616,0.00013799916,0.5537691,0.000115215305,0.0001409278,0.019769875,0.06927291,0.0003313113],"about_ca_topic_score_codex":0.006060269,"about_ca_topic_score_gemma":0.17832285,"teacher_disagreement_score":0.7747436,"about_ca_system_score_codex":0.00006181048,"about_ca_system_score_gemma":0.002222121,"threshold_uncertainty_score":0.9161355},"labels":[],"label_agreement":null},{"id":"W2113087310","doi":"10.1080/01436591003701133","title":"Subjects of Struggle: theatre as space of political economy","year":2010,"lang":"en","type":"article","venue":"Third World Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"World Bank Group","keywords":"Governmentality; Politics; Capitalism; Power (physics); Political economy; Sociology; Capital (architecture); Scholarship; Space (punctuation); State (computer science); Political culture; Political science; Law; History","score_opus":0.010588275788647392,"score_gpt":0.22786067695950118,"score_spread":0.21727240117085378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2113087310","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46142766,0.00004271349,3.9384855e-7,0.0007292236,0.00031668122,0.000066422435,0.000022660013,0.000024981873,0.53736925],"genre_scores_gemma":[0.992716,0.0000014543241,0.000035844787,0.0001250965,0.0006507896,0.0000064762635,0.00000428354,0.000013299265,0.006446748],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915755,0.000019972142,0.00028966958,0.0001363538,0.00010239533,0.00029408434],"domain_scores_gemma":[0.9993601,0.00010437901,0.00010194565,0.00027882657,0.000086559856,0.00006819055],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010954353,0.00014364884,0.0003092052,0.00013338834,0.00011481799,0.000031229112,0.00016162185,0.000030873052,0.0018945641],"category_scores_gemma":[0.0000024976796,0.00011361381,0.00010839941,0.000041077772,0.00047410466,0.00017801649,0.00001561428,0.000200875,0.00012645242],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004023834,0.000060536084,0.0014976389,0.00006708688,0.00004921351,0.0000011978748,0.024235625,7.90123e-8,0.00034694283,0.9677975,0.0027079938,0.0031959123],"study_design_scores_gemma":[0.0014107089,0.0024879149,0.004038145,0.0001641002,0.00017409606,0.000013156421,0.070353955,0.000023283888,0.012110483,0.213136,0.6953509,0.00073729927],"about_ca_topic_score_codex":0.001014402,"about_ca_topic_score_gemma":0.009235986,"teacher_disagreement_score":0.75466156,"about_ca_system_score_codex":0.0000066142497,"about_ca_system_score_gemma":0.000048018792,"threshold_uncertainty_score":0.99901783},"labels":[],"label_agreement":null},{"id":"W2115316264","doi":"10.1017/s0266464x10000059","title":"Hearing Hope: Metatheatrical Utopias in the ‘Staging’ of Radio Drama","year":2010,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Banner; Comedy; Performance art; Art; Queen (butterfly); Criticism; Performance studies; German; Theatre director; Media studies; Art history; Visual arts; Literature; History; Sociology","score_opus":0.0207218967094865,"score_gpt":0.23966182339231745,"score_spread":0.21893992668283097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2115316264","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7756969,0.00037351676,0.0000136248445,0.0025007674,0.0008543293,0.0002942393,0.000011911811,0.000057533092,0.22019719],"genre_scores_gemma":[0.99672484,0.000013113643,0.00008953653,0.00021192872,0.0013239027,0.000014614952,0.0000032927628,0.000017191816,0.0016015829],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884146,0.00007120081,0.00034357113,0.00019531173,0.0002445022,0.00030393657],"domain_scores_gemma":[0.9992319,0.00022142114,0.00007142001,0.00038940774,0.000034947952,0.0000509441],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037657062,0.00018923006,0.00031777984,0.00013342548,0.00020944845,0.00012354815,0.0003514285,0.00005138444,0.0005274322],"category_scores_gemma":[0.0000054802194,0.000113779955,0.00015157468,0.00009300234,0.00021808315,0.00022710979,0.000015602822,0.00042513784,0.000072569645],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008873605,0.00020142389,0.0046533193,0.000059561535,0.000087799825,0.000015059398,0.546789,0.00000291676,0.00057456794,0.1251153,0.009040021,0.31337228],"study_design_scores_gemma":[0.0014226743,0.0010723324,0.0067980606,0.000052392876,0.00008818221,0.00002426531,0.047986176,0.00008483569,0.00021853783,0.0117572015,0.9300625,0.00043288572],"about_ca_topic_score_codex":0.002954699,"about_ca_topic_score_gemma":0.004568697,"teacher_disagreement_score":0.9210224,"about_ca_system_score_codex":0.000009272514,"about_ca_system_score_gemma":0.000060662103,"threshold_uncertainty_score":0.57750124},"labels":[],"label_agreement":null},{"id":"W2117342853","doi":"10.52289/hej1.101","title":"Editorial: Encountering history within and beyond borders","year":2014,"lang":"en","type":"editorial","venue":"Historical Encounters A journal of historical consciousness historical cultures and history education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.011470998003411958,"score_gpt":0.2330336694682007,"score_spread":0.22156267146478875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2117342853","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006264584,0.19102246,0.000052494295,0.00072501326,0.79671264,0.00024799758,0.000018051835,0.00009183113,0.011066849],"genre_scores_gemma":[0.0012387551,0.007754242,0.00021961785,0.0005542966,0.91385156,0.000077757075,0.00004564826,0.0001895252,0.076068595],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9928094,0.00035041897,0.0025707057,0.0011458738,0.002346137,0.0007774602],"domain_scores_gemma":[0.9920071,0.0008566559,0.0031060127,0.0005974601,0.0025682545,0.00086455967],"candidate_categories":["metaepi_narrow","research_integrity"],"consensus_categories":[],"category_scores_codex":[0.0013925905,0.0012740673,0.0026348934,0.0010970662,0.00088129105,0.00015894335,0.00085318316,0.0012669368,0.00035616473],"category_scores_gemma":[0.0013226358,0.0011122496,0.0006686804,0.00012217113,0.00087660435,0.00091689377,0.0001843935,0.0031042541,0.000015375283],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044124463,0.0004478688,0.000012695887,0.00066068204,0.00017640441,0.000015973003,0.03901539,0.0000019601034,0.000034036337,0.0016527562,0.9556712,0.0018697793],"study_design_scores_gemma":[0.0009324862,0.0012246438,0.0000014292985,0.0003419459,0.0008133309,0.000045459954,0.0012700513,0.000007349468,4.1755675e-7,0.00039887254,0.9937069,0.0012571242],"about_ca_topic_score_codex":0.007569139,"about_ca_topic_score_gemma":0.00207689,"teacher_disagreement_score":0.1832682,"about_ca_system_score_codex":0.11355285,"about_ca_system_score_gemma":0.0035273484,"threshold_uncertainty_score":0.99919564},"labels":[],"label_agreement":null},{"id":"W2119794368","doi":"10.3138/ctr.148.3","title":"Artists and Communities","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Sociology; Aesthetics","score_opus":0.06683599704450077,"score_gpt":0.23094186029956112,"score_spread":0.16410586325506035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2119794368","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002555456,0.22907598,1.3554045e-7,0.0007075134,0.00014648706,0.00013951807,0.000043002925,0.000026131373,0.7673058],"genre_scores_gemma":[0.80901724,0.18254052,0.000019647687,0.005309446,0.00020847493,0.000030875464,0.000013310512,0.000017029355,0.0028434624],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953306,0.000032363776,0.00012512052,0.000064238026,0.000038457223,0.00020673893],"domain_scores_gemma":[0.9996017,0.000014861864,0.000023641058,0.00018693932,0.000029523151,0.0001432939],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010564841,0.00010525655,0.00019623841,0.000053192198,0.00036819823,0.000027713664,0.00009993622,0.000014278782,0.005380165],"category_scores_gemma":[0.0000016797702,0.0000800735,0.000040465056,0.00001996467,0.00022920854,0.00010530134,0.000017637387,0.000076631506,0.00022782077],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004226078,0.000017443741,0.00374684,0.0026093156,0.00011954279,0.000023223338,0.1031634,9.141132e-9,2.0113634e-7,0.23714544,0.09163838,0.56153196],"study_design_scores_gemma":[0.000035148827,0.00002786859,0.0003131687,0.00092489505,0.000044832268,0.0000105677855,0.002530397,4.2975833e-7,0.0000010426436,0.0007302386,0.99526626,0.00011517291],"about_ca_topic_score_codex":0.16441134,"about_ca_topic_score_gemma":0.8002565,"teacher_disagreement_score":0.9036279,"about_ca_system_score_codex":0.000018852092,"about_ca_system_score_gemma":0.000048974016,"threshold_uncertainty_score":0.99552906},"labels":[],"label_agreement":null},{"id":"W2122514642","doi":"10.3138/tric.31.1.76","title":"Michael Macina (1951-2006), In Memoriam","year":2010,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; SAINT; Power (physics); Transformative learning; Mysticism; Sociology; Media studies; Identity (music); Art history; History; Art; Visual arts; Aesthetics; Literature; Pedagogy","score_opus":0.05495725274528432,"score_gpt":0.3013795741108708,"score_spread":0.24642232136558648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2122514642","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50652856,0.00031893078,2.7268937e-8,0.0023455792,0.0016369189,0.00018438663,0.000058525027,0.000011692668,0.48891535],"genre_scores_gemma":[0.99660534,0.00014302318,0.000008780073,0.00011496997,0.001487162,0.00004373452,0.000006619932,0.000018090208,0.0015722803],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99817735,0.00009640796,0.00023283466,0.00022435468,0.0005161377,0.0007528998],"domain_scores_gemma":[0.99926007,0.00024600083,0.000019227813,0.00030964383,0.00006411839,0.000100956255],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008469148,0.00013408711,0.00021502137,0.00029726187,0.00025777772,0.00006099143,0.00031790396,0.00003579828,0.0015765503],"category_scores_gemma":[0.0000067562987,0.000109418004,0.000026172724,0.00017152715,0.00025599057,0.00013702393,0.0001050458,0.0009399044,0.000067197696],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044153022,0.00030237864,0.14760412,0.00043817225,0.00009669437,0.0009138919,0.049528923,0.00005464229,0.00071587594,0.04285479,0.28642437,0.47062463],"study_design_scores_gemma":[0.0004055647,0.000046648787,0.0015684967,0.000049904993,0.0000018657715,0.000004195283,0.009299157,0.00006513098,0.00015357738,0.003163716,0.9850712,0.00017055169],"about_ca_topic_score_codex":0.9880741,"about_ca_topic_score_gemma":0.9998836,"teacher_disagreement_score":0.69864684,"about_ca_system_score_codex":0.00032327062,"about_ca_system_score_gemma":0.0012632665,"threshold_uncertainty_score":0.9993361},"labels":[],"label_agreement":null},{"id":"W2122832228","doi":"10.1353/tj.2015.0014","title":"The Politics and Poetics of Contemporary English Tragedy by Sean Carney (review)","year":2015,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetics; Tragedy (event); Politics; Literature; Realism; Drama; Narrative; Comedy; History; Art; Law; Poetry; Political science","score_opus":0.03979075716802286,"score_gpt":0.2477582980752341,"score_spread":0.20796754090721126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2122832228","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09584797,0.3545351,0.0000039676797,0.0040956843,0.0015195517,0.00021796834,0.00014668146,0.00003780955,0.54359525],"genre_scores_gemma":[0.9735327,0.021657094,0.0000068611625,0.00041150246,0.0011348772,0.000001776168,0.000004362314,0.000013294232,0.0032375744],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991489,0.000088635075,0.00030190244,0.00006200262,0.00020523256,0.00019333583],"domain_scores_gemma":[0.99928695,0.00009259472,0.00013201397,0.00012304414,0.00024059387,0.00012482266],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059428567,0.00011702616,0.00022795315,0.000024139092,0.00046503966,0.00007220629,0.0001380388,0.000020205813,0.00005357401],"category_scores_gemma":[0.000028391118,0.00006482252,0.000066389046,0.000017446713,0.0003605589,0.00013854608,0.000035350553,0.00023365703,0.0000040070486],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003774408,0.000047869846,0.0014203457,0.00013751534,0.00015140571,0.0000053905183,0.065356,5.1008215e-7,0.0000053170875,0.0137284035,0.90526867,0.013840852],"study_design_scores_gemma":[0.00037321582,0.00021361373,0.000028900027,0.00017588877,0.000050374183,0.000028986728,0.02385034,0.0000048785455,0.000028538434,0.0017500758,0.97340024,0.000094951756],"about_ca_topic_score_codex":0.000097823475,"about_ca_topic_score_gemma":0.00008292084,"teacher_disagreement_score":0.8776847,"about_ca_system_score_codex":0.000015635798,"about_ca_system_score_gemma":0.00009309645,"threshold_uncertainty_score":0.3576756},"labels":[],"label_agreement":null},{"id":"W2125585942","doi":"10.1017/s004055741200049x","title":"Sex, Drag, and Male Roles: Investigating Gender as Performance. By Diane Torr and Stephen Bottoms. Ann Arbor: University of Michigan Press, 2010; pp. 314, 19 illustrations. $70 cloth, $26.95 paper.","year":2013,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Drag; Sociology; Gerontology; History; Engineering; Medicine; Aerospace engineering","score_opus":0.026599234978925905,"score_gpt":0.20022252669606888,"score_spread":0.17362329171714297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2125585942","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95335406,0.0070196423,0.0000015281394,0.00018064358,0.00013486102,0.00030035203,0.0002942539,0.00007348203,0.038641177],"genre_scores_gemma":[0.9864043,0.005985745,0.00004548814,0.00015361124,0.00016724526,0.0000047764593,0.00008171094,0.000028201357,0.0071289334],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9988268,0.00016319788,0.00024285178,0.00028565712,0.00016925481,0.00031221722],"domain_scores_gemma":[0.99923915,0.00014921385,0.00012388061,0.00024416926,0.00009788176,0.00014572738],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035779533,0.00024409476,0.00033468657,0.00003255798,0.00067338406,0.000112192916,0.00014546308,0.00007724834,0.0010096334],"category_scores_gemma":[0.000011169373,0.00021720011,0.000040076546,0.00004069269,0.00078689144,0.0006872777,0.000112670714,0.00017937055,0.000042348907],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017619632,0.0002227445,0.5189893,0.0006241754,0.0006247263,0.000005012976,0.2202105,0.000039369625,0.0012617833,0.0012722,0.23218451,0.024389487],"study_design_scores_gemma":[0.0036883196,0.0011505017,0.4712811,0.0003384079,0.00039167455,0.00004380269,0.11282928,0.0016140512,0.0011228651,0.0009600082,0.40442604,0.0021539535],"about_ca_topic_score_codex":0.01942633,"about_ca_topic_score_gemma":0.015979497,"teacher_disagreement_score":0.17224152,"about_ca_system_score_codex":0.000012666907,"about_ca_system_score_gemma":0.00004939912,"threshold_uncertainty_score":0.99990356},"labels":[],"label_agreement":null},{"id":"W2128475188","doi":"10.24908/eoe-ese-rse.v11i0.2527","title":"Road Blocks, Road Works and Continuing Explorations of the Terrain: An examination of drama in education in New Zealand in relation to the UNESCO Road Map","year":2010,"lang":"en","type":"article","venue":"Encounters in Theory and History of Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Agency (philosophy); Curriculum; Subject (documents); Relation (database); State (computer science); Road map; Terrain; Sociology; National curriculum; Pedagogy; Geography; Social science; Cartography; Computer science; Visual arts; Art; Library science","score_opus":0.00974591124268512,"score_gpt":0.2362102883292263,"score_spread":0.22646437708654119,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2128475188","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9927747,0.0014726787,0.000002512595,0.0004097298,0.0013133945,0.00028255428,0.000001933903,0.0000025790118,0.0037398802],"genre_scores_gemma":[0.99686253,0.00009012279,0.00002141381,0.000051186493,0.0001228506,0.000031988948,0.000008752485,0.000005377173,0.002805794],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9992186,0.00016668708,0.0003333369,0.00012424626,0.0000800314,0.00007708922],"domain_scores_gemma":[0.99953747,0.00007112064,0.00017065162,0.00015304805,0.00005131541,0.000016370699],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000941408,0.00008193456,0.0001370638,0.0003136252,0.00004790279,0.000014023888,0.000091256385,0.000046989942,0.000050835344],"category_scores_gemma":[0.000065782784,0.00006338818,0.000015808031,0.00007227615,0.00021553779,0.000419432,0.000016809989,0.0001650089,3.1557443e-7],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007648336,0.00022080088,0.015432831,0.00003114674,0.0000028004895,2.5471254e-8,0.7259323,0.000038119655,0.0004925028,0.009737338,0.0004517098,0.24758394],"study_design_scores_gemma":[0.00045438236,0.00011483084,0.79410034,0.0009167494,0.00001560929,8.251309e-7,0.18417072,0.00009728158,0.00007732435,0.005332649,0.014578571,0.0001406896],"about_ca_topic_score_codex":0.003183787,"about_ca_topic_score_gemma":0.0799613,"teacher_disagreement_score":0.7786675,"about_ca_system_score_codex":0.00009965217,"about_ca_system_score_gemma":0.00022996282,"threshold_uncertainty_score":0.936827},"labels":[],"label_agreement":null},{"id":"W2128870657","doi":"10.1017/s0040557410000256","title":"WATCHING <i>WOMAN AND WATER</i>","year":2010,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Simplicity; Front (military); Visual arts; Theme (computing); Art history; Art; Fountain; Power (physics); History; Geography; Philosophy; Computer science","score_opus":0.022358329805377938,"score_gpt":0.22408622880478418,"score_spread":0.20172789899940624,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2128870657","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83509713,0.000071275834,7.237527e-7,0.00041124492,0.0006833336,0.000053108834,0.00003879345,0.000071873175,0.1635725],"genre_scores_gemma":[0.9955995,0.000037306192,0.0000112044945,0.00021218725,0.00060817733,0.000004254872,0.000029865405,0.000015449697,0.003482033],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993814,0.00004810729,0.00011347972,0.00013938805,0.00007931981,0.00023826401],"domain_scores_gemma":[0.9996668,0.000074657575,0.000014997318,0.00016305812,0.00003422837,0.000046268247],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048785255,0.00012217838,0.0001444592,0.000034959507,0.00048146606,0.00010962506,0.00008992445,0.000026259004,0.0009859256],"category_scores_gemma":[0.000004254384,0.000072351235,0.000028501849,0.000010507303,0.00020591593,0.00016051278,0.00006656657,0.00018070775,0.0001828654],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032404973,0.00023556357,0.2764063,0.00018091602,0.00034239277,0.00001937742,0.41621518,0.0000022719798,0.014319742,0.054077998,0.036614485,0.20126174],"study_design_scores_gemma":[0.00046870005,0.00011620624,0.04276021,0.000016928127,0.000027273973,0.00001166797,0.0025142904,0.000017873353,0.0025801372,0.0033692378,0.94766486,0.00045261096],"about_ca_topic_score_codex":0.0030641526,"about_ca_topic_score_gemma":0.051249065,"teacher_disagreement_score":0.9110504,"about_ca_system_score_codex":0.0000023647133,"about_ca_system_score_gemma":0.000005262502,"threshold_uncertainty_score":0.9999273},"labels":[],"label_agreement":null},{"id":"W2128925540","doi":"10.1017/s0307883303350175","title":"Workers' Playtime: Theatre and the Labour Movement since 1970.","year":2003,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Watt; Currency; History; Movement (music); Art history; Economic history; Art; Philosophy; Power (physics); Physics; Aesthetics; Linguistics","score_opus":0.04642195575111589,"score_gpt":0.3170607633344787,"score_spread":0.2706388075833628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2128925540","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06632854,0.0014032639,0.0000056709537,0.013929662,0.0006615576,0.00030703872,0.00006389556,0.000040333773,0.91726005],"genre_scores_gemma":[0.97020346,0.00067466026,0.0000369671,0.0004670203,0.0008895661,0.000066986184,0.000006096295,0.00001554046,0.02763971],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99829185,0.00024781714,0.00019553912,0.00021769752,0.00066618365,0.00038093078],"domain_scores_gemma":[0.99890035,0.00058658567,0.00003555798,0.00022002307,0.00019409934,0.00006335776],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0015169422,0.00014067785,0.00015293655,0.00012993913,0.00086817675,0.00031168442,0.0003288589,0.00002870776,0.0033292328],"category_scores_gemma":[0.000036948535,0.00008070063,0.00006827683,0.00006182508,0.0010802167,0.0001954071,0.0001453219,0.00034773123,0.00022713514],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026688885,0.00006587353,0.0027465122,0.000015384509,0.00020759672,0.000005203001,0.013166006,0.000009523924,0.000014077758,0.9527504,0.014632909,0.016119642],"study_design_scores_gemma":[0.0012476206,0.000071933246,0.00028884824,0.000052600182,0.000009749331,0.00000546129,0.011921452,0.000115554256,0.00011505188,0.0544642,0.9315832,0.0001243008],"about_ca_topic_score_codex":0.00078149827,"about_ca_topic_score_gemma":0.0008243652,"teacher_disagreement_score":0.91695035,"about_ca_system_score_codex":0.00005921868,"about_ca_system_score_gemma":0.00005981231,"threshold_uncertainty_score":0.99758184},"labels":[],"label_agreement":null},{"id":"W2128972639","doi":"10.7202/019294ar","title":"Pathways And Pilgrimages: The In-Between Spaces in the Patria Cycle1","year":2008,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pilgrimage; Movement (music); Improvisation; Space (punctuation); Kuala lumpur; Visual arts; History; Art; Aesthetics; Computer science; Archaeology; Business","score_opus":0.058368054250936136,"score_gpt":0.21321603282647933,"score_spread":0.1548479785755432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2128972639","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9791867,0.00065733003,0.000001229508,0.0023525686,0.0005043468,0.000060188246,0.000014932627,0.0000019827387,0.017220732],"genre_scores_gemma":[0.9986623,0.00010286637,0.0000021922137,0.00035340886,0.00074936484,0.0000027318042,3.9254408e-7,0.000004534085,0.00012219214],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.999463,0.00006128927,0.00020321536,0.000049365015,0.0000691422,0.00015397232],"domain_scores_gemma":[0.9996584,0.00011106319,0.0000663673,0.000074935604,0.000039929648,0.00004929921],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002608439,0.00006984296,0.0001139077,0.0002762271,0.0004934987,0.000077994184,0.0001440892,0.000016739164,0.00018972388],"category_scores_gemma":[0.000018698833,0.000037768543,0.000050630293,0.00007476314,0.00030757103,0.00016145027,0.0000068195077,0.00029369406,0.000006500153],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012197576,0.000013670257,0.13696247,0.000007802074,0.000055317516,0.00015478245,0.8371982,0.000018825223,0.000004071965,0.002688343,0.018309364,0.0045749745],"study_design_scores_gemma":[0.00052266585,0.00027786277,0.34702316,0.00012084452,0.000038585877,0.00043042633,0.34361315,0.0000066054554,0.0000058063965,0.0013840673,0.3064277,0.00014915247],"about_ca_topic_score_codex":0.047150686,"about_ca_topic_score_gemma":0.82858557,"teacher_disagreement_score":0.7814349,"about_ca_system_score_codex":0.00004202647,"about_ca_system_score_gemma":0.00012904573,"threshold_uncertainty_score":0.9591944},"labels":[],"label_agreement":null},{"id":"W2133322118","doi":"10.1177/0090591704272278","title":"Book Review: Stretching “The Political”","year":2005,"lang":"en","type":"article","venue":"Political Theory","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Politics; Political science; Aesthetics; Sociology; Philosophy; Law","score_opus":0.02041720021970197,"score_gpt":0.2699473762028781,"score_spread":0.24953017598317614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2133322118","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004119065,0.11238528,0.000007831671,0.08866838,0.00025145998,0.0001488804,0.00003311703,0.000103586,0.79798955],"genre_scores_gemma":[0.5670444,0.0019535224,0.000012482158,0.3798404,0.005221189,0.00003507883,0.0000057838365,0.000025527472,0.0458616],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99860066,0.00012100368,0.00023919143,0.0001431704,0.00016190523,0.0007340703],"domain_scores_gemma":[0.9990967,0.00040951656,0.000023567261,0.00026978174,0.000047085563,0.0001533593],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031013717,0.00014831952,0.00020064089,0.000025848436,0.00045176066,0.0000598804,0.00019835633,0.000023377705,0.013043569],"category_scores_gemma":[0.00008979531,0.00008592467,0.00012892233,0.000016105816,0.0006910739,0.00018200795,0.0000731799,0.00022134547,0.0013798976],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004109098,0.000019715253,0.000006246479,0.00006277466,0.00002188211,7.5344764e-7,0.0009271606,5.2777597e-8,3.514979e-7,0.79855305,0.19813405,0.0022698855],"study_design_scores_gemma":[0.000068203146,0.000024439605,0.000010625342,0.00014344831,0.00005285259,0.000004705773,0.0019274266,0.0000069261296,0.000056515113,0.116143055,0.8814435,0.00011831038],"about_ca_topic_score_codex":0.000043400498,"about_ca_topic_score_gemma":0.000028787195,"teacher_disagreement_score":0.75212795,"about_ca_system_score_codex":0.00004465801,"about_ca_system_score_gemma":0.000022045539,"threshold_uncertainty_score":0.99939764},"labels":[],"label_agreement":null},{"id":"W2133639558","doi":"10.3138/ctr.150.26","title":"r/evolution begins within","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":34,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reinterpretation; Performing arts; Accountability; Context (archaeology); Aesthetics; Politics; Sociology; Orality; Visual arts; Art; History; Political science; Pedagogy; Law; Literacy","score_opus":0.03313271990957593,"score_gpt":0.2344711394333739,"score_spread":0.20133841952379794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2133639558","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011930341,0.3745018,0.0000010707295,0.0020870056,0.0010494215,0.00022346913,0.000055071025,0.00004278774,0.62084633],"genre_scores_gemma":[0.96229017,0.025105521,0.00001520029,0.00482379,0.00221963,0.00003964767,0.000026116746,0.000022615885,0.0054572998],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992343,0.000032283493,0.00016919618,0.00009008033,0.00007677215,0.00039734846],"domain_scores_gemma":[0.999439,0.00001246066,0.00004154951,0.0001959706,0.000034407167,0.00027661366],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023567508,0.0001266148,0.00020934005,0.00007075336,0.00037377243,0.000025983038,0.000101173806,0.000021652348,0.00315358],"category_scores_gemma":[0.000006553495,0.00009504064,0.00008451736,0.000048453618,0.000099036166,0.00025037964,0.000010544792,0.000092840426,0.0014918472],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000021631247,0.000025991169,0.0049806316,0.0016831602,0.00008681576,0.0000035342757,0.015489081,5.887367e-7,0.0000011046866,0.58333427,0.30470052,0.089692175],"study_design_scores_gemma":[0.000034120887,0.0000132213745,0.00021694206,0.0007135309,0.00006689813,0.0000071401696,0.000534145,0.0000010484954,0.0000013035378,0.00022054183,0.9980543,0.00013679896],"about_ca_topic_score_codex":0.03756959,"about_ca_topic_score_gemma":0.37800294,"teacher_disagreement_score":0.9610971,"about_ca_system_score_codex":0.0001393606,"about_ca_system_score_gemma":0.000119016055,"threshold_uncertainty_score":0.9992856},"labels":[],"label_agreement":null},{"id":"W2135243411","doi":"10.3138/md.47.1.21","title":"<i>Traps, Softcops, Blue Heart, </i>and <i>This Is a Chair:</i>Tracking Epistemological Upheaval in Caryl Churchill's Shorter Plays","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Marxist philosophy; Ideology; Politics; Aesthetics; STRIDE; Literature; Philosophy; Sociology; Epistemology; Art; Law; Political science; Computer science","score_opus":0.025792109886466286,"score_gpt":0.233357148213375,"score_spread":0.2075650383269087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2135243411","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96965104,0.0023210521,0.00009096092,0.003890395,0.0003447924,0.0002718315,0.00006910232,0.00013393238,0.023226872],"genre_scores_gemma":[0.9945718,0.00020376216,0.00008101082,0.002895068,0.0006729159,0.00003508381,0.000013694646,0.000033062912,0.0014935738],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998371,0.00003444096,0.00036524312,0.00044277593,0.00023134905,0.00055516406],"domain_scores_gemma":[0.99951524,0.00005254225,0.00005272844,0.00024289651,0.00004112051,0.00009547219],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00019258674,0.00030826355,0.0004370982,0.000113223694,0.00048677353,0.00019986487,0.00015519829,0.00011166317,0.00048629646],"category_scores_gemma":[0.000007824899,0.00025030767,0.00012486725,0.000045076747,0.00038761972,0.00032246785,0.00010359634,0.0003646211,0.00007049051],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043584732,0.00080044963,0.030959899,0.00039610968,0.00026861293,0.00024671602,0.87151086,0.0004957121,0.0018311337,0.040749613,0.012877992,0.03942708],"study_design_scores_gemma":[0.0058830488,0.0012359637,0.018865643,0.0007580106,0.00016738758,0.00031451636,0.0074628787,0.0015740197,0.002636034,0.03809635,0.9205286,0.0024775711],"about_ca_topic_score_codex":0.0011091959,"about_ca_topic_score_gemma":0.0028535514,"teacher_disagreement_score":0.9076506,"about_ca_system_score_codex":0.000059132304,"about_ca_system_score_gemma":0.000039454597,"threshold_uncertainty_score":0.99999493},"labels":[],"label_agreement":null},{"id":"W2140434026","doi":"10.3138/md.50.2.168","title":"Staging <i>The Merchant of Venice</i> in Cork: The Concretization of a Shakespearean Play for a New Society","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cork; Irish; Multinational corporation; Interpretation (philosophy); Judaism; Population; Space (punctuation); Immigration; Visual arts; Media studies; Sociology; Art; History; Archaeology; Political science; Law; Computer science; Linguistics","score_opus":0.03410429187409503,"score_gpt":0.2554878674942669,"score_spread":0.22138357562017186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2140434026","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.974723,0.0016608114,0.009304214,0.0020639685,0.00023404791,0.00060618116,0.000070863745,0.000023703858,0.011313254],"genre_scores_gemma":[0.9984004,0.000045439094,0.000053200125,0.00022432698,0.00022507101,0.00000631838,0.000005402558,0.000008731152,0.0010310935],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994668,0.000011345961,0.00020041864,0.0000718221,0.00010149454,0.00014815813],"domain_scores_gemma":[0.99955434,0.00017176637,0.00009074938,0.00011430858,0.00005731275,0.000011550366],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039867885,0.00006708423,0.00012762303,0.000016029528,0.0001557619,0.000018004996,0.000110523375,0.00001858402,0.00003694765],"category_scores_gemma":[0.0000093810395,0.00003828311,0.0000802188,0.000029342527,0.00018288463,0.000058027454,0.000027734586,0.000064641295,9.060614e-7],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020731878,0.00003589942,0.0022834411,0.00011084881,0.00010309022,3.1983834e-7,0.9076908,0.0003039828,0.0012565635,0.054655787,0.006682017,0.026669882],"study_design_scores_gemma":[0.0054996414,0.00082180474,0.007098164,0.0007109667,0.00032216083,0.0000037377822,0.1981563,0.041123096,0.017299525,0.038194712,0.6900037,0.00076622417],"about_ca_topic_score_codex":0.0006379913,"about_ca_topic_score_gemma":0.0034617025,"teacher_disagreement_score":0.7095346,"about_ca_system_score_codex":0.000012908325,"about_ca_system_score_gemma":0.000036505273,"threshold_uncertainty_score":0.19317113},"labels":[],"label_agreement":null},{"id":"W2144691191","doi":"10.1017/s0040557411000755","title":"Theater Historiography: Critical Interventions. Edited by Henry Bial and Scott Magelssen. Ann Arbor: University of Michigan Press, 2010; pp. 302, 8 illustrations. $85.00 cloth, $28.95 paper. - Representing the Past: Essays in Performance Historiography. Edited by Charlotte M. Canning and Thomas Postlewait. Iowa City: University of Iowa Press, 2010; pp. 428, 19 illustrations. $29.95 paper, $29.95 e-book.","year":2012,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Historiography; Art history; History; Gerontology; Media studies; Sociology; Medicine; Archaeology","score_opus":0.030966095975460503,"score_gpt":0.22709636343542458,"score_spread":0.1961302674599641,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2144691191","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7970027,0.17725861,0.000035672067,0.0023992136,0.0035179695,0.0013136658,0.0038596834,0.00022448813,0.01438802],"genre_scores_gemma":[0.9636521,0.032485493,0.000053854827,0.000081110185,0.000762583,0.000006408973,0.00040773692,0.000049483566,0.0025012507],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99683183,0.0007150914,0.0006771746,0.00059817283,0.0004470187,0.0007307359],"domain_scores_gemma":[0.9979373,0.00046361933,0.0003988659,0.0006195502,0.0003569307,0.00022369676],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0013407868,0.00051384023,0.00070347596,0.00017419756,0.0014731609,0.00011496959,0.000446709,0.0002316832,0.00038742897],"category_scores_gemma":[0.000046943213,0.00046537397,0.0002922629,0.00031360067,0.002624176,0.0017282012,0.00028606702,0.00065701583,0.0000030832916],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00085435895,0.00072374166,0.20779838,0.0005638309,0.00058259245,0.000009144723,0.02979622,0.000020779433,0.0009861288,0.00077108457,0.75702614,0.00086757855],"study_design_scores_gemma":[0.0025689413,0.00050292886,0.14999042,0.00066158804,0.00071067346,0.000016455317,0.015301164,0.0002884984,0.0002225782,0.000095341056,0.8284372,0.0012041971],"about_ca_topic_score_codex":0.060045246,"about_ca_topic_score_gemma":0.025183193,"teacher_disagreement_score":0.1666494,"about_ca_system_score_codex":0.00007469456,"about_ca_system_score_gemma":0.0000765324,"threshold_uncertainty_score":0.9998268},"labels":[],"label_agreement":null},{"id":"W2144715488","doi":"10.7202/031974ar","title":"La formation d’enseignants en art dramatique : dynamique entre la théorie et la pratique","year":2007,"lang":"fr","type":"article","venue":"Revue des sciences de l éducation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.0929589731958472,"score_gpt":0.3443943166872586,"score_spread":0.2514353434914114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2144715488","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35975993,0.0012235579,0.006293838,0.0039002292,0.00081457855,0.00027779475,0.00003254124,0.000066288274,0.62763125],"genre_scores_gemma":[0.9743404,0.0033487296,0.0014144594,0.00026451863,0.00056306226,0.000031491327,0.000034839006,0.000016544653,0.019985957],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99797785,0.0007555033,0.00039465324,0.00024922818,0.0001890913,0.00043366937],"domain_scores_gemma":[0.99845207,0.0009319786,0.00022486362,0.00015668942,0.00014858924,0.00008583188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004661028,0.00021636867,0.00019604077,0.0001889222,0.0011079462,0.00056888594,0.0002215936,0.00020218032,0.00023086378],"category_scores_gemma":[0.00016293743,0.00019822209,0.00008216019,0.00019912329,0.0014189975,0.0017840066,0.000047989553,0.00032700947,0.00013126977],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009934732,0.00011204454,0.0005346499,0.00042761705,0.00001566465,0.000008658266,0.41716564,0.00013512831,0.000077717166,0.5570971,0.0019348325,0.022481002],"study_design_scores_gemma":[0.00029654478,0.0003587268,0.006565838,0.0017779308,0.000088987115,0.00056908355,0.19904836,0.005325985,0.0007055357,0.08845112,0.6962302,0.00058171595],"about_ca_topic_score_codex":0.00031424066,"about_ca_topic_score_gemma":0.0073594903,"teacher_disagreement_score":0.69429535,"about_ca_system_score_codex":0.0004852429,"about_ca_system_score_gemma":0.000569372,"threshold_uncertainty_score":0.8521538},"labels":[],"label_agreement":null},{"id":"W2147014023","doi":"","title":"At wit's end","year":2001,"lang":"en","type":"article","venue":"Canadian Medical Association Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject matter; Art history; Art; Subject (documents); Computer science; Library science; Law; Political science","score_opus":0.011819761901347094,"score_gpt":0.2046187149476579,"score_spread":0.1927989530463108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2147014023","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25224292,0.00044800623,0.0000018155062,0.04508907,0.0023456085,0.000038069335,0.000022809509,0.000022044354,0.69978964],"genre_scores_gemma":[0.92665887,0.00053530483,0.000003982398,0.011268801,0.008231139,0.0000024014328,0.000005592855,0.000009351582,0.053284556],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883324,0.00003424305,0.0001800343,0.00006136068,0.0005611227,0.0003299978],"domain_scores_gemma":[0.99910605,0.000051390736,0.00007436838,0.00004209751,0.00014783892,0.00057827606],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00048339355,0.00006780107,0.00010522208,0.00008001011,0.0009085885,0.00011013096,0.00010494512,0.000076930875,0.096811],"category_scores_gemma":[0.00011809782,0.000054427117,0.00005725086,0.000028982042,0.000058729314,0.0001329665,0.000010413992,0.00031836765,0.0011319708],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005987998,0.000010115343,0.049034983,0.0000022291654,0.000095025774,0.0002192264,0.010315578,6.1765024e-7,6.244734e-7,0.007443808,0.8806276,0.05224423],"study_design_scores_gemma":[0.00021099385,0.000021567128,0.0033582293,0.000012347308,0.000008764016,0.00011657242,0.0013487366,0.000010931475,9.553055e-7,0.0002808952,0.99455655,0.00007348959],"about_ca_topic_score_codex":0.0040102834,"about_ca_topic_score_gemma":0.54017854,"teacher_disagreement_score":0.67441595,"about_ca_system_score_codex":0.0005139857,"about_ca_system_score_gemma":0.00040153362,"threshold_uncertainty_score":0.99964577},"labels":[],"label_agreement":null},{"id":"W2147758806","doi":"10.7202/041611ar","title":"La mise à l’épreuve du spectateur dans les dramaturgies anglaises contemporaines","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Subversion; Art; Political science","score_opus":0.025416548181915573,"score_gpt":0.23985216865445397,"score_spread":0.2144356204725384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2147758806","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43492967,0.0033265087,0.0000031634092,0.025134902,0.0037951185,0.0006547394,0.001042549,0.0005427873,0.53057057],"genre_scores_gemma":[0.82456785,0.0058448906,0.00016574247,0.0002829288,0.0055198683,0.00013921,0.00013497252,0.00023725652,0.16310728],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9947114,0.00043258118,0.0013900739,0.0012253283,0.0005963196,0.0016443053],"domain_scores_gemma":[0.9960635,0.0011285447,0.00062519877,0.0011539727,0.000504819,0.0005239777],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.0008033784,0.0015807721,0.001562667,0.00039159416,0.0023408858,0.0010504146,0.0012756514,0.00091407634,0.0014390771],"category_scores_gemma":[0.00029350453,0.0014425712,0.0010758311,0.0002689236,0.004526397,0.0015924736,0.0003267163,0.002370818,0.00032618947],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044335582,0.0008915266,0.0062228264,0.0017829486,0.00080042984,0.00072047877,0.17121936,0.000038756094,0.0011561768,0.7482933,0.06213316,0.006297716],"study_design_scores_gemma":[0.00057645934,0.00049304,0.0055862693,0.001197698,0.00059095287,0.0005057345,0.022600204,0.00008238622,0.00056572224,0.0010213564,0.9651168,0.0016633865],"about_ca_topic_score_codex":0.0065001273,"about_ca_topic_score_gemma":0.31448442,"teacher_disagreement_score":0.9029836,"about_ca_system_score_codex":0.00015135182,"about_ca_system_score_gemma":0.00041489844,"threshold_uncertainty_score":0.9999866},"labels":[],"label_agreement":null},{"id":"W2148127926","doi":"10.7202/041594ar","title":"L’École de l’Arena Goldoni, ou la difficile invention d’un laboratoire","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.012616337752175003,"score_gpt":0.22946447021571903,"score_spread":0.21684813246354404,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2148127926","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43356305,0.004341132,0.000024322908,0.032855228,0.00524173,0.00085538795,0.0011912431,0.0006305314,0.52129734],"genre_scores_gemma":[0.8306889,0.0038521541,0.0003030282,0.00074626907,0.0045507434,0.00018408857,0.00014545114,0.0002101014,0.15931925],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.995243,0.00034237784,0.0011218614,0.001009303,0.00053134083,0.001752082],"domain_scores_gemma":[0.9970606,0.000425497,0.0004951122,0.0010408863,0.00042286332,0.00055503304],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008313813,0.0011587405,0.0010993846,0.00032349196,0.0019739775,0.00078606076,0.00094317,0.0007798243,0.0018813004],"category_scores_gemma":[0.0001481696,0.0011489867,0.00079606404,0.00034538834,0.0019913788,0.001239977,0.00024858373,0.0019780395,0.00045119296],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021014769,0.0011348781,0.0016510551,0.0012738092,0.0005425107,0.00019675116,0.020738162,0.00018882514,0.0013665095,0.9071695,0.03922352,0.026304323],"study_design_scores_gemma":[0.0005030749,0.0004450938,0.002168585,0.0010536447,0.0005479288,0.00020094904,0.0023235409,0.00045742272,0.0008679518,0.003948729,0.9861538,0.0013292978],"about_ca_topic_score_codex":0.0025073898,"about_ca_topic_score_gemma":0.15352196,"teacher_disagreement_score":0.9469303,"about_ca_system_score_codex":0.00020267407,"about_ca_system_score_gemma":0.00057914783,"threshold_uncertainty_score":0.99932534},"labels":[],"label_agreement":null},{"id":"W2149302534","doi":"10.1353/shb.2014.0036","title":"As You Like It performed by the Shakespeare Theatre of New Jersey (Outdoor Stage, College of St. Elizabeth), and: Pericles performed by the Shakespeare Theatre of New Jersey (F.M. Kirby Shakespeare Theatre, Drew University) (review)","year":2014,"lang":"en","type":"article","venue":"Shakespeare bulletin","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Knight; Art; Art history; Performance art; Theatre director; Queen (butterfly); Visual arts","score_opus":0.017042752328608322,"score_gpt":0.2194459747143198,"score_spread":0.20240322238571148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2149302534","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23853871,0.1410775,0.000036482154,0.07541852,0.001695718,0.007217693,0.021284068,0.0005923057,0.514139],"genre_scores_gemma":[0.7053365,0.03969119,0.00020357837,0.004242672,0.0015709632,0.000056836845,0.0007944356,0.00039554262,0.24770829],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9938586,0.0006698401,0.001574689,0.0011604982,0.0014133947,0.0013230316],"domain_scores_gemma":[0.99530727,0.00079534494,0.0010729835,0.001730582,0.00060521497,0.0004886363],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013709486,0.0012558665,0.001965148,0.00030183583,0.0014182342,0.00014257265,0.0020152836,0.00034493767,0.020808822],"category_scores_gemma":[0.00013973807,0.00081769656,0.000862515,0.0006052063,0.0019705512,0.00039007718,0.00063400425,0.0010226511,0.00023933063],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009911213,0.0002799661,0.0012985844,0.0017058096,0.000663325,0.000009538855,0.034465566,0.00001779826,0.00020312543,0.0026499194,0.91972536,0.03798986],"study_design_scores_gemma":[0.0022768374,0.0013068687,0.00022034674,0.0018001159,0.0005602395,0.000022387418,0.10439324,0.000053449112,0.0005317972,0.00011522016,0.88787794,0.0008415534],"about_ca_topic_score_codex":0.004785881,"about_ca_topic_score_gemma":0.003995271,"teacher_disagreement_score":0.46679777,"about_ca_system_score_codex":0.00014005457,"about_ca_system_score_gemma":0.0005646196,"threshold_uncertainty_score":0.9998818},"labels":[],"label_agreement":null},{"id":"W2149867183","doi":"10.3138/md.0761","title":"The Field of <i>Modern Drama</i>, or Arcadia","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Arcadia; Drama; Field (mathematics); Argument (complex analysis); Art; Performance art; Literature; Art history; Visual arts","score_opus":0.040935409241087996,"score_gpt":0.2611718392376422,"score_spread":0.2202364299965542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2149867183","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30247533,0.005939061,0.0004520544,0.007952239,0.0018539578,0.00036924635,0.00005678795,0.0001703586,0.680731],"genre_scores_gemma":[0.9638924,0.000111983296,0.00002428414,0.00072325626,0.0005999413,0.000016556703,0.0000029004875,0.000015686775,0.034613006],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917626,0.00002464869,0.00021060511,0.0001310831,0.00020272989,0.0002546959],"domain_scores_gemma":[0.99925685,0.00020608245,0.00006907565,0.0002886208,0.0001191392,0.000060228853],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016869091,0.00012965014,0.0001807296,0.000030770854,0.00036273815,0.000119031996,0.00023859473,0.000037700127,0.00020890577],"category_scores_gemma":[0.000050179526,0.00007072512,0.00007252376,0.000022497445,0.0002156344,0.0001463692,0.00008195182,0.00012435479,0.00008451639],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00073670107,0.00014916265,0.0015408894,0.000081763945,0.00024123669,0.000012062088,0.30722588,0.000093401366,0.00006815655,0.086226255,0.22206376,0.3815607],"study_design_scores_gemma":[0.0004692636,0.0002990133,0.000074427895,0.00003064319,0.00003178901,0.0000025761572,0.0034998418,0.0016972116,0.00042499098,0.046020266,0.9472701,0.00017986615],"about_ca_topic_score_codex":0.0002682119,"about_ca_topic_score_gemma":0.0040310877,"teacher_disagreement_score":0.7252064,"about_ca_system_score_codex":0.000013409862,"about_ca_system_score_gemma":0.000056794743,"threshold_uncertainty_score":0.28840867},"labels":[],"label_agreement":null},{"id":"W2149921823","doi":"10.1162/dram.2010.54.1.161","title":"Artifacting an Intercultural Nation: Theatre Replacement's<i>BIOBOXES</i>","year":2010,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mosaic; Multiculturalism; Visual arts; Art; Theatre studies; Sociology; Aesthetics; Drama; Pedagogy","score_opus":0.040585156859776345,"score_gpt":0.2765040261888916,"score_spread":0.23591886932911524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2149921823","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24219494,0.05557244,0.000005462639,0.033281688,0.0052115847,0.001665067,0.000051733292,0.00049554784,0.66152155],"genre_scores_gemma":[0.96562976,0.01231497,0.0000595329,0.007703117,0.0032735274,0.00011472347,0.00006141701,0.000033948443,0.010809013],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897426,0.00006769849,0.00033300472,0.00020617567,0.00017877093,0.00024005998],"domain_scores_gemma":[0.99920607,0.000056627698,0.00013176263,0.00044150735,0.00011490596,0.000049104427],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005429428,0.0001886492,0.00026099113,0.000022302771,0.0007931525,0.0002119488,0.00028352175,0.000028166987,0.0054139365],"category_scores_gemma":[0.000029145112,0.00010093708,0.0001291808,0.000049138416,0.00019805727,0.00042861354,0.000066736495,0.00034577548,0.0006634899],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005577412,0.00016647721,0.00046200425,0.0017547435,0.00020166583,0.0000055373666,0.076958574,7.809863e-7,0.0004712687,0.08885358,0.10963516,0.7214344],"study_design_scores_gemma":[0.000104817496,0.000072464296,0.000029051234,0.00046324535,0.00007443524,0.000017554868,0.002724759,0.000014765532,0.00007823013,0.00032179808,0.995933,0.00016589646],"about_ca_topic_score_codex":0.00014058805,"about_ca_topic_score_gemma":0.0021680444,"teacher_disagreement_score":0.8862978,"about_ca_system_score_codex":0.000012556269,"about_ca_system_score_gemma":0.00001571666,"threshold_uncertainty_score":0.99549526},"labels":[],"label_agreement":null},{"id":"W2149947358","doi":"10.3138/md.0747","title":"Unsettling Gertrude Stein: On the Citability of Baroque Gesture in<i>Four Saints in Three Acts</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Baroque; Art; Modernism (music); Literature; Scholarship; Art history; Allegory; History; Law","score_opus":0.05891712840362265,"score_gpt":0.2381048585841893,"score_spread":0.17918773018056666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2149947358","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9604867,0.00026750256,0.000009970106,0.0023653887,0.00018975434,0.000196821,0.0000194051,0.00002174548,0.03644271],"genre_scores_gemma":[0.9989311,0.000015232475,0.000009516216,0.00038836835,0.00020970794,0.00001938851,0.0000022180027,0.000013152357,0.00041128183],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99908566,0.000062369014,0.00024261097,0.00017194856,0.00020041429,0.00023699284],"domain_scores_gemma":[0.999396,0.00014876682,0.000058862108,0.00029625476,0.00006715802,0.000032909342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047605994,0.0001422163,0.00022983966,0.00006735475,0.00009656697,0.00004473955,0.00019031523,0.0000482861,0.000084393985],"category_scores_gemma":[0.000055281267,0.00008915547,0.00005041631,0.000045011337,0.00016305949,0.00013120702,0.000064415035,0.00025642052,0.00002595367],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008327686,0.00077529077,0.21898785,0.00024541773,0.00010998953,0.000042029667,0.5983984,0.0045478106,0.00028949275,0.14769143,0.0035679904,0.024511566],"study_design_scores_gemma":[0.0058560125,0.0015462344,0.24990505,0.001204356,0.000080599064,0.000008610292,0.044976104,0.015738247,0.0021029357,0.5270796,0.149805,0.0016972406],"about_ca_topic_score_codex":0.0007296551,"about_ca_topic_score_gemma":0.030574035,"teacher_disagreement_score":0.5534223,"about_ca_system_score_codex":0.000061055594,"about_ca_system_score_gemma":0.00004053517,"threshold_uncertainty_score":0.98711544},"labels":[],"label_agreement":null},{"id":"W2150647545","doi":"","title":"Reflections on a Peace Education Theatre Project: Performing Dario Fo and Franca Rame's Peace Mum","year":2015,"lang":"en","type":"article","venue":"Journal of educational enquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Performative utterance; Narrative; Poetry; Reflection (computer programming); Event (particle physics); Sociology; Aesthetics; Art; Visual arts; Literature; Computer science","score_opus":0.09416209222473113,"score_gpt":0.3651287809869595,"score_spread":0.2709666887622284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2150647545","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5640079,0.0057951855,0.000008970216,0.012543878,0.0061752135,0.00027167588,0.000013763222,0.00001613526,0.41116732],"genre_scores_gemma":[0.97187674,0.0004017499,0.00043001072,0.00063555175,0.0080421185,0.000027075372,0.000009556276,0.00001836071,0.018558836],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990992,0.000040582418,0.00031260014,0.00012073614,0.00027070456,0.00015621],"domain_scores_gemma":[0.9989618,0.00013897299,0.00023560514,0.00011269889,0.0004520737,0.000098855424],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031953782,0.0001385409,0.00018103915,0.00025534988,0.0004076525,0.0001325858,0.00010783269,0.000035969144,0.0003300544],"category_scores_gemma":[0.00008038376,0.000104935425,0.000075150005,0.00006365888,0.00016128396,0.00052519556,0.000022364255,0.00027482165,0.000032053107],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003662817,0.0011248044,0.0038237455,0.00011656635,0.00021046227,0.0000014725164,0.40046775,0.0000449225,0.00008136834,0.09602122,0.46854693,0.029194482],"study_design_scores_gemma":[0.00034152254,0.00046481777,0.0013833178,0.00014432751,0.000049793536,0.00011016038,0.06950065,0.000010587516,0.000024567928,0.0029491645,0.9248749,0.00014621946],"about_ca_topic_score_codex":0.0001928361,"about_ca_topic_score_gemma":0.00029049706,"teacher_disagreement_score":0.45632794,"about_ca_system_score_codex":0.00012400867,"about_ca_system_score_gemma":0.0013489171,"threshold_uncertainty_score":0.42791423},"labels":[],"label_agreement":null},{"id":"W2154063350","doi":"10.1017/s0040557405000165","title":"The Tragedy of History in Sarah Kane's <i>Blasted</i>","year":2005,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Tragedy (event); History; Casual; Romance; Literature; Criticism; Art; Law; Political science","score_opus":0.038827945108204774,"score_gpt":0.22234815891199736,"score_spread":0.18352021380379258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2154063350","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5969273,0.007494726,6.311226e-7,0.00036362474,0.0006138241,0.00012816685,0.00006410711,0.000039074206,0.39436856],"genre_scores_gemma":[0.9883632,0.0003325084,0.000003275033,0.00014799372,0.00035636683,0.000006684164,0.00000989097,0.000013085763,0.010766993],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990796,0.00017406157,0.00026881753,0.000113052505,0.00013329461,0.000231211],"domain_scores_gemma":[0.99931383,0.0003248111,0.000064775515,0.00022607644,0.00004760853,0.000022911],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008569541,0.000121428086,0.00019761278,0.000054757784,0.00017707261,0.000016277301,0.000184173,0.000025402302,0.0006113342],"category_scores_gemma":[0.000010455553,0.00007624742,0.00006012933,0.000032924854,0.00035078963,0.000120392964,0.00002983954,0.0001402405,0.00009606539],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009598433,0.0005626312,0.06747087,0.000099555626,0.00026389348,0.0000066241523,0.2580275,0.0001588536,0.00028863605,0.03416798,0.2647514,0.37324223],"study_design_scores_gemma":[0.00029935903,0.000076443815,0.0399848,0.000021124215,0.000008557322,8.0038467e-7,0.0016083549,0.000016364822,0.00010127503,0.00011956247,0.9576359,0.0001274581],"about_ca_topic_score_codex":0.003846939,"about_ca_topic_score_gemma":0.22288246,"teacher_disagreement_score":0.6928845,"about_ca_system_score_codex":0.00006588514,"about_ca_system_score_gemma":0.000039563853,"threshold_uncertainty_score":0.7912979},"labels":[],"label_agreement":null},{"id":"W2155754352","doi":"10.1177/104973230201200105","title":"Staging Breast Cancer, Rehearsing Metastatic Disease","year":2002,"lang":"en","type":"article","venue":"Qualitative Health Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":30,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Sunnybrook Health Science Centre","funders":"","keywords":"Drama; Breast cancer; Metaphor; Context (archaeology); Rehearsing; Performative utterance; Meaning (existential); Representation (politics); Psychology; Medicine; Psychotherapist; Aesthetics; Cancer; Linguistics; Visual arts; Art","score_opus":0.6174439724839307,"score_gpt":0.5534091267531626,"score_spread":0.06403484573076812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2155754352","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33853674,0.074379966,0.000096796095,0.4346563,0.002088808,0.0030374979,0.004144217,0.0005211054,0.14253858],"genre_scores_gemma":[0.9763166,0.0029577697,0.00009883171,0.0012301989,0.0006968688,0.00016879932,0.000012626989,0.00003367288,0.018484658],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960367,0.0016375683,0.00035815203,0.0003028901,0.0007548318,0.0009098606],"domain_scores_gemma":[0.9980385,0.0008667859,0.00007763325,0.00022229039,0.00044949877,0.0003453479],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0031281407,0.00014972543,0.00028414602,0.00029344807,0.002183389,0.00016419696,0.000156547,0.000008879729,0.0059139966],"category_scores_gemma":[0.00009243968,0.000121005934,0.00006419932,0.00019154444,0.0007521074,0.00034815978,0.000067796005,0.00045644864,0.00048522386],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008283414,0.00014710015,0.0002422475,0.0006770468,0.00006276681,0.000009748966,0.776875,0.000003931227,0.0000014854602,0.08290809,0.089524254,0.049465466],"study_design_scores_gemma":[0.00067721365,0.00033380746,0.0015509856,0.00060772576,0.000014963548,0.000002252196,0.4718049,0.0007860026,0.0000029124517,0.009741182,0.5141406,0.00033744096],"about_ca_topic_score_codex":0.0040429095,"about_ca_topic_score_gemma":0.001223379,"teacher_disagreement_score":0.63777983,"about_ca_system_score_codex":0.00023673399,"about_ca_system_score_gemma":0.00016502978,"threshold_uncertainty_score":0.99911565},"labels":[],"label_agreement":null},{"id":"W2156354504","doi":"10.3968/j.css.1923669720070303.015","title":"Metadrama and Themes in Stoppard’s Rosencrantz and Guildenstern Are Dead","year":2010,"lang":"en","type":"article","venue":"Canadian social science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"HAMLET (protein complex); Drama; Absurdism; Tragedy (event); Art; Humanities; Philosophy; Confusion; Theme (computing); Literature; Psychoanalysis; Psychology","score_opus":0.019108088763304183,"score_gpt":0.22860567004779786,"score_spread":0.20949758128449367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2156354504","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85765773,0.00016106742,5.9221744e-8,0.00085347384,0.0002656994,0.00004820077,0.000020783289,0.0000073245988,0.14098568],"genre_scores_gemma":[0.99851704,0.0000211825,0.000007544355,0.00034576922,0.00027191904,0.0000033028764,3.085457e-7,0.0000031481336,0.0008297869],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994348,0.000006039501,0.000064884094,0.00014151691,0.0000885536,0.00026415478],"domain_scores_gemma":[0.99975467,0.000012906528,0.000020762453,0.000054490807,0.00003731559,0.00011983641],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016564992,0.00006442224,0.000094489726,0.00010293907,0.0008819854,0.00020374403,0.00011232652,0.000021780892,0.000083642946],"category_scores_gemma":[0.000017932689,0.000053425887,0.000010979144,0.000058934955,0.0013826477,0.00023906908,0.000029723582,0.00010040485,0.0000057203792],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000050921867,0.000010060719,0.41892952,0.000023720544,0.0000110823485,0.000022165621,0.18932918,4.398207e-8,0.0005035949,0.32474816,0.0016653435,0.06475205],"study_design_scores_gemma":[0.0003010109,0.00003086285,0.29470152,0.000023748613,0.000013344254,0.0000063343314,0.0612884,0.000024659917,0.000061962026,0.0031568664,0.64004314,0.00034816065],"about_ca_topic_score_codex":0.028852785,"about_ca_topic_score_gemma":0.7997601,"teacher_disagreement_score":0.77090734,"about_ca_system_score_codex":0.000022054277,"about_ca_system_score_gemma":0.000088103516,"threshold_uncertainty_score":0.97761416},"labels":[],"label_agreement":null},{"id":"W2160225625","doi":"10.7202/041455ar","title":"L’ethnoscénologie. Vers une scénologie générale","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.02686620653745107,"score_gpt":0.24976059838304188,"score_spread":0.22289439184559082,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2160225625","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2698395,0.004180478,0.000006110814,0.101362996,0.011948907,0.0009095692,0.0009310845,0.0009779665,0.6098434],"genre_scores_gemma":[0.80556846,0.008495268,0.00045102998,0.0009311538,0.0048252186,0.00015398244,0.0001325468,0.00020931583,0.179233],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99386775,0.00019742463,0.0013986059,0.0014563835,0.00061167416,0.0024681613],"domain_scores_gemma":[0.99624383,0.0005654922,0.0005664138,0.0016291891,0.0004500119,0.0005450549],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","insufficient_payload"],"category_scores_codex":[0.00060471124,0.0014560128,0.0015480242,0.00046201664,0.0022398133,0.0006012108,0.0016907465,0.0010420294,0.0024189074],"category_scores_gemma":[0.0002550193,0.0014443764,0.0010487896,0.00046163445,0.004843765,0.0015961562,0.00042341743,0.002801622,0.001552009],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034555953,0.00080578396,0.0013951373,0.0010044698,0.0007740561,0.00034655503,0.020896547,0.00012321296,0.0011578251,0.851021,0.09659381,0.025536025],"study_design_scores_gemma":[0.000507098,0.0009042861,0.0021057657,0.00067546015,0.0005868261,0.00015788594,0.0049108556,0.00010600339,0.00063267886,0.0036697506,0.98401475,0.0017286685],"about_ca_topic_score_codex":0.008791476,"about_ca_topic_score_gemma":0.34305525,"teacher_disagreement_score":0.8874209,"about_ca_system_score_codex":0.00025734404,"about_ca_system_score_gemma":0.0006148178,"threshold_uncertainty_score":0.9998189},"labels":[],"label_agreement":null},{"id":"W2160717854","doi":"10.1353/mdr.2007.0007","title":"Electoral Guerrilla Theatre: Radical Ridicule and Social Movements (review)","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Presidential system; Democracy; Power (physics); Political science; State (computer science); White (mutation); Nothing; Politics; Political economy; Law; Economic history; Sociology; History","score_opus":0.017357520071834002,"score_gpt":0.23120535385520266,"score_spread":0.21384783378336866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2160717854","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6902258,0.03724783,0.00003118922,0.0027628504,0.00047305226,0.00040619142,0.000094437215,0.00019343465,0.26856527],"genre_scores_gemma":[0.9922033,0.0006908661,0.0000102002505,0.0009601619,0.0011780743,0.000018553214,0.000034091,0.00001642888,0.0048883567],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992167,0.000027797962,0.00017084113,0.00016680484,0.00016433428,0.00025355708],"domain_scores_gemma":[0.9998082,0.000015009246,0.000038447666,0.00008610958,0.000028499877,0.000023735629],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009310846,0.00014480816,0.0002221055,0.000026693036,0.0004831825,0.00006298163,0.00007509616,0.000030137111,0.00050020893],"category_scores_gemma":[0.0000010516648,0.00011044014,0.00007027434,0.000015136417,0.00021512467,0.00011001508,0.000046150348,0.000089788075,0.000058150392],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016629645,0.00055301154,0.013289969,0.0017905213,0.00038963035,0.000033180517,0.028252875,0.000008321387,0.0006611059,0.14997084,0.6275692,0.17731506],"study_design_scores_gemma":[0.00059416896,0.00009234968,0.0024925582,0.000108471126,0.00005220812,0.0000035951073,0.00018034979,0.00018585457,0.00008754589,0.0091896355,0.98673534,0.0002779342],"about_ca_topic_score_codex":0.0005109518,"about_ca_topic_score_gemma":0.0007562764,"teacher_disagreement_score":0.35916615,"about_ca_system_score_codex":0.00001923696,"about_ca_system_score_gemma":0.000012146049,"threshold_uncertainty_score":0.5476937},"labels":[],"label_agreement":null},{"id":"W2161230574","doi":"10.5539/ies.v8n8p119","title":"‘The Elephant in the Dark Room’: Merrick and Menacing Mimicry in Bernard Pomerance’s The Elephant Man","year":2015,"lang":"en","type":"article","venue":"International Education Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mimicry; Identity (music); Perspective (graphical); Colonialism; Great Rift; Sociology; Space (punctuation); Face (sociological concept); Aesthetics; Psychoanalysis; Epistemology; Philosophy; Art; History; Psychology; Archaeology; Ecology; Biology; Social science; Visual arts; Linguistics","score_opus":0.07322459685291999,"score_gpt":0.34252064783050273,"score_spread":0.26929605097758275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2161230574","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89392287,0.024348201,0.0000012091617,0.047312744,0.0039949045,0.00026166634,0.000010656479,0.000015086739,0.030132666],"genre_scores_gemma":[0.9884368,0.004271925,0.000013279228,0.0015187172,0.0008699324,0.0001996386,0.0000051548786,0.000007599466,0.004676933],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902666,0.00008108846,0.00028780728,0.00015007626,0.0002783622,0.00017598229],"domain_scores_gemma":[0.999117,0.00029036377,0.00009987997,0.00013668615,0.00033813718,0.000017910532],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007121753,0.00013007369,0.00013423151,0.000090866044,0.0004921668,0.00016911673,0.00028312247,0.000013638761,0.00001375583],"category_scores_gemma":[0.00012361592,0.00006212365,0.00003294971,0.000059834154,0.00025198373,0.00021559554,0.000088563356,0.00014863732,0.000021515396],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014101915,0.00023784825,0.034087818,0.000028460867,0.0003746592,0.0000043367695,0.6236855,0.000039197435,0.00001800762,0.05325362,0.25880444,0.029325124],"study_design_scores_gemma":[0.0002621528,0.000031467876,0.0143581135,0.00007021056,0.000015184793,0.000010235951,0.2422804,0.000028683982,0.000011858838,0.0068874303,0.7359415,0.00010275917],"about_ca_topic_score_codex":0.0008935372,"about_ca_topic_score_gemma":0.014399855,"teacher_disagreement_score":0.47713706,"about_ca_system_score_codex":0.00010224276,"about_ca_system_score_gemma":0.00007335485,"threshold_uncertainty_score":0.8035457},"labels":[],"label_agreement":null},{"id":"W2161346282","doi":"10.3138/ctr.163.001b","title":"Where Is Theatre Going?","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Performance art; Art; History; Aesthetics; Art history","score_opus":0.044138390511360225,"score_gpt":0.2481351089990218,"score_spread":0.20399671848766157,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2161346282","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001523962,0.38245314,1.8508753e-7,0.010237501,0.00041799515,0.00021865172,0.00010287195,0.00004525717,0.606372],"genre_scores_gemma":[0.21147123,0.6187468,0.000078776415,0.07671456,0.0062301746,0.00020847692,0.0001120742,0.00020147272,0.08623645],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883145,0.000049411752,0.0002598185,0.00022704882,0.00016394259,0.00046834382],"domain_scores_gemma":[0.9988803,0.000021481292,0.000054446144,0.00040797942,0.000110383895,0.0005254095],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025723307,0.00023515354,0.00040789257,0.00008922546,0.00033423927,0.00009188631,0.00025407976,0.000040283037,0.006292284],"category_scores_gemma":[0.0000063582743,0.00017285894,0.00015851758,0.00007800012,0.00014842139,0.00019855596,0.000026807169,0.00014981699,0.0037910494],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000021177752,0.0000063365846,0.0004460151,0.000814357,0.000049373844,0.000013157114,0.007418728,1.03633404e-7,7.638574e-8,0.0059503815,0.8402667,0.14503267],"study_design_scores_gemma":[0.000118405835,0.000050872408,0.0000068399004,0.0020506112,0.0000920775,0.000013041703,0.0013946829,0.0000024500491,0.0000015093347,0.00057760393,0.9954535,0.0002384279],"about_ca_topic_score_codex":0.039684705,"about_ca_topic_score_gemma":0.517305,"teacher_disagreement_score":0.5201355,"about_ca_system_score_codex":0.0001423129,"about_ca_system_score_gemma":0.00042779848,"threshold_uncertainty_score":0.9969846},"labels":[],"label_agreement":null},{"id":"W216139994","doi":"","title":"Creating Frames: Contemporary Indigenous Theatre, 1967-1990","year":2008,"lang":"en","type":"article","venue":"Australasian drama studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Politics; Dance; Drama; Sociology; Political theatre; Media studies; White (mutation); Mainstream; Project commissioning; Subject (documents); History; Publishing; Aesthetics; Visual arts; Art; Literature; Law; Political science","score_opus":0.07095112686190422,"score_gpt":0.2782710163210379,"score_spread":0.20731988945913368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W216139994","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58955705,0.008395938,0.0000012335774,0.00061212684,0.0007229716,0.0003031459,0.000050446295,0.00026965927,0.40008742],"genre_scores_gemma":[0.97538656,0.0014521092,0.00007511596,0.0003565918,0.0015041073,0.00006971797,0.000014514652,0.000038710477,0.021102546],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982706,0.000049843547,0.00046386398,0.00036053784,0.000277924,0.00057725323],"domain_scores_gemma":[0.9991275,0.00017392101,0.00015370936,0.0003103803,0.00014796216,0.00008652771],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00013329464,0.00039595496,0.00059958437,0.00013909084,0.0025435523,0.000096356904,0.0002278551,0.000071242524,0.00036152048],"category_scores_gemma":[0.000028350267,0.00030077517,0.00018368263,0.000082420025,0.0012212513,0.00043086434,0.000120739525,0.00030601685,0.0003856875],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063910935,0.00018449323,0.05951006,0.00017750036,0.0012885536,0.00022734172,0.83857554,0.000006120911,0.000013662646,0.008533633,0.08497389,0.006445287],"study_design_scores_gemma":[0.0009428567,0.0006302849,0.008895804,0.00024672967,0.00010868276,0.000078344645,0.27898324,0.0000028559318,0.00025657695,0.0019579271,0.7070669,0.0008298277],"about_ca_topic_score_codex":0.00056943984,"about_ca_topic_score_gemma":0.0005982689,"teacher_disagreement_score":0.62209296,"about_ca_system_score_codex":0.000053773183,"about_ca_system_score_gemma":0.00008064884,"threshold_uncertainty_score":0.99994445},"labels":[],"label_agreement":null},{"id":"W2163236704","doi":"10.7202/1007840ar","title":"Le critique et la scène","year":2012,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.021157221702120907,"score_gpt":0.26819961866467307,"score_spread":0.24704239696255215,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2163236704","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032163493,0.014525487,0.000024174164,0.075583994,0.003404175,0.00061512896,0.0007310329,0.0004388449,0.87251365],"genre_scores_gemma":[0.7863764,0.009349875,0.0002672341,0.0018674745,0.004569056,0.0001342974,0.000093323964,0.00019185859,0.19715044],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9952007,0.0006126095,0.0010140794,0.00071690505,0.00045798646,0.0019977286],"domain_scores_gemma":[0.9973583,0.00062684703,0.0003318188,0.00081524724,0.00026805693,0.0005997099],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011765661,0.0010758835,0.0011446528,0.00028679954,0.0014746137,0.0005196413,0.00070914224,0.0004997433,0.00093988504],"category_scores_gemma":[0.00010516837,0.0010880642,0.00078841246,0.0002009663,0.0018175843,0.002791711,0.00025779888,0.0011788583,0.00065789977],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013577186,0.0010889239,0.000900116,0.0012294627,0.0004446864,0.00006790968,0.038190648,0.00003043933,0.000075697426,0.8898972,0.06270044,0.0052387044],"study_design_scores_gemma":[0.00034701053,0.000335778,0.0022725144,0.0013483486,0.00040095858,0.000249675,0.0045602913,0.000016620737,0.000247696,0.0019380942,0.986979,0.001304003],"about_ca_topic_score_codex":0.0046357573,"about_ca_topic_score_gemma":0.07587063,"teacher_disagreement_score":0.92427856,"about_ca_system_score_codex":0.00013244644,"about_ca_system_score_gemma":0.00054783275,"threshold_uncertainty_score":0.9999734},"labels":[],"label_agreement":null},{"id":"W2163279011","doi":"10.3138/md.55.3.386","title":"A London Legacy of Ira Aldridge: Henry Francis Downing and the Paratheatrical Poetics of Plot and Cast(e)","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Hegemony; Plot (graphics); Capitalism; History; Atlantic World; Poetics; Diaspora; Capital (architecture); Empire; Literature; Art; Art history; Political science; Law; Poetry; Ancient history; Politics","score_opus":0.023968034043781977,"score_gpt":0.23242866153872332,"score_spread":0.20846062749494135,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2163279011","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9756533,0.012604547,0.00012467979,0.00032856577,0.00011947273,0.0001189262,0.00001848996,0.000013172157,0.011018877],"genre_scores_gemma":[0.99884987,0.00031090048,0.00004006795,0.00008346171,0.00029919978,0.000006356976,0.0000012896455,0.000010356228,0.00039851177],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937487,0.000031792966,0.00019912138,0.000086148044,0.0001216519,0.00018642657],"domain_scores_gemma":[0.9995915,0.00012736797,0.0000718017,0.00012806365,0.00004559194,0.00003561575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018204207,0.00010857513,0.00026167033,0.000039104143,0.00019585095,0.000041680694,0.000060130584,0.000029489896,0.000052956962],"category_scores_gemma":[0.0000107846445,0.00006468835,0.000047308513,0.000020182837,0.0005672362,0.0002060345,0.00007271103,0.000096852986,0.0000031117727],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006717514,0.00023601242,0.031505436,0.00036433025,0.0002764028,0.0000022473969,0.7059975,0.000032920252,0.00023924802,0.19483632,0.0013065924,0.064531185],"study_design_scores_gemma":[0.031198448,0.0029300714,0.087854184,0.0008171649,0.0025597524,0.00024393648,0.113645,0.033444155,0.007714829,0.06330757,0.65297,0.0033148604],"about_ca_topic_score_codex":0.00031782826,"about_ca_topic_score_gemma":0.00009028353,"teacher_disagreement_score":0.6516634,"about_ca_system_score_codex":0.0000040899304,"about_ca_system_score_gemma":0.0000063952334,"threshold_uncertainty_score":0.26379144},"labels":[],"label_agreement":null},{"id":"W2164279955","doi":"10.1002/ace.20018","title":"Embodied knowledge and decolonization: Walking with theater's powerful and risky pedagogy","year":2012,"lang":"en","type":"article","venue":"New Directions for Adult and Continuing Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta; University of British Columbia","funders":"","keywords":"Embodied cognition; Decolonization; Pedagogy; Sociology; Psychology; Aesthetics; Epistemology; Political science; Art; Politics","score_opus":0.01053876412082662,"score_gpt":0.27122586781233715,"score_spread":0.26068710369151055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2164279955","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94729006,0.0071488866,0.0000770541,0.0006000504,0.0010077037,0.00026928,0.0000064298492,0.000062840074,0.04353772],"genre_scores_gemma":[0.985177,0.0006778175,0.00020593655,0.00006195399,0.0011730805,0.000048645423,0.00001204802,0.000012229351,0.012631296],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995998,0.000012836274,0.00009398826,0.000118483295,0.000029194163,0.00014566282],"domain_scores_gemma":[0.99961907,0.00005843013,0.00004424771,0.00005454794,0.00016259133,0.00006114577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006933478,0.00009840924,0.000106905594,0.00007243254,0.00046940745,0.0001156026,0.000017569824,0.000024363751,0.000042224645],"category_scores_gemma":[0.000018571169,0.00007704869,0.000013701049,0.00002818493,0.000076892684,0.0003187445,0.000012385535,0.000043627973,0.0000023967466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046349178,0.00008173729,0.049429514,0.0000660978,0.000038252976,1.9764961e-8,0.23039396,1.059183e-7,0.000012316564,0.02221954,0.005005229,0.6927069],"study_design_scores_gemma":[0.000824185,0.0002321313,0.055966586,0.00023283638,0.00022145723,0.000021973281,0.054879136,0.000044246157,0.00011901678,0.00086310355,0.8862782,0.0003171132],"about_ca_topic_score_codex":0.000239006,"about_ca_topic_score_gemma":0.0024883668,"teacher_disagreement_score":0.881273,"about_ca_system_score_codex":0.000010923213,"about_ca_system_score_gemma":0.0000251935,"threshold_uncertainty_score":0.361035},"labels":[],"label_agreement":null},{"id":"W2165103312","doi":"10.32316/hse/rhe.v14i1.1935","title":"Kathleen Gallagher. Drama Education in the Lives of Girls:Imagining Possibilities. Toronto: University of Toronto Press,2001. Pp. 144.","year":2002,"lang":"en","type":"article","venue":"Historical Studies in Education / Revue d histoire de l éducation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Sociology; Media studies; Gerontology; Art; Medicine; Visual arts","score_opus":0.07409158055681933,"score_gpt":0.2860479759783982,"score_spread":0.21195639542157887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2165103312","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13508146,0.45715153,0.0000040230952,0.0022780367,0.0140135065,0.00062793476,0.000011659529,0.0000456026,0.39078626],"genre_scores_gemma":[0.93459564,0.020941684,0.00020599316,0.00009751006,0.000695564,0.00005315669,0.000015817486,0.000015488662,0.04337912],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986317,0.00017875612,0.00049462495,0.00027463117,0.00018482716,0.00023544698],"domain_scores_gemma":[0.9987205,0.00018029416,0.00034174928,0.00036164193,0.0003573221,0.000038448237],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003714253,0.00018134684,0.00036244397,0.000038041242,0.00038329832,0.00001637277,0.00030460238,0.000054477598,0.0005651367],"category_scores_gemma":[0.0001589216,0.0001719304,0.000092772694,0.0000660652,0.00039173596,0.000517088,0.00004200235,0.00013661194,0.0000067257056],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025569923,0.0012044928,0.0023266382,0.00037089532,0.000026439353,3.9767943e-7,0.8076717,0.000005920327,0.000011182417,0.005891455,0.14472687,0.037738394],"study_design_scores_gemma":[0.00016208988,0.000092856186,0.0033820157,0.00023301448,0.000048418096,0.0000029887278,0.38137236,0.00003555097,0.0000028102572,0.00040192562,0.6140975,0.00016851471],"about_ca_topic_score_codex":0.10835849,"about_ca_topic_score_gemma":0.13500804,"teacher_disagreement_score":0.79951423,"about_ca_system_score_codex":0.009748249,"about_ca_system_score_gemma":0.0002621002,"threshold_uncertainty_score":0.9940531},"labels":[],"label_agreement":null},{"id":"W2165389876","doi":"10.3138/md.52.4.389","title":"When the Voice Itself Is Image","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Articulation (sociology); Space (punctuation); Linguistics; Semiotics; Creativity; Character (mathematics); Resistance (ecology); Sound (geography); Dimension (graph theory); Identification (biology); Aesthetics; Singing; Image (mathematics); Art; Communication; Psychology; Computer science; Acoustics; Artificial intelligence; Philosophy; Mathematics; Social psychology","score_opus":0.022041981012337838,"score_gpt":0.23060189599770795,"score_spread":0.2085599149853701,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2165389876","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12308086,0.0013232765,0.00012731549,0.031280518,0.00036051462,0.0001632868,0.00003492364,0.00015496342,0.8434743],"genre_scores_gemma":[0.94845027,0.000051158517,0.000037999784,0.0054201903,0.0008718196,0.000005522345,0.0000025886693,0.000008390586,0.04515204],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994496,0.000012359956,0.00010375954,0.000118171636,0.0001191084,0.00019698993],"domain_scores_gemma":[0.99966353,0.000022018914,0.000028152488,0.00021543477,0.000049295155,0.00002156752],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000068971916,0.000105441315,0.00010174833,0.000020646175,0.0005468441,0.00019466407,0.00017062995,0.000017988375,0.0012546887],"category_scores_gemma":[0.0000032423463,0.0000619141,0.00006303568,0.000010987213,0.000114924864,0.00020113577,0.00002679042,0.00010124093,0.00070387655],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029368688,0.00007136824,0.000088877176,0.000013284594,0.00005896821,0.0000045362744,0.52645993,0.0000032301791,0.0001533045,0.044558745,0.3290875,0.09947088],"study_design_scores_gemma":[0.00014567003,0.00006503857,0.00041787932,0.000009637216,0.000021625568,0.0000015618457,0.0019581649,0.0004915883,0.00017466239,0.046259742,0.9503288,0.0001255809],"about_ca_topic_score_codex":0.000099279154,"about_ca_topic_score_gemma":0.00026184673,"teacher_disagreement_score":0.8253694,"about_ca_system_score_codex":0.000008771351,"about_ca_system_score_gemma":0.000008099006,"threshold_uncertainty_score":0.9996583},"labels":[],"label_agreement":null},{"id":"W2165455354","doi":"10.3138/md.51.1.104","title":"From Coward and Rattigan to Osborne: Or the Enduring Importance of <i>Look Back in Anger</i>","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Anger; Drama; Psychoanalysis; Performance art; Psychology; Articulation (sociology); Perception; Sociology; Art; Literature; History; Art history; Law; Social psychology; Political science","score_opus":0.03991697235235195,"score_gpt":0.2300956551800027,"score_spread":0.19017868282765074,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2165455354","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98292476,0.0006909842,0.0000059519734,0.00089723524,0.000105526386,0.00013018986,0.000046652913,0.00001463871,0.015184033],"genre_scores_gemma":[0.9941972,0.00015363729,0.000044682798,0.000549724,0.00032905155,0.000012866136,0.000003170514,0.000010917173,0.004698769],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994132,0.000014502884,0.00017587078,0.00014438327,0.00009277381,0.00015928404],"domain_scores_gemma":[0.99968094,0.000053402877,0.000040725336,0.00017121034,0.000024879155,0.000028843397],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000057999918,0.00010218844,0.00018135936,0.000030936735,0.00017477262,0.000027000455,0.000104047394,0.00001991567,0.00035961083],"category_scores_gemma":[0.0000060682087,0.000056092576,0.000026559379,0.000026516156,0.0001812287,0.0001107075,0.000063365995,0.0000792333,0.0000296586],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038136373,0.00011654858,0.1771586,0.000091289636,0.00011016061,0.000051200055,0.7865929,0.00006161398,0.000798342,0.0016810674,0.020735154,0.0122217415],"study_design_scores_gemma":[0.00389446,0.0006896089,0.19143197,0.0005642166,0.00009924784,0.000033611588,0.038137715,0.0009926069,0.010998715,0.009595667,0.7421634,0.00139878],"about_ca_topic_score_codex":0.00071215746,"about_ca_topic_score_gemma":0.00908565,"teacher_disagreement_score":0.7484552,"about_ca_system_score_codex":0.000008849015,"about_ca_system_score_gemma":0.000017378552,"threshold_uncertainty_score":0.5070006},"labels":[],"label_agreement":null},{"id":"W2165621295","doi":"10.3138/md.44.4.383","title":"Performance and Madness: Modes of Correction and the Theatrical Ruse","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Presupposition; Witness; Dilemma; Dysfunctional family; Comedy; Aesthetics; Psychoanalysis; Psychology; Literature; Art; Philosophy; Epistemology; Psychotherapist; Linguistics","score_opus":0.019304938741971173,"score_gpt":0.21270767540898444,"score_spread":0.19340273666701327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2165621295","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9342856,0.0010002219,0.000039340273,0.00036877661,0.0001606799,0.00008620644,0.0000029046807,0.000022360222,0.06403391],"genre_scores_gemma":[0.9932114,0.0019978099,0.000006745009,0.000076248514,0.00019426987,0.00001010288,8.495889e-7,0.0000065442287,0.0044960533],"study_design_codex":"design_other","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.9995926,0.00001852858,0.000110933055,0.00009188252,0.0000792291,0.000106819396],"domain_scores_gemma":[0.9997562,0.00006558949,0.000034212157,0.00009330149,0.000033711945,0.000016952954],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000105524,0.00008054712,0.00013850992,0.000031783155,0.0003314912,0.000050161627,0.000046710124,0.00001957321,0.000052550604],"category_scores_gemma":[0.0000049798596,0.00004534158,0.000023928507,0.000018129615,0.00045586925,0.00015133718,0.00003948224,0.0000695641,0.0000037774694],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017864261,0.00014561632,0.058158837,0.00018176953,0.00021523803,0.0000029979483,0.306005,0.00030449836,0.000113781236,0.06271307,0.0034801827,0.56689256],"study_design_scores_gemma":[0.0073015755,0.00077805476,0.030108262,0.00024061595,0.00041916422,0.00013889064,0.031136282,0.69323015,0.00056534563,0.023649115,0.21156377,0.0008687788],"about_ca_topic_score_codex":0.0002027585,"about_ca_topic_score_gemma":0.00019017812,"teacher_disagreement_score":0.69292563,"about_ca_system_score_codex":0.000004492141,"about_ca_system_score_gemma":0.0000050017757,"threshold_uncertainty_score":0.25495958},"labels":[],"label_agreement":null},{"id":"W2166554332","doi":"10.3138/md.44.4.437","title":"The (Un)Settled Space of Richard Maxwell's <i>House</i>","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art history; Art; Downtown; Style (visual arts); Performance art; Theatre director; Visual arts; History; Archaeology","score_opus":0.01795158790887654,"score_gpt":0.21023737920394003,"score_spread":0.19228579129506349,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2166554332","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56570125,0.004252895,0.00017654862,0.0060058846,0.0008096008,0.00022978528,0.00003160469,0.00022915391,0.42256328],"genre_scores_gemma":[0.9746091,0.000765373,0.000016164411,0.00019809698,0.00045432214,0.000011822177,0.0000028988004,0.000023848475,0.023918377],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930793,0.00002103174,0.00016130437,0.0001162653,0.00015473257,0.00023872741],"domain_scores_gemma":[0.9995195,0.00006676482,0.00006712759,0.00025258536,0.00006656264,0.000027456344],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000116357056,0.00011651985,0.00015317497,0.000026383348,0.00058498466,0.000074400676,0.00017831546,0.000023961693,0.00036701525],"category_scores_gemma":[0.0000063511966,0.00007247372,0.00008236555,0.000028435483,0.00024084019,0.00009996065,0.000056091725,0.000091094575,0.0001372116],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005384054,0.00035112666,0.005443828,0.000108120585,0.00062302884,0.000034084904,0.27805597,0.00015559583,0.0011355215,0.3228661,0.12862091,0.26206732],"study_design_scores_gemma":[0.0002745351,0.00006687356,0.00019583294,0.000013552738,0.000027271575,0.0000035812063,0.0022204947,0.00033758898,0.0005959596,0.010943303,0.9851943,0.00012666441],"about_ca_topic_score_codex":0.00011265715,"about_ca_topic_score_gemma":0.0007447949,"teacher_disagreement_score":0.85657346,"about_ca_system_score_codex":0.000009414243,"about_ca_system_score_gemma":0.000010822776,"threshold_uncertainty_score":0.44992882},"labels":[],"label_agreement":null},{"id":"W2167156621","doi":"10.1017/s0040557414000106","title":"Theatre &amp; Mind. By Bruce McConachie. Theatre&amp;. New York: Palgrave Macmillan, 2013; pp. viii + 82. $11 paper.","year":2014,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"History; Performance art; Art history; Environmental ethics; Philosophy","score_opus":0.0428718520516493,"score_gpt":0.24517699536292323,"score_spread":0.20230514331127392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2167156621","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16262788,0.023769544,0.00015433267,0.0053106495,0.0037759,0.001156231,0.002763238,0.00074858963,0.79969364],"genre_scores_gemma":[0.96909726,0.0019992203,0.00015581149,0.0011377034,0.0032154168,0.00003936362,0.0012338283,0.00018530416,0.022936108],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99519306,0.00083964167,0.00089873583,0.0009824022,0.0006771593,0.0014090247],"domain_scores_gemma":[0.99668044,0.0009213096,0.00028405548,0.0014881712,0.00018526083,0.00044079355],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0014113898,0.0010290152,0.0011516861,0.00021307604,0.0012775033,0.00037949282,0.0009028628,0.00027052948,0.008894931],"category_scores_gemma":[0.000032454547,0.00077550166,0.00044246332,0.00024554066,0.000654068,0.0001630285,0.0002569041,0.00056114455,0.0047064596],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00057547685,0.00015515609,0.033164874,0.00011936208,0.0006103309,0.0000046666614,0.0292589,0.000021652393,0.00035615836,0.00903831,0.7218678,0.2048273],"study_design_scores_gemma":[0.0012098876,0.00022198785,0.003244482,0.00010762704,0.00014282683,0.000017580129,0.001382144,0.000016254926,0.000090198955,0.0051384126,0.98733526,0.0010933233],"about_ca_topic_score_codex":0.047264744,"about_ca_topic_score_gemma":0.28865394,"teacher_disagreement_score":0.8064694,"about_ca_system_score_codex":0.00007312937,"about_ca_system_score_gemma":0.00012538543,"threshold_uncertainty_score":0.9994696},"labels":[],"label_agreement":null},{"id":"W2169950322","doi":"10.1017/s0040557411000093","title":"I nheriting the W ind : A P ersonal V iew of the C urrent C risis in T heatre H igher E ducation in N ew Y ork","year":2011,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Siege; State (computer science); Quarter (Canadian coin); Dance; Political science; Scope (computer science); History; Economic history; Media studies; Art; Sociology; Visual arts; Ancient history","score_opus":0.10043649364051643,"score_gpt":0.24321418666514485,"score_spread":0.14277769302462842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2169950322","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9228933,0.0013015193,4.0591013e-7,0.00034660462,0.00047502355,0.00020360427,0.000051539333,0.000012347749,0.0747157],"genre_scores_gemma":[0.99912244,0.00012614585,0.0000041485137,0.000077477096,0.00018120943,0.000023317449,0.000007702176,0.000013014729,0.00044453994],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99878246,0.00037214888,0.00031085254,0.00014676356,0.00015513411,0.00023264303],"domain_scores_gemma":[0.99935365,0.00023092327,0.00009364711,0.0002542916,0.000050085368,0.000017387954],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009830697,0.00014198688,0.0002161038,0.000067283414,0.00020390203,0.000024431989,0.00024689367,0.00003304509,0.0010222895],"category_scores_gemma":[0.000019634504,0.00007578559,0.00007424659,0.00015759397,0.00022171756,0.00010977391,0.0000753679,0.00021051009,0.00002241397],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010571847,0.00018833685,0.74801975,0.00005473163,0.000043522457,7.6682284e-7,0.22343351,0.0000047135654,0.0000075799408,0.0028634514,0.0014088595,0.023869038],"study_design_scores_gemma":[0.00031490723,0.000044220942,0.97108823,0.00019818952,0.000017831393,0.0000010247445,0.015799949,0.000009754515,0.000081056925,0.0011454247,0.01114878,0.0001506525],"about_ca_topic_score_codex":0.015332348,"about_ca_topic_score_gemma":0.22266571,"teacher_disagreement_score":0.22306843,"about_ca_system_score_codex":0.000032158187,"about_ca_system_score_gemma":0.000049325507,"threshold_uncertainty_score":0.9998909},"labels":[],"label_agreement":null},{"id":"W2170480557","doi":"10.3138/md.45.3.378","title":"Masked Discourse: Dramatic Representation and Generic Transformation in Wole Soyinka's <i>A Dance of the Forests</i>","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Criticism; Diaspora; Dance; Indigenous; Representation (politics); Literature; Independence (probability theory); Sociology; Colonialism; Aesthetics; History; Art; Gender studies; Politics; Political science; Law","score_opus":0.030746971990524147,"score_gpt":0.23764305283543324,"score_spread":0.2068960808449091,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2170480557","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9775243,0.0006553219,0.00018173835,0.0011755374,0.00013416153,0.00019829608,0.000011703063,0.000016019372,0.020102954],"genre_scores_gemma":[0.9979081,0.00012220269,0.000016477408,0.00007506971,0.000071652285,0.000023300701,0.0000032955656,0.0000075113503,0.0017723847],"study_design_codex":"qualitative","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.9994415,0.000024699068,0.00019713746,0.00009383589,0.00012130049,0.00012152112],"domain_scores_gemma":[0.999737,0.000020289359,0.000064689564,0.00014479685,0.000020548632,0.000012634971],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000056718505,0.00008115112,0.00012349758,0.000040420648,0.00016722544,0.000044464145,0.000081539554,0.000019554936,0.00008911003],"category_scores_gemma":[0.0000040531945,0.00005437563,0.000038107988,0.00004525696,0.00017392477,0.00030283997,0.000019258554,0.00006447612,0.000006426276],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004214877,0.00017762909,0.026677921,0.0003223068,0.000053104155,0.0000017343467,0.84253967,0.0016128035,0.0005928772,0.025708381,0.0018839877,0.10038745],"study_design_scores_gemma":[0.0065830457,0.00044362206,0.16988018,0.00098,0.00029904456,0.000029294977,0.0707553,0.6177322,0.007395638,0.089620925,0.03478547,0.0014952277],"about_ca_topic_score_codex":0.00011434513,"about_ca_topic_score_gemma":0.0031640967,"teacher_disagreement_score":0.77178437,"about_ca_system_score_codex":0.000010951173,"about_ca_system_score_gemma":0.0000036421818,"threshold_uncertainty_score":0.22173738},"labels":[],"label_agreement":null},{"id":"W2171705729","doi":"","title":"The Collapse of Heterosexism and Phallogocentrism in Caryl Churchill’s Cloud Nine","year":2013,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Heterosexism; Performativity; Performative utterance; Identity (music); Feminism; Gender studies; Subject (documents); Sociology; Aesthetics; Philosophy; Homosexuality","score_opus":0.011670769911828189,"score_gpt":0.2534862232408666,"score_spread":0.24181545332903842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171705729","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80717766,0.17618583,2.223584e-8,0.0005062511,0.0003325254,0.00017146427,0.000021446349,0.000007967461,0.015596838],"genre_scores_gemma":[0.9831694,0.012780139,0.0000070595747,0.00019727134,0.00035760444,0.000032051827,0.0000044914545,0.000006323946,0.00344568],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993723,0.000035135385,0.00020038828,0.0001313265,0.000067652465,0.00019320546],"domain_scores_gemma":[0.9996497,0.00013587387,0.00004308923,0.000107086154,0.00004591995,0.000018299083],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013737989,0.00012821598,0.00024018377,0.000064984604,0.00019958014,0.00007264762,0.00006128689,0.000030016075,0.000031609954],"category_scores_gemma":[0.00002417554,0.00007120773,0.000023264833,0.00005627826,0.00047569114,0.0001327578,0.000096896256,0.00014979242,0.0000013511308],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042337826,0.00003268416,0.006716177,0.00019824924,0.00009858512,0.0000218608,0.95857847,3.4451807e-7,0.00007928833,0.015779547,0.008824772,0.009627679],"study_design_scores_gemma":[0.0040720263,0.0006531481,0.03551932,0.0015854087,0.00006551467,0.00003368499,0.5820512,0.000030608113,0.000283774,0.009282598,0.36562732,0.0007953667],"about_ca_topic_score_codex":0.00024392603,"about_ca_topic_score_gemma":0.0025035925,"teacher_disagreement_score":0.37652725,"about_ca_system_score_codex":0.0000083369305,"about_ca_system_score_gemma":0.0000035330354,"threshold_uncertainty_score":0.2903767},"labels":[],"label_agreement":null},{"id":"W2171773032","doi":"10.33178/scenario.3.2.4","title":"Exploring Drama as an Additional Language through Research-based Theatre","year":2009,"lang":"en","type":"article","venue":"Scenario A journal for performative teaching learning research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Negotiation; Pedagogy; Psychology; Mathematics education; Sociology; Visual arts; Art; Social science","score_opus":0.3268900817483176,"score_gpt":0.4404580684682983,"score_spread":0.11356798671998075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171773032","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8274392,0.00038941464,0.00011253546,0.005049162,0.0005194023,0.00062397454,0.00014509044,0.00020097541,0.16552025],"genre_scores_gemma":[0.98867387,0.000109537,0.0007705355,0.00021167035,0.0036326193,0.00012037736,0.00022029527,0.00004889753,0.0062121977],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.993905,0.0021578958,0.0004894011,0.00036233928,0.0016767246,0.0014086188],"domain_scores_gemma":[0.99642414,0.0017728449,0.00014409593,0.00028156085,0.0011211352,0.00025620472],"candidate_categories":["sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.012122021,0.0002916917,0.0003525486,0.0008180642,0.018359838,0.0014723471,0.00061902683,0.00007545801,0.005076931],"category_scores_gemma":[0.001108616,0.00022299013,0.00022811172,0.00018496145,0.00085729855,0.0034650115,0.00009098246,0.007711962,0.00037506863],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00084800756,0.00038377455,0.00014730774,0.00009332447,0.00010367995,0.000037037174,0.7880782,0.0007282431,0.00016082353,0.05385127,0.03466163,0.120906696],"study_design_scores_gemma":[0.001006333,0.005086528,0.00027013978,0.00062064343,0.00001431433,0.000054987588,0.3060472,0.0026526595,0.00016997161,0.013460401,0.67026156,0.00035527596],"about_ca_topic_score_codex":0.00032653566,"about_ca_topic_score_gemma":0.00016011506,"teacher_disagreement_score":0.6355999,"about_ca_system_score_codex":0.00037652111,"about_ca_system_score_gemma":0.0003865985,"threshold_uncertainty_score":0.99956423},"labels":[],"label_agreement":null},{"id":"W2172213424","doi":"10.1017/s0040557401003830","title":"Good Intentions and Fearsome Prejudice: New York's 1876 Act to Prevent and Punish Wrongs to Children","year":2001,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cruelty; Prejudice (legal term); Politics; State (computer science); Criminology; Quarter (Canadian coin); Variety (cybernetics); Law; Political science; History; Psychology; Media studies; Sociology; Archaeology","score_opus":0.03740034104861287,"score_gpt":0.25015385532040735,"score_spread":0.21275351427179448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2172213424","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93203604,0.001002624,0.000008348928,0.0019491597,0.00023713436,0.00048482599,0.00015137887,0.00009084065,0.06403963],"genre_scores_gemma":[0.9807012,0.00041696682,0.00003532959,0.0003623475,0.00046109522,0.000017830309,0.000032289532,0.000024268944,0.01794864],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9989457,0.00008865649,0.00019180057,0.00028476957,0.00016062548,0.00032843545],"domain_scores_gemma":[0.9993835,0.00007730116,0.00003440702,0.00023039227,0.00005122242,0.00022319448],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039224597,0.00020292644,0.00026115155,0.00011340416,0.00043603446,0.00021634162,0.00013438499,0.000035389658,0.000569249],"category_scores_gemma":[0.000017334953,0.00016500382,0.00004413478,0.00009037439,0.000097079675,0.0002312744,0.0001608459,0.000116958734,0.00011303105],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045775346,0.00039622345,0.569283,0.00004956052,0.0006185875,0.0000056530143,0.09871264,0.000012384891,0.00010109496,0.0063702757,0.107411705,0.2165811],"study_design_scores_gemma":[0.00044083307,0.0004448384,0.7421692,0.00008990061,0.00005929487,0.000017318534,0.0015801095,0.0000020011175,0.00003485888,0.00044124897,0.25436512,0.0003552922],"about_ca_topic_score_codex":0.008387023,"about_ca_topic_score_gemma":0.05440826,"teacher_disagreement_score":0.21622582,"about_ca_system_score_codex":0.000018559092,"about_ca_system_score_gemma":0.000030626674,"threshold_uncertainty_score":0.9982162},"labels":[],"label_agreement":null},{"id":"W2172623743","doi":"","title":"Why Drama for Children","year":2007,"lang":"fr","type":"article","venue":"Canadian Children's Literature / Littérature canadienne pour la jeunesse","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Humanities; Art; Sociology; Visual arts","score_opus":0.005297533012334352,"score_gpt":0.1922309419597049,"score_spread":0.18693340894737054,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2172623743","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20105754,0.34891006,0.00013582471,0.3212293,0.014790966,0.0044883946,0.05390322,0.00041382495,0.055070885],"genre_scores_gemma":[0.83452594,0.0032581415,0.00071926665,0.022990348,0.036549203,0.00017844845,0.0070835254,0.0005513177,0.0941438],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9929335,0.00018552982,0.0009833197,0.0014293158,0.0003192946,0.004149018],"domain_scores_gemma":[0.9939434,0.00042857372,0.00033971306,0.0011111067,0.001129465,0.0030477275],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.0012591814,0.0014922026,0.0011281417,0.0012254327,0.0027008278,0.0018231903,0.0009895556,0.0014052808,0.0006680591],"category_scores_gemma":[0.00021929864,0.0014584515,0.0007371472,0.0009085377,0.000977185,0.00096126663,0.00008532229,0.001947006,0.000095205505],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013736043,0.00011043347,0.0047320626,0.0002955533,0.00084365817,0.00030460523,0.026716001,0.0000079731735,0.000008304417,0.6601296,0.2940075,0.012706956],"study_design_scores_gemma":[0.0016019621,0.00021951529,0.018887812,0.0011767148,0.00047098214,0.00073993375,0.0018676042,0.00000811124,0.00006786782,0.0027555684,0.9704774,0.0017265223],"about_ca_topic_score_codex":0.3265817,"about_ca_topic_score_gemma":0.9742498,"teacher_disagreement_score":0.6764699,"about_ca_system_score_codex":0.0010176812,"about_ca_system_score_gemma":0.0013008415,"threshold_uncertainty_score":0.9998911},"labels":[],"label_agreement":null},{"id":"W2174979564","doi":"10.1080/13569783.2014.928003","title":"New practices, new methods, new voices","year":2014,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Brandon University","funders":"","keywords":"Sociology; Citizen journalism; Drama; Multimodality; Gratitude; Narrative; European commission; Literacy; The arts; Library science; Multilingualism; Media studies; Visual arts; Pedagogy; Art; Political science; Psychology; Computer science; World Wide Web","score_opus":0.08737770760899287,"score_gpt":0.4001675780690847,"score_spread":0.3127898704600918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2174979564","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39713836,0.012510672,0.00038283228,0.028183557,0.001898693,0.00064087095,0.0000017648262,0.000028477218,0.5592148],"genre_scores_gemma":[0.9666261,0.008955107,0.0032715413,0.00042311026,0.007948152,0.0000063464277,0.0000019590661,0.000024016792,0.012743655],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99838257,0.00023687052,0.0004402153,0.00013805529,0.0004392557,0.0003630254],"domain_scores_gemma":[0.9979786,0.0009401206,0.00042255974,0.00026485702,0.00016784234,0.00022601544],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004122109,0.0001572618,0.00026035678,0.00033656086,0.00055663846,0.00026705148,0.00045012595,0.00005109539,0.00043911993],"category_scores_gemma":[0.000056381505,0.000094774645,0.00004395282,0.00020932674,0.00018923529,0.00061293173,0.000080954254,0.0007678441,0.000061771374],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036825537,0.000052149528,0.0005616851,0.00006247076,0.000040103707,1.340399e-7,0.050073724,0.000025660056,0.00008969249,0.016578704,0.06296937,0.86917806],"study_design_scores_gemma":[0.00046938538,0.00035197692,0.0010009105,0.0001577569,0.000033885888,0.000022777323,0.0148525685,0.00007191838,0.0006568909,0.023633454,0.95861876,0.00012971475],"about_ca_topic_score_codex":0.0019059386,"about_ca_topic_score_gemma":0.0007114939,"teacher_disagreement_score":0.8956494,"about_ca_system_score_codex":0.00004821338,"about_ca_system_score_gemma":0.0011437674,"threshold_uncertainty_score":0.48080552},"labels":[],"label_agreement":null},{"id":"W218442662","doi":"10.3138/md.2014-57.2.brev","title":"Reviews","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetics; Politics; Hybridity; Art history; Art; Performance art; Literature; History; Poetry; Law; Political science","score_opus":0.03950205779771616,"score_gpt":0.24186702872363644,"score_spread":0.2023649709259203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W218442662","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031907473,0.0019561863,0.0004240035,0.0007738222,0.0004925801,0.00009675553,0.0000034990842,0.00008682835,0.96425885],"genre_scores_gemma":[0.9606744,0.00018474985,0.00004046386,0.0008471531,0.0011023771,0.000013752735,0.0000027768008,0.000008241162,0.03712606],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962217,0.000017766299,0.00010139825,0.00008461854,0.000052346146,0.00012169497],"domain_scores_gemma":[0.9997835,0.000013337308,0.000024944471,0.00014046095,0.00001781757,0.000019929856],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011106096,0.00006994161,0.00012489618,0.000018614995,0.0002089044,0.000056727644,0.000071528964,0.000011164158,0.0009781051],"category_scores_gemma":[0.000008040984,0.00004866101,0.000048260044,0.0000065773866,0.00006261462,0.000087002205,0.000021604632,0.00004656824,0.0011439315],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009015116,0.00003359713,0.00034986364,0.0000641226,0.000019986906,4.6360324e-7,0.066019215,0.000004854112,0.000039077877,0.25029188,0.0900447,0.5931232],"study_design_scores_gemma":[0.00007361197,0.000028136781,0.00005758707,0.000015298554,0.0000071004697,3.375901e-7,0.00011418174,0.00047448598,0.000018108472,0.009148634,0.9899871,0.00007544034],"about_ca_topic_score_codex":0.000036497146,"about_ca_topic_score_gemma":0.00034133828,"teacher_disagreement_score":0.92876697,"about_ca_system_score_codex":0.0000045321867,"about_ca_system_score_gemma":0.0000022360834,"threshold_uncertainty_score":0.99993515},"labels":[],"label_agreement":null},{"id":"W2186791265","doi":"10.36510/learnland.v2i2.308","title":"Theatre of Possibility: Performative Inquiry as Heuristic, Holistic, and Integrative Learning","year":2009,"lang":"en","type":"article","venue":"LEARNing Landscapes","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Performative utterance; Embodied cognition; Drama; Experiential learning; Dialectic; Pedagogy; Curriculum; Sociology; Aesthetics; Psychology; Epistemology; Art; Visual arts; Philosophy","score_opus":0.023376898990858812,"score_gpt":0.2671076650213091,"score_spread":0.2437307660304503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2186791265","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8423863,0.0008927096,0.0000208703,0.00021808127,0.00013207659,0.00008977533,0.000005364307,0.0000890688,0.15616575],"genre_scores_gemma":[0.99525905,0.00028930622,0.00003770878,0.00008278517,0.00039583273,0.0000043855816,0.000017700178,0.000010958743,0.0039022937],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99901396,0.00014019228,0.0002570293,0.00020120553,0.00015458869,0.00023300339],"domain_scores_gemma":[0.99933624,0.00025055444,0.00014509336,0.00009721725,0.00012152762,0.000049374336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028033342,0.00020281435,0.00034898263,0.00010557624,0.00071726344,0.00009942749,0.00008164645,0.000044834807,0.00042954602],"category_scores_gemma":[0.00014863105,0.00013791253,0.00006698322,0.00004491078,0.00025327687,0.00025730953,0.00004322927,0.0005376404,0.000049448678],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029136008,0.000080946884,0.024165634,0.00011003819,0.00011933502,0.0000060833518,0.8672508,0.00022168855,0.00008748638,0.026614731,0.0004899151,0.08056197],"study_design_scores_gemma":[0.0015267071,0.0057267346,0.033022925,0.0006093962,0.00022542368,0.000031881624,0.7521538,0.00315317,0.0005453475,0.008141969,0.19396964,0.00089301565],"about_ca_topic_score_codex":0.00017983104,"about_ca_topic_score_gemma":0.00016053925,"teacher_disagreement_score":0.19347972,"about_ca_system_score_codex":0.000011960777,"about_ca_system_score_gemma":0.000020870722,"threshold_uncertainty_score":0.562391},"labels":[],"label_agreement":null},{"id":"W2195379150","doi":"","title":"Lonely Stardust: Two Plays, a Speech, and Eight Essays by Andrea Hairston (review)","year":2015,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Honour; Art; Performance art; Art history; Criticism; Foregrounding; Conversation; Tragedy (event); Sociology; History; Humanities; Literature; Philosophy; Linguistics","score_opus":0.030355738819868333,"score_gpt":0.26314874972655017,"score_spread":0.23279301090668184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2195379150","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53509206,0.057150986,0.00013890318,0.0036225934,0.0041838707,0.0010704709,0.00032874642,0.00041482373,0.39799753],"genre_scores_gemma":[0.98186594,0.010841378,0.00010405295,0.00058215106,0.000462072,0.000016084581,0.00003181567,0.000014889062,0.0060815853],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845415,0.000029432347,0.00025534918,0.00038315065,0.00054623117,0.0003316643],"domain_scores_gemma":[0.9992259,0.000025792064,0.00010416893,0.00023302165,0.00024111579,0.0001699604],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008276205,0.00018126657,0.0002297472,0.00013568184,0.00093344494,0.00018843974,0.00020110574,0.000028248347,0.00055759057],"category_scores_gemma":[0.000053638138,0.00013254958,0.000042613738,0.00018655248,0.0007415891,0.0010268488,0.00011430167,0.00014750371,0.00015756574],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006707134,0.00009222673,0.0012061822,0.00014288031,0.000013289317,0.000004926557,0.011114828,0.000012465373,0.00038287527,0.0041091978,0.9085175,0.074336566],"study_design_scores_gemma":[0.00048747947,0.00041998446,0.00027511947,0.00038306823,0.00003022552,0.000019301364,0.0025613657,0.00072396966,0.0007006627,0.0003044024,0.99381864,0.00027580105],"about_ca_topic_score_codex":0.0002438653,"about_ca_topic_score_gemma":0.00013001851,"teacher_disagreement_score":0.44677392,"about_ca_system_score_codex":0.00006544935,"about_ca_system_score_gemma":0.00007527553,"threshold_uncertainty_score":0.71793985},"labels":[],"label_agreement":null},{"id":"W2199004363","doi":"","title":"A “ERA DE OURO” DA LOOSE MOOSE THEATRE COMPANY: A FORMAÇÃO E PERPETUAÇÃO DA COMPANHIA ATRAVÉS DA PEDAGOGIA DE KEITH JOHNSTONE","year":2015,"lang":"pt","type":"article","venue":"PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Mathematics","score_opus":0.07754133372355033,"score_gpt":0.3122173466804248,"score_spread":0.23467601295687446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2199004363","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8990013,0.07026493,0.0006284205,0.004419611,0.0015735661,0.0044374564,0.0016028029,0.0015525727,0.016519338],"genre_scores_gemma":[0.98450947,0.0019231495,0.0017961217,0.0013566341,0.003032003,0.0007548726,0.0008093457,0.00052471395,0.005293682],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.986803,0.0012173626,0.0027884347,0.0022092962,0.0018638571,0.005118048],"domain_scores_gemma":[0.99197614,0.0005362126,0.0013578875,0.0027474817,0.0011155434,0.0022667318],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0032368016,0.002875198,0.0034473462,0.00084703456,0.0031903444,0.018073302,0.0024253782,0.0007062035,0.0011148028],"category_scores_gemma":[0.00021112092,0.0025694384,0.0015616835,0.00093149015,0.002056059,0.0017995926,0.0011170687,0.0029005415,0.0012845502],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0024581666,0.004750113,0.061239317,0.0036675495,0.0032178576,0.00080272567,0.43646687,0.00022839071,0.00011456928,0.067134164,0.058808107,0.36111218],"study_design_scores_gemma":[0.0058927755,0.0028290667,0.0018004858,0.0023116944,0.002269797,0.00078590296,0.11027401,0.0069899773,0.00006827657,0.002634345,0.8604715,0.003672202],"about_ca_topic_score_codex":0.0017012574,"about_ca_topic_score_gemma":0.0010683354,"teacher_disagreement_score":0.80166334,"about_ca_system_score_codex":0.0012135224,"about_ca_system_score_gemma":0.0016604026,"threshold_uncertainty_score":0.9997983},"labels":[],"label_agreement":null},{"id":"W2199444278","doi":"","title":"Introduction: Archiving Performance","year":2015,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Computer science","score_opus":0.04280673198860452,"score_gpt":0.2169626212914562,"score_spread":0.17415588930285167,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2199444278","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21549691,0.00007550942,0.000010014242,0.0022447028,0.0010858704,0.000028317547,8.560649e-7,0.00009136027,0.78096646],"genre_scores_gemma":[0.8939209,0.000023084784,0.000068991176,0.00016273253,0.006575304,0.0000048069305,0.000002338338,0.0000047264707,0.099237144],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999649,0.00000564514,0.00007375568,0.00007751076,0.00007950926,0.00011457906],"domain_scores_gemma":[0.9998064,0.000006190651,0.000013288647,0.00009261648,0.000047373127,0.000034151006],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0000896466,0.000055523124,0.000062548286,0.000031151834,0.00017902695,0.000047849662,0.000052879866,0.0000054106868,0.0022076857],"category_scores_gemma":[0.0000048774714,0.00003896514,0.000017267295,0.000013056094,0.00009288578,0.00023764832,0.000026320937,0.000047868856,0.0009305351],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030270563,0.000030256479,0.0028980137,0.000021901806,0.000030076677,6.5182365e-7,0.07155454,0.000034540262,0.000006567783,0.2214228,0.65642107,0.04754933],"study_design_scores_gemma":[0.000087177905,0.00006871672,0.0002538053,0.0000028882737,0.000003885032,0.0000026934256,0.0044691833,0.00009631388,0.00008024138,0.0003414324,0.9945242,0.00006945779],"about_ca_topic_score_codex":0.00003813857,"about_ca_topic_score_gemma":0.00017388663,"teacher_disagreement_score":0.6817293,"about_ca_system_score_codex":0.000009042407,"about_ca_system_score_gemma":0.00001195304,"threshold_uncertainty_score":0.99984735},"labels":[],"label_agreement":null},{"id":"W2201017305","doi":"10.1017/s0307883315000085","title":"The Plays of Martin Crimp: Making Theatre Strange","year":2015,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Crimp; History; Performance art; Media studies; Art history; Art; Sociology; Materials science; Composite material","score_opus":0.22809758675995553,"score_gpt":0.3995851784643087,"score_spread":0.17148759170435315,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2201017305","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060954068,0.00089036627,0.0000051586926,0.0042593717,0.00085328706,0.00016072378,0.000080694,0.000034334404,0.93276197],"genre_scores_gemma":[0.9930258,0.00015463817,0.000018924231,0.000033126707,0.0015726864,0.000026538732,0.0000105315185,0.000014741417,0.0051430315],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982278,0.00013220099,0.00025153096,0.00014510317,0.00088305294,0.00036034468],"domain_scores_gemma":[0.9988743,0.0003116596,0.000054391003,0.000228145,0.00047031025,0.000061170904],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014958512,0.00010567937,0.0001264296,0.00013802327,0.000586201,0.00017459967,0.0005487816,0.00002661513,0.00090753887],"category_scores_gemma":[0.00003345856,0.00006316083,0.00007796744,0.000053735956,0.00066833,0.0001998014,0.00018631223,0.00027300944,0.00019434498],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009796048,0.00022515906,0.006603379,0.00005805097,0.00048212637,0.000019523372,0.065416165,0.000043306136,0.00012663213,0.6151466,0.12827457,0.18262488],"study_design_scores_gemma":[0.000353049,0.00016938293,0.00016974949,0.00006239901,0.000007621185,0.000005616205,0.019288035,0.00027155635,0.00020795301,0.012719536,0.966654,0.00009107933],"about_ca_topic_score_codex":0.00035492552,"about_ca_topic_score_gemma":0.0017560717,"teacher_disagreement_score":0.9320717,"about_ca_system_score_codex":0.00006946395,"about_ca_system_score_gemma":0.00007969633,"threshold_uncertainty_score":0.99369144},"labels":[],"label_agreement":null},{"id":"W2201918845","doi":"10.3138/tric.36.1.33","title":"“This Beer Festival Has a Theatre Problem!”: The Evolution and Rebranding of the Edmonton International Fringe Theatre Festival","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Rebranding; Premise; Music festival; Performing arts; Visual arts; The arts; Theatre director; Creative Cities; Sociology; Art; History; Media studies; Political science; Law; Business; Marketing; Creativity","score_opus":0.10841130574470685,"score_gpt":0.29393250290054923,"score_spread":0.18552119715584237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2201918845","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26231402,0.0020574653,0.0000012592259,0.021786457,0.0008859171,0.0006808899,0.00011804968,0.000022677901,0.7121332],"genre_scores_gemma":[0.9969747,0.0001023614,0.0000121590465,0.000056003406,0.0006623599,0.00005248118,0.0000049120217,0.000021602084,0.0021134056],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99739194,0.00036347972,0.0003266668,0.0002692472,0.0011088944,0.000539779],"domain_scores_gemma":[0.99883735,0.00041351473,0.000079504825,0.00036257517,0.00019679498,0.00011023122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015332152,0.00019406824,0.0002455572,0.0001526316,0.00081536616,0.00013878879,0.00057829625,0.000043313587,0.00018754859],"category_scores_gemma":[0.000018482748,0.00010387838,0.00005937182,0.00019795753,0.00088136276,0.0002359856,0.00036131902,0.0006184921,0.0000071777113],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016380476,0.00030537407,0.260652,0.00047150135,0.000648324,0.00007602781,0.19703196,0.00040389918,0.00032765837,0.04839532,0.21311754,0.27693233],"study_design_scores_gemma":[0.0016413244,0.0002529059,0.0047898176,0.00077678624,0.000047006943,0.000039268474,0.08143343,0.0007671354,0.00020759496,0.015481204,0.8941711,0.00039239423],"about_ca_topic_score_codex":0.9098647,"about_ca_topic_score_gemma":0.96361285,"teacher_disagreement_score":0.7346607,"about_ca_system_score_codex":0.0010371947,"about_ca_system_score_gemma":0.0018402236,"threshold_uncertainty_score":0.627122},"labels":[],"label_agreement":null},{"id":"W2205769501","doi":"","title":"Coup de théâtre. Listen to Me Marlon de Stevan RileyListen to Me Marlon de Stevan Riley","year":2015,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.0353372308385902,"score_gpt":0.2656283636215705,"score_spread":0.2302911327829803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2205769501","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5972762,0.05833857,0.000114993396,0.041681852,0.004142919,0.0011707118,0.0010062738,0.00034908668,0.29591936],"genre_scores_gemma":[0.4555576,0.0034945735,0.001335163,0.007362313,0.008539902,0.00021192321,0.00007440983,0.00022589807,0.5231982],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964319,0.00024500163,0.00062425714,0.000632271,0.0004950476,0.0015715187],"domain_scores_gemma":[0.9975714,0.00022608017,0.0001596599,0.0006991983,0.00035161118,0.0009920541],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010971831,0.0006638379,0.00078334624,0.00027108216,0.00092334294,0.0005865176,0.00063620677,0.00025250163,0.0014156711],"category_scores_gemma":[0.00014275359,0.0006201326,0.00026991742,0.0001557702,0.00036725248,0.00031371307,0.00044852044,0.00041883814,0.0017884914],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00062880025,0.00026508563,0.011592131,0.0004266683,0.00038051716,0.000120854784,0.0948773,0.00048760252,0.00019842233,0.02581559,0.85676426,0.00844275],"study_design_scores_gemma":[0.00079419935,0.0010353461,0.003081383,0.0006523041,0.00031814963,0.000059369668,0.03973906,0.0002016127,0.0003126036,0.0010992605,0.95190656,0.0008001434],"about_ca_topic_score_codex":0.011710189,"about_ca_topic_score_gemma":0.025641933,"teacher_disagreement_score":0.22727883,"about_ca_system_score_codex":0.000645735,"about_ca_system_score_gemma":0.00040745595,"threshold_uncertainty_score":0.999625},"labels":[],"label_agreement":null},{"id":"W2210908479","doi":"10.3138/md.0729","title":"Racing toward History: Utopia and Progress in John Guare’s<i>A Free Man of Color</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Utopia; Enlightenment; George (robot); Citizenship; Art history; Aesthetics; EPIC; Intellectual history; History; Art; Sociology; Literature; Epistemology; Law; Philosophy; Political science; Politics","score_opus":0.04963597217825595,"score_gpt":0.23645227617361447,"score_spread":0.18681630399535853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2210908479","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92885584,0.0058483616,0.0000070884853,0.0006194769,0.00032690915,0.00013115353,0.000013482326,0.000038991922,0.06415869],"genre_scores_gemma":[0.99526644,0.00003931497,0.000062306644,0.00012398194,0.00018430674,0.000018479002,0.0000029098107,0.000011624633,0.004290621],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938434,0.00001834002,0.00016573042,0.00013309091,0.00012843646,0.000170044],"domain_scores_gemma":[0.9996643,0.000014110735,0.000057111687,0.00016084156,0.00006323319,0.000040379662],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012104115,0.00010544851,0.00020911545,0.000070064016,0.00005428415,0.000029091738,0.00011325198,0.000030900123,0.00006952381],"category_scores_gemma":[0.000007705922,0.000088552464,0.000026766105,0.000013748661,0.00025598067,0.0001725219,0.00009638691,0.00008100764,0.000007209654],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023968135,0.00017829647,0.056048714,0.00033743234,0.000076938755,0.000024471969,0.8029367,0.000021982918,0.00003088996,0.06575002,0.031481616,0.042873316],"study_design_scores_gemma":[0.0018978089,0.00037952585,0.004518823,0.00015026465,0.000039276125,0.000003655886,0.008422605,0.0020352618,0.00010660756,0.009599593,0.97248864,0.00035790872],"about_ca_topic_score_codex":0.00047763216,"about_ca_topic_score_gemma":0.0031502224,"teacher_disagreement_score":0.9410071,"about_ca_system_score_codex":0.00006702733,"about_ca_system_score_gemma":0.000035082783,"threshold_uncertainty_score":0.36110646},"labels":[],"label_agreement":null},{"id":"W2212108351","doi":"","title":"Brantwood 1920-2020, April 14 - 25, 2015","year":2015,"lang":"en","type":"article","venue":"SOURCE Sheridan's Institutional Repository (Sheridan College)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.020431913119349814,"score_gpt":0.22205035140052887,"score_spread":0.20161843828117906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2212108351","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26796412,0.0021024058,0.00011433347,0.0010796962,0.007920985,0.00050787925,0.00017100276,0.0005279871,0.7196116],"genre_scores_gemma":[0.86618614,0.00003903181,0.00017635571,0.00053613755,0.006087216,0.00009893102,0.00004863871,0.00006543444,0.12676214],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966472,0.0001403378,0.0007598061,0.00069256313,0.0010252587,0.0007348462],"domain_scores_gemma":[0.998034,0.00008458838,0.00024320841,0.0006233719,0.00057020516,0.0004446495],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00045075972,0.000589643,0.0006031307,0.0001554075,0.0026152036,0.00038121815,0.0005791175,0.000174528,0.00062246685],"category_scores_gemma":[0.00007324831,0.00052632054,0.00032060486,0.00016952527,0.0015814988,0.0009065664,0.00025964086,0.0004881598,0.0006309892],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013011119,0.0010015204,0.0075488724,0.00032338267,0.0011451142,0.0010192132,0.057787605,0.0030639137,0.00084061595,0.20098636,0.7208239,0.0041584303],"study_design_scores_gemma":[0.0013990876,0.00030529159,0.0005250556,0.000105909385,0.00009474183,0.00029642668,0.007489075,0.00027527395,0.00035886082,0.000652545,0.98777634,0.0007213675],"about_ca_topic_score_codex":0.0006658343,"about_ca_topic_score_gemma":0.0006964492,"teacher_disagreement_score":0.598222,"about_ca_system_score_codex":0.00040195748,"about_ca_system_score_gemma":0.0008900215,"threshold_uncertainty_score":0.99971884},"labels":[],"label_agreement":null},{"id":"W2212764299","doi":"10.3138/md.0736","title":"“True Heart”: Reimagining Transnational Subjects through Sentimentality in Velina Hasu Houston’s Plays","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sentimentality; Empathy; Politics; Rhetoric; Feeling; Aesthetics; Impulse (physics); Sociology; Reading (process); Gender studies; Sensibility; Psychology; Social psychology; Art; Literature; Political science; Philosophy; Linguistics; Law","score_opus":0.06416475193539195,"score_gpt":0.2734324088712404,"score_spread":0.20926765693584842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2212764299","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85955995,0.00041947098,0.00026762465,0.0074267485,0.0007683599,0.00020351318,0.000060573362,0.00012017157,0.13117357],"genre_scores_gemma":[0.9965573,0.0000073053848,0.00017259292,0.0005406204,0.0003990574,0.000022539803,0.000032909895,0.000018721988,0.0022489447],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989927,0.000039560447,0.00022481127,0.00021575857,0.00025607544,0.00027111702],"domain_scores_gemma":[0.999674,0.000029941963,0.000037263453,0.000144838,0.00006712482,0.000046834455],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021363053,0.00015162132,0.0002051719,0.000059562124,0.00022196533,0.000110001485,0.00009988689,0.000035927245,0.00024104152],"category_scores_gemma":[0.000006055299,0.0001235278,0.00006130311,0.000033306278,0.00015591005,0.00047087637,0.000035906975,0.00018650311,0.00006423001],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040245947,0.0005009809,0.026965534,0.000101879996,0.00013305346,0.000036373833,0.7307881,0.0013480964,0.00022805305,0.2161788,0.019148923,0.0041677095],"study_design_scores_gemma":[0.008208256,0.0005836259,0.01679282,0.00016704506,0.00011624048,0.000038923718,0.03696939,0.020746524,0.002708401,0.19872355,0.71325696,0.0016882387],"about_ca_topic_score_codex":0.00061410986,"about_ca_topic_score_gemma":0.0026987332,"teacher_disagreement_score":0.69410807,"about_ca_system_score_codex":0.000080774895,"about_ca_system_score_gemma":0.00006854727,"threshold_uncertainty_score":0.5037317},"labels":[],"label_agreement":null},{"id":"W2212985232","doi":"10.3138/tric.36.1.7","title":"Liz Gorrie and the Kaleidoscope Alternative","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Kaleidoscope; Political theatre; Mainstream; Visual arts; Theatre director; Indigenous; Theatre studies; Art; Puppetry; History; Media studies; Sociology; Political science; Drama; Law","score_opus":0.1465499412431932,"score_gpt":0.3232094301048701,"score_spread":0.17665948886167687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2212985232","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14509386,0.003520811,2.0105173e-7,0.008657363,0.00040692676,0.0002582366,0.000033050816,0.000008655345,0.84202087],"genre_scores_gemma":[0.9975418,0.00043783046,0.0000028549496,0.00021347536,0.0005231716,0.000037396523,0.0000018398797,0.0000089261885,0.0012326962],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864656,0.00023959074,0.00012712112,0.00013317121,0.00047935857,0.0003742058],"domain_scores_gemma":[0.9991827,0.00042738582,0.000017001012,0.00017555668,0.00009386314,0.00010349689],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012017436,0.000087120825,0.00015683113,0.00007018864,0.0003107751,0.000086123626,0.0002124172,0.000010564325,0.0001659816],"category_scores_gemma":[0.000010819878,0.000048615984,0.000013938158,0.00007029418,0.00072190515,0.00010686709,0.00013541186,0.00030511964,0.000021214264],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013885746,0.0000604835,0.016232625,0.00012598638,0.00021937881,0.00019613057,0.17698255,0.00010511451,0.0000024467477,0.20905772,0.3007466,0.2948824],"study_design_scores_gemma":[0.0012180333,0.00006940101,0.00008750307,0.000046723988,0.0000042656075,0.0000032098687,0.05025007,0.00027013602,0.000023454093,0.017143635,0.9307843,0.000099256344],"about_ca_topic_score_codex":0.98823243,"about_ca_topic_score_gemma":0.9978827,"teacher_disagreement_score":0.8524479,"about_ca_system_score_codex":0.00027938196,"about_ca_system_score_gemma":0.0010070627,"threshold_uncertainty_score":0.26598895},"labels":[],"label_agreement":null},{"id":"W2215957957","doi":"10.3138/ctr.163.013","title":"<i>Concord Floral</i> and <i>This is my room. Look.</i>","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Allegory; Portrait; Visual arts; Art; History; Art history; Literature","score_opus":0.04028287665384217,"score_gpt":0.23998948257321548,"score_spread":0.1997066059193733,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2215957957","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00065381895,0.40731698,2.4297992e-7,0.009563221,0.0004657207,0.00026196826,0.00012868825,0.000038378657,0.581571],"genre_scores_gemma":[0.18938608,0.5763247,0.00008340995,0.1578971,0.004355806,0.0001647473,0.00009486247,0.00014311077,0.07155018],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989697,0.000040420324,0.0002442327,0.00023043186,0.00012619188,0.00038902648],"domain_scores_gemma":[0.99898976,0.000020774598,0.00005190829,0.00030068215,0.00009796314,0.0005388847],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025032478,0.00021832998,0.00041643865,0.00007412261,0.00030385982,0.000094835974,0.00015944739,0.000036354224,0.0027409669],"category_scores_gemma":[0.000009239926,0.00016756274,0.00009228563,0.00006113202,0.00017217391,0.00021522571,0.000033326207,0.00013199788,0.0009920838],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000025929135,0.000004639149,0.00040708244,0.0005817087,0.000038730923,0.0000126416835,0.0059462506,3.1734107e-8,2.1175161e-7,0.0040047555,0.8388554,0.150146],"study_design_scores_gemma":[0.00015074904,0.000060785253,0.000006103456,0.00095822033,0.00010226669,0.00001696489,0.0007264549,0.0000018016049,0.000003433477,0.0005139271,0.9972284,0.00023092794],"about_ca_topic_score_codex":0.054745644,"about_ca_topic_score_gemma":0.33584416,"teacher_disagreement_score":0.5100208,"about_ca_system_score_codex":0.00007959257,"about_ca_system_score_gemma":0.00029009182,"threshold_uncertainty_score":0.9997858},"labels":[],"label_agreement":null},{"id":"W2216007025","doi":"10.3138/tric.36.1.137","title":"“I Haven’t Got Time for the Pain”: The State and Stakes of Performance Art 2.0","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rhetoric; Politics; Exhibition; Spectacle; Cult; Art; Aesthetics; State (computer science); Contemporary art; Visual arts; Art history; Performance art; Philosophy; Law; Political science; Computer science","score_opus":0.1142044225907067,"score_gpt":0.2921575540320212,"score_spread":0.1779531314413145,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2216007025","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5668222,0.008588434,0.000005126015,0.029889435,0.0004694045,0.0017715191,0.000436261,0.000018267583,0.39199936],"genre_scores_gemma":[0.9932216,0.0004636167,0.000004050332,0.00014902547,0.00018710713,0.00007237125,0.0000035655228,0.000011060001,0.00588764],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987465,0.0001624354,0.00017410817,0.000111475834,0.00041340236,0.0003920843],"domain_scores_gemma":[0.99828905,0.001205978,0.00003111425,0.0002360197,0.00017926513,0.000058571928],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028220238,0.00009193229,0.00015010546,0.00005165893,0.00041064675,0.000050172286,0.00024908257,0.000010467454,0.0001235416],"category_scores_gemma":[0.00001871977,0.00004535115,0.000020276482,0.00006313214,0.0005060541,0.00009040297,0.00007077676,0.00019567781,0.0000117586205],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005088294,0.000040569645,0.0049358453,0.00030739367,0.00015443936,0.000005484388,0.05027743,0.0004034917,0.000014053559,0.0026018107,0.44898507,0.4917656],"study_design_scores_gemma":[0.00028060438,0.00021667972,0.00019650983,0.000051913103,0.0000063560988,0.0000010506509,0.02716824,0.0031632131,0.00006223721,0.0010556693,0.96771896,0.000078537996],"about_ca_topic_score_codex":0.61545986,"about_ca_topic_score_gemma":0.9692337,"teacher_disagreement_score":0.5187339,"about_ca_system_score_codex":0.00013829474,"about_ca_system_score_gemma":0.0008375704,"threshold_uncertainty_score":0.38710085},"labels":[],"label_agreement":null},{"id":"W221631749","doi":"","title":"Learning to Be Human: An Interview with William Pope.L","year":2006,"lang":"en","type":"article","venue":"Comparative technology transfer and society","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Luck; Humanity; Compassion; Sociology; Art history; Art; Law; Philosophy","score_opus":0.05232233567578456,"score_gpt":0.2776665928057039,"score_spread":0.22534425712991932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W221631749","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97014856,0.0005449066,0.00035405473,0.0015780326,0.000036392157,0.00017036645,0.00001139931,0.0002534963,0.026902799],"genre_scores_gemma":[0.9971328,0.00006875202,0.0001201669,0.00044484966,0.0001048653,0.000042536154,0.000014867803,0.000010655015,0.0020605165],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993302,0.000025194246,0.0001388184,0.00022379716,0.00006762727,0.00021433052],"domain_scores_gemma":[0.9997686,0.000012077189,0.0000109713465,0.00010847296,0.000070473114,0.000029399327],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000817377,0.00017045162,0.00028495418,0.00004992536,0.00083668355,0.00005564513,0.00011004106,0.000058629717,0.00012778745],"category_scores_gemma":[2.6130672e-7,0.00012259459,0.000055232722,0.00007426658,0.000686564,0.00015444052,0.000023676526,0.00025384678,0.000009092974],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004379073,0.00026432142,0.009027408,0.00009873607,0.000318059,0.000003819162,0.5449471,0.000046930712,0.0011458198,0.42828092,0.011298602,0.0045245383],"study_design_scores_gemma":[0.0009999542,0.0027591784,0.0055652466,0.00009121848,0.00009979064,0.000007668058,0.16631417,0.000043477612,0.0017989243,0.00283847,0.8189153,0.00056660135],"about_ca_topic_score_codex":0.000057160272,"about_ca_topic_score_gemma":0.0026010103,"teacher_disagreement_score":0.8076167,"about_ca_system_score_codex":0.000011887503,"about_ca_system_score_gemma":0.000007016441,"threshold_uncertainty_score":0.6435178},"labels":[],"label_agreement":null},{"id":"W2220266152","doi":"10.1017/s0307883315000498","title":"Avant-Garde Theatre Sound: Staging Sonic Modernity","year":2015,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"History; Sound (geography); Art history; Media studies; Art; Sociology; Acoustics; Physics","score_opus":0.21077164865337814,"score_gpt":0.3816059555038196,"score_spread":0.17083430685044146,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2220266152","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07436494,0.00043780933,0.000057723435,0.004046387,0.0016913468,0.0001884296,0.00012437865,0.00013558935,0.9189534],"genre_scores_gemma":[0.96852607,0.0001570382,0.000046228648,0.00011744267,0.0029763414,0.00003844222,0.000047293503,0.000029386887,0.028061742],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99750066,0.00016765883,0.00024596983,0.00029190743,0.001197446,0.00059633557],"domain_scores_gemma":[0.998597,0.00018017831,0.000043917807,0.0002950621,0.0007042968,0.00017954121],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0014310605,0.00017984353,0.00019237748,0.0003014737,0.0006198002,0.0003838156,0.0005833429,0.00004228066,0.004043215],"category_scores_gemma":[0.000034903096,0.00013877278,0.00009001902,0.000028771965,0.0005101953,0.00046540544,0.0003143756,0.00051689206,0.0020149797],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010188122,0.0007210808,0.017460464,0.00010097819,0.0010324069,0.00008423225,0.337002,0.00049413793,0.0001046904,0.13859835,0.30899426,0.19438857],"study_design_scores_gemma":[0.0006686149,0.00015287731,0.00009598179,0.0000478485,0.000011053204,0.0000085689,0.01669324,0.0016499279,0.00008296863,0.057919554,0.92245334,0.00021605032],"about_ca_topic_score_codex":0.0010673921,"about_ca_topic_score_gemma":0.0036548637,"teacher_disagreement_score":0.89416116,"about_ca_system_score_codex":0.0002393674,"about_ca_system_score_gemma":0.00020954547,"threshold_uncertainty_score":0.9987621},"labels":[],"label_agreement":null},{"id":"W2223313309","doi":"10.3138/tric.36.1.4","title":"Introduction : repousser les limites","year":2015,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.13023779161614604,"score_gpt":0.31870197484633284,"score_spread":0.1884641832301868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2223313309","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1056937,0.060155194,3.6095847e-7,0.1421324,0.004217811,0.00030615297,0.00011395802,0.000023989805,0.6873564],"genre_scores_gemma":[0.94574624,0.004573316,0.000018980096,0.00010418989,0.011431063,0.000039585528,0.000019821427,0.00003714688,0.038029682],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969679,0.0004584575,0.0003546069,0.0003516915,0.00088780274,0.0009795225],"domain_scores_gemma":[0.998661,0.00031132213,0.00004401424,0.0004155477,0.0003127459,0.0002554129],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0018114556,0.00020383149,0.00029075713,0.00024350938,0.0006113994,0.00014803537,0.00025849568,0.00006721161,0.0017132355],"category_scores_gemma":[0.000026700578,0.00017917498,0.000042553635,0.00025788767,0.00064294535,0.0002908926,0.00015146694,0.00082636764,0.00017853406],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000113750764,0.000064000684,0.0053826114,0.00017164943,0.000055382043,0.00013203049,0.005489292,0.00015764237,0.0000038436983,0.011816079,0.6869149,0.2896988],"study_design_scores_gemma":[0.00026703038,0.00017814933,0.0001611291,0.00013957437,0.00001057995,0.000019989018,0.04626217,0.00010707776,0.00008389073,0.0028642558,0.94971424,0.00019191328],"about_ca_topic_score_codex":0.9972071,"about_ca_topic_score_gemma":0.9991609,"teacher_disagreement_score":0.84005255,"about_ca_system_score_codex":0.0022824104,"about_ca_system_score_gemma":0.0039437255,"threshold_uncertainty_score":0.99919933},"labels":[],"label_agreement":null},{"id":"W2224801876","doi":"","title":"Virtual Theatre: A Practical Introduction","year":2012,"lang":"en","type":"article","venue":"Society for Information Technology & Teacher Education International Conference","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Computer science; Computer graphics (images)","score_opus":0.030923206158461215,"score_gpt":0.3066811577376703,"score_spread":0.27575795157920907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2224801876","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13056818,0.0005373704,0.03364572,0.2832022,0.03268878,0.0021407015,0.0002808384,0.001747617,0.5151886],"genre_scores_gemma":[0.9863615,0.00007491588,0.0024112368,0.0008726525,0.0037069367,0.0004232932,0.0003558196,0.000009431016,0.0057842196],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913937,0.000009934256,0.00031996673,0.00010914068,0.00018310906,0.00023848614],"domain_scores_gemma":[0.998968,0.000030022153,0.00019907184,0.00016101949,0.00059963093,0.000042270298],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00028648856,0.00013969856,0.000115298266,0.00016728378,0.00037680508,0.00014684322,0.00015743675,0.00012069771,0.0018214292],"category_scores_gemma":[0.0000796387,0.00012675714,0.00014206981,0.00007571435,0.00029285485,0.0027950506,0.00005292503,0.00024319283,0.000291791],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016035614,0.00013812892,0.00086907594,0.000010659569,0.00008449767,3.0663554e-9,0.026958205,6.1714843e-7,0.000018183662,0.7807462,0.1411033,0.050055098],"study_design_scores_gemma":[0.00019469993,0.00005601923,0.00013793365,0.000008859539,0.000031911193,0.000008569225,0.08321646,0.00017643183,0.00017061109,0.004485805,0.9113713,0.00014138887],"about_ca_topic_score_codex":0.00001989617,"about_ca_topic_score_gemma":0.000009885853,"teacher_disagreement_score":0.8557933,"about_ca_system_score_codex":0.0001329775,"about_ca_system_score_gemma":0.00019107424,"threshold_uncertainty_score":0.999091},"labels":[],"label_agreement":null},{"id":"W2224923360","doi":"10.3138/tric.35.2.235","title":"In Praise of a Passion for Theatre Forever Seeking Links Yet Unseen: Research, Teaching, Criticism, Exchange in Canadian Theatre and Drama","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Passion; Praise; Theatre studies; Theatre director; Criticism; Political theatre; Art; Vitality; Theatre criticism; Literature; Visual arts; Literary criticism; Psychology; Philosophy; Theology; Literary science; Social psychology","score_opus":0.0759468463473828,"score_gpt":0.3469130408694927,"score_spread":0.2709661945221099,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2224923360","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.534812,0.002340266,0.0000016669561,0.022176262,0.00042027133,0.0018148677,0.0004046653,0.000017195727,0.4380128],"genre_scores_gemma":[0.9979477,0.00035795465,0.000025234009,0.00030497886,0.0004464793,0.0002229367,0.000018039804,0.000045519348,0.0006311552],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954108,0.0011270838,0.00049366377,0.00045454843,0.0007636308,0.0017502744],"domain_scores_gemma":[0.9967015,0.0023384811,0.000043745084,0.000416404,0.00017054567,0.000329348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0070299557,0.00024483717,0.0004968488,0.00133627,0.000716624,0.000099568104,0.00040359615,0.00014760019,0.00018517545],"category_scores_gemma":[0.00008535203,0.00020090821,0.00005068557,0.00029892853,0.00049145165,0.00028871128,0.00016832577,0.0018461583,0.0000031463185],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000866683,0.0003159584,0.123629905,0.0033854628,0.0000932664,0.00026101276,0.13250269,0.000073564064,0.00010494386,0.04461811,0.109426975,0.58472145],"study_design_scores_gemma":[0.0011551342,0.00039973896,0.001600103,0.0011353671,0.0000051346356,0.000004246128,0.028143935,0.0021075688,0.00006189574,0.013986623,0.95109975,0.00030048992],"about_ca_topic_score_codex":0.9983149,"about_ca_topic_score_gemma":0.9999567,"teacher_disagreement_score":0.8416728,"about_ca_system_score_codex":0.0009980019,"about_ca_system_score_gemma":0.0022402664,"threshold_uncertainty_score":0.8192799},"labels":[],"label_agreement":null},{"id":"W2228647529","doi":"10.3138/tric.28.2.165","title":"<i>Three Research Poems</i>","year":2007,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mirroring; Drama; Poetry; Poetics; Curriculum; Shadow (psychology); Sociology; Literature; Art; Pedagogy; Bridge (graph theory); Performance studies; Aesthetics; Visual arts; Psychology; Psychoanalysis; Communication","score_opus":0.20683013741188186,"score_gpt":0.37519995892117713,"score_spread":0.16836982150929528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2228647529","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15032841,0.0013616838,0.0000015363785,0.0027260145,0.00045793984,0.00029283503,0.000032985074,0.000021536061,0.84477705],"genre_scores_gemma":[0.997237,0.00018862727,0.000010979045,0.00012280546,0.0013105216,0.000027010752,0.0000054165744,0.000024933815,0.0010726642],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99603087,0.00016399138,0.00029902477,0.0002938561,0.0016047158,0.0016075496],"domain_scores_gemma":[0.99791825,0.0011573504,0.000017675911,0.00041733868,0.00028974758,0.00019965603],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.006486042,0.00013517022,0.000207452,0.00053340266,0.000935034,0.00010049216,0.00047940345,0.000036352805,0.0011809579],"category_scores_gemma":[0.000012294508,0.00010956628,0.000033321543,0.00041523803,0.0006304459,0.00014906646,0.00020752213,0.001115767,0.00015939547],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003160048,0.00010319681,0.02417159,0.0001496219,0.000057078138,0.0005817283,0.011137028,0.000007897774,0.00009106401,0.04526868,0.34843087,0.5696852],"study_design_scores_gemma":[0.0002477678,0.00009954393,0.0010048448,0.000073307776,0.0000013913381,0.0000035842518,0.020668458,0.00001699448,0.0002099414,0.008782611,0.9687472,0.00014437294],"about_ca_topic_score_codex":0.9937695,"about_ca_topic_score_gemma":0.99990296,"teacher_disagreement_score":0.8469086,"about_ca_system_score_codex":0.001184919,"about_ca_system_score_gemma":0.0019130508,"threshold_uncertainty_score":0.9997321},"labels":[],"label_agreement":null},{"id":"W2229800490","doi":"10.3138/tric.21.1.65","title":"Ric Knowles. The Theatre of Form and the Production of Meaning","year":2000,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Drama; Meaning (existential); Negotiation; Politics; Aesthetics; Consciousness; Order (exchange); Materialism; Representation (politics); Media studies; Sociology; Art; Visual arts; Social science; Law; Political science; Epistemology; Philosophy","score_opus":0.05071795541272677,"score_gpt":0.27682360374494286,"score_spread":0.22610564833221608,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2229800490","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3803287,0.0028970977,2.1779815e-8,0.0044252384,0.0001253632,0.00031514216,0.000015002451,0.0000041761,0.61188924],"genre_scores_gemma":[0.99691164,0.0017819607,0.000001604372,0.000023993269,0.00023965088,0.000024462748,9.752074e-7,0.000007986981,0.0010077446],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987798,0.00018694175,0.00022454749,0.00011778205,0.00041119833,0.00027974235],"domain_scores_gemma":[0.99912256,0.00047998765,0.00003545532,0.00025990585,0.00007842003,0.000023660825],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001268692,0.00008414984,0.00019308261,0.000068991634,0.0003950396,0.000019662013,0.00021304947,0.000012835479,0.00043830628],"category_scores_gemma":[0.000006228309,0.000039199396,0.000030314792,0.00014148865,0.000986056,0.000084584746,0.000052049658,0.00024883004,0.0000024455878],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005874206,0.000038053917,0.0022345297,0.00023648092,0.00010167076,0.000002688376,0.07073103,0.000072082206,0.000019056626,0.031373408,0.009353273,0.88525033],"study_design_scores_gemma":[0.0012414211,0.000251303,0.0012121261,0.00049933244,0.000046131743,0.000013593383,0.112440005,0.00036162836,0.00078404066,0.02751666,0.85539824,0.00023550248],"about_ca_topic_score_codex":0.8958611,"about_ca_topic_score_gemma":0.986039,"teacher_disagreement_score":0.8850148,"about_ca_system_score_codex":0.00009089952,"about_ca_system_score_gemma":0.00038514737,"threshold_uncertainty_score":0.47991464},"labels":[],"label_agreement":null},{"id":"W2232969316","doi":"","title":"Julie Salverson, ed. Popular Political Theatre and Performance. Julie Salverson, ed. Community Engaged Theatre and Performance.","year":2013,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Political theatre; Politics; Media studies; Performance studies; Theatre director; Performance art; Visual arts; Art; Sociology; Art history; Political science; Law","score_opus":0.06155909040762068,"score_gpt":0.2757283094110778,"score_spread":0.21416921900345712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2232969316","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77851856,0.0019535765,1.383061e-7,0.0034357377,0.00031684578,0.0006838858,0.00012090976,0.00006425551,0.21490607],"genre_scores_gemma":[0.9932058,0.004577903,0.000024054987,0.00061516673,0.00075839803,0.00014155757,0.00005213579,0.00007673655,0.0005482428],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99397534,0.001670434,0.0006041615,0.0005450359,0.0010622055,0.0021428338],"domain_scores_gemma":[0.9969288,0.0013094619,0.00007966814,0.00082236493,0.00021900937,0.0006406817],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00302845,0.00058191305,0.0007514456,0.00039558086,0.0049421745,0.0003806614,0.00063820917,0.00014875476,0.0011017191],"category_scores_gemma":[0.000023230057,0.00045996395,0.00009037829,0.00022927934,0.0014615618,0.0008986322,0.0005375739,0.004054057,0.00013154601],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000647641,0.0003434116,0.3321823,0.0020961496,0.00043285,0.00007337594,0.047833517,0.000016441869,0.000072163515,0.004455319,0.16544943,0.44639742],"study_design_scores_gemma":[0.0034580277,0.0021521533,0.050293308,0.0011326708,0.00013120951,0.00011469213,0.29867145,0.0018725406,0.00039452626,0.002451219,0.63744444,0.0018837922],"about_ca_topic_score_codex":0.8729451,"about_ca_topic_score_gemma":0.8171924,"teacher_disagreement_score":0.471995,"about_ca_system_score_codex":0.0008352328,"about_ca_system_score_gemma":0.0010742693,"threshold_uncertainty_score":0.9998114},"labels":[],"label_agreement":null},{"id":"W2234091023","doi":"10.3138/tric.22.2.121","title":"Introduction: Sharon Pollock at Play / Sharon Pollock Sur Scène","year":2001,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pollock; Art; Art history","score_opus":0.05805604397736238,"score_gpt":0.29050901488098296,"score_spread":0.23245297090362058,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2234091023","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31924236,0.041215688,1.9988146e-7,0.13758826,0.004724966,0.00067235203,0.0007426347,0.000047217505,0.49576634],"genre_scores_gemma":[0.807101,0.011999377,0.0000053078215,0.00024167278,0.012076607,0.000054096585,0.00007056297,0.00006976618,0.1683816],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9943658,0.00047536977,0.00065146806,0.000782169,0.001483315,0.0022418764],"domain_scores_gemma":[0.99802154,0.00042609396,0.000087429995,0.0007948147,0.00024873778,0.00042135798],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013329629,0.00048021754,0.00062278274,0.00044876244,0.0018765952,0.00022592828,0.0006069516,0.00014524018,0.024292814],"category_scores_gemma":[0.000015629143,0.0004462314,0.0001279778,0.00056712225,0.00082947966,0.00047761534,0.0004616572,0.0012632702,0.0007545051],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000605246,0.00017378153,0.029701088,0.0003863054,0.0002064146,0.00051896495,0.004977907,0.00030452895,0.00003398446,0.0039834767,0.8835339,0.07557438],"study_design_scores_gemma":[0.00076653203,0.00029886092,0.0025646912,0.0003214925,0.000026723887,0.00010128045,0.008844157,0.00017177634,0.00014637368,0.00039575915,0.9858856,0.00047672188],"about_ca_topic_score_codex":0.98943025,"about_ca_topic_score_gemma":0.9985663,"teacher_disagreement_score":0.48785865,"about_ca_system_score_codex":0.0056061265,"about_ca_system_score_gemma":0.0026808565,"threshold_uncertainty_score":0.99979895},"labels":[],"label_agreement":null},{"id":"W2234954076","doi":"10.3138/md.0744","title":"How (Not) to Write Broadcast Plays: Pinter and the BBC","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Active listening; Style (visual arts); Radio program; Broadcasting (networking); Art; Literature; Realism; Visual arts; History; Aesthetics; Media studies; Sociology; Computer science; Communication","score_opus":0.04602844450488457,"score_gpt":0.23810146528295328,"score_spread":0.1920730207780687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2234954076","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7715092,0.001988363,0.00035143163,0.0391376,0.00077640935,0.0003960581,0.000053201227,0.00012409774,0.18566369],"genre_scores_gemma":[0.9560757,0.000031253676,0.00001946139,0.0019162727,0.0007632082,0.000017908947,0.0000019082838,0.000012293959,0.04116199],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946576,0.000021004213,0.0000833749,0.00013030072,0.00012372725,0.00017585342],"domain_scores_gemma":[0.999663,0.000031953037,0.000021719272,0.00016226032,0.00005828461,0.00006276454],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012789844,0.00011015505,0.00014757644,0.00003154959,0.00024615065,0.00041550316,0.000108197404,0.000017972847,0.000048248257],"category_scores_gemma":[0.000012131447,0.00006210114,0.000038304086,0.000010565223,0.00023248362,0.00017981789,0.00010406235,0.00008156818,0.00010997748],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005799331,0.000034711746,0.0003705268,0.000029202136,0.00012062683,0.0000061060477,0.7480068,0.000021054884,0.00002666765,0.0931122,0.08380735,0.07388481],"study_design_scores_gemma":[0.0010071055,0.000101351616,0.00008877221,0.00002292119,0.000022778258,0.000004671042,0.0140439,0.0010321453,0.00005010312,0.00562587,0.9778504,0.00015001139],"about_ca_topic_score_codex":0.00016804421,"about_ca_topic_score_gemma":0.0006842229,"teacher_disagreement_score":0.894043,"about_ca_system_score_codex":0.000011230801,"about_ca_system_score_gemma":0.0000091189795,"threshold_uncertainty_score":0.40067065},"labels":[],"label_agreement":null},{"id":"W2236613664","doi":"","title":"From Clowns to Computers: Performing Theatrical Interactivity and Pervasive Transmedia Fictions","year":2014,"lang":"en","type":"dissertation","venue":"YorkSpace (York University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interactivity; Multimedia; Art; Computer science; Aesthetics; Visual arts","score_opus":0.014466055309143145,"score_gpt":0.20264620111731754,"score_spread":0.1881801458081744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2236613664","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8247985,0.00032192984,0.00029738212,0.00094658387,0.0033760655,0.00040264105,0.00027884322,0.00019359318,0.16938446],"genre_scores_gemma":[0.9458087,0.00030893183,0.00023335539,0.00010538485,0.0019251994,0.0000030252932,0.0004247469,0.000036663932,0.051153976],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896705,0.000057288504,0.00013286361,0.0004066877,0.0001623336,0.0002737719],"domain_scores_gemma":[0.9991767,0.00028537336,0.00010343646,0.00020013169,0.00009192532,0.00014247178],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000049114147,0.00031658224,0.00041809425,0.0004082789,0.0008596359,0.00016519993,0.00022793276,0.00015634901,0.00046260358],"category_scores_gemma":[0.000010082626,0.0003095524,0.0001577032,0.000113959206,0.00010442677,0.00028467123,0.000050039926,0.00045174203,0.000079832585],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00094972283,0.00019167167,0.0012681605,0.00025061445,0.0008415281,0.000046564488,0.8718725,0.00006713262,0.000048720696,0.020197658,0.045488086,0.058777638],"study_design_scores_gemma":[0.0003623405,0.00018523457,0.0011372778,0.0003184531,0.00031007634,0.0000010363431,0.1569244,0.000104788785,0.00002582092,0.00006860428,0.8401228,0.00043916714],"about_ca_topic_score_codex":0.0026624762,"about_ca_topic_score_gemma":0.042296812,"teacher_disagreement_score":0.7946347,"about_ca_system_score_codex":0.00008751816,"about_ca_system_score_gemma":0.000054154138,"threshold_uncertainty_score":0.9999357},"labels":[],"label_agreement":null},{"id":"W2237602759","doi":"10.3138/tric.36.1.1","title":"Introduction: Pushing the Limits","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Subject matter; Subject (documents); Section (typography); Sociology; Media studies; Visual arts; Computer science; Library science; Art; Political science; Law; Pedagogy","score_opus":0.1836235058498701,"score_gpt":0.32587595888705456,"score_spread":0.14225245303718445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2237602759","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07865854,0.0016825782,1.8339674e-7,0.08386561,0.0013931068,0.00019190788,0.00001375769,0.000018959321,0.83417535],"genre_scores_gemma":[0.9936715,0.00011155952,0.000002631576,0.00018140252,0.004277968,0.0000270653,0.0000029978291,0.000009708233,0.0017151841],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985323,0.00017028894,0.00013501331,0.00014249723,0.000585589,0.0004342944],"domain_scores_gemma":[0.999324,0.00019172562,0.0000147963465,0.00026404095,0.00011884011,0.000086546905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012490562,0.0000788142,0.00010763934,0.000079471865,0.0004360639,0.000103170125,0.00026617892,0.000011572012,0.00045211386],"category_scores_gemma":[0.000011243199,0.000047152906,0.000016245285,0.00012730493,0.00022682892,0.00015109869,0.000069774156,0.00040086798,0.0000744729],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058505877,0.000017496377,0.0017094334,0.000022362025,0.00002867846,0.000029185618,0.019220471,0.00010881555,0.0000039604406,0.016662113,0.8398249,0.122314036],"study_design_scores_gemma":[0.00011721414,0.000036334335,0.00006614119,0.0000133779895,0.0000018033677,0.0000038616945,0.03979038,0.000033378776,0.000032378008,0.002043945,0.957799,0.000062196006],"about_ca_topic_score_codex":0.96744657,"about_ca_topic_score_gemma":0.9985654,"teacher_disagreement_score":0.91501296,"about_ca_system_score_codex":0.0005294645,"about_ca_system_score_gemma":0.0013418853,"threshold_uncertainty_score":0.49503297},"labels":[],"label_agreement":null},{"id":"W2238591904","doi":"","title":"First As Tragedy Then As Farce","year":2012,"lang":"en","type":"article","venue":"Alternate routes","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Tragedy (event); Art; Literature","score_opus":0.028025139244500924,"score_gpt":0.24556037973237888,"score_spread":0.21753524048787795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2238591904","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5622541,0.0014635687,0.0000011643003,0.000527739,0.00076802395,0.000060998296,0.0000107187025,0.000073553674,0.43484017],"genre_scores_gemma":[0.96779,0.0005707264,0.0000141933,0.00063480315,0.0023279998,0.000016618535,0.000005863194,0.000019314206,0.02862046],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925,0.00001449993,0.00013471628,0.0001138338,0.0001342644,0.00035266706],"domain_scores_gemma":[0.9996346,0.00006128222,0.00004518171,0.00016513672,0.000027241576,0.0000665211],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000103767066,0.0001464388,0.00014364709,0.000041462717,0.000451137,0.000104549974,0.00016711449,0.000019939504,0.0033679632],"category_scores_gemma":[0.00000913567,0.00010577651,0.00007736325,0.000014446015,0.000106077314,0.00044033228,0.00006027356,0.00009866272,0.0037202572],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000642818,0.00018728664,0.028424874,0.00007417989,0.00034575953,0.000011477025,0.33763304,0.00000859521,0.000048325226,0.594454,0.012484496,0.026263673],"study_design_scores_gemma":[0.00020280998,0.00011749787,0.001488727,0.000029319714,0.000032877364,0.00001070305,0.0036077905,0.000010442171,0.00051774795,0.003696391,0.9900882,0.00019744267],"about_ca_topic_score_codex":0.0028858471,"about_ca_topic_score_gemma":0.0008336236,"teacher_disagreement_score":0.97760373,"about_ca_system_score_codex":0.000013860556,"about_ca_system_score_gemma":0.000007297247,"threshold_uncertainty_score":0.9975431},"labels":[],"label_agreement":null},{"id":"W2239211802","doi":"","title":"Affirming Identity through Musical Performance in a Canadian Arctic Hamlet","year":2015,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"HAMLET (protein complex); Musical; Identity (music); Arctic; Geography; Communication; History; Aesthetics; Sociology; Visual arts; Art; Literature; Geology; Oceanography","score_opus":0.04448624280552061,"score_gpt":0.22427374717084417,"score_spread":0.17978750436532356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2239211802","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8361352,0.00050483574,0.0000047951726,0.0035207781,0.003705084,0.00059995573,0.00020195174,0.000085003856,0.1552424],"genre_scores_gemma":[0.98996204,0.00006850877,0.00006606326,0.005021377,0.002079381,0.00017367951,0.00009714705,0.00009247678,0.0024393399],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99543077,0.000109443834,0.00062880316,0.00073989417,0.00028379017,0.0028072912],"domain_scores_gemma":[0.9955088,0.0000648871,0.0001267802,0.00068464066,0.0004804945,0.003134394],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009112613,0.00057836797,0.0006401395,0.0010576799,0.000891255,0.00031887557,0.00069191196,0.00024106458,0.001668867],"category_scores_gemma":[0.00025680993,0.00061685435,0.00015805545,0.0005031018,0.00050756073,0.0017581994,0.0000779081,0.0007372705,0.00035498902],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.0000760211,0.00007549982,0.022419503,0.00030875576,0.00020728594,0.0017006147,0.40460023,0.00026030332,0.000006878088,0.5084972,0.05493559,0.0069121043],"study_design_scores_gemma":[0.00072347355,0.00015897097,0.00645733,0.00022099174,0.000041684,0.00006532274,0.01133709,0.00020856582,0.000007899202,0.0038464137,0.97607225,0.00086001767],"about_ca_topic_score_codex":0.9977085,"about_ca_topic_score_gemma":0.99999374,"teacher_disagreement_score":0.9211367,"about_ca_system_score_codex":0.006304192,"about_ca_system_score_gemma":0.0060716947,"threshold_uncertainty_score":0.9996283},"labels":[],"label_agreement":null},{"id":"W2239521618","doi":"10.3138/tric.36.1.145","title":"Towards Anti-Disciplinarity: the (messy) hermeneutics of self-violent performance art","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Coffin; Hermeneutics; Aesthetics; Visual arts; Epistemology; Sociology; Art; History; Philosophy; Archaeology","score_opus":0.11910232402526509,"score_gpt":0.3189253921634819,"score_spread":0.19982306813821682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2239521618","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58909345,0.00037927448,5.6522246e-8,0.0023239776,0.00032191694,0.00018552551,0.00003085745,0.000012559282,0.40765238],"genre_scores_gemma":[0.99817735,0.0007538859,0.0000075429207,0.00007043262,0.0003383473,0.00002897273,0.0000051153993,0.000014789954,0.00060356915],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99790126,0.00015847801,0.00027937454,0.00017063586,0.0009140507,0.0005762277],"domain_scores_gemma":[0.999122,0.00012590234,0.00004417753,0.00038533672,0.00020894418,0.00011362415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011882446,0.00013858266,0.00025003386,0.000115877265,0.00035796975,0.000048097772,0.00043196016,0.000025575746,0.00013860506],"category_scores_gemma":[0.000003863637,0.00008591251,0.00003459162,0.00017319333,0.00036884754,0.00013241192,0.0002447264,0.00041679697,0.00002867616],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048291514,0.000638218,0.16079646,0.0013629112,0.00048747167,0.00014273898,0.19562215,0.0014434402,0.00003253022,0.021878826,0.25019178,0.36692056],"study_design_scores_gemma":[0.0005456552,0.00029710447,0.002785168,0.00019305396,0.000017935405,0.0000063834577,0.055066083,0.001084969,0.00047120932,0.0023971985,0.9369011,0.00023416354],"about_ca_topic_score_codex":0.679039,"about_ca_topic_score_gemma":0.9577469,"teacher_disagreement_score":0.6867093,"about_ca_system_score_codex":0.0005293139,"about_ca_system_score_gemma":0.0027778419,"threshold_uncertainty_score":0.49277723},"labels":[],"label_agreement":null},{"id":"W224224194","doi":"","title":"The spontaneity drain: the social pressures that shaped and then exiled Keith Johnstone's improvisation","year":2014,"lang":"en","type":"article","venue":"NECTAR - Northampton Electronic Collection of Thesis and Research (University of Northampton)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Elite; Performing arts; Performative utterance; Context (archaeology); Narrative; Sociology; Aesthetics; Political science; History; Art; Visual arts; Law; Literature; Politics","score_opus":0.028069022178798357,"score_gpt":0.24387339620359322,"score_spread":0.21580437402479485,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W224224194","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98409086,0.0006700833,0.000025657175,0.0037008293,0.00008621412,0.00048891536,0.000016149976,0.000030690913,0.010890588],"genre_scores_gemma":[0.9913783,0.0023624024,0.0000057755797,0.000022250255,0.00020742942,0.0000056565964,0.000006250426,0.000012989965,0.0059989486],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979913,0.00043505916,0.00018474294,0.0002945326,0.0005515489,0.0005427721],"domain_scores_gemma":[0.9983464,0.0008191083,0.00021036757,0.00024151216,0.00032251843,0.000060109087],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.001862494,0.00018150655,0.00031832844,0.00019404979,0.0054560145,0.00010415068,0.00033306083,0.00008088125,0.00019466165],"category_scores_gemma":[0.000059910813,0.00012025931,0.0001377062,0.00019989764,0.0016852072,0.00025941196,0.00018825891,0.00043446527,0.0000021109606],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0073608877,0.00064552465,0.05521901,0.0005071356,0.0027832324,0.0000052743458,0.42417833,0.000034081902,0.001941955,0.21518502,0.014810103,0.27732944],"study_design_scores_gemma":[0.0023066644,0.0023882166,0.17854515,0.000075021184,0.00027822764,0.000017575534,0.05992961,0.00350474,0.00051685463,0.0060801543,0.7458225,0.00053530186],"about_ca_topic_score_codex":0.0058833854,"about_ca_topic_score_gemma":0.07051154,"teacher_disagreement_score":0.7310124,"about_ca_system_score_codex":0.00008077346,"about_ca_system_score_gemma":0.0001705374,"threshold_uncertainty_score":0.99583876},"labels":[],"label_agreement":null},{"id":"W2245193596","doi":"","title":"Theatre? Research? In? Canada? What Are We Doing? From History to Research","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Calgary","funders":"","keywords":"History","score_opus":0.18120562782563968,"score_gpt":0.33783666424864683,"score_spread":0.15663103642300716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2245193596","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2641471,0.01675113,3.310643e-7,0.04336412,0.0021039355,0.0012270525,0.00025683228,0.0000339428,0.67211556],"genre_scores_gemma":[0.9928503,0.003153944,0.000013925666,0.00052075525,0.001612441,0.00024556826,0.000021880227,0.00007323074,0.001507947],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.98898375,0.0025468266,0.00061129266,0.00088895956,0.004047925,0.0029212637],"domain_scores_gemma":[0.99342114,0.004122082,0.000050688657,0.001198055,0.00057053566,0.0006375052],"candidate_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0072644292,0.00034308963,0.0006416183,0.0014193109,0.0010919138,0.0003110793,0.0013974082,0.000083655,0.002115608],"category_scores_gemma":[0.000036717163,0.0002951126,0.000057410394,0.00076161546,0.0007655653,0.0005226329,0.00072042464,0.0028385713,0.00018383878],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00041623926,0.00009785743,0.01600908,0.00025189816,0.00006711278,0.00047085146,0.02322165,0.000147161,0.00003683277,0.0026622955,0.6089623,0.3476567],"study_design_scores_gemma":[0.0004103482,0.00013720071,0.00072670757,0.0010068106,0.0000025865475,0.0000014060082,0.10569204,0.00012497792,0.000058201695,0.0028909151,0.88864577,0.0003030367],"about_ca_topic_score_codex":0.9999622,"about_ca_topic_score_gemma":0.99999887,"teacher_disagreement_score":0.7287032,"about_ca_system_score_codex":0.020170208,"about_ca_system_score_gemma":0.017991172,"threshold_uncertainty_score":0.9999501},"labels":[],"label_agreement":null},{"id":"W2249465289","doi":"10.3138/md.b0756","title":"“A Theatre of the Head”: Material Culture, Severed Heads, and the Late Drama of W.B. Yeats","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Symbol (formal); Drama; Object (grammar); Head (geology); Art; Ambivalence; Literature; Subject (documents); Philosophy; Psychoanalysis; Psychology; Geology; Computer science","score_opus":0.027400149835182155,"score_gpt":0.22958010518125396,"score_spread":0.2021799553460718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2249465289","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92803,0.0012232828,0.0000031760796,0.00090858276,0.00050868565,0.00021417956,0.00011935236,0.000020394324,0.06897235],"genre_scores_gemma":[0.99346226,0.00009076021,0.00000948605,0.00014384127,0.0002906657,0.000008426778,0.000004452412,0.000010037626,0.0059800623],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930465,0.000065230146,0.00020673612,0.0000954043,0.00017853231,0.00014946588],"domain_scores_gemma":[0.9995079,0.000026107557,0.00009696075,0.00025041017,0.000091135924,0.000027469496],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017427954,0.00012530717,0.00025458712,0.00001768416,0.00020351757,0.00005794546,0.00017971291,0.00003660394,0.00006336312],"category_scores_gemma":[0.0000067733154,0.000056347246,0.000079303994,0.000022071574,0.00065342267,0.00009709798,0.000121806625,0.00008032531,0.000007006871],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0022241876,0.00018081248,0.0026881502,0.0002443072,0.0004290661,0.0000017810032,0.8310825,0.00013135206,0.00089543033,0.11688765,0.01731536,0.027919374],"study_design_scores_gemma":[0.012081395,0.0008828245,0.0032894649,0.00049053563,0.0004993345,0.000026994816,0.044224575,0.0025087995,0.012854787,0.18621562,0.73602897,0.0008967212],"about_ca_topic_score_codex":0.00072834175,"about_ca_topic_score_gemma":0.00084460975,"teacher_disagreement_score":0.78685796,"about_ca_system_score_codex":0.000008058694,"about_ca_system_score_gemma":0.00002471442,"threshold_uncertainty_score":0.2407563},"labels":[],"label_agreement":null},{"id":"W2252745106","doi":"","title":"Theatres of Immanence: Deleuze and the Ethics of Performance by Laura Cull (review)","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Immanence; Aesthetics; Epistemology; Philosophy; Sociology","score_opus":0.018571084799146896,"score_gpt":0.2368361726676895,"score_spread":0.2182650878685426,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2252745106","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.714401,0.12329117,0.0001862531,0.0067014657,0.0002747226,0.00044939807,0.00007052853,0.00004566962,0.15457979],"genre_scores_gemma":[0.96294355,0.03480994,0.000013345711,0.0005295531,0.000101014826,0.000012004937,0.000003956585,0.000008703495,0.001577913],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992527,0.000074535455,0.00024960906,0.00010431675,0.00018342768,0.0001354163],"domain_scores_gemma":[0.99933577,0.00021222966,0.000118326185,0.00020763587,0.000108603745,0.000017441309],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00055036426,0.00011305549,0.0002961931,0.000019676118,0.00023677514,0.000015583853,0.00015862386,0.00003433074,0.00011657601],"category_scores_gemma":[0.000027548183,0.00006196753,0.00006168948,0.000018578698,0.0008190123,0.000100061945,0.000057628095,0.0001804901,0.0000062739086],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004356267,0.00017574229,0.004885697,0.0078825625,0.00034821525,4.046232e-7,0.30849564,0.00005029123,0.0003849312,0.32876435,0.02814903,0.32042748],"study_design_scores_gemma":[0.001914747,0.0004305663,0.0006562136,0.0018127466,0.00025444932,0.0000056108875,0.0038633817,0.008172998,0.0013237366,0.008355307,0.9727883,0.00042195115],"about_ca_topic_score_codex":0.00016136552,"about_ca_topic_score_gemma":0.00016020739,"teacher_disagreement_score":0.94463927,"about_ca_system_score_codex":0.000003185705,"about_ca_system_score_gemma":0.000012476613,"threshold_uncertainty_score":0.30176848},"labels":[],"label_agreement":null},{"id":"W2252874587","doi":"10.3138/ctr.164.007","title":"Theatrical Activism in Vancouver: From the Native Brotherhood and Sisterhood of BC to Marie Clements’s <i>The Road Forward</i> and Back …","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pavilion; Indigenous; Performance art; History; Intervention (counseling); Sociology; Art history; Archaeology; Psychology","score_opus":0.03182090826948394,"score_gpt":0.241972321993197,"score_spread":0.21015141372371304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2252874587","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035048578,0.48267996,0.000009639283,0.04546973,0.0009462539,0.0037581548,0.0009942346,0.00002842514,0.43106502],"genre_scores_gemma":[0.95691323,0.030698095,0.000024406914,0.010212207,0.0004295777,0.00009719101,0.000010745744,0.000032082913,0.0015824762],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901694,0.00013026192,0.00026615337,0.0001926268,0.0001343945,0.00025964473],"domain_scores_gemma":[0.9992407,0.0001846768,0.00006617306,0.00025817042,0.00005335306,0.00019691502],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003722157,0.00017596746,0.00037725866,0.00004844862,0.00018857978,0.000057901725,0.00019319133,0.000028069058,0.00038091664],"category_scores_gemma":[0.000029879155,0.00009357294,0.000057958656,0.00008730385,0.0001936023,0.00011238632,0.00006722347,0.00013809309,0.000033577293],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005094437,0.000038762206,0.00802315,0.00046499647,0.00024148631,0.000005884186,0.052371643,0.0000016197865,7.9153324e-7,0.0032687795,0.16796224,0.7675697],"study_design_scores_gemma":[0.00030992395,0.000098850265,0.0008359538,0.0007625112,0.000087666995,0.0000011267442,0.0044512744,0.0000056518656,0.0000022650643,0.0008996557,0.99241,0.000135108],"about_ca_topic_score_codex":0.13462201,"about_ca_topic_score_gemma":0.75062436,"teacher_disagreement_score":0.9218646,"about_ca_system_score_codex":0.000074131975,"about_ca_system_score_gemma":0.00015600388,"threshold_uncertainty_score":0.8711406},"labels":[],"label_agreement":null},{"id":"W2258254054","doi":"10.1353/esc.2004.0003","title":"Discursive Events in the Electronic Archive of Postmodern and Contemporary Poetry","year":2004,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; Postmodernism; Literature; History; Art","score_opus":0.0227482781363681,"score_gpt":0.235163574377336,"score_spread":0.21241529624096792,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2258254054","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9685791,0.0106362915,2.5235107e-7,0.0005310598,0.000408115,0.00016655255,0.000055344775,0.0000039455404,0.019619305],"genre_scores_gemma":[0.998587,0.00090881996,0.000001301312,0.00025853465,0.00016130778,0.000021743677,0.000004245791,0.0000052693044,0.000051747178],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993125,0.00003699235,0.00018380382,0.00011237315,0.00014058256,0.00021375272],"domain_scores_gemma":[0.9996415,0.0001595109,0.000048555645,0.00009411893,0.000044445835,0.000011888233],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012491365,0.00010502643,0.00021146644,0.000042798536,0.00012317435,0.0000044428384,0.00011228207,0.000008447391,0.000006191153],"category_scores_gemma":[0.000040782674,0.00006771679,0.000019597352,0.00003783349,0.00021586464,0.00008753187,0.00005699256,0.00016622835,1.8830899e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005704056,0.000048535334,0.059382062,0.00010567102,0.00016475563,0.000022899296,0.8966334,0.00006585878,7.9436694e-7,0.03881683,0.004291026,0.00041115287],"study_design_scores_gemma":[0.0013932564,0.00020828098,0.029405238,0.00025262957,0.00001903148,0.0000021915616,0.8855284,0.0000029765706,0.000016124914,0.024402117,0.05853083,0.00023896142],"about_ca_topic_score_codex":0.69098663,"about_ca_topic_score_gemma":0.9955025,"teacher_disagreement_score":0.3045158,"about_ca_system_score_codex":0.00018811566,"about_ca_system_score_gemma":0.0003668384,"threshold_uncertainty_score":0.3110711},"labels":[],"label_agreement":null},{"id":"W2258563248","doi":"","title":"Every day, I go to work to play? What am I?","year":2011,"lang":"en","type":"article","venue":"Educating Young Children: Learning and Teaching in the Early Childhood Years","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Immediacy; Pleasure; Media studies; Work (physics); Visual arts; Power (physics); Theatre studies; Sociology; Advertising; Aesthetics; Art; Psychology; Engineering; Business","score_opus":0.013518535374622614,"score_gpt":0.22703866352200305,"score_spread":0.21352012814738044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2258563248","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97216564,0.0005564105,0.0000032279345,0.00056813785,0.0011386027,0.00033565052,0.0000034257173,0.000119481214,0.02510945],"genre_scores_gemma":[0.9951019,0.000044002125,0.0003402655,0.00080332835,0.0015740285,0.000038768118,0.000009777657,0.000047824262,0.002040075],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9982086,0.00031606885,0.00029903796,0.00041252509,0.00024243482,0.00052137556],"domain_scores_gemma":[0.9992977,0.00018795776,0.00009725304,0.00028402454,0.000018085078,0.0001150126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012762826,0.00027496144,0.0002677022,0.00023612182,0.0011695276,0.00073403516,0.0003898728,0.000051693114,0.00009097287],"category_scores_gemma":[0.0001764648,0.00021758169,0.00007945038,0.00010751921,0.00009220837,0.00044002978,0.00015487205,0.0011260714,0.00020595086],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000100856105,0.00010004343,0.20472504,0.0000031119473,0.00004357163,0.0000017555791,0.7514814,0.00001645533,0.0000011412448,0.001251011,0.0013142979,0.041052077],"study_design_scores_gemma":[0.00017998223,0.00027478894,0.9218916,0.00043102723,0.0000305218,0.000018594847,0.067893565,5.385196e-7,0.0000027985861,0.00017378008,0.008755482,0.00034728725],"about_ca_topic_score_codex":0.0018872871,"about_ca_topic_score_gemma":0.00047018027,"teacher_disagreement_score":0.7171666,"about_ca_system_score_codex":0.000028786882,"about_ca_system_score_gemma":0.000031170068,"threshold_uncertainty_score":0.89951795},"labels":[],"label_agreement":null},{"id":"W2262455552","doi":"10.1353/mdr.2003.0045","title":"'Love Me or Kill Me:' Sarah Kane and the Theatre of Extremes by Graham Saunders (review)","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.02430597329649813,"score_gpt":0.2303514769092074,"score_spread":0.20604550361270926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2262455552","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05492071,0.33291912,0.00011777031,0.0075197415,0.00051874924,0.0009750746,0.00014904833,0.00008274404,0.60279703],"genre_scores_gemma":[0.9382116,0.026962845,0.000021358743,0.0015101264,0.0001108214,0.000017918721,0.000007009796,0.000022102455,0.033136223],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990635,0.000084674066,0.0002627573,0.0001818437,0.0001777793,0.0002294473],"domain_scores_gemma":[0.9994194,0.00013889292,0.00009330743,0.0002567307,0.000056017056,0.00003568192],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025002024,0.00019251721,0.00038559723,0.000026417356,0.00023391063,0.00004301689,0.00013080855,0.000031322852,0.001236396],"category_scores_gemma":[0.000018908024,0.00009757718,0.00010397929,0.000028964054,0.0005995695,0.00012797075,0.000037022342,0.000106483974,0.00003356822],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009298626,0.00042866563,0.0011130397,0.0023812242,0.0012250859,0.000009596792,0.28225118,0.00001728751,0.00034506657,0.18551125,0.4025883,0.12319944],"study_design_scores_gemma":[0.00167788,0.00017587248,0.000037166406,0.000351098,0.00023702353,0.000011188418,0.010337291,0.00021991479,0.0003182841,0.017075116,0.9692285,0.00033063555],"about_ca_topic_score_codex":0.00019244183,"about_ca_topic_score_gemma":0.000767602,"teacher_disagreement_score":0.8832909,"about_ca_system_score_codex":0.000010383629,"about_ca_system_score_gemma":0.000020163807,"threshold_uncertainty_score":0.9996766},"labels":[],"label_agreement":null},{"id":"W2263476821","doi":"","title":"Interview with David Ross, Western Canada Theatre’s Artistic Director","year":2012,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Demographics; History; Art history; Management; Visual arts; Art; Sociology; Demography; Economics","score_opus":0.029410756623416242,"score_gpt":0.21076312691162097,"score_spread":0.18135237028820472,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2263476821","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13433562,0.005910569,0.000028560351,0.0020899791,0.0016593608,0.00019754577,0.00008522402,0.0001465706,0.8555466],"genre_scores_gemma":[0.96309114,0.000061286475,0.000011624105,0.0011931472,0.0008526759,0.000016338527,0.0000073295173,0.000013657869,0.034752797],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935424,0.00001978159,0.00011839782,0.00008798372,0.00012118108,0.0002984228],"domain_scores_gemma":[0.99969745,0.000033004282,0.000028970258,0.0001398732,0.00002918895,0.00007150282],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000072585295,0.00013042561,0.00015952883,0.000016637887,0.00022421434,0.000058572612,0.000080505364,0.0000094709085,0.0032386968],"category_scores_gemma":[0.0000011820225,0.00007447575,0.000023760384,0.000014986016,0.000087771194,0.00021074551,0.000032117063,0.00006113732,0.00012068369],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011064208,0.00030677518,0.21012096,0.00035763133,0.00076200126,0.00002046995,0.06880158,0.000003865352,0.00001283289,0.052719317,0.53434026,0.13244367],"study_design_scores_gemma":[0.0001057703,0.000048282902,0.0060008336,0.000042017782,0.000037709655,0.0000038674043,0.0012994906,0.0000018144174,0.000042637304,0.000012131711,0.9922569,0.00014855301],"about_ca_topic_score_codex":0.24796464,"about_ca_topic_score_gemma":0.9690514,"teacher_disagreement_score":0.8287555,"about_ca_system_score_codex":0.0000357791,"about_ca_system_score_gemma":0.000047612368,"threshold_uncertainty_score":0.9976725},"labels":[],"label_agreement":null},{"id":"W2264458104","doi":"","title":"Canada: Remembering and Un-remembering a Century of Prairie Settlement - Community-triggered Performance","year":2010,"lang":"en","type":"article","venue":"Local-Global: Identity, Security, Community","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Settlement (finance); Collective memory; Centennial; History; Identity (music); Social memory; Sociology; Archaeology; Aesthetics; Art; Political science; Law","score_opus":0.019574103780069126,"score_gpt":0.2432259004608528,"score_spread":0.22365179668078367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2264458104","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9583116,0.0007634283,0.000012179903,0.00047762165,0.0013585077,0.00033684546,0.00073739636,0.00011878463,0.037883632],"genre_scores_gemma":[0.998815,0.0003892906,0.00004608761,0.00028837283,0.00021527281,0.000022980028,0.00009252177,0.00002714635,0.00010330175],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99727595,0.00053331046,0.0007186764,0.00021643436,0.00062180904,0.00063384935],"domain_scores_gemma":[0.99779046,0.00018706595,0.00030929895,0.0011572393,0.00035350636,0.00020243073],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0014147905,0.00044052606,0.00062175246,0.00007791137,0.0036176082,0.00026227854,0.0010680843,0.00011685959,0.00033942907],"category_scores_gemma":[0.000084067346,0.00044223884,0.00012091692,0.00021508482,0.001182859,0.000927732,0.0020561027,0.0018873496,0.0000102741005],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005418579,0.0037046487,0.52319324,0.010205062,0.002010057,0.000045324487,0.1236126,0.0001427281,0.00037275322,0.23517752,0.037243225,0.063751],"study_design_scores_gemma":[0.004638554,0.0012967946,0.2783427,0.0011557807,0.00079036085,0.00016225642,0.08751714,0.0010313712,0.0016586422,0.040432036,0.58006895,0.0029054119],"about_ca_topic_score_codex":0.81082255,"about_ca_topic_score_gemma":0.99401253,"teacher_disagreement_score":0.54282576,"about_ca_system_score_codex":0.00026678038,"about_ca_system_score_gemma":0.00027060515,"threshold_uncertainty_score":0.99980295},"labels":[],"label_agreement":null},{"id":"W2266061550","doi":"10.3138/ctr.164.004","title":"Fix","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Olympiad; Austerity; Visual arts; Face (sociological concept); Media studies; The arts; Ableism; Sociology; Art; Gender studies; Psychology; Political science; Social science; Politics; Law","score_opus":0.06238441084456145,"score_gpt":0.2509203840461572,"score_spread":0.18853597320159574,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2266061550","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00015491803,0.2517345,1.5601624e-7,0.0053328923,0.0004100577,0.00013669788,0.000036810532,0.000029425399,0.74216455],"genre_scores_gemma":[0.5741116,0.26015526,0.00006755306,0.06507395,0.0064465045,0.00018393186,0.00014556006,0.00011511063,0.09370056],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994088,0.00002417926,0.0001338802,0.000102697115,0.000080331796,0.00025014355],"domain_scores_gemma":[0.999367,0.000010250024,0.000023374887,0.00019647158,0.00006648277,0.00033640556],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001718477,0.000105342435,0.00020620349,0.000051454175,0.00017004584,0.000037890655,0.00012546433,0.000014996965,0.0029674107],"category_scores_gemma":[0.000009768161,0.00007703307,0.00006715301,0.000036877304,0.0000824704,0.00010360016,0.000011117195,0.00006737975,0.0021674603],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.414842e-7,0.000003787923,0.00013672483,0.0003619569,0.00002476779,0.000010602496,0.0036189917,1.4248559e-7,4.0736076e-8,0.02936776,0.81238157,0.15409274],"study_design_scores_gemma":[0.000055834887,0.000024430827,0.0000073260844,0.00059727265,0.00003568467,0.000005818397,0.00051475095,7.827225e-7,5.2624387e-7,0.0005259192,0.9981201,0.00011150916],"about_ca_topic_score_codex":0.050172947,"about_ca_topic_score_gemma":0.5246841,"teacher_disagreement_score":0.648464,"about_ca_system_score_codex":0.000074370466,"about_ca_system_score_gemma":0.00025187756,"threshold_uncertainty_score":0.9986095},"labels":[],"label_agreement":null},{"id":"W2266216141","doi":"","title":"Of Mud and Men: Spectres of Pasolini in Canadian Theatre","year":2015,"lang":"en","type":"article","venue":"Dialnet (Universidad de la Rioja)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sky; TRACE (psycholinguistics); Art; Art history; Humanities; Linguistics; Philosophy; Geography; Meteorology","score_opus":0.01489862905686758,"score_gpt":0.2198865799388313,"score_spread":0.2049879508819637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2266216141","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5898353,0.00033906984,2.3325356e-7,0.00032536566,0.00004595664,0.000040538427,0.000041034702,0.000005465952,0.40936708],"genre_scores_gemma":[0.9987673,0.00015603738,0.00002472734,0.00003648437,0.0000876899,8.0301965e-7,0.000004597452,0.0000060509974,0.0009162727],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995373,0.000039548664,0.00009140127,0.000080239224,0.000071414586,0.0001800968],"domain_scores_gemma":[0.999674,0.00006159739,0.000042756696,0.00008911341,0.000034921854,0.000097613],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016631963,0.000074160285,0.00017384446,0.00020761973,0.00005810392,0.000014685175,0.00008002116,0.000037902104,0.0001915844],"category_scores_gemma":[0.0000075911075,0.00006872397,0.000028734501,0.000049150756,0.00028485502,0.00012050257,0.000025310226,0.0000671447,0.000003950213],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015649966,0.00007928838,0.14607987,0.000095755444,0.000121830955,0.000062700856,0.4248247,0.00004011997,0.00007955489,0.40030703,0.018424157,0.009728463],"study_design_scores_gemma":[0.0019714332,0.00036805987,0.055222977,0.000095727286,0.00007090165,0.0000063527045,0.12224507,0.00023645861,0.00040031804,0.009856489,0.809198,0.00032821327],"about_ca_topic_score_codex":0.33236027,"about_ca_topic_score_gemma":0.7364119,"teacher_disagreement_score":0.79077387,"about_ca_system_score_codex":0.00004464396,"about_ca_system_score_gemma":0.00015134731,"threshold_uncertainty_score":0.6720856},"labels":[],"label_agreement":null},{"id":"W2268071275","doi":"","title":"Theater as virtual reality","year":2014,"lang":"en","type":"book","venue":"ETC Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Battle; Presentation (obstetrics); Key (lock); Extension (predicate logic); Visual arts; Art; Aesthetics; History; Media studies; Literature; Sociology; Medicine; Computer science; Archaeology","score_opus":0.05303007023510407,"score_gpt":0.2500388671693796,"score_spread":0.19700879693427556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2268071275","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00004723134,0.00036863337,0.0000036963445,0.00006685005,0.0012957549,0.00023313388,0.00016064754,0.0001712071,0.9976528],"genre_scores_gemma":[0.0033647793,0.000050861767,0.0000016527392,0.00055827963,0.005316715,0.000051123538,0.000067613844,0.000060420447,0.9905285],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987544,0.000049015936,0.00028806884,0.00032135256,0.00028002544,0.00030715385],"domain_scores_gemma":[0.9991723,0.00007251026,0.00013227244,0.0004988502,0.00006249567,0.000061594335],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017523077,0.00036529638,0.0004569453,0.000054526317,0.00043647908,0.00018563983,0.00032323584,0.00016665859,0.0013128078],"category_scores_gemma":[0.000002873528,0.0002716378,0.00018598948,8.2731003e-7,0.00044989356,0.00005739788,0.00018699108,0.0003954924,0.0006220999],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025888037,0.000005996093,2.373831e-7,0.00006612341,0.00011450865,0.00000420954,0.01558929,3.9477834e-7,3.084347e-7,0.5916213,0.38374352,0.008828207],"study_design_scores_gemma":[0.00017598359,0.0001716946,8.2579163e-7,0.0001395714,0.00009292875,0.00000250182,0.00009475055,0.0000018270769,0.00004558381,0.02491471,0.974009,0.0003506677],"about_ca_topic_score_codex":0.0006566611,"about_ca_topic_score_gemma":0.0012226048,"teacher_disagreement_score":0.59026545,"about_ca_system_score_codex":0.00003687058,"about_ca_system_score_gemma":0.00007466514,"threshold_uncertainty_score":0.9999736},"labels":[],"label_agreement":null},{"id":"W2270397436","doi":"","title":"Between life and death: on the art of mask-making","year":2012,"lang":"en","type":"article","venue":"ENLIGHTEN (Jurnal Bimbingan dan Konseling Islam)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Theme (computing); Object (grammar); Sculpture; Art; Aesthetics; Literature; Visual arts; Philosophy; Computer science; Linguistics","score_opus":0.05684027128811393,"score_gpt":0.25391555058920634,"score_spread":0.19707527930109242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2270397436","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94473815,0.0010787884,0.000012427855,0.0013912462,0.0005029478,0.000121445235,0.000024793675,0.0000535109,0.052076712],"genre_scores_gemma":[0.99585426,0.00016720388,0.00006124623,0.000517157,0.002382265,0.0000074534228,0.000005063068,0.000028847782,0.00097651774],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987133,0.0000926458,0.00036964111,0.00016593734,0.00023781107,0.0004206741],"domain_scores_gemma":[0.99892163,0.0005136513,0.00018433933,0.00023458907,0.00006222383,0.00008354559],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007031564,0.00022583804,0.00031532854,0.00012831233,0.000829191,0.00011173374,0.0001967439,0.000048787588,0.00014407992],"category_scores_gemma":[0.000087466644,0.00014012975,0.00011283499,0.000051444924,0.00019105662,0.00021567506,0.000083771476,0.00032224093,0.000086455715],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015176288,0.00022717519,0.21360305,0.00018113376,0.0009146705,0.0000070611686,0.337816,0.000012525969,0.0008273363,0.41687778,0.019259222,0.010122284],"study_design_scores_gemma":[0.00094749633,0.00073764526,0.031409938,0.00107453,0.000466222,0.000025947033,0.034148138,0.00007063916,0.0050624213,0.005144587,0.91978836,0.0011240527],"about_ca_topic_score_codex":0.000018141096,"about_ca_topic_score_gemma":0.00002723866,"teacher_disagreement_score":0.90052915,"about_ca_system_score_codex":0.000016091526,"about_ca_system_score_gemma":0.000023824681,"threshold_uncertainty_score":0.63775504},"labels":[],"label_agreement":null},{"id":"W2270554012","doi":"10.12968/sece.2007.6.919","title":"The pride of east London","year":2007,"lang":"en","type":"article","venue":"SecEd","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"World Federation of Science Journalists","funders":"","keywords":"Pride; Performing arts; Visual arts; Art; Art history; History; Theology; Philosophy","score_opus":0.019770947260222424,"score_gpt":0.22393530814331047,"score_spread":0.20416436088308804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2270554012","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58417,0.000672504,0.0000054795278,0.0002490478,0.00041105194,0.00004938842,0.000005021976,0.000019469215,0.41441804],"genre_scores_gemma":[0.990429,0.000059900867,0.0000045667293,0.000054457134,0.00036443866,0.0000011132901,0.0000010608388,0.000003565826,0.009081938],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996902,0.0000041120074,0.00009526757,0.00003671447,0.00006138937,0.000112370086],"domain_scores_gemma":[0.99979633,0.00004501533,0.000029479937,0.000082942526,0.000035564506,0.00001064559],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001530124,0.000038881066,0.00005381952,0.000014951248,0.00024673514,0.000015449728,0.00006028911,0.000007484809,0.0001944487],"category_scores_gemma":[0.000005111709,0.000021477003,0.000030388497,0.000011500933,0.00013106999,0.000036334695,0.000016433592,0.00003597929,0.000042365315],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025554697,0.000058615067,0.0043721097,0.00005770819,0.00014360936,0.000003724159,0.16826896,0.0000023762404,0.0010724341,0.65179354,0.022733515,0.15123788],"study_design_scores_gemma":[0.00012969728,0.000049790517,0.0017909902,0.0000097429465,0.0000068717295,7.586087e-7,0.008568401,0.000002651735,0.0016175159,0.0008524521,0.9869242,0.00004693491],"about_ca_topic_score_codex":0.000059859696,"about_ca_topic_score_gemma":0.0035840934,"teacher_disagreement_score":0.96419066,"about_ca_system_score_codex":0.0000037136324,"about_ca_system_score_gemma":0.0000049295845,"threshold_uncertainty_score":0.21290769},"labels":[],"label_agreement":null},{"id":"W2270855246","doi":"","title":"“Figuring out the Theater”: Emily Allen.. Columbus: Ohio State University Press, 2003. ISBN: 0814251102. Price: US$22.95.","year":2005,"lang":"en","type":"article","venue":"Romanticism on the Net","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Figuring; State (computer science); History; Art history; Media studies; Art; Sociology; Computer science; Astronomy; Physics; Programming language","score_opus":0.019739446741770236,"score_gpt":0.2041870348329196,"score_spread":0.18444758809114936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2270855246","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4197956,0.0016693906,0.000009452897,0.0059422287,0.0009426573,0.0007049686,0.00015765359,0.00021215035,0.5705659],"genre_scores_gemma":[0.83403355,0.0027690723,0.000013848902,0.0017284199,0.0011441123,0.000009852855,0.000009702333,0.000035696645,0.16025573],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99849933,0.00012915814,0.00024360245,0.00028594318,0.00031590866,0.0005260441],"domain_scores_gemma":[0.99900794,0.00015061062,0.00013335639,0.0005314648,0.00011820739,0.0000583943],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003468136,0.00028225084,0.00026727113,0.000039708935,0.0015236315,0.00023516582,0.0006125784,0.000050361992,0.0010916169],"category_scores_gemma":[0.000013955351,0.00016459239,0.00010231987,0.000053139236,0.00037027444,0.000284953,0.00017558504,0.00036006255,0.00051821116],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003304931,0.00026828828,0.00046851154,0.00006943285,0.0005659983,0.000030801526,0.12164572,0.00056029164,0.000084980355,0.114299186,0.75677586,0.0049004396],"study_design_scores_gemma":[0.00037757604,0.00012640582,0.0013506693,0.00007054903,0.000075930104,0.0000025823383,0.00287803,0.00047663398,0.00024944515,0.0001891242,0.99395066,0.00025239916],"about_ca_topic_score_codex":0.00044550654,"about_ca_topic_score_gemma":0.0017703152,"teacher_disagreement_score":0.41423795,"about_ca_system_score_codex":0.000054613916,"about_ca_system_score_gemma":0.000036653964,"threshold_uncertainty_score":0.99982154},"labels":[],"label_agreement":null},{"id":"W2274671512","doi":"10.3138/ctr.165.004","title":"The Danger of a Single Story","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Action (physics); Theme (computing); Perspective (graphical); History; Representation (politics); Call to action; Isolation (microbiology); Aesthetics; Gender studies; Media studies; Visual arts; Art; Sociology; Law; Politics; Political science; Advertising","score_opus":0.03236162687103507,"score_gpt":0.2221375942886026,"score_spread":0.18977596741756753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2274671512","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006027429,0.45929977,4.5079076e-7,0.017545853,0.0004123567,0.00020504628,0.00007934093,0.00001549188,0.52183896],"genre_scores_gemma":[0.5802877,0.36203477,0.000007227706,0.0042539584,0.0012094654,0.00007506438,0.0000045717375,0.000040760428,0.052086502],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994649,0.000044454413,0.00013902783,0.00007727628,0.0000664107,0.00020788163],"domain_scores_gemma":[0.99947,0.0001030485,0.00004811349,0.00024040266,0.000054008142,0.000084448904],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021486505,0.00008235782,0.00017021048,0.000029744075,0.0003514143,0.0000139861,0.00014843469,0.000011969672,0.0011593809],"category_scores_gemma":[0.000015910531,0.000035383957,0.00008611438,0.000023942743,0.00026760309,0.00006403163,0.000011127733,0.00003755589,0.0002061311],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000013411994,0.0000036659526,0.00004286063,0.00025371969,0.00003383184,0.0000012139492,0.0010892154,3.811819e-9,0.000013394863,0.025519155,0.14791071,0.8251309],"study_design_scores_gemma":[0.000039781327,0.000029868654,0.000018357898,0.0013917881,0.000031584714,0.0000014339267,0.00020573838,3.083345e-8,0.000013779593,0.00021339113,0.99798995,0.00006428856],"about_ca_topic_score_codex":0.005358458,"about_ca_topic_score_gemma":0.3756342,"teacher_disagreement_score":0.85007924,"about_ca_system_score_codex":0.000056529872,"about_ca_system_score_gemma":0.00010466498,"threshold_uncertainty_score":0.9997537},"labels":[],"label_agreement":null},{"id":"W2274776507","doi":"10.3138/tric.35.2.226","title":"Theatre / Research / Canada","year":2014,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Political theatre; Postmodern theatre; Theatre studies; Theatre director; History; Media studies; Art history; Visual arts; Literature; Art; Sociology; Postmodernism","score_opus":0.11502551280704948,"score_gpt":0.330321510642445,"score_spread":0.21529599783539555,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2274776507","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10041125,0.00082148524,1.8615721e-7,0.007849486,0.0006508292,0.00030944127,0.000085013424,0.000020360441,0.8898519],"genre_scores_gemma":[0.9958491,0.00020332751,0.0000046139394,0.00026954207,0.0013429452,0.00007451912,0.000013184572,0.00003663328,0.00220614],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.994608,0.0008514174,0.00034481447,0.00041747166,0.0021010006,0.0016773193],"domain_scores_gemma":[0.99724257,0.0015247317,0.000027433161,0.00063844235,0.0002924425,0.00027439572],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.003243633,0.00021261832,0.0003390572,0.0003427157,0.0012528868,0.00014238841,0.0007119522,0.000040530005,0.0012150811],"category_scores_gemma":[0.000015971713,0.00016744745,0.000037701022,0.00036730987,0.0005217153,0.00014959883,0.0002544171,0.0012396552,0.000080254045],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001375019,0.00006025204,0.01266071,0.0002283389,0.00007432854,0.00016238206,0.005442941,0.00007842319,0.000020632184,0.02283356,0.5141611,0.44413984],"study_design_scores_gemma":[0.00027532355,0.00009632463,0.00029409194,0.00010193494,0.0000025248808,0.0000031440948,0.01800789,0.00016622846,0.000087854896,0.0031358574,0.97762495,0.0002038656],"about_ca_topic_score_codex":0.99995667,"about_ca_topic_score_gemma":0.9999989,"teacher_disagreement_score":0.89543784,"about_ca_system_score_codex":0.002312924,"about_ca_system_score_gemma":0.008868699,"threshold_uncertainty_score":0.9996979},"labels":[],"label_agreement":null},{"id":"W2275094680","doi":"10.3138/ctr.165.012","title":"In Conversation with Women Artistic Directors","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Diversity (politics); Sociology; Focus (optics); Visual arts; Gender studies; Art; Media studies; Aesthetics; Communication; Anthropology","score_opus":0.015831781448674156,"score_gpt":0.2081399116158317,"score_spread":0.19230813016715753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2275094680","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.086403795,0.123477854,0.0000038121957,0.038589522,0.0008946131,0.0012081861,0.00024902835,0.00009608353,0.7490771],"genre_scores_gemma":[0.9658092,0.026702272,0.00000248515,0.0024903736,0.00021701411,0.000079698846,0.000003312389,0.0000135295595,0.0046820967],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994056,0.000026932452,0.00012741164,0.00011181439,0.00005708877,0.00027113152],"domain_scores_gemma":[0.9996586,0.000033949585,0.000028466042,0.00012873321,0.000025300884,0.0001249502],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000117716954,0.00009747712,0.00019777594,0.00007987859,0.000084769476,0.000015845275,0.00006333177,0.000012017755,0.006206136],"category_scores_gemma":[0.000006743864,0.00005154019,0.00002255786,0.000045146804,0.000103960905,0.00015038834,0.0000043101795,0.000034974,0.0004131472],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031210755,0.0000281031,0.010471318,0.0029122687,0.0001438348,0.00013496175,0.039267734,2.7781638e-7,0.000006525626,0.042568766,0.08890266,0.8155323],"study_design_scores_gemma":[0.00013125596,0.000041381973,0.00034307237,0.0017155724,0.000015029885,0.0000035056257,0.0003865793,1.979639e-7,0.000002388938,0.00022814418,0.99702156,0.00011131223],"about_ca_topic_score_codex":0.021152467,"about_ca_topic_score_gemma":0.49331793,"teacher_disagreement_score":0.9081189,"about_ca_system_score_codex":0.00022701286,"about_ca_system_score_gemma":0.00011964561,"threshold_uncertainty_score":0.99470234},"labels":[],"label_agreement":null},{"id":"W2275386387","doi":"10.3138/ctr.165.003","title":"Indigenizing the Role of Ally","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; The arts; Alliance; Visual arts; Media studies; Political science; Sociology; Art; Law; Ecology","score_opus":0.019553453615888672,"score_gpt":0.2126285663412176,"score_spread":0.19307511272532893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2275386387","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017527087,0.38204405,2.7550047e-7,0.006271781,0.00016541379,0.00024007888,0.00008604203,0.000015007938,0.60942465],"genre_scores_gemma":[0.88745195,0.10729643,0.0000036267777,0.0020152193,0.00042844986,0.000024437579,0.0000024782657,0.00001508459,0.002762315],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943036,0.00003071941,0.00017032445,0.00008211735,0.00007046534,0.00021604163],"domain_scores_gemma":[0.9995489,0.00004833409,0.00005158836,0.00022647923,0.000046782974,0.00007789764],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017396864,0.00008966833,0.00018795057,0.000038867907,0.0002492921,0.000013860479,0.00018925281,0.00001332461,0.0023380592],"category_scores_gemma":[0.000007799607,0.000038686798,0.00009109777,0.000031997042,0.00016235719,0.00007637737,0.000014229086,0.00004056569,0.00023917662],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000011247021,0.000002940527,0.0007107049,0.00022799156,0.00005285003,0.000001106954,0.0043199365,1.42829855e-8,0.000013345863,0.06393682,0.010791417,0.9199417],"study_design_scores_gemma":[0.000033264798,0.00001607879,0.00005961427,0.0013235522,0.000041809446,0.0000022545464,0.0005617758,8.041001e-8,0.000038419763,0.0010841675,0.9967698,0.000069201495],"about_ca_topic_score_codex":0.022406746,"about_ca_topic_score_gemma":0.3776438,"teacher_disagreement_score":0.98597836,"about_ca_system_score_codex":0.00003320474,"about_ca_system_score_gemma":0.000141687,"threshold_uncertainty_score":0.99857396},"labels":[],"label_agreement":null},{"id":"W2275837120","doi":"10.3138/ctr.165.005","title":"Black Plays Matter: Watah Theatre, Creating Safe Space for Black Artists in These Dangerous Times","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mentorship; The arts; Black British; Visual arts; Art; Space (punctuation); Theatre studies; Performing arts; Theatre director; Sociology; Gender studies; Drama","score_opus":0.02408939770335009,"score_gpt":0.24082165087925675,"score_spread":0.21673225317590666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2275837120","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0064435224,0.08806123,0.000011037463,0.023749534,0.00034233351,0.0019060719,0.0010276115,0.00007330175,0.87838537],"genre_scores_gemma":[0.7986739,0.12298555,0.00022055663,0.008021895,0.002503046,0.00035833978,0.00011458439,0.00021029536,0.0669118],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981441,0.000087222106,0.00047018623,0.00038206045,0.00013374908,0.0007826708],"domain_scores_gemma":[0.99878645,0.0002720399,0.00011624959,0.0004929394,0.00006900322,0.000263309],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003929271,0.00035725298,0.0006513179,0.00016869785,0.0002792015,0.00008790908,0.00030173123,0.00006228675,0.004719642],"category_scores_gemma":[0.000024624816,0.0002197648,0.00020826976,0.00008398142,0.00035533356,0.00021637847,0.000038035458,0.00011962094,0.0020211837],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048617167,0.000069739384,0.00807678,0.006225416,0.00026707244,0.000050517374,0.032886844,0.0000039954557,0.0000187972,0.042473447,0.3704856,0.5393932],"study_design_scores_gemma":[0.00034007963,0.00007116055,0.00012764892,0.0058898856,0.000093592,0.0000074304626,0.0009621454,0.00000613993,0.000018684605,0.00093703467,0.9911799,0.000366301],"about_ca_topic_score_codex":0.018548075,"about_ca_topic_score_gemma":0.35466275,"teacher_disagreement_score":0.81147355,"about_ca_system_score_codex":0.00021917555,"about_ca_system_score_gemma":0.00017665268,"threshold_uncertainty_score":0.9987559},"labels":[],"label_agreement":null},{"id":"W2277246793","doi":"10.3138/ctr.164.022","title":"Reading <i>Contemporary Women Playwrights</i>: A Conversation, a Review, Some Revelations","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Appropriation; Conversation; Interpretation (philosophy); Reading (process); Relevance (law); Visual arts; Aesthetics; Art; Sociology; Gender studies; Linguistics; Communication; Political science; Philosophy","score_opus":0.052502805639818684,"score_gpt":0.2461411491741559,"score_spread":0.1936383435343372,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2277246793","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00011205058,0.58028084,6.834481e-7,0.017829306,0.0004398133,0.0007003299,0.00014409116,0.00006543033,0.40042746],"genre_scores_gemma":[0.1241998,0.7631317,0.000040418054,0.08460313,0.002279775,0.0005870154,0.0003332908,0.00008495339,0.02473994],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986176,0.00010469092,0.00045490873,0.00023268475,0.00017634072,0.0004137982],"domain_scores_gemma":[0.99870723,0.000042609623,0.00012946123,0.00037763102,0.0001837765,0.00055925956],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006921965,0.00022623145,0.0005448167,0.00013103276,0.00037082864,0.00005724762,0.00020418991,0.000034729976,0.0019512125],"category_scores_gemma":[0.000048079255,0.00017413357,0.00011564943,0.000121047524,0.00014095478,0.0005520936,0.000021521479,0.00015235122,0.0011398626],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000028430625,0.00000841134,0.00013129257,0.0034765757,0.00008278871,0.000015062869,0.01343915,1.471921e-7,1.5258337e-7,0.03094115,0.94184387,0.0100585455],"study_design_scores_gemma":[0.0001500421,0.000039602583,0.00000810897,0.009123018,0.00007382668,0.000010513087,0.0012380296,0.0000014878334,5.1068173e-7,0.001499751,0.98761755,0.00023753716],"about_ca_topic_score_codex":0.015804188,"about_ca_topic_score_gemma":0.027887434,"teacher_disagreement_score":0.37568754,"about_ca_system_score_codex":0.00033978838,"about_ca_system_score_gemma":0.0009262496,"threshold_uncertainty_score":0.99963784},"labels":[],"label_agreement":null},{"id":"W2278194972","doi":"10.3138/ctr.165.018","title":"On Blending In and Standing Out","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Camouflage; Interpretation (philosophy); Scholarship; Field (mathematics); Space (punctuation); Aesthetics; Visual arts; Sociology; History; Art; Computer science; Philosophy; Artificial intelligence; Political science; Law; Mathematics; Linguistics","score_opus":0.0403218517753803,"score_gpt":0.24984393604809058,"score_spread":0.20952208427271027,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2278194972","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011045762,0.16090152,8.398165e-7,0.009723167,0.00043624957,0.00032987515,0.00009968747,0.000028026468,0.8174349],"genre_scores_gemma":[0.8723226,0.121811196,0.0000019166116,0.0023040024,0.00020633491,0.00001796271,0.0000015727226,0.000013382648,0.0033210195],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994375,0.000022891736,0.000130166,0.00012217741,0.000048983453,0.00023825376],"domain_scores_gemma":[0.99968857,0.000062784675,0.000021401513,0.00010986155,0.00001029627,0.000107083586],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016176932,0.0000982214,0.00019543432,0.00010975177,0.00015553922,0.000024037281,0.000056327022,0.000013695467,0.0014453571],"category_scores_gemma":[0.000011056812,0.00005636383,0.000030886862,0.000021154403,0.00007114339,0.00009329127,0.000008772856,0.00004824192,0.00017326097],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000054401357,0.000006276629,0.0020547125,0.0009498064,0.000029420335,0.000026479633,0.0065748286,4.336889e-8,0.0000039502706,0.20726748,0.029986607,0.753095],"study_design_scores_gemma":[0.000109143846,0.000030427844,0.00007320972,0.0062696985,0.000010584114,0.000001810589,0.00027170757,2.113391e-7,0.0000025988006,0.0012782591,0.9918435,0.00010880559],"about_ca_topic_score_codex":0.0048618945,"about_ca_topic_score_gemma":0.45153183,"teacher_disagreement_score":0.96185696,"about_ca_system_score_codex":0.00010768035,"about_ca_system_score_gemma":0.000046222336,"threshold_uncertainty_score":0.99946743},"labels":[],"label_agreement":null},{"id":"W2279297727","doi":"10.3138/ctr.165.011","title":"Transitioning the Theatre Industry","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Transgender; Narrative; Creativity; Aesthetics; Art; Sociology; Work (physics); Gender studies; Visual arts; Political science; Psychology; Literature; Social psychology; Engineering","score_opus":0.03035153804655376,"score_gpt":0.22990625490334976,"score_spread":0.199554716856796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2279297727","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001075389,0.14784111,0.0000020751995,0.0843224,0.0004602443,0.00038354032,0.00017210335,0.00005869264,0.7656844],"genre_scores_gemma":[0.8946603,0.075279556,0.000004474463,0.017014937,0.0018100365,0.00009772573,0.0000103297225,0.00003916918,0.011083489],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910176,0.00006624695,0.00020228332,0.00015702832,0.000102998325,0.0003696716],"domain_scores_gemma":[0.9993564,0.00007169049,0.00003939644,0.0003209317,0.00004500267,0.00016660943],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024309136,0.00016407153,0.00023072654,0.000051128718,0.0007352602,0.00005461278,0.00022787442,0.00005373345,0.008574407],"category_scores_gemma":[0.0000054569637,0.00007200386,0.00013546085,0.000057022877,0.00025750557,0.00016169746,0.000011196859,0.00019404067,0.0006765258],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002210941,0.0000055708438,0.00026558686,0.00032289623,0.000075891265,0.0000096840495,0.0034243232,1.2047815e-7,0.0000027696758,0.03648463,0.13113011,0.8282762],"study_design_scores_gemma":[0.00007923309,0.000019359979,0.000050516282,0.0025418769,0.00007600442,0.000012811651,0.0006256346,2.1917974e-7,0.00000498359,0.0005726173,0.9958756,0.00014117494],"about_ca_topic_score_codex":0.012748813,"about_ca_topic_score_gemma":0.2677555,"teacher_disagreement_score":0.8935849,"about_ca_system_score_codex":0.00007491419,"about_ca_system_score_gemma":0.00017508585,"threshold_uncertainty_score":0.9938254},"labels":[],"label_agreement":null},{"id":"W2281014571","doi":"","title":"Religion, Theatre, and Performance: Acts of Faith ed. by Lance Gharavi (review)","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Faith; History; Performance art; Art; Environmental ethics; Art history; Theology; Philosophy","score_opus":0.010683908906196152,"score_gpt":0.20829940796055518,"score_spread":0.19761549905435905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2281014571","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6999828,0.10694281,0.000009989087,0.0012733229,0.00019931818,0.00040806865,0.00005104251,0.00007483387,0.1910578],"genre_scores_gemma":[0.9222209,0.071764745,0.00001845413,0.00076737604,0.00017012027,0.00003959893,0.0000134746615,0.000014800241,0.0049905484],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992578,0.000014229035,0.000214365,0.00015851259,0.0001381339,0.00021696686],"domain_scores_gemma":[0.99956286,0.000022972765,0.00007999038,0.00019770702,0.000092130686,0.00004432109],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007571753,0.00015097772,0.0002678332,0.00002829963,0.00018616181,0.000041085765,0.00011559704,0.000028653587,0.0005633692],"category_scores_gemma":[0.000003300266,0.00010649678,0.000042283402,0.000019408893,0.0001810129,0.0003069408,0.000051457086,0.00009469906,0.00014966592],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003289267,0.00009459681,0.00645025,0.0016235876,0.0000927561,6.671662e-7,0.016055776,0.0000027732879,0.0003010653,0.004077489,0.85557276,0.115695365],"study_design_scores_gemma":[0.0004402867,0.00026739205,0.002329116,0.0008140789,0.000057669753,0.00000427668,0.00050698634,0.0006128606,0.00058514386,0.0012266961,0.992807,0.00034850524],"about_ca_topic_score_codex":0.00023489211,"about_ca_topic_score_gemma":0.00005168255,"teacher_disagreement_score":0.22223808,"about_ca_system_score_codex":0.0000075350445,"about_ca_system_score_gemma":0.0000107632595,"threshold_uncertainty_score":0.6168498},"labels":[],"label_agreement":null},{"id":"W2282842974","doi":"10.1007/978-1-4020-3052-9_74","title":"The Body in a State of Music","year":2007,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":39,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brandon University","funders":"","keywords":"State (computer science); Computer science; Programming language","score_opus":0.04890752225187453,"score_gpt":0.2342579744426029,"score_spread":0.18535045219072838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2282842974","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00033419149,0.0012235196,3.8055947e-7,0.000055086377,0.00027842206,0.000090041736,0.000021168651,0.000012517697,0.99798465],"genre_scores_gemma":[0.020201793,0.0012032408,0.0000017481962,0.00010430517,0.00028315588,0.0000020086077,0.0000032732428,0.000013228865,0.97818726],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948394,0.0000021357464,0.00021654337,0.00007473215,0.00009984592,0.0001227896],"domain_scores_gemma":[0.99968475,0.00006475445,0.000069397,0.0001292812,0.000042155956,0.000009644749],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012786507,0.000114570365,0.00017007759,0.000071477654,0.0001231104,0.000020672473,0.0000853305,0.000024001705,0.002478138],"category_scores_gemma":[9.930415e-7,0.00006213227,0.0000632887,0.0000029020237,0.00025301514,0.00003020764,0.000036251095,0.00012934481,0.00010801079],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002077118,0.0000042036854,0.000006265045,0.000022614995,0.000046282523,0.0000026032264,0.011440682,2.0118398e-7,2.3154759e-7,0.9408614,0.008289539,0.039305184],"study_design_scores_gemma":[0.000065698296,0.00004308583,0.000024079654,0.0000503173,0.000009124514,2.1681062e-7,0.00047427157,0.0000012004036,0.0000040027835,0.026225107,0.97301877,0.0000841209],"about_ca_topic_score_codex":0.00026226928,"about_ca_topic_score_gemma":0.057863,"teacher_disagreement_score":0.96472925,"about_ca_system_score_codex":0.00000947412,"about_ca_system_score_gemma":0.000013846291,"threshold_uncertainty_score":0.9984337},"labels":[],"label_agreement":null},{"id":"W2282854043","doi":"10.4312/elope.9.1.41-49","title":"Returning to Roots: Pinter as Alternative Theatre Playwright","year":2012,"lang":"en","type":"article","venue":"ELOPE English Language Overseas Perspectives and Enquiries","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Acadia University","funders":"","keywords":"Betrayal; Mainstream; Political theatre; Performance art; Context (archaeology); Politics; Art; Literature; Norm (philosophy); Aesthetics; History; Art history; Political science; Law; Archaeology","score_opus":0.010368155563303293,"score_gpt":0.2473285428817041,"score_spread":0.23696038731840083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2282854043","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54549026,0.0048194192,0.000007744209,0.00022113397,0.001009348,0.00017893445,0.000051190607,0.00012445092,0.44809753],"genre_scores_gemma":[0.9838938,0.00024186993,0.000059634596,0.00037056155,0.005442902,0.000034511595,0.000008814607,0.000032378644,0.009915511],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99886656,0.000043579188,0.00015098622,0.00027806175,0.00019797808,0.00046283632],"domain_scores_gemma":[0.9993893,0.000078945144,0.00005124889,0.00018353506,0.0001282814,0.00016869779],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015189953,0.0002615634,0.0002576253,0.00011933291,0.00053204864,0.00023114358,0.00012536488,0.00003980118,0.0030657547],"category_scores_gemma":[0.00009030551,0.0001948257,0.00008256621,0.000053246276,0.00043903344,0.0008976721,0.00014970463,0.00019222352,0.000113004346],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095874064,0.00004474137,0.0013096938,0.000018479524,0.000133104,0.000008454474,0.87941873,0.0000017420938,0.00003257136,0.11198359,0.005436634,0.0015163898],"study_design_scores_gemma":[0.00021637233,0.00010552917,0.00046229258,0.00004885507,0.000026803737,0.0000034453835,0.61357725,0.0000018122353,0.00030390927,0.00012737275,0.38489777,0.00022861263],"about_ca_topic_score_codex":0.00044179684,"about_ca_topic_score_gemma":0.00047184294,"teacher_disagreement_score":0.43840355,"about_ca_system_score_codex":0.00006451904,"about_ca_system_score_gemma":0.000016509894,"threshold_uncertainty_score":0.9978456},"labels":[],"label_agreement":null},{"id":"W2283214825","doi":"","title":"Grouped’ArtGravelArtGroup, This Duet That We’ve Already Done (so many times), Montréal, Agora de la danse","year":2016,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Agora; Art; Computer science; Programming language","score_opus":0.007941248954962088,"score_gpt":0.1617940718316595,"score_spread":0.1538528228766974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2283214825","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40218312,0.09641077,0.0005879286,0.06854735,0.001189191,0.00073206436,0.0009942711,0.0010937159,0.42826158],"genre_scores_gemma":[0.6041494,0.038990255,0.00017614433,0.0006894357,0.0006497045,0.000018414228,0.000032004307,0.00007948721,0.35521516],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981301,0.00015184119,0.00021672218,0.00044093217,0.00032651992,0.00073387206],"domain_scores_gemma":[0.9987288,0.00027462482,0.00015715309,0.00052097236,0.00010045702,0.00021795648],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028535604,0.00040418925,0.0004319188,0.00018646488,0.0016494974,0.00011401686,0.00035540035,0.00017147069,0.0032725662],"category_scores_gemma":[0.000013890597,0.00031124215,0.00026061098,0.00008539848,0.00053195487,0.0005366198,0.00030916033,0.00023320112,0.0013515945],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041974962,0.0001866129,0.0015390395,0.000059198734,0.00051003654,0.0018830672,0.03333528,0.0000045713973,0.001055471,0.1574355,0.7607558,0.042815678],"study_design_scores_gemma":[0.0015116681,0.00015322184,0.00071607315,0.000099219964,0.00021677365,0.0002147073,0.005934922,0.000042378153,0.0005409345,0.0042781746,0.98580813,0.0004837875],"about_ca_topic_score_codex":0.009314391,"about_ca_topic_score_gemma":0.10335118,"teacher_disagreement_score":0.22505234,"about_ca_system_score_codex":0.0014157019,"about_ca_system_score_gemma":0.00005455197,"threshold_uncertainty_score":0.99993396},"labels":[],"label_agreement":null},{"id":"W2283938656","doi":"10.3138/ctr.165.007","title":"Equity and the Academy: A Survey of Theatre Productions at Canadian Post-Secondary Institutions","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Gender equity; Equity (law); The arts; Political science; Sociology; Public relations; Management; Media studies; Gender studies; Visual arts; Art; Law","score_opus":0.0768898890817386,"score_gpt":0.2855171648424738,"score_spread":0.2086272757607352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2283938656","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0060950774,0.34193018,2.689224e-7,0.11344414,0.0005366036,0.0012209668,0.0050720195,0.00003135233,0.5316694],"genre_scores_gemma":[0.8808748,0.10962735,0.0000023607558,0.0054727565,0.00029487454,0.00007702006,0.000048887556,0.000019496094,0.0035824443],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998693,0.0001853919,0.00032998194,0.00023062374,0.00011309024,0.0004479238],"domain_scores_gemma":[0.9988979,0.00014829858,0.00008300475,0.0003387217,0.00014991463,0.00038217552],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000923263,0.0001930007,0.00042651055,0.00014416692,0.0012006616,0.00003811428,0.00028176297,0.00004908006,0.0025861936],"category_scores_gemma":[0.00007221871,0.00009611606,0.00010900085,0.000111799505,0.0013242358,0.00019642696,0.000099670426,0.00015292715,0.00014029279],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004159038,0.000015710842,0.0033586093,0.0015329263,0.0003267381,0.000006925875,0.0064429804,2.0038252e-7,0.0000058064456,0.17987393,0.11579018,0.6926044],"study_design_scores_gemma":[0.00026138916,0.000022849734,0.003964589,0.0009015458,0.00011191867,0.000027257407,0.00015949667,1.7377393e-7,0.000003106626,0.0004955795,0.99389726,0.00015481221],"about_ca_topic_score_codex":0.8952929,"about_ca_topic_score_gemma":0.9986291,"teacher_disagreement_score":0.87810713,"about_ca_system_score_codex":0.0002424348,"about_ca_system_score_gemma":0.0017983698,"threshold_uncertainty_score":0.9983256},"labels":[],"label_agreement":null},{"id":"W228515455","doi":"","title":"'The Outsider: The Michel Saint-Denis Archive in the British Library'","year":2006,"lang":"en","type":"article","venue":"Research Portal (Queen's University Belfast)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"SAINT; Biography; Art history; Period (music); History; Classics; Visual arts; Sociology; Media studies; Art; Aesthetics","score_opus":0.017139977884837065,"score_gpt":0.2308604927863745,"score_spread":0.21372051490153743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W228515455","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33092436,0.00046531283,0.0000035536843,0.04659082,0.00019057386,0.0007434636,0.00024132067,0.00009598424,0.6207446],"genre_scores_gemma":[0.88252515,0.00090042595,0.0000072698617,0.0002204948,0.00063225377,0.0000058190985,0.000042292948,0.000017016127,0.115649305],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978533,0.00043500625,0.00018460187,0.00024669516,0.000590427,0.0006900135],"domain_scores_gemma":[0.99875504,0.00067071413,0.000054908465,0.00037002465,0.00009536102,0.000053960866],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0007179031,0.0001464432,0.0001535593,0.00012126298,0.0053525893,0.0010090299,0.0009270829,0.00004189327,0.00050289504],"category_scores_gemma":[0.000024581812,0.00009108137,0.000137039,0.0002089305,0.0015555678,0.0004900982,0.0003781795,0.0007461528,0.00012094104],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085117805,0.00010848631,0.006562507,0.000018863064,0.00006450111,0.0004795892,0.011968406,0.00000864159,0.0000030000672,0.28048456,0.6956631,0.00455322],"study_design_scores_gemma":[0.00028418098,0.00008796341,0.015708916,0.000037892045,0.000012594564,0.000008712808,0.051672224,0.000010988516,0.000012559226,0.0042533283,0.92778,0.00013067339],"about_ca_topic_score_codex":0.06948178,"about_ca_topic_score_gemma":0.077303186,"teacher_disagreement_score":0.55160075,"about_ca_system_score_codex":0.000044016393,"about_ca_system_score_gemma":0.000120041535,"threshold_uncertainty_score":0.9959423},"labels":[{"model":"gemma","categories":[],"domain":null,"study_design":"not_applicable","genre":"other","about_ca_system":false,"about_ca_topic":false,"confidence":"low"},{"model":"gpt","categories":[],"domain":null,"study_design":"not_applicable","genre":"other","about_ca_system":false,"about_ca_topic":false,"confidence":"low"}],"label_agreement":"agree"},{"id":"W2285860418","doi":"10.3138/ctr.165.002","title":"Where Are All the Women? Equity, Post-Feminism, and Canadian Theatre","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feminism; Equity (law); Gender equity; Gender studies; Political science; Visibility; Public relations; Sociology; Media studies; Geography; Law","score_opus":0.03294751788226298,"score_gpt":0.2504138317366558,"score_spread":0.21746631385439286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2285860418","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033534216,0.3010112,8.705383e-8,0.14994489,0.0005104947,0.0007108287,0.0008105499,0.00005153548,0.543607],"genre_scores_gemma":[0.6883897,0.26906875,0.000002319074,0.031521134,0.00092056923,0.00015121377,0.00001558591,0.000057461042,0.009873253],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99810624,0.00009447019,0.00030294165,0.0003191057,0.00017049699,0.0010067328],"domain_scores_gemma":[0.9982619,0.00010985279,0.000088085595,0.0005541331,0.00010578747,0.0008802247],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004832062,0.00032979998,0.00047203488,0.0001355257,0.00093158253,0.00016674721,0.00045263002,0.0000651115,0.0074112318],"category_scores_gemma":[0.000013203118,0.00016459469,0.0001244431,0.000068133864,0.00041917586,0.00021230862,0.000085331136,0.00016940795,0.00075795624],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005396351,0.000008112987,0.001076382,0.0012607672,0.00020277615,0.00005030208,0.014228254,2.992552e-8,0.0000025463746,0.020345302,0.18830463,0.7745155],"study_design_scores_gemma":[0.00013269443,0.00006695461,0.0002582981,0.0026421489,0.00009379775,0.000029369614,0.0038760114,1.9703123e-7,8.9311186e-7,0.0006744696,0.9919315,0.0002936424],"about_ca_topic_score_codex":0.521092,"about_ca_topic_score_gemma":0.9950393,"teacher_disagreement_score":0.8036269,"about_ca_system_score_codex":0.00042677778,"about_ca_system_score_gemma":0.00066134875,"threshold_uncertainty_score":0.9934961},"labels":[],"label_agreement":null},{"id":"W2286169769","doi":"10.5840/cpsem201022","title":"Interrogating a Complex Artistic Trope","year":2010,"lang":"en","type":"book-chapter","venue":"Semiotics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Trope (literature); Art; Aesthetics; Literature","score_opus":0.05809999206624232,"score_gpt":0.24308981460772267,"score_spread":0.18498982254148033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2286169769","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001783566,0.00019326094,0.000009080336,0.00020913067,0.0012893875,0.00010531173,0.00015241536,0.000093607865,0.9977695],"genre_scores_gemma":[0.08233452,0.00014176611,0.00026211457,0.00048123076,0.0036513857,0.0000020061373,0.00009946932,0.0000687802,0.91295874],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991809,0.000004540789,0.0002804774,0.00018093527,0.0001424209,0.00021069891],"domain_scores_gemma":[0.9993981,0.00006807923,0.000146927,0.00024674166,0.00009418137,0.000045957735],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000061613726,0.00026680157,0.0003467674,0.00006588388,0.0003707719,0.00010198117,0.00015682657,0.00011567622,0.009863486],"category_scores_gemma":[0.000013330395,0.00022212784,0.00012274273,0.0000030386236,0.000399816,0.00004579304,0.00010365867,0.00057093723,0.0011252271],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009166053,0.000011075114,0.000008721117,0.00012920669,0.00013876958,0.000013312379,0.019479645,9.902236e-7,0.000025823896,0.95155025,0.022137182,0.0064958627],"study_design_scores_gemma":[0.00008678395,0.00006979693,0.0000042706165,0.00018229987,0.000097373915,0.000004409721,0.00064103614,0.0000403401,0.000007784806,0.017658569,0.9809368,0.00027051943],"about_ca_topic_score_codex":0.000021638078,"about_ca_topic_score_gemma":0.004224132,"teacher_disagreement_score":0.95879966,"about_ca_system_score_codex":0.000023153767,"about_ca_system_score_gemma":0.00002184609,"threshold_uncertainty_score":0.9996525},"labels":[],"label_agreement":null},{"id":"W2286505114","doi":"10.3138/ctr.165.006","title":"Insatiable Sisters / Sister Solidarity","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Solidarity; Sister; Space (punctuation); Diversity (politics); Performance art; Sociology; Visual arts; Aesthetics; Media studies; Art; Gender studies; Art history; Politics; Political science; Law; Anthropology","score_opus":0.033535618027396984,"score_gpt":0.2312987365194602,"score_spread":0.1977631184920632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2286505114","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00079506816,0.092150144,0.0000017701286,0.018818647,0.0005291543,0.0002927424,0.00014107957,0.000053023356,0.88721836],"genre_scores_gemma":[0.82310504,0.09165233,0.000020801805,0.026790565,0.001436022,0.000107556036,0.000019155841,0.000058748446,0.056809798],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990977,0.000038442337,0.00021507406,0.0001755049,0.00009006539,0.00038318028],"domain_scores_gemma":[0.9993341,0.00003745756,0.000044353183,0.00030557273,0.00005456326,0.0002239689],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001689982,0.00015940257,0.00029533912,0.000068344736,0.0003465412,0.000051607964,0.00016966707,0.000025353798,0.00775387],"category_scores_gemma":[0.0000099146855,0.00009046296,0.00012953232,0.00003642069,0.00017857092,0.00019876781,0.000019800487,0.000058876794,0.001418627],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000430584,0.000013977434,0.00093221327,0.0016169886,0.00011607365,0.000014499326,0.0023694641,3.5726252e-8,0.0000068742047,0.03904405,0.28927147,0.66661006],"study_design_scores_gemma":[0.00009007975,0.000024082032,0.000046878435,0.0020758277,0.00005577492,0.0000030847032,0.00010895189,1.833118e-7,0.000005748771,0.00038664546,0.99703354,0.00016920296],"about_ca_topic_score_codex":0.01371868,"about_ca_topic_score_gemma":0.47424364,"teacher_disagreement_score":0.8304086,"about_ca_system_score_codex":0.00011606749,"about_ca_system_score_gemma":0.00015711025,"threshold_uncertainty_score":0.9993589},"labels":[],"label_agreement":null},{"id":"W2286999645","doi":"10.1080/20567790.2015.11428613","title":"<i>Conversations with George Luscombe: Steven Bush in Conversation with the Canadian Theatre Visionary.</i> Edited and prepared by Steven Bush.","year":2015,"lang":"en","type":"article","venue":"Stanislavski Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Conversation; Art history; Art; Environmental ethics; Sociology; Philosophy; Communication","score_opus":0.023767372309661278,"score_gpt":0.2289386141532011,"score_spread":0.20517124184353983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2286999645","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83157396,0.0121118855,0.0000087228655,0.03970658,0.00094752875,0.0021836876,0.0010913898,0.00021272058,0.112163536],"genre_scores_gemma":[0.9953144,0.00038939493,0.000026258685,0.0005164523,0.00024171009,0.000099903744,0.000055262193,0.0000275719,0.003329015],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864304,0.00008084715,0.00022398742,0.0003072352,0.0003431343,0.00040176202],"domain_scores_gemma":[0.99905753,0.0001488671,0.000105312916,0.00023797719,0.00033554275,0.00011477853],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030193967,0.00028625535,0.00033995233,0.00012059167,0.0009945806,0.00014345313,0.000121943485,0.000042958207,0.000055752636],"category_scores_gemma":[0.0000140557795,0.00016225767,0.000026261761,0.00013680672,0.0007877747,0.0004217917,0.00007101609,0.00017741392,0.000015562006],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039810973,0.00008043814,0.017349869,0.00007832581,0.00081918103,0.0000291902,0.7272098,0.000058363268,0.0000062908684,0.006836708,0.24597722,0.0011564988],"study_design_scores_gemma":[0.0016572014,0.0007314392,0.0014965299,0.00014133965,0.00016175154,0.000009482239,0.4647986,0.000059825164,0.000024564315,0.0007990849,0.529679,0.00044118523],"about_ca_topic_score_codex":0.051956628,"about_ca_topic_score_gemma":0.8655401,"teacher_disagreement_score":0.8135835,"about_ca_system_score_codex":0.00022586383,"about_ca_system_score_gemma":0.00025780025,"threshold_uncertainty_score":0.9543565},"labels":[],"label_agreement":null},{"id":"W2287868745","doi":"10.1353/mdr.2013.0006","title":"Melodramatic Voices: Understanding Music Drama ed. by Sarah Hibberd (review)","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.04462006411359361,"score_gpt":0.23485115946548885,"score_spread":0.19023109535189525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2287868745","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17258723,0.16475834,0.0024126058,0.009514977,0.0026091062,0.0026861038,0.00018405615,0.0009931669,0.6442544],"genre_scores_gemma":[0.96798974,0.0066405553,0.00005484237,0.003504711,0.000651064,0.0001524263,0.00004996424,0.00006034434,0.020896375],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983478,0.000049560076,0.0004229281,0.00032587053,0.00031789773,0.0005359015],"domain_scores_gemma":[0.999175,0.00009784375,0.00014378714,0.00038192805,0.00009373478,0.00010768643],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016173034,0.00032948353,0.00045695718,0.00007412672,0.00070148247,0.0003341156,0.0002916742,0.000059942737,0.008502722],"category_scores_gemma":[0.000016425436,0.00025611566,0.00015674638,0.00005115315,0.00026463042,0.0006651735,0.0000999103,0.00021539249,0.0023078925],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007952855,0.000105175044,0.00010359165,0.0009869373,0.00017537583,0.000003151989,0.038075935,0.0000065321638,0.000090207854,0.017799908,0.92179185,0.0208534],"study_design_scores_gemma":[0.0008150295,0.00019448878,0.000049676117,0.0015496762,0.00022709838,0.000008374634,0.012814579,0.0031084353,0.00006871281,0.0381355,0.94200784,0.0010205649],"about_ca_topic_score_codex":0.00061260356,"about_ca_topic_score_gemma":0.00048875867,"teacher_disagreement_score":0.79540247,"about_ca_system_score_codex":0.00011700027,"about_ca_system_score_gemma":0.000025089552,"threshold_uncertainty_score":0.9999891},"labels":[],"label_agreement":null},{"id":"W2288374587","doi":"10.1080/13569783.2015.1126172","title":"The social habitus of drama: the Ontario drama curriculum in theory and practice","year":2016,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto; Institute for Christian Studies","funders":"","keywords":"Drama; Habitus; Curriculum; Sociology; Pedagogy; Practice theory; Literature; Art; Social science; Cultural capital","score_opus":0.031089340828200127,"score_gpt":0.33470924816708864,"score_spread":0.3036199073388885,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2288374587","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91550213,0.002528054,0.0000010163561,0.013230629,0.0002572474,0.00028908538,0.0000022263534,0.0000026558919,0.068186946],"genre_scores_gemma":[0.9913286,0.0066465964,0.000008671764,0.00012066836,0.00066053314,0.000028724487,3.4583357e-7,0.000009936174,0.0011959012],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981607,0.00048689244,0.00046482612,0.000109232344,0.00043539144,0.00034293256],"domain_scores_gemma":[0.9961174,0.0030721168,0.0002599531,0.0002006317,0.00030662856,0.00004328169],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008262545,0.00013258592,0.000207316,0.00016271138,0.0012425722,0.00015029618,0.00038258324,0.00004667365,0.00006885907],"category_scores_gemma":[0.000078441815,0.000051000727,0.00003983651,0.00014496002,0.001379082,0.0003627266,0.00011386492,0.00065300625,0.0000069728376],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002597711,0.00032904907,0.009270599,0.00009189209,0.0001038791,9.855972e-7,0.32873315,0.000004730571,0.000109010085,0.16593334,0.0037634023,0.48906228],"study_design_scores_gemma":[0.0013173895,0.0006079169,0.03173813,0.00047615042,0.000068589434,0.0000781648,0.31522456,0.000014996161,0.00030203743,0.0464706,0.60347354,0.00022795051],"about_ca_topic_score_codex":0.0018397094,"about_ca_topic_score_gemma":0.0115372725,"teacher_disagreement_score":0.5997101,"about_ca_system_score_codex":0.000112363385,"about_ca_system_score_gemma":0.00043093754,"threshold_uncertainty_score":0.95569867},"labels":[],"label_agreement":null},{"id":"W2288635782","doi":"","title":"Research Guides: Drama : Canadian Theatre","year":2013,"lang":"en","type":"libguides","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Visual arts; Art; History","score_opus":0.08284591004125616,"score_gpt":0.30359246671795903,"score_spread":0.22074655667670287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2288635782","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026290884,0.00421477,5.6681497e-8,0.006649512,0.0027984679,0.00040297024,0.00040155702,0.000118702555,0.98515105],"genre_scores_gemma":[0.013359058,0.0023273875,0.000023392733,0.0015748751,0.011376383,0.00012944103,0.00027847235,0.00008248189,0.9708485],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975994,0.00009939665,0.00036384884,0.0003890782,0.0004940711,0.0010541644],"domain_scores_gemma":[0.998349,0.00018308318,0.00005026388,0.00056732906,0.0005887813,0.0002615279],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00055452826,0.00035522977,0.00043698645,0.0007640943,0.0017465849,0.000798719,0.00063052395,0.00024004362,0.09992927],"category_scores_gemma":[0.000017236365,0.00024443245,0.00015631175,0.00007173877,0.0006875015,0.00025060482,0.00014531579,0.0008821425,0.011951435],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017401211,0.000007656462,0.0000181424,0.00008527247,0.0000944426,0.0000073449382,0.011315202,1.6532343e-7,8.2504194e-8,0.056873213,0.91740143,0.01419533],"study_design_scores_gemma":[0.00006902686,0.0000841955,0.000011303434,0.00015300584,0.00002222662,0.0000016949214,0.02093897,0.00000387033,0.0000026412038,0.0032650556,0.97511625,0.00033176344],"about_ca_topic_score_codex":0.8888409,"about_ca_topic_score_gemma":0.96765137,"teacher_disagreement_score":0.08797784,"about_ca_system_score_codex":0.00018710205,"about_ca_system_score_gemma":0.0007248054,"threshold_uncertainty_score":0.999553},"labels":[],"label_agreement":null},{"id":"W2291834128","doi":"10.3138/md.2015.58.4.541","title":"Timothy R. White, <i>Blue-Collar Broadway: The Craft and Industry of American Theatre</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Craft; White (mutation); Visual arts; Art; Performance art; Collar; Art history; Blue collar; History; Engineering; Economics","score_opus":0.026521492289360647,"score_gpt":0.23154871094743398,"score_spread":0.20502721865807333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2291834128","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.799642,0.00084782334,0.000028146744,0.004434323,0.00016818894,0.00013624175,0.000034621993,0.000050212107,0.1946584],"genre_scores_gemma":[0.98718506,0.000048736336,0.000024135417,0.0006466273,0.00040911752,0.000011359454,0.000002795052,0.000017255226,0.011654932],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928033,0.000035193734,0.0001635362,0.00014301112,0.00017710341,0.0002007987],"domain_scores_gemma":[0.9994955,0.000038271875,0.000082422775,0.00023806652,0.00008370076,0.00006202644],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014000312,0.00013875384,0.00021826071,0.00003696961,0.00023189749,0.000086634376,0.00014955318,0.00004377778,0.00011193484],"category_scores_gemma":[0.0000066154266,0.000084917185,0.000044858058,0.00004431566,0.0007190966,0.0001241017,0.00009535091,0.00020153081,0.00002094528],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023797849,0.00023783286,0.06828096,0.00009165842,0.0003696635,0.000008388718,0.529838,0.00036076104,0.000076782744,0.01560447,0.25479507,0.13009843],"study_design_scores_gemma":[0.0007213332,0.0004539294,0.0018125512,0.000044728076,0.000090415284,0.0000091029615,0.04161583,0.0014044445,0.0001653703,0.008991944,0.9443551,0.0003353046],"about_ca_topic_score_codex":0.0008851084,"about_ca_topic_score_gemma":0.0014470076,"teacher_disagreement_score":0.68955994,"about_ca_system_score_codex":0.000011739673,"about_ca_system_score_gemma":0.000036002275,"threshold_uncertainty_score":0.3462822},"labels":[],"label_agreement":null},{"id":"W2292471055","doi":"","title":"Ludions, histrions, pantomimes","year":2000,"lang":"en","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Heritage","funders":"","keywords":"Materials science","score_opus":0.02100736282212117,"score_gpt":0.21973348282611085,"score_spread":0.19872612000398968,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2292471055","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.086480066,0.008219605,0.0005359168,0.014630289,0.00078852853,0.00042046414,0.00039323248,0.00048752787,0.88804436],"genre_scores_gemma":[0.817441,0.007380409,0.001681235,0.0002317862,0.00027909767,0.00011236853,0.0007980538,0.00006109713,0.17201497],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968125,0.0015089124,0.0004755493,0.00054502586,0.00029953965,0.00035846973],"domain_scores_gemma":[0.99677235,0.00056297844,0.0002806613,0.0014124712,0.00086265564,0.00010885757],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0017054925,0.00035634107,0.0004214358,0.00017271048,0.0009631903,0.0005522015,0.0008166456,0.0001595283,0.004102453],"category_scores_gemma":[0.00015528861,0.0003358097,0.0002667892,0.00006688559,0.0004891861,0.0001517593,0.0006798094,0.00059075304,0.00029529873],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003522829,0.0007039225,0.001195953,0.00033826134,0.00039098907,0.00000856897,0.1797066,0.000026254409,0.00005085637,0.51191837,0.10496822,0.20065674],"study_design_scores_gemma":[0.00027420107,3.24255e-7,0.00046356992,0.0010780155,0.000087070635,0.0000035023406,0.00087121915,0.00040210926,0.0012699573,0.0065521873,0.98852277,0.0004750793],"about_ca_topic_score_codex":0.0028041338,"about_ca_topic_score_gemma":0.008207163,"teacher_disagreement_score":0.8835545,"about_ca_system_score_codex":0.00007798606,"about_ca_system_score_gemma":0.00018983576,"threshold_uncertainty_score":0.9999094},"labels":[],"label_agreement":null},{"id":"W2293273998","doi":"10.1111/glal.12114","title":"BRECHT AND GREEK TRAGEDY: RE‐THINKING THE DIALECTICS OF UTILISING THE TRADITION OF THEATRE","year":2016,"lang":"en","type":"article","venue":"German Life and Letters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"Arts and Humanities Research Council","keywords":"Tragedy (event); Greek tragedy; Dialectic; Literature; Philosophy; Poetics; Art; Humanities; Theology; Poetry","score_opus":0.030267437540769365,"score_gpt":0.22211841755750847,"score_spread":0.19185098001673911,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2293273998","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9779648,0.00063492707,0.00002357883,0.017796632,0.00014931295,0.00008102181,0.000020337795,0.000010530233,0.0033188323],"genre_scores_gemma":[0.9971413,0.00037576686,0.0000058059613,0.0019644278,0.00043525398,0.0000029764876,8.810729e-7,0.0000061836668,0.000067379355],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953127,0.000046989877,0.00014741831,0.000076750286,0.00009553121,0.0001020328],"domain_scores_gemma":[0.99956274,0.00022061131,0.00007715491,0.000108666616,0.000015417721,0.00001542543],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020414316,0.00007812704,0.000120085344,0.000028269813,0.00039246373,0.00003125294,0.00007013086,0.000014726357,0.000036175235],"category_scores_gemma":[0.000005309822,0.000032965934,0.000038690145,0.000017724042,0.0005508133,0.00012533125,0.000019111292,0.000066774344,8.462285e-7],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015844597,0.000052354466,0.0074022496,0.0002600257,0.00036821672,0.000005600454,0.6718643,0.0000020491052,0.008864695,0.04489893,0.032546688,0.23357646],"study_design_scores_gemma":[0.004251042,0.0010309152,0.10702809,0.001648345,0.001074167,0.00009571698,0.09394053,0.00013910956,0.008985165,0.03401306,0.74643713,0.0013567323],"about_ca_topic_score_codex":0.000070383416,"about_ca_topic_score_gemma":0.00013544601,"teacher_disagreement_score":0.71389043,"about_ca_system_score_codex":0.0000030327317,"about_ca_system_score_gemma":0.0000061484543,"threshold_uncertainty_score":0.30185533},"labels":[],"label_agreement":null},{"id":"W2293523902","doi":"","title":"Campus Friction: A Short Ethnographic Engagement with Protest as Performance in York University’s Vari Hall","year":2011,"lang":"en","type":"article","venue":"York University Digital Library (York University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Syllabus; Ethnography; Sociology; Media studies; Habitus; Field (mathematics); Anthropology; Pedagogy","score_opus":0.030462853800046763,"score_gpt":0.15378309709323365,"score_spread":0.12332024329318689,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2293523902","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38470486,0.000050626906,0.000017498975,0.00008728381,0.0001459397,0.00036925348,0.00015068878,0.00035601202,0.61411786],"genre_scores_gemma":[0.9180422,0.00021816455,0.00016366813,0.00006274761,0.00011134219,3.2040055e-7,0.00010012937,0.000032646625,0.0812688],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982346,0.00009979776,0.00017279893,0.0006007235,0.00029008256,0.00060194725],"domain_scores_gemma":[0.99910444,0.0000639074,0.00013039993,0.0004086462,0.000063689185,0.000228922],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006142962,0.0004367701,0.0003836494,0.0011797821,0.0013456056,0.00020406111,0.00084712764,0.00014333763,0.0009272414],"category_scores_gemma":[0.0000023854946,0.00046652797,0.00018418953,0.0011362357,0.0007436758,0.0046836166,0.00045647158,0.0005484214,0.00018021211],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.005484683,0.0015808437,0.5296723,0.00030571944,0.001102429,0.0029754788,0.108369336,0.00014012928,0.0000041833487,0.33273357,0.00982183,0.007809487],"study_design_scores_gemma":[0.0011996396,0.00081712,0.008562506,0.00019650141,0.00013325116,0.000013216401,0.10349786,0.000022257276,0.00002914405,0.00010124758,0.88472235,0.0007049024],"about_ca_topic_score_codex":0.0005971,"about_ca_topic_score_gemma":0.0014363355,"teacher_disagreement_score":0.8749005,"about_ca_system_score_codex":0.00016075515,"about_ca_system_score_gemma":0.00022700125,"threshold_uncertainty_score":0.99998605},"labels":[],"label_agreement":null},{"id":"W2294298167","doi":"10.1080/10486801.2016.1118818","title":"<i>Critical Live Art: Contemporary Histories of Performance in the UK</i>edited by Dominic Johnson","year":2016,"lang":"en","type":"article","venue":"Contemporary Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Performance art; Art history; Art; Contemporary art; Visual arts","score_opus":0.042735526079224775,"score_gpt":0.2596395078604326,"score_spread":0.21690398178120784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2294298167","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024586257,0.52839476,0.000004243043,0.012320113,0.00067065534,0.000763535,0.00021859676,0.000052342817,0.4551171],"genre_scores_gemma":[0.91516554,0.07932175,0.0000042355487,0.0017601536,0.00035195018,0.00012639382,0.00003219721,0.000023855142,0.003213927],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99786955,0.0003032878,0.0008853043,0.00030824987,0.00032353142,0.000310053],"domain_scores_gemma":[0.9982503,0.00077583577,0.00022963429,0.00053784647,0.0001449358,0.00006146334],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00094524317,0.0003322989,0.0008430963,0.0000824636,0.00021845351,0.000035478348,0.00046354753,0.00005934262,0.00096701685],"category_scores_gemma":[0.00007594543,0.0001641738,0.00022870734,0.000108601074,0.00087948795,0.0006378224,0.00006826086,0.00020367188,0.00019751732],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017693198,0.00024914267,0.0074166288,0.0039322916,0.0001223312,0.000016210372,0.01179911,1.4813343e-8,0.000044799162,0.018707449,0.9234073,0.034127746],"study_design_scores_gemma":[0.000517351,0.00032240993,0.00009806915,0.005038323,0.00004999836,0.0000067743545,0.0008296299,5.0585254e-7,0.000046214238,0.00016240936,0.99267703,0.00025128154],"about_ca_topic_score_codex":0.00005585169,"about_ca_topic_score_gemma":0.000085034386,"teacher_disagreement_score":0.9127069,"about_ca_system_score_codex":0.000041676987,"about_ca_system_score_gemma":0.00014021402,"threshold_uncertainty_score":0.99994624},"labels":[],"label_agreement":null},{"id":"W2299442117","doi":"10.3138/md.0771r","title":"Uncanny Repetitions in Lillian Hellman’s <i>The Children’s Hour</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Uncanny; Repetition (rhetorical device); Narrative; Reading (process); Meaning (existential); Power (physics); Psychoanalysis; History; Literature; Sociology; Psychology; Art; Epistemology; Philosophy; Linguistics","score_opus":0.014896429706091008,"score_gpt":0.20690891478896997,"score_spread":0.19201248508287896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2299442117","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7022052,0.0009282384,0.00010210078,0.019257583,0.0006500248,0.0003116783,0.00016836163,0.00015751156,0.2762193],"genre_scores_gemma":[0.9697249,0.00020555404,0.0000060582706,0.00072024995,0.00086606195,0.000042870823,0.0000045397273,0.000015899692,0.02841388],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992672,0.000025970327,0.00016101013,0.00016959134,0.0001163588,0.00025982645],"domain_scores_gemma":[0.99958557,0.000045527115,0.000036762867,0.00026830513,0.000033364176,0.000030471752],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000104420695,0.00012087059,0.00012318716,0.00005355102,0.00039224277,0.00007413498,0.0001659565,0.000026347785,0.00084551616],"category_scores_gemma":[0.000008444661,0.000061728715,0.00006568432,0.000025030991,0.00023377861,0.0001740221,0.00005085133,0.00009104227,0.00035620955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011220896,0.00036138724,0.062314793,0.000038356888,0.00022053713,0.000020102947,0.20865569,0.000040374554,0.0003332116,0.36923626,0.12382239,0.23484468],"study_design_scores_gemma":[0.00073384185,0.00009115394,0.0157776,0.00014010876,0.000025418058,0.0000063858984,0.0011354184,0.000039494254,0.00019004011,0.026511583,0.95502687,0.0003220715],"about_ca_topic_score_codex":0.00043532206,"about_ca_topic_score_gemma":0.010792939,"teacher_disagreement_score":0.8312045,"about_ca_system_score_codex":0.000033770924,"about_ca_system_score_gemma":0.0000172605,"threshold_uncertainty_score":0.9257809},"labels":[],"label_agreement":null},{"id":"W2300030021","doi":"","title":"Self and Space in the Theater of Susan Glaspell by Noelia Hernando-Real (review)","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Space (punctuation); Art; Art history; Computer science; Operating system","score_opus":0.01205267101254017,"score_gpt":0.2115567055818516,"score_spread":0.19950403456931143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2300030021","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80184656,0.017985214,0.0000021811268,0.0030875914,0.0000776225,0.00034929655,0.000019455181,0.00002048613,0.17661162],"genre_scores_gemma":[0.97931087,0.015586809,0.000010710889,0.0004948399,0.00010837329,0.000023281837,0.000004035086,0.000008772104,0.004452307],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994605,0.000033640103,0.00014482372,0.00010215247,0.00010308146,0.00015576587],"domain_scores_gemma":[0.99972886,0.000036278547,0.000040184743,0.00014549258,0.00003229214,0.000016920143],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011040726,0.00010471327,0.00017729939,0.00001819072,0.000084257896,0.000044117314,0.0001114524,0.00001831087,0.00054933387],"category_scores_gemma":[0.0000014231592,0.00005717423,0.000034687015,0.000014568723,0.00010808759,0.00012646506,0.000032510925,0.00007571598,0.000073098396],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047909052,0.00038060552,0.020240534,0.0016363868,0.0001602462,0.0000054191332,0.42545965,0.0000026524506,0.0003873725,0.019247899,0.49150026,0.040931053],"study_design_scores_gemma":[0.0008978899,0.00021505603,0.0045633474,0.0003677861,0.00007271573,0.000004810777,0.0053886236,0.00072785554,0.00025592456,0.004490826,0.982687,0.0003281683],"about_ca_topic_score_codex":0.0019667908,"about_ca_topic_score_gemma":0.0010851453,"teacher_disagreement_score":0.49118674,"about_ca_system_score_codex":0.0000056033887,"about_ca_system_score_gemma":0.000005211805,"threshold_uncertainty_score":0.60148203},"labels":[],"label_agreement":null},{"id":"W2300732328","doi":"","title":"Political and Protest Theatre after 9/11: Patriotic Dissent ed. by Jenny Spencer (review)","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dissent; Political dissent; Politics; Media studies; Political theatre; Sociology; Art; Art history; Political science; Law","score_opus":0.012508717477720446,"score_gpt":0.22645785093474682,"score_spread":0.21394913345702637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2300732328","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.720434,0.08972451,0.000035171415,0.012841627,0.00043246784,0.0018662121,0.00015641299,0.00016860424,0.17434098],"genre_scores_gemma":[0.98841584,0.0019244167,0.000016685246,0.0015652165,0.00048538586,0.00020275557,0.0000100042425,0.000020741243,0.00735894],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990033,0.000025466748,0.00019544699,0.00022012743,0.00014847307,0.000407182],"domain_scores_gemma":[0.9995666,0.000037673988,0.000030228262,0.0001954087,0.0000526838,0.00011740512],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000055148936,0.00019174778,0.00023686442,0.00002364376,0.00020068443,0.00013626058,0.00009189342,0.000032451666,0.003658648],"category_scores_gemma":[0.0000057224156,0.00012825747,0.00006440514,0.000013052575,0.00027354565,0.0002369211,0.00007532609,0.00010996157,0.0004229508],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008443763,0.00061534665,0.057555895,0.0037679565,0.0003061437,0.000037612896,0.032761812,0.0000010690596,0.00022007256,0.12154226,0.61562794,0.16747946],"study_design_scores_gemma":[0.0005991404,0.0002716142,0.00754527,0.0011000886,0.00018722986,0.000018281757,0.0025659215,0.0005364666,0.0001092027,0.013210337,0.9729769,0.00087949604],"about_ca_topic_score_codex":0.00069838896,"about_ca_topic_score_gemma":0.0003098252,"teacher_disagreement_score":0.357349,"about_ca_system_score_codex":0.00003140467,"about_ca_system_score_gemma":0.000017123079,"threshold_uncertainty_score":0.99725217},"labels":[],"label_agreement":null},{"id":"W2301009260","doi":"","title":"Neoliberalism and Global Theatres: Performance Permutations ed. by Lara D. Nielsen, Patricia Ybarra (review)","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Neoliberalism (international relations); Art history; Sociology; History; Art; Humanities; Political economy","score_opus":0.010993917743666391,"score_gpt":0.2255346562108341,"score_spread":0.2145407384671677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2301009260","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6430324,0.09512075,0.00039376903,0.0056656245,0.0006584973,0.00050150364,0.00034315238,0.0002887679,0.25399554],"genre_scores_gemma":[0.97208166,0.017855436,0.000037264945,0.0037617963,0.00057784957,0.000040448194,0.000050716353,0.0000203098,0.005574548],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989753,0.000043131626,0.00023720258,0.00024430634,0.0001811232,0.0003189789],"domain_scores_gemma":[0.99951404,0.000040485043,0.00006641254,0.00022470937,0.00007803328,0.000076330936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001288785,0.0002188492,0.00027660676,0.00002821216,0.00060957734,0.00011212971,0.0001435196,0.00004197484,0.00032084945],"category_scores_gemma":[0.000009371857,0.00016994753,0.00007194453,0.000037326816,0.00019476924,0.00029656326,0.00006211759,0.00011826427,0.00011473375],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044825898,0.00016752268,0.005160647,0.001008887,0.00016638108,0.0000030456326,0.042680588,0.00004937015,0.0000328186,0.03508419,0.5395245,0.37607723],"study_design_scores_gemma":[0.00058171153,0.0001804105,0.0011546954,0.000300394,0.00012569039,0.000013286595,0.00068750745,0.004864434,0.000016031918,0.0047317315,0.98687893,0.00046519176],"about_ca_topic_score_codex":0.0002539718,"about_ca_topic_score_gemma":0.00024208323,"teacher_disagreement_score":0.44735444,"about_ca_system_score_codex":0.000023539764,"about_ca_system_score_gemma":0.000016200342,"threshold_uncertainty_score":0.6930259},"labels":[],"label_agreement":null},{"id":"W2301014023","doi":"10.3138/md.2016.59.1.130","title":"Bryoni Trezise and Caroline Wake, eds., <i>Visions and Revisions: Performance, Memory, Trauma</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Vision; Intervention (counseling); Field (mathematics); Psychology; Wake; History; Psychoanalysis; Sociology; Engineering; Anthropology; Psychiatry","score_opus":0.019813780516336872,"score_gpt":0.22155506409347486,"score_spread":0.201741283577138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2301014023","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9256661,0.009119916,0.000020881756,0.002225004,0.00027121516,0.00020386152,0.000073730225,0.00010745072,0.062311858],"genre_scores_gemma":[0.9691055,0.009196547,0.0000431426,0.0003154117,0.0005995879,0.000023429653,0.000004577343,0.00002527116,0.020686558],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989859,0.000019900575,0.00024306614,0.0002876847,0.00015231936,0.0003111329],"domain_scores_gemma":[0.9994431,0.00008095304,0.00005461281,0.00024960874,0.00006546164,0.000106237196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013540222,0.00021694164,0.00029160804,0.00009063692,0.0007025901,0.00011324513,0.00010016897,0.00004870605,0.0005379979],"category_scores_gemma":[0.000010848116,0.00012695034,0.00005359318,0.000025576317,0.0003829657,0.0004222481,0.000105341525,0.00010022159,0.00006619771],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060068265,0.000048919308,0.0014468353,0.00007942533,0.000049290265,0.000003691857,0.018918505,0.0000015303784,0.0001961073,0.002076992,0.009140546,0.96797806],"study_design_scores_gemma":[0.0016751273,0.00033380155,0.003851227,0.00038493495,0.000094269315,0.00002509855,0.0010993769,0.0007888566,0.00039814957,0.0019987032,0.98886853,0.00048189473],"about_ca_topic_score_codex":0.000058114205,"about_ca_topic_score_gemma":0.00032109336,"teacher_disagreement_score":0.97972804,"about_ca_system_score_codex":0.000013764789,"about_ca_system_score_gemma":0.000016093905,"threshold_uncertainty_score":0.58907},"labels":[],"label_agreement":null},{"id":"W2302004912","doi":"10.3138/md.2016.59.1.117","title":"Diana Looser, <i>Remaking Pacific Pasts: History, Memory, and Identity in Contemporary Theater from Oceania</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethnography; Identity (music); History; Anthropology; Aesthetics; Sociology; Art","score_opus":0.03861807686343189,"score_gpt":0.23111547434580887,"score_spread":0.192497397482377,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2302004912","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85076874,0.008951866,0.00007701056,0.0010966845,0.0007539766,0.00016210263,0.00008769085,0.000088324785,0.13801359],"genre_scores_gemma":[0.99171484,0.00017975694,0.0000071710124,0.00033721625,0.000468951,0.000012183716,0.0000054824086,0.00002349162,0.0072509344],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990714,0.000041599495,0.00022755425,0.0002765103,0.00014695046,0.00023597847],"domain_scores_gemma":[0.99956703,0.000067510235,0.00006394731,0.00022420984,0.00003036303,0.000046941932],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013272652,0.00017896539,0.00025247317,0.000081196085,0.00015836081,0.00009376904,0.0001278789,0.00004370866,0.00073971273],"category_scores_gemma":[0.00000605861,0.00011707463,0.000052238207,0.00001351662,0.00026987155,0.0007915167,0.0000864119,0.000092798866,0.00009322476],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005409834,0.0003777637,0.155706,0.00020536872,0.00036302776,0.0002094035,0.57720083,0.0000016859987,0.0029142627,0.028429737,0.111543454,0.12250749],"study_design_scores_gemma":[0.0028940393,0.00014028563,0.012002505,0.0005270066,0.0000475808,0.000004073698,0.010057394,0.00018395671,0.0003581138,0.048587214,0.9243259,0.0008719488],"about_ca_topic_score_codex":0.0015315844,"about_ca_topic_score_gemma":0.011086386,"teacher_disagreement_score":0.8127824,"about_ca_system_score_codex":0.00009865621,"about_ca_system_score_gemma":0.00002559063,"threshold_uncertainty_score":0.80993354},"labels":[],"label_agreement":null},{"id":"W2302427337","doi":"10.3138/md.2016.59.1.115","title":"Faedra Chatard Carpenter, <i>Coloring Whiteness: Acts of Critique in Black Performance</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Race (biology); Aesthetics; Sociology; Visual arts; Gender studies","score_opus":0.025977228197657267,"score_gpt":0.23305605673585442,"score_spread":0.20707882853819715,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2302427337","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93706197,0.00023766329,0.00003000548,0.00072509435,0.00029433903,0.00013114412,0.000031924326,0.00004102976,0.06144681],"genre_scores_gemma":[0.9947817,0.00060680514,0.0000114988,0.00014118667,0.00031291734,0.000026682192,0.0000027215701,0.00001976309,0.004096756],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990497,0.000020948935,0.0002700994,0.00019276116,0.00015010287,0.0003163942],"domain_scores_gemma":[0.9995569,0.0000434418,0.00006301552,0.00021815601,0.000082550265,0.00003594562],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013337209,0.00016039227,0.0002683388,0.00009993743,0.00011209177,0.000036380214,0.00017279023,0.00004027172,0.00026768394],"category_scores_gemma":[0.000008420999,0.00010678517,0.00006449745,0.000029596235,0.00025522374,0.00053651014,0.00008437186,0.0000835793,0.00006866334],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00096022943,0.000744793,0.22972894,0.0016571039,0.00030440593,0.000040818333,0.48234922,0.00031096683,0.0098844245,0.08316748,0.0039354092,0.18691623],"study_design_scores_gemma":[0.007692223,0.0014428091,0.043803614,0.0040106024,0.00012308016,0.00001312626,0.016778907,0.0025713858,0.04595343,0.010165343,0.86539286,0.0020525947],"about_ca_topic_score_codex":0.00015393826,"about_ca_topic_score_gemma":0.0018440429,"teacher_disagreement_score":0.86145747,"about_ca_system_score_codex":0.000036976136,"about_ca_system_score_gemma":0.000024797528,"threshold_uncertainty_score":0.43545726},"labels":[],"label_agreement":null},{"id":"W2303836702","doi":"","title":"Subtle spectacle: Risking theatricality with vertical city","year":2013,"lang":"en","type":"article","venue":"About performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Aesthetics; Performing arts; Visual arts; Narrative; Spectacle; Sociology; Art; Literature; Political science","score_opus":0.019592636210988557,"score_gpt":0.20796557349026645,"score_spread":0.1883729372792779,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2303836702","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8105498,0.00048063358,0.000012325895,0.0006177056,0.00031095627,0.00015695447,0.000006020452,0.000108691704,0.18775693],"genre_scores_gemma":[0.9919549,0.0003352101,0.00005922479,0.00035629314,0.0009026703,0.000045653727,0.000004577335,0.000017046632,0.00632443],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989154,0.000018337983,0.00019998169,0.00021093138,0.00022159165,0.00043378837],"domain_scores_gemma":[0.9994564,0.000055039563,0.00003353805,0.0002603116,0.000115161005,0.00007951645],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001138442,0.00018063346,0.00020672404,0.000047457936,0.0005935141,0.00016738159,0.00016359541,0.000035970585,0.005055068],"category_scores_gemma":[0.000007732233,0.00011935095,0.000051209892,0.000069154536,0.00039750396,0.0007511206,0.000054485907,0.00022001078,0.0010775625],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003387785,0.0005788794,0.6136505,0.0004451847,0.00038084624,0.0000151006525,0.06285986,0.00006511922,0.00009909467,0.06324192,0.07359354,0.1847312],"study_design_scores_gemma":[0.000788926,0.00052681105,0.32323673,0.00013218634,0.0000681459,0.000018365436,0.0020138796,0.0013923898,0.0007318875,0.0007234633,0.66971517,0.00065202464],"about_ca_topic_score_codex":0.00085008045,"about_ca_topic_score_gemma":0.00035732356,"teacher_disagreement_score":0.5961216,"about_ca_system_score_codex":0.000032383537,"about_ca_system_score_gemma":0.00002513766,"threshold_uncertainty_score":0.9997002},"labels":[],"label_agreement":null},{"id":"W2304056360","doi":"10.1353/tt.2016.0009","title":"ATHE Presidential Address","year":2016,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Sentence; Meaning (existential); Adverbial; Verb; Phrase; Linguistics; Media studies; Computer science; World Wide Web; Artificial intelligence; Psychology; Sociology","score_opus":0.026927487627546456,"score_gpt":0.2321712983793587,"score_spread":0.20524381075181225,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2304056360","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17159632,0.00039434579,0.000020510213,0.0043259286,0.0013372395,0.000121534045,0.00006148197,0.0001655194,0.82197714],"genre_scores_gemma":[0.88960505,0.00012876229,0.00001183345,0.00016851084,0.0038605034,0.0000108003505,0.0000017878247,0.000012065643,0.10620067],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994793,0.000017097489,0.000110834815,0.000108506916,0.00010033643,0.00018391936],"domain_scores_gemma":[0.99969757,0.00003197751,0.000025510135,0.00018712145,0.00002952362,0.00002828181],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005277787,0.000094103685,0.00010809265,0.000027612112,0.00021438011,0.000042093077,0.00012781388,0.000021831225,0.004630569],"category_scores_gemma":[0.0000029508933,0.000049429585,0.000058474194,0.000009718951,0.00014598483,0.00015412227,0.00004922108,0.000039306546,0.00051541795],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007932929,0.00007831589,0.0022210977,0.00004854912,0.00015166249,0.000010084567,0.051453464,6.535817e-7,0.00043760173,0.37209684,0.10087647,0.47254592],"study_design_scores_gemma":[0.00023552618,0.00005091484,0.00026920915,0.000030204314,0.000020497317,0.0000014486286,0.0006750737,7.965165e-7,0.00078731956,0.0050239977,0.99279493,0.00011005755],"about_ca_topic_score_codex":0.000098655226,"about_ca_topic_score_gemma":0.0007157135,"teacher_disagreement_score":0.8919185,"about_ca_system_score_codex":0.0000111474155,"about_ca_system_score_gemma":0.000010663712,"threshold_uncertainty_score":0.99627936},"labels":[],"label_agreement":null},{"id":"W2304797921","doi":"","title":"Popular Political Theatre and Performance ed. by Julie Salverson (review)","year":2013,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; History; Media studies; Sociology; Political science; Law","score_opus":0.007377935833402266,"score_gpt":0.18178161886023328,"score_spread":0.174403683026831,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2304797921","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5737111,0.037484616,0.0000065237023,0.0022066894,0.0002525124,0.00039221474,0.00009717824,0.00008327732,0.3857659],"genre_scores_gemma":[0.98641187,0.007714559,0.000036560767,0.00025759122,0.000098291646,5.1963235e-7,0.000013507963,0.0000064638825,0.005460658],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994321,0.000019572679,0.00009296185,0.00013062533,0.00010306439,0.00022169141],"domain_scores_gemma":[0.9996775,0.000013416431,0.000043502932,0.00012905679,0.000057141977,0.000079382946],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004101544,0.00011257628,0.0002028137,0.000011206243,0.0002510138,0.000016376875,0.00011762741,0.000027416285,0.0040744445],"category_scores_gemma":[5.9293785e-7,0.000102934515,0.000059638052,0.0000048990983,0.00023908005,0.00059748185,0.000018972712,0.000052319905,0.0001219224],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042744283,0.00010870984,0.0028200282,0.0007499745,0.00013577355,0.0000026922005,0.042554677,3.6436095e-8,0.0000504565,0.019120421,0.7860811,0.1483334],"study_design_scores_gemma":[0.00044486797,0.0010671801,0.003155578,0.00026443353,0.000103759914,0.0000029475666,0.044644848,0.00004392864,0.000009212831,0.0000853364,0.94991845,0.00025946618],"about_ca_topic_score_codex":0.025252836,"about_ca_topic_score_gemma":0.0041402956,"teacher_disagreement_score":0.41270077,"about_ca_system_score_codex":0.000043937147,"about_ca_system_score_gemma":0.000009343029,"threshold_uncertainty_score":0.99683595},"labels":[],"label_agreement":null},{"id":"W2307982879","doi":"10.7202/1033699ar","title":"L’enseignement de l’art dramatique au Québec : convergences et divergences des pratiques pédagogiques","year":2014,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.022022841795765188,"score_gpt":0.25832060276262725,"score_spread":0.23629776096686206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2307982879","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3266632,0.0074933236,0.0003277136,0.08058646,0.0029808502,0.0011440716,0.00049743056,0.0007623196,0.5795446],"genre_scores_gemma":[0.8102793,0.016550008,0.0008532429,0.0017085095,0.0023155776,0.00026543988,0.00008318072,0.0001390429,0.16780566],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.993849,0.0010464258,0.0014605586,0.0010797279,0.00062389974,0.0019403895],"domain_scores_gemma":[0.9966787,0.00082402636,0.0006583251,0.0007901516,0.0004863324,0.00056248344],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.0016614511,0.0013234317,0.0013704384,0.00029459837,0.0027128262,0.0006820875,0.001056627,0.00047843583,0.0022577066],"category_scores_gemma":[0.00029000855,0.0011964954,0.00076399505,0.00021069979,0.0032705576,0.0018511657,0.000291986,0.00090049906,0.00047247112],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017545115,0.0005677683,0.007108771,0.0020810806,0.0006608455,0.000047688798,0.25618255,0.00022365,0.000096975535,0.65623116,0.06734399,0.009280093],"study_design_scores_gemma":[0.00024163908,0.0016806358,0.0050959135,0.0021224597,0.00050464104,0.00007114066,0.015952583,0.00032940996,0.00082375045,0.0044387886,0.96728283,0.0014562014],"about_ca_topic_score_codex":0.16003075,"about_ca_topic_score_gemma":0.9618653,"teacher_disagreement_score":0.8999388,"about_ca_system_score_codex":0.0009857232,"about_ca_system_score_gemma":0.002520097,"threshold_uncertainty_score":0.9999517},"labels":[],"label_agreement":null},{"id":"W2309440942","doi":"10.1590/2237-266048609","title":"Specialized Programs in Drama: a gateway to self and art in society","year":2015,"lang":"en","type":"article","venue":"Revista Brasileira de Estudos da Presença","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Ottawa; Université Laval","funders":"","keywords":"Drama; Excellence; Context (archaeology); Meaning (existential); Sociology; Creativity; Visual arts; Gateway (web page); Aesthetics; Pedagogy; Media studies; Art; Psychology; History; Political science; Social psychology; Computer science; Law; World Wide Web","score_opus":0.07151030812099814,"score_gpt":0.28306355227469554,"score_spread":0.21155324415369742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2309440942","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96755874,0.0009883478,0.0000034773036,0.00034251454,0.00013276159,0.0008793564,0.000014218833,0.00010192708,0.029978659],"genre_scores_gemma":[0.99590427,0.00011763103,0.00033426617,0.00028840295,0.0006015652,0.00016454836,0.000012440311,0.000027809501,0.0025490606],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99852914,0.00009849911,0.0003531746,0.00032540705,0.00022736056,0.0004664462],"domain_scores_gemma":[0.99939466,0.00006619354,0.00005795776,0.00024412131,0.00006869957,0.00016836335],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005961853,0.00023071832,0.00042696323,0.00010488279,0.00012820525,0.0004416052,0.0001827796,0.000057683836,0.00009279793],"category_scores_gemma":[0.000051379848,0.00019702115,0.00007627097,0.00016560208,0.00015278738,0.0002592549,0.0001784198,0.0002201338,0.000110496185],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010832546,0.00036742125,0.7409964,0.00023745578,0.00006406752,0.000044031516,0.20501114,0.000008140051,0.000012043798,0.017004622,0.032639142,0.0035071953],"study_design_scores_gemma":[0.0021163882,0.00035659072,0.09924066,0.0003621517,0.000039315753,0.000012617061,0.016294314,0.00016722252,0.000008653155,0.0002931489,0.88058525,0.0005236916],"about_ca_topic_score_codex":0.00045765488,"about_ca_topic_score_gemma":0.0031562245,"teacher_disagreement_score":0.8479461,"about_ca_system_score_codex":0.000117661206,"about_ca_system_score_gemma":0.00008877446,"threshold_uncertainty_score":0.8034289},"labels":[],"label_agreement":null},{"id":"W2309665577","doi":"10.3138/md.2015.58.2.263","title":"Alexander Feldman. <i>Dramas of the Past on the Twentieth-Century Stage: In History’s Wings</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Relation (database); History; Literature; Art history; Art; Geology; Computer science","score_opus":0.04933223415938228,"score_gpt":0.22248878506937927,"score_spread":0.173156550909997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2309665577","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68329275,0.0023239036,0.0000073218625,0.0038279886,0.0019448511,0.00028577412,0.000021346515,0.00003838058,0.3082577],"genre_scores_gemma":[0.95797724,0.000056368004,0.0000023935747,0.0012321376,0.00036494632,0.000018377219,0.000002020973,0.00001660283,0.040329948],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906945,0.00006533358,0.000208052,0.00015167537,0.00028378397,0.00022168693],"domain_scores_gemma":[0.9993844,0.00005720338,0.00009922217,0.0003565351,0.00007169297,0.000030966206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025564918,0.00014569443,0.00017502248,0.00004037315,0.00017224601,0.00004238505,0.00028791753,0.00003514036,0.00048796623],"category_scores_gemma":[0.000016629774,0.00007588865,0.00009227852,0.000029040033,0.000329886,0.00012255694,0.000104579325,0.00022612199,0.00004038758],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021575116,0.00037526098,0.01639824,0.000097627206,0.00011846005,0.0000052238615,0.485059,0.0005017516,0.00007947739,0.096944116,0.3944464,0.005758687],"study_design_scores_gemma":[0.0004551921,0.000069304544,0.0011664818,0.000052605796,0.00001704059,4.3554806e-7,0.007184063,0.0002627152,0.000054969478,0.0014218341,0.989185,0.00013040428],"about_ca_topic_score_codex":0.00043079155,"about_ca_topic_score_gemma":0.0012198508,"teacher_disagreement_score":0.59473854,"about_ca_system_score_codex":0.0001054609,"about_ca_system_score_gemma":0.00005050039,"threshold_uncertainty_score":0.53428876},"labels":[],"label_agreement":null},{"id":"W2313273895","doi":"10.1017/s0266464x15000640","title":"Dissimulation in the <i>Commedia dell’Arte</i> Scenarios of Flaminio Scala, 1611","year":2015,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comics; Art; Popularity; Literature; Honour; Art history; Drama; History; Psychology","score_opus":0.0392381023355243,"score_gpt":0.2461446791952017,"score_spread":0.2069065768596774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2313273895","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73338664,0.00096105115,0.000032683893,0.004039664,0.001042538,0.0004408786,0.000035898967,0.000071518756,0.25998914],"genre_scores_gemma":[0.9972754,0.000011388297,0.000026667865,0.0002986998,0.0012041973,0.000010774216,0.00001896185,0.000014478999,0.0011394131],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989017,0.00008999356,0.00033217488,0.00015267932,0.00027565853,0.0002477618],"domain_scores_gemma":[0.99934196,0.00014067134,0.00008634733,0.00030336366,0.000061211686,0.000066412336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030543798,0.00016874073,0.00023893593,0.000087791006,0.00012845777,0.00007709886,0.00024876074,0.0000440395,0.00016053999],"category_scores_gemma":[0.0000045285983,0.000105064995,0.00008186033,0.00007412494,0.00015915681,0.0002893743,0.000011971585,0.00015168326,0.00011730852],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016054197,0.00018991818,0.0074344645,0.000038823273,0.000041138414,0.0000055438245,0.70139,0.000050302522,0.00001718573,0.011947434,0.06825623,0.2104684],"study_design_scores_gemma":[0.0024094952,0.0018333135,0.0025274341,0.00013007571,0.00008401455,0.000007351431,0.14465389,0.0008404152,0.00004604335,0.016780315,0.83027977,0.0004079072],"about_ca_topic_score_codex":0.0016418307,"about_ca_topic_score_gemma":0.01236435,"teacher_disagreement_score":0.7620235,"about_ca_system_score_codex":0.000019335102,"about_ca_system_score_gemma":0.000057546014,"threshold_uncertainty_score":0.68995976},"labels":[],"label_agreement":null},{"id":"W2314363386","doi":"10.1386/jaac.3.1.49_1","title":"Enacting change: Disability and the arts in Northern Ireland","year":2011,"lang":"en","type":"article","venue":"Journal of Arts & Communities","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"The arts; Irish; Drama; Legislation; Gender studies; Context (archaeology); Social model of disability; Citizen journalism; Sociology; Learning disability; Political science; Psychology; Visual arts; Developmental psychology; Geography; Law; Art","score_opus":0.1242792420308494,"score_gpt":0.2618873766581179,"score_spread":0.1376081346272685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2314363386","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9458019,0.001742818,5.110726e-7,0.0010703022,0.00029595246,0.00007752543,0.000002901033,0.000006960979,0.051001135],"genre_scores_gemma":[0.99839574,0.0007445048,0.000015807207,0.00020233047,0.0004950576,0.0000059972745,4.9370215e-7,0.0000075525886,0.00013251742],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99928564,0.000116404466,0.00031373856,0.000032888696,0.000110582245,0.00014075036],"domain_scores_gemma":[0.9992483,0.00029578203,0.00018861277,0.00015697893,0.000085628904,0.000024662082],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071312237,0.000102670616,0.00024857256,0.000053664993,0.00048536435,0.000074652104,0.00016352127,0.00001752363,0.00020237442],"category_scores_gemma":[0.000015562542,0.000056576366,0.00006744593,0.000016763961,0.0008971081,0.00044124995,0.00008551792,0.00032646686,0.0000031257928],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024065585,0.00007508807,0.1601819,0.000027537551,0.000052391166,0.0000042738616,0.8191645,6.387115e-7,3.0571823e-7,0.0121283615,0.00011486686,0.008009446],"study_design_scores_gemma":[0.0021104887,0.00036458013,0.1033136,0.00035871367,0.00008768422,0.00007927686,0.78947544,0.000033976474,0.000018481061,0.010251977,0.09366391,0.0002418746],"about_ca_topic_score_codex":0.0034217238,"about_ca_topic_score_gemma":0.12421077,"teacher_disagreement_score":0.12078904,"about_ca_system_score_codex":0.000017300381,"about_ca_system_score_gemma":0.00000919945,"threshold_uncertainty_score":0.8917701},"labels":[],"label_agreement":null},{"id":"W2316180864","doi":"10.7202/044287ar","title":"Canadian Theatre Review (CTR), nos 133, 134, 135 et 136, 2008 Modern Drama (MD), vol. 51, nos 1, 2, 3 et 4, 2008 New Theatre Quaterly (NTQ), vol. 93, nos 1, 2, 3 et 4, 2008 Theatre Journal (TJ), vol. 60, nos 1, 2, 3 et 4, 2008 The Drama Review (TDR), vol. 52, nos 1, 2, 3 et 4, 2008","year":2009,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Drama; Las vegas; Theatre director; Art; History; Visual arts; Archaeology","score_opus":0.021904616551470198,"score_gpt":0.2601846049667683,"score_spread":0.23827998841529813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2316180864","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002139817,0.45131266,0.000100158955,0.31820732,0.009354399,0.009016644,0.00734568,0.00094841636,0.20157489],"genre_scores_gemma":[0.056102432,0.745465,0.0005827466,0.08458437,0.010459532,0.00081505836,0.001817951,0.0011463733,0.099026546],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9707362,0.0055624815,0.007541821,0.0046570078,0.0038657356,0.007636725],"domain_scores_gemma":[0.97864634,0.0022740671,0.0038211215,0.0056477645,0.005424707,0.004186015],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","open_science","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"category_scores_codex":[0.0071579604,0.006821466,0.008081959,0.0016068383,0.0063353125,0.0034523977,0.0063706054,0.0022521454,0.006952561],"category_scores_gemma":[0.0015111094,0.0054281955,0.0056053014,0.0020027014,0.0030918973,0.006716857,0.00083836244,0.009010376,0.002394892],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007754923,0.0020674586,0.00050523353,0.0070579457,0.0024279794,0.0015620496,0.028526098,0.0006252868,0.00004336729,0.024678586,0.8777935,0.053937014],"study_design_scores_gemma":[0.0026871667,0.0028433974,0.00095563073,0.046067912,0.004098859,0.0021396861,0.0027291486,0.00046998943,0.000043330863,0.002637721,0.9294936,0.00583357],"about_ca_topic_score_codex":0.15790607,"about_ca_topic_score_gemma":0.833821,"teacher_disagreement_score":0.67591494,"about_ca_system_score_codex":0.0020222943,"about_ca_system_score_gemma":0.013634625,"threshold_uncertainty_score":0.9996211},"labels":[],"label_agreement":null},{"id":"W2317669103","doi":"10.1386/peet.2.1.41_1","title":"The social neuroscience of empathy in the theatre of global ethics","year":2011,"lang":"en","type":"article","venue":"Performing Ethos International Journal of Ethics in Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Empathy; Skepticism; Social neuroscience; Bridge (graph theory); Psychology; Field (mathematics); Neuromarketing; Aesthetics; Social psychology; Epistemology; Art; Neuroscience; Social cognition","score_opus":0.1323301218169239,"score_gpt":0.358277816952378,"score_spread":0.22594769513545407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2317669103","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.958401,0.00085671654,0.000010503556,0.0035178296,0.0011482431,0.000086265754,0.000018361727,0.0000032461267,0.03595779],"genre_scores_gemma":[0.9943401,0.0046819667,0.0000587427,0.0005029476,0.00037231503,0.000003674758,5.9481613e-7,0.0000066834987,0.000032947013],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9979123,0.00022117981,0.0007465618,0.00011530565,0.0007847204,0.00021992825],"domain_scores_gemma":[0.99810594,0.00080769043,0.00047167108,0.00013299145,0.00045935338,0.000022344959],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0048829312,0.0001506636,0.000258953,0.00011915301,0.00050318055,0.000056196925,0.00088411797,0.0001198364,0.000023473109],"category_scores_gemma":[0.00013814688,0.00008295025,0.000110837114,0.00012494922,0.0011448228,0.00043492648,0.0001141511,0.0014883763,7.0428695e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006673026,0.0001449015,0.12953971,0.00012833526,0.00004800949,0.000009780872,0.76024413,0.000027947126,0.000027246939,0.057139132,0.000061460676,0.051962014],"study_design_scores_gemma":[0.0036901173,0.0038281046,0.3928644,0.002836757,0.00019915118,0.0005156185,0.47833145,0.002572327,0.0021151984,0.057601914,0.054486573,0.000958407],"about_ca_topic_score_codex":0.00039259502,"about_ca_topic_score_gemma":0.001458525,"teacher_disagreement_score":0.2819127,"about_ca_system_score_codex":0.000038517188,"about_ca_system_score_gemma":0.00022014328,"threshold_uncertainty_score":0.64663374},"labels":[],"label_agreement":null},{"id":"W2317835261","doi":"10.12745/et.18.2.2596","title":"A Performance Studies Approach to &lt;i&gt;The Tragedy of Mariam&lt;/i&gt;","year":2015,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Royal Holloway, University of London; Arts and Humanities Research Council","keywords":"Tragedy (event); Rutter; Meaning (existential); Sociology; Art; Literature; Psychology; Developmental psychology; Psychotherapist","score_opus":0.05372663447642563,"score_gpt":0.24072151883686252,"score_spread":0.18699488436043687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2317835261","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56755567,0.0031200573,0.0000040907926,0.0007115042,0.00062433665,0.00031300136,0.00003199377,0.000069399386,0.42756996],"genre_scores_gemma":[0.9783714,0.00024805788,0.000119564946,0.00023141416,0.0012415142,0.00008460745,0.0000052823066,0.000030466674,0.019667739],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99850935,0.000076144286,0.00035196653,0.0002637634,0.00039417567,0.00040462957],"domain_scores_gemma":[0.99902934,0.000081936036,0.00009874649,0.0004528934,0.0002346005,0.00010249731],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00055804144,0.00027383157,0.00043709253,0.00011228463,0.0005225644,0.00008106292,0.00039081578,0.000044745117,0.00009564749],"category_scores_gemma":[0.000019393105,0.00016443893,0.00012952094,0.00012046088,0.0005019482,0.00029404886,0.00016475064,0.00016412212,0.000240987],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040968953,0.0003421168,0.0024901913,0.00027237125,0.0007876529,0.0000036113995,0.7217438,0.00023068947,0.00028550258,0.06560396,0.17017487,0.037655514],"study_design_scores_gemma":[0.00068901415,0.00078750233,0.0031676732,0.00009736585,0.00013505986,0.000006631296,0.02004639,0.00010016184,0.0001648798,0.0006911536,0.9737332,0.00038099874],"about_ca_topic_score_codex":0.00004800625,"about_ca_topic_score_gemma":0.00030978234,"teacher_disagreement_score":0.8035583,"about_ca_system_score_codex":0.000037710048,"about_ca_system_score_gemma":0.00005158886,"threshold_uncertainty_score":0.6705625},"labels":[],"label_agreement":null},{"id":"W2318868555","doi":"","title":"\"At Play in the Frame / En jeu dans le cadre\"","year":2009,"lang":"fr","type":"article","venue":"Ciel variable : art, photo, médias, culture","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Frame (networking); Humanities; Computer science; Art; Telecommunications","score_opus":0.017660708480747887,"score_gpt":0.23115494821647245,"score_spread":0.21349423973572457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2318868555","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017798336,0.017883403,0.000024409323,0.0015857563,0.0014637805,0.0005752065,0.0004126659,0.0000831604,0.9601733],"genre_scores_gemma":[0.08476859,0.004408182,0.00016805578,0.039860208,0.0036392778,0.00011075531,0.00019469221,0.000052382977,0.86679786],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974162,0.00026395364,0.0005060568,0.00051840924,0.00036566943,0.000929696],"domain_scores_gemma":[0.9988388,0.00018068409,0.00015372146,0.00060586055,0.00009901203,0.000121959434],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006461116,0.0005468594,0.00054737786,0.00008726124,0.0016327273,0.0003831312,0.0006482916,0.00040642318,0.050387256],"category_scores_gemma":[0.000045582627,0.00038773363,0.0002245695,0.00021398961,0.00044466043,0.0005712363,0.000116563555,0.0009976676,0.00072326965],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046781144,0.00034559396,0.00033345236,0.00007353965,0.00008423188,0.000039325576,0.053269193,0.00016601666,0.00057880307,0.28586563,0.6587385,0.00045893414],"study_design_scores_gemma":[0.0007621303,0.00027661066,0.0013202996,0.00023689392,0.000119826436,0.00005549645,0.0229576,0.000114648275,0.00050912506,0.0029887024,0.9701223,0.0005363811],"about_ca_topic_score_codex":0.0019304528,"about_ca_topic_score_gemma":0.00052829715,"teacher_disagreement_score":0.31138378,"about_ca_system_score_codex":0.00017345027,"about_ca_system_score_gemma":0.00013487341,"threshold_uncertainty_score":0.9998575},"labels":[],"label_agreement":null},{"id":"W2320648778","doi":"10.1386/public.25.49.31_7","title":"KU KLUX KLAN OF CANADA IMPERIAL DECREE, OPENING CEREMONY","year":2013,"lang":"en","type":"article","venue":"Public","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ceremony; Decree; Ancient history; Art; History; Archaeology","score_opus":0.023208939647576678,"score_gpt":0.18738496635590088,"score_spread":0.1641760267083242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2320648778","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6827457,0.00014054665,6.2121654e-7,0.0017075817,0.0005967915,0.00008751096,0.000018303117,0.000019346398,0.31468362],"genre_scores_gemma":[0.9939429,0.000012458176,0.000015404796,0.00026183622,0.0006717646,0.000018289365,0.000009393267,0.00000891912,0.0050590397],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937105,0.000012035474,0.00015425164,0.00008745108,0.00013000156,0.00024523615],"domain_scores_gemma":[0.9996209,0.000027365944,0.000051066694,0.00012445221,0.00011633786,0.000059887057],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000062439656,0.00008424075,0.00014344024,0.000040211868,0.00026860525,0.00013343118,0.00014660573,0.000014415942,0.0087318765],"category_scores_gemma":[0.000018076002,0.00006367547,0.00003060398,0.000024825682,0.00007759471,0.00025505404,0.000060081733,0.000055144097,0.000044588396],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002781148,0.000056262146,0.022512164,0.00011173701,0.00025334445,0.0000031670415,0.051123857,0.0000033113672,0.0003311243,0.23086034,0.65860736,0.036109492],"study_design_scores_gemma":[0.00025443468,0.000047763973,0.005663702,0.000011076882,0.000008715022,0.0000013003382,0.005101133,0.000043093645,0.0001957298,0.00089440675,0.9876251,0.0001535042],"about_ca_topic_score_codex":0.55311537,"about_ca_topic_score_gemma":0.83288246,"teacher_disagreement_score":0.32901776,"about_ca_system_score_codex":0.000023521883,"about_ca_system_score_gemma":0.00016774234,"threshold_uncertainty_score":0.99217427},"labels":[],"label_agreement":null},{"id":"W2320888603","doi":"10.1386/atr.2.1.49_1","title":"Finding a place beyond place in the Rouge Park Project","year":2014,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"National park; Community project; Place making; Sociology; Political science; Geography; Public administration; Archaeology; Social science; Engineering","score_opus":0.08675221686258053,"score_gpt":0.3372194242639933,"score_spread":0.2504672074014128,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2320888603","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16564119,0.00022239213,0.0000023557973,0.0013388572,0.000091498754,0.0006206722,0.000011064627,0.000044973767,0.832027],"genre_scores_gemma":[0.9950839,0.000108848784,0.00001998887,0.0002142813,0.0010415816,0.00033324063,0.000011547646,0.00002469653,0.0031618976],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978446,0.0002911934,0.00021568366,0.00030607713,0.00061369274,0.0007287811],"domain_scores_gemma":[0.9983199,0.0011480473,0.000032343145,0.00041881943,0.00004628934,0.000034562323],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031395643,0.00017752884,0.00022368204,0.00025955273,0.0010487741,0.00027205233,0.0005173566,0.00005466787,0.00026742983],"category_scores_gemma":[0.000016216258,0.00010684693,0.000055712546,0.00023095324,0.00041560587,0.00011699433,0.00015205835,0.0006643751,0.00040176022],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031791342,0.00017871472,0.0007522685,0.00013469948,0.000057199875,0.000007792983,0.21988723,0.000027419412,0.000088923836,0.6497952,0.06723247,0.0615202],"study_design_scores_gemma":[0.00052849215,0.00015240995,0.0001355065,0.00003689031,0.000008063672,0.0000028316858,0.04463714,0.00012389876,0.0000934021,0.008038591,0.9460617,0.00018112542],"about_ca_topic_score_codex":0.00079994526,"about_ca_topic_score_gemma":0.0044692187,"teacher_disagreement_score":0.8788292,"about_ca_system_score_codex":0.00005242787,"about_ca_system_score_gemma":0.00006647782,"threshold_uncertainty_score":0.80664283},"labels":[],"label_agreement":null},{"id":"W2322667224","doi":"10.1386/jafp.7.2.209_1","title":"Creating the space of truth in the make-believe world of the theatre: An interview with Peter Sellars","year":2014,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"American Academy of Arts and Sciences","keywords":"Reverence; Politics; Opera; Political theatre; Art; Theatre director; Performance art; Art history; Space (punctuation); Visual arts; Sociology; Aesthetics; Literature; Law; Political science; Philosophy","score_opus":0.030774042435400745,"score_gpt":0.228063193557509,"score_spread":0.19728915112210826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2322667224","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97135454,0.0003553442,0.000021127391,0.00094136054,0.00027723212,0.0001302359,0.0000033733686,0.0000023698578,0.026914435],"genre_scores_gemma":[0.9988255,0.00024107003,0.00010780809,0.00022395849,0.00023617728,0.0000052207556,5.910076e-7,0.000008636768,0.0003510178],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9987395,0.0002097357,0.0005313526,0.00006777971,0.00031493627,0.00013670811],"domain_scores_gemma":[0.9988085,0.000245612,0.0005795835,0.00020221723,0.00015099465,0.000013075371],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012905824,0.00011627664,0.00023852015,0.000116056704,0.00017142846,0.000040342336,0.0003532286,0.000016525157,0.000060901064],"category_scores_gemma":[0.000017369508,0.0000469817,0.000076207485,0.0001665445,0.0002265237,0.00032646215,0.000024809897,0.00029579795,0.0000012041868],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00074426126,0.00032387226,0.0731249,0.00055093504,0.00015476199,0.000002345338,0.80574757,0.027608752,0.000089755704,0.023868222,0.00093362754,0.066851],"study_design_scores_gemma":[0.0038752125,0.0041768393,0.52172977,0.0061276164,0.00030889842,0.00010280051,0.26145372,0.032142606,0.002106486,0.0015483807,0.1658107,0.0006169741],"about_ca_topic_score_codex":0.000077250734,"about_ca_topic_score_gemma":0.004868744,"teacher_disagreement_score":0.5442938,"about_ca_system_score_codex":0.000018310042,"about_ca_system_score_gemma":0.000042342137,"threshold_uncertainty_score":0.27168733},"labels":[],"label_agreement":null},{"id":"W2323244338","doi":"10.12745/et.18.2.2542","title":"Performing &lt;i&gt;The Tragedy of Mariam&lt;/i&gt; and Constructing Stage History","year":2015,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Drama; Art; Visual arts; Aesthetics; Literature","score_opus":0.03287142770544702,"score_gpt":0.20783120428405097,"score_spread":0.17495977657860395,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2323244338","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6528912,0.0046789083,0.0000018826721,0.00016068418,0.0006729221,0.00011537162,0.000024988347,0.000041241357,0.3414128],"genre_scores_gemma":[0.97750574,0.00010342166,0.00006879217,0.00007003338,0.0007466593,0.000008977614,0.0000031821519,0.000021787282,0.021471413],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901456,0.000058263246,0.00026522993,0.00017598514,0.00022118771,0.00026475155],"domain_scores_gemma":[0.9993758,0.00010245943,0.00012438039,0.00023618147,0.00009009534,0.00007105147],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042860763,0.00018132475,0.00026837282,0.00007340531,0.00034704048,0.00005559334,0.00015476983,0.000042753545,0.0006703088],"category_scores_gemma":[0.000014259443,0.00012244258,0.00007451326,0.000025929381,0.00075755327,0.00030427042,0.00008209897,0.00017314844,0.000029431712],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018600693,0.000108482665,0.017900318,0.0002385561,0.00028138305,0.000019064622,0.64779836,0.0000105958725,0.0015482302,0.20684543,0.029852219,0.09521137],"study_design_scores_gemma":[0.0005807295,0.00023655524,0.0010467406,0.000058564765,0.000069512025,0.000013930882,0.018488348,0.00003491539,0.00010460708,0.0006357726,0.97851074,0.00021960335],"about_ca_topic_score_codex":0.00015457212,"about_ca_topic_score_gemma":0.00051577087,"teacher_disagreement_score":0.9486585,"about_ca_system_score_codex":0.000055253837,"about_ca_system_score_gemma":0.00007614067,"threshold_uncertainty_score":0.73394114},"labels":[],"label_agreement":null},{"id":"W2324389750","doi":"10.1353/mdr.2007.0065","title":"Avant-Garde Performance and the Limits of Criticism: Approaching the Living Theatre, Happenings/Fluxus, and the Black Arts Movement (review)","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Criticism; The arts; Drama; Demise; Historicism; Art; Performing arts; Performance art; Politics; Art history; Avant garde; History; Visual arts; Literature; Law; Political science","score_opus":0.027628720744895814,"score_gpt":0.23789477480752252,"score_spread":0.21026605406262672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2324389750","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5452115,0.0827842,0.0004671432,0.010690639,0.00042145987,0.0016015137,0.000017263505,0.000067998306,0.3587383],"genre_scores_gemma":[0.97631246,0.015379297,0.000021341715,0.0031634062,0.00030866632,0.00003132687,0.0000011397723,0.000018647454,0.00476374],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99873346,0.000096248295,0.00038019096,0.00019702158,0.00026380384,0.00032927364],"domain_scores_gemma":[0.99871415,0.0007244094,0.00013882533,0.00032339053,0.000066743065,0.0000324654],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021282719,0.00021544947,0.00036693402,0.000031946853,0.0011160168,0.00012855412,0.00024324894,0.000026989428,0.000082126906],"category_scores_gemma":[0.000037153208,0.000089325506,0.00009503967,0.000014508162,0.0018183744,0.00016953141,0.0001829796,0.00025953265,0.0000094581455],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043187442,0.00008592723,0.0014566656,0.0014401117,0.00034705046,0.0000020751995,0.700045,0.000062541374,0.000025713898,0.10469243,0.005794004,0.1856166],"study_design_scores_gemma":[0.011589615,0.0007140526,0.016765274,0.009129457,0.0020106116,0.00008995765,0.1030989,0.1040967,0.0008673029,0.04191147,0.70760447,0.0021221666],"about_ca_topic_score_codex":0.00016088049,"about_ca_topic_score_gemma":0.00082234235,"teacher_disagreement_score":0.7018105,"about_ca_system_score_codex":0.000008983447,"about_ca_system_score_gemma":0.000010424023,"threshold_uncertainty_score":0.8583612},"labels":[],"label_agreement":null},{"id":"W2324911748","doi":"10.1177/006996671204600314","title":"Book Review: Andrew Skuse, Marie Gillespie and Gerry Power (eds), <i>Drama for Development: Cultural Translation and Social Change</i>","year":2012,"lang":"en","type":"article","venue":"Contributions to Indian Sociology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Drama; Sociology; Power (physics); Environmental ethics; Anthropology; Art history; Art; Philosophy; Literature; Physics","score_opus":0.041165600754548504,"score_gpt":0.2952321831739046,"score_spread":0.2540665824193561,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2324911748","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04702111,0.9138933,0.00007330451,0.033431984,0.00066073745,0.0016928068,0.0012058984,0.00008727759,0.0019335786],"genre_scores_gemma":[0.92358863,0.027414082,0.000119165525,0.04273339,0.002483198,0.00092947966,0.0006014931,0.000025645277,0.0021049005],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917704,0.00004138022,0.00020419265,0.0001424731,0.00004542651,0.0003894624],"domain_scores_gemma":[0.9995749,0.000109920344,0.000059816513,0.000050832103,0.00012867867,0.00007587581],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022876823,0.0001445527,0.00027841455,0.00004598947,0.0012697685,0.000031033822,0.000046101086,0.00010403516,0.00030085983],"category_scores_gemma":[0.0000294989,0.00011993067,0.000051558065,0.000019037272,0.00038813957,0.00031656312,0.0000311646,0.00010448332,0.000030223086],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007246983,0.000066495275,0.00096003007,0.00039506555,0.00024155101,8.7593077e-7,0.5055372,1.4747154e-8,0.000032550444,0.048259392,0.3735762,0.07085816],"study_design_scores_gemma":[0.00045218237,0.00006453985,0.0015572004,0.000046329817,0.00005352684,0.0000034069503,0.0011685411,2.7343467e-7,0.000015256389,0.00014065576,0.996324,0.00017410233],"about_ca_topic_score_codex":0.000008527768,"about_ca_topic_score_gemma":0.00006188392,"teacher_disagreement_score":0.8864792,"about_ca_system_score_codex":0.000037017006,"about_ca_system_score_gemma":0.0000254559,"threshold_uncertainty_score":0.976616},"labels":[],"label_agreement":null},{"id":"W232530643","doi":"","title":"Benedict Andrews and Barrie Kosky: Two Innovative Australian Directors","year":2010,"lang":"en","type":"article","venue":"TheatreForum","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Impossibility; Possession (linguistics); Object (grammar); Suspect; Aesthetics; Product (mathematics); Reading (process); Visual arts; Art; Sociology; History; Law; Philosophy; Linguistics; Political science","score_opus":0.016309984580743467,"score_gpt":0.24565205701651224,"score_spread":0.22934207243576876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W232530643","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7318392,0.00008463035,8.2726456e-7,0.0021517356,0.0010498347,0.00011996054,0.00008311153,0.00011564023,0.26455507],"genre_scores_gemma":[0.9868985,0.000042032945,0.00004146096,0.00031756572,0.0012414887,0.000015143263,0.000016632455,0.000021350479,0.011405847],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999098,0.00001630369,0.00018887065,0.00020034444,0.00011966723,0.0003767847],"domain_scores_gemma":[0.9995601,0.00003204481,0.000052086285,0.0001990053,0.00007599221,0.00008077159],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016821471,0.00020089628,0.00022308205,0.00009910809,0.00059883273,0.000098274846,0.00011637462,0.000041968295,0.0018338049],"category_scores_gemma":[0.0000069217726,0.00013534387,0.00004107906,0.00006820047,0.0004769231,0.00027779507,0.00007784066,0.00028334968,0.000088013854],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018386917,0.00013734002,0.073413365,0.00008409732,0.0003670631,0.00001560124,0.101352125,0.0000011871407,0.0044979695,0.58785105,0.041018963,0.19107735],"study_design_scores_gemma":[0.00057901256,0.00017354389,0.004832725,0.000024097668,0.00003009038,0.0000073060646,0.0049390527,0.0000067306855,0.0023116765,0.0046476037,0.9821422,0.0003059441],"about_ca_topic_score_codex":0.00066423835,"about_ca_topic_score_gemma":0.008897998,"teacher_disagreement_score":0.94112325,"about_ca_system_score_codex":0.000009509242,"about_ca_system_score_gemma":0.00002099506,"threshold_uncertainty_score":0.99907863},"labels":[],"label_agreement":null},{"id":"W2327841778","doi":"10.1080/14608944.2014.982458","title":"Rewriting the nation: British theatre today","year":2015,"lang":"en","type":"article","venue":"National Identities","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Rewriting; Political science; Sociology; Media studies; Gender studies; Computer science; Programming language","score_opus":0.071635977414705,"score_gpt":0.2607019858511797,"score_spread":0.1890660084364747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2327841778","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02491679,0.0017254424,0.0000050484314,0.0033297136,0.0011622864,0.00009306763,0.000063437816,0.00008295712,0.96862125],"genre_scores_gemma":[0.92429376,0.00007974206,0.000013314639,0.0007145449,0.0031639868,0.000030515912,0.000024781953,0.00000864338,0.071670726],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990957,0.000027217628,0.00015816315,0.0000925218,0.00050230836,0.00012411941],"domain_scores_gemma":[0.9992715,0.00008592815,0.000047041467,0.000059056143,0.0005128263,0.000023628458],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00038292952,0.00006959098,0.000077190896,0.000048100912,0.0006957157,0.00053716305,0.00013913875,0.000017973935,0.00098311],"category_scores_gemma":[0.000057002297,0.000055718072,0.000049614784,0.000034920606,0.00022483084,0.00051800604,0.000046532903,0.000086232554,0.00022432955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000056152066,0.000018168601,0.00063967594,0.000012287034,0.000045116936,0.000002661189,0.022402098,0.000023650988,8.914595e-7,0.56620234,0.40628687,0.0043606013],"study_design_scores_gemma":[0.00020431762,0.00002144791,0.0005165894,0.00002871219,0.000011559305,0.00001977735,0.027507644,0.00003973986,0.000014756048,0.09116985,0.8803525,0.000113136324],"about_ca_topic_score_codex":0.0007256413,"about_ca_topic_score_gemma":0.006122098,"teacher_disagreement_score":0.8993769,"about_ca_system_score_codex":0.000048205566,"about_ca_system_score_gemma":0.00006439471,"threshold_uncertainty_score":0.99993014},"labels":[],"label_agreement":null},{"id":"W2329022996","doi":"10.3138/tric.36.2.312","title":"Impact of the Immigrant Experience on My Theatre Career","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scripting language; Immigration; Visual arts; Sociology; Media studies; History; Art; Computer science","score_opus":0.15461971727790447,"score_gpt":0.3464646447584878,"score_spread":0.19184492748058335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2329022996","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70177174,0.0004375867,2.2316794e-8,0.0006759012,0.00026023778,0.00017622727,0.00007553162,0.0000056250906,0.29659712],"genre_scores_gemma":[0.99922687,0.00005165156,7.98464e-7,0.00004995038,0.0002499463,0.000031197807,0.0000017091592,0.000013514193,0.00037437057],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99797237,0.00018838287,0.0002061696,0.00017667432,0.00091585296,0.00054057],"domain_scores_gemma":[0.9990376,0.00019465155,0.000033863234,0.00046867033,0.00014230455,0.00012287051],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00051205885,0.00013973718,0.00021218935,0.00010891638,0.00025163806,0.000034951645,0.00047846235,0.00002120105,0.00028996068],"category_scores_gemma":[0.0000071337895,0.00007280699,0.00008185001,0.000176337,0.00042632697,0.00009164283,0.00012780618,0.00035183967,0.00001326388],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010592743,0.0003006191,0.3340953,0.00013815534,0.00026973485,0.000100241756,0.35079855,0.0012354483,0.00014392418,0.0060843164,0.12560989,0.18016456],"study_design_scores_gemma":[0.0019340263,0.0014963668,0.027376734,0.00063445466,0.000019706311,0.0000129828,0.3323546,0.00025207843,0.0012304034,0.0036404964,0.63036644,0.0006816795],"about_ca_topic_score_codex":0.99100566,"about_ca_topic_score_gemma":0.9943585,"teacher_disagreement_score":0.50475657,"about_ca_system_score_codex":0.0008417981,"about_ca_system_score_gemma":0.0022878756,"threshold_uncertainty_score":0.40585932},"labels":[],"label_agreement":null},{"id":"W2331145346","doi":"10.3138/tric.36.2.181","title":"Theatre and Immigration: From the Multiculturalism Act to the Sites of Imagined Communities<sup>1</sup>","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Immigration; Appeal; Charter; Sociology; Nationalism; Gender studies; Media studies; Aesthetics; Political science; Art; Law; Politics; Pedagogy","score_opus":0.10839723125809503,"score_gpt":0.3071096846910374,"score_spread":0.19871245343294236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2331145346","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8940217,0.0027301866,1.5942095e-7,0.03901233,0.00011652183,0.00043730868,0.00034731967,0.00001210282,0.06332238],"genre_scores_gemma":[0.9984278,0.00025506888,0.000010651858,0.00049693,0.00049191323,0.000044638946,0.000038183633,0.000010493633,0.0002243301],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99825954,0.00040334876,0.00022454091,0.00012587584,0.0006125035,0.00037419592],"domain_scores_gemma":[0.99813414,0.0010664802,0.000030066305,0.00044401622,0.00022179834,0.000103505015],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008678492,0.00014557056,0.0002106847,0.00005831087,0.00059296424,0.00012978831,0.0004890494,0.00002096965,0.00016017622],"category_scores_gemma":[0.000009452465,0.00006896408,0.000029550556,0.00013272138,0.0004597713,0.00015233674,0.00023012911,0.00040766943,0.000014170344],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026085737,0.000047327638,0.030944772,0.000050216313,0.0001594573,0.0000129993305,0.7003411,0.000584658,0.000029021341,0.001726726,0.21308935,0.0527535],"study_design_scores_gemma":[0.00031556666,0.00007531257,0.0009935406,0.00007173644,0.000010944943,0.0000019358047,0.45556825,0.00096593355,0.000055386256,0.00053408806,0.54129726,0.00011003466],"about_ca_topic_score_codex":0.9906067,"about_ca_topic_score_gemma":0.99746,"teacher_disagreement_score":0.32820794,"about_ca_system_score_codex":0.00018175803,"about_ca_system_score_gemma":0.00053072005,"threshold_uncertainty_score":0.45606616},"labels":[],"label_agreement":null},{"id":"W2331623471","doi":"10.17742/image.periph.5-1.8","title":"HIGH-RISE ZHIVAGO","year":2014,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Meaning (existential); Tribute; Intellect; Subject (documents); Shot (pellet); Art; Visual arts; History; Aesthetics; Art history; Literature; Philosophy; Epistemology","score_opus":0.03215324077756188,"score_gpt":0.35615299283537855,"score_spread":0.32399975205781667,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2331623471","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56928325,0.011156927,0.0001625548,0.016284067,0.0047625992,0.00018527078,0.00007423075,0.00011137204,0.39797974],"genre_scores_gemma":[0.98875815,0.00083225814,0.0012174349,0.00022459117,0.0024098507,0.0000068912423,0.000003172004,0.000015399033,0.0065322705],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986941,0.00005040274,0.0005544021,0.00012939243,0.0003058203,0.0002658874],"domain_scores_gemma":[0.98913276,0.000147836,0.0003720106,0.00013611789,0.010154037,0.00005721683],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.00037083478,0.00022020037,0.0004306796,0.00015177534,0.0011392685,0.0016876698,0.0002458698,0.000018710589,0.0002679027],"category_scores_gemma":[0.0006411483,0.00013667891,0.00020282694,0.00006893333,0.0047423183,0.008588767,0.000085671345,0.00023460494,0.00011108586],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007819991,0.00016568793,0.0019754546,0.00012981871,0.00095707487,0.000023867824,0.069028184,0.00003928239,0.0017390279,0.7504382,0.15019733,0.025227867],"study_design_scores_gemma":[0.0012339709,0.0002740133,0.0038969633,0.00010454998,0.00018168717,0.0000680678,0.012210122,0.00001541849,0.0012800967,0.044948574,0.935455,0.00033151978],"about_ca_topic_score_codex":0.000030249954,"about_ca_topic_score_gemma":0.00007541758,"teacher_disagreement_score":0.7852577,"about_ca_system_score_codex":0.000052897907,"about_ca_system_score_gemma":0.00001971063,"threshold_uncertainty_score":0.9993487},"labels":[],"label_agreement":null},{"id":"W2331839767","doi":"10.3138/tric.36.2.255","title":"Accented Actors: From Stage to Stages via a Convenience Store","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stress (linguistics); Negotiation; Immigration; Space (punctuation); Media studies; Visual arts; Art; Sociology; History; Political science; Law; Linguistics","score_opus":0.1813705499056801,"score_gpt":0.3445368646852884,"score_spread":0.16316631477960827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2331839767","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8618251,0.0006260037,0.0000029421697,0.0025766678,0.00062337617,0.00036795094,0.0005538823,0.000031615487,0.13339247],"genre_scores_gemma":[0.9977496,0.00005098812,0.0000157409,0.00022219811,0.00048208376,0.00004118743,0.000019904552,0.000018269535,0.0014000084],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99781907,0.00017128607,0.00020320612,0.00026816246,0.0008603348,0.00067793747],"domain_scores_gemma":[0.99888355,0.00025874306,0.00002489762,0.00033461527,0.00016565228,0.0003325615],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00057002937,0.00014779852,0.00022868732,0.00017778766,0.00023815618,0.000089021494,0.00038646895,0.000022645045,0.001169267],"category_scores_gemma":[0.000013088413,0.00011712228,0.000022610242,0.00016862084,0.00018097936,0.00021273362,0.00019642725,0.00034943607,0.00009390653],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001139522,0.0002454327,0.18981932,0.00018500276,0.00025013927,0.0006543218,0.19200891,0.00028421453,0.00035002502,0.004506498,0.33930254,0.2712541],"study_design_scores_gemma":[0.00038028,0.00013965918,0.0008763445,0.000071632574,0.0000027903145,4.0320683e-7,0.048424285,0.000069089416,0.00028262573,0.0004303582,0.9491403,0.00018222124],"about_ca_topic_score_codex":0.99348915,"about_ca_topic_score_gemma":0.99869084,"teacher_disagreement_score":0.6098378,"about_ca_system_score_codex":0.0010372576,"about_ca_system_score_gemma":0.0018534623,"threshold_uncertainty_score":0.9997438},"labels":[],"label_agreement":null},{"id":"W2332981812","doi":"10.1017/s0266464x15000226","title":"Currents in the Cross-Legal: Recontextualizing Terence Rattigan’s <i>The Winslow Boy</i>","year":2015,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Parallels; Novella; Politics; Literature; History; Art; Law; Sociology; Political science","score_opus":0.06331748019691,"score_gpt":0.29044270676224704,"score_spread":0.22712522656533704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2332981812","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6511064,0.0039265966,0.000012900403,0.01084469,0.0035448072,0.00064045866,0.000051142088,0.00015794828,0.329715],"genre_scores_gemma":[0.99035156,0.000032819622,0.0000102537515,0.0016253237,0.0021884937,0.00003844529,0.000009388519,0.000020834033,0.0057228566],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984822,0.00014483184,0.00036104707,0.0002586629,0.00032219646,0.00043106123],"domain_scores_gemma":[0.99916315,0.00011300461,0.00009191139,0.00047850003,0.0000691561,0.00008426487],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057388615,0.0002504859,0.00024452314,0.00006284625,0.00049317477,0.00070353784,0.00063845096,0.000043112712,0.00017456086],"category_scores_gemma":[0.0000076095953,0.0001312743,0.00011117265,0.00008520972,0.00025617654,0.00063692976,0.00002583337,0.00033733793,0.0004162607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000100189325,0.00009428733,0.008412566,0.000018289093,0.00004122533,0.000012985146,0.5612939,0.0000043857954,0.00000678304,0.017177455,0.17202227,0.24081565],"study_design_scores_gemma":[0.0008110335,0.000449312,0.0009463903,0.00007000372,0.000022522738,0.000014647999,0.08440043,0.000027487664,0.000011996822,0.004698358,0.90832525,0.00022253906],"about_ca_topic_score_codex":0.002879508,"about_ca_topic_score_gemma":0.014232254,"teacher_disagreement_score":0.73630303,"about_ca_system_score_codex":0.000026221718,"about_ca_system_score_gemma":0.00010008412,"threshold_uncertainty_score":0.79419315},"labels":[],"label_agreement":null},{"id":"W2333162007","doi":"10.1386/jcs.2.2.170_1","title":"How to Occupy Retreat: dOCUMENTA (13) from Kassel to Banff","year":2013,"lang":"en","type":"article","venue":"Journal of Curatorial Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Siege; Politics; Proposition; State (computer science); History; Political science; Sociology; Law; Ancient history; Philosophy; Epistemology","score_opus":0.04177318612073482,"score_gpt":0.2797575090921282,"score_spread":0.23798432297139338,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2333162007","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9335651,0.0030959037,0.0000064468345,0.025918478,0.02063644,0.0003702905,0.000062824205,0.000034820903,0.016309723],"genre_scores_gemma":[0.96924746,0.00048028227,0.00011623373,0.0015516654,0.024762208,0.000023744096,8.91674e-7,0.00001848889,0.0037990378],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987311,0.000038057853,0.0003958397,0.00015129885,0.00041507132,0.00026865042],"domain_scores_gemma":[0.9986197,0.0001955428,0.00020570045,0.00015415049,0.0006376343,0.0001872998],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015393631,0.00022713206,0.0005299995,0.00013119889,0.00044189332,0.0004090908,0.00022105855,0.000029749335,0.0005099361],"category_scores_gemma":[0.00022623534,0.00014215504,0.00014411082,0.00006571896,0.00008222604,0.00060921145,0.000101405734,0.00016946871,0.0003557043],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027198874,0.00005831148,0.0009511312,0.000013131233,0.0007600955,0.00000986016,0.052796725,0.0000068297077,0.00017831988,0.004012288,0.9365216,0.004419755],"study_design_scores_gemma":[0.00063659466,0.0012252745,0.00082422333,0.00016034282,0.00008403458,0.000001402721,0.027461467,2.8813668e-7,0.0005072916,0.0029346354,0.9659431,0.00022132194],"about_ca_topic_score_codex":0.0002679615,"about_ca_topic_score_gemma":0.000702065,"teacher_disagreement_score":0.035682373,"about_ca_system_score_codex":0.000088420646,"about_ca_system_score_gemma":0.000028596773,"threshold_uncertainty_score":0.5796914},"labels":[],"label_agreement":null},{"id":"W2334078463","doi":"10.1017/s0040557413000677","title":"Reading Modern Drama. Edited by Alan Ackerman. Toronto, Buffalo, and London: University of Toronto Press, 2012; pp. vi + 306, 8 illustrations. $29.95 paper, $29.95 e-book.","year":2013,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Reading (process); Media studies; Art history; History; Art; Sociology; Visual arts; Political science; Law","score_opus":0.01726854459470711,"score_gpt":0.20969797620527517,"score_spread":0.19242943161056805,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2334078463","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14548354,0.30504757,0.000043559132,0.00071204826,0.0016835666,0.0014826828,0.0024627026,0.00043576842,0.54264855],"genre_scores_gemma":[0.90300167,0.06746504,0.000039166607,0.00018584728,0.00088686036,0.000011652678,0.00056272425,0.000056252993,0.027790796],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984642,0.00020266029,0.0003137623,0.00034954856,0.00024407747,0.0004257508],"domain_scores_gemma":[0.99890226,0.00017479848,0.00014863076,0.0004098669,0.00023019234,0.0001342481],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034329054,0.00032227288,0.0004465127,0.000009720062,0.00061047525,0.00012604342,0.00025881256,0.000116822026,0.006719716],"category_scores_gemma":[0.000007968356,0.00028510168,0.00008915301,0.000017679067,0.0004174843,0.0021194834,0.0001364223,0.00014969276,0.000061845276],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015797337,0.00013914653,0.00260505,0.00008596345,0.00026813365,0.0000021021715,0.021784788,0.0000057452326,0.00045658756,0.0014933583,0.9555701,0.017431075],"study_design_scores_gemma":[0.0008554872,0.00021191346,0.009504636,0.00007185879,0.000102574515,0.0000028892177,0.0047173854,0.00042591046,0.00008771952,0.00018111891,0.9833412,0.00049728726],"about_ca_topic_score_codex":0.38085884,"about_ca_topic_score_gemma":0.38857904,"teacher_disagreement_score":0.7575181,"about_ca_system_score_codex":0.00009699745,"about_ca_system_score_gemma":0.00003617861,"threshold_uncertainty_score":0.9999601},"labels":[],"label_agreement":null},{"id":"W2334573816","doi":"10.5840/envirophil20129219","title":"Embodying Otherness","year":2012,"lang":"en","type":"article","venue":"Environmental Philosophy","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Applied philosophy; Contemporary philosophy; General interest; Philosophy; Epistemology; Aesthetics; Sociology","score_opus":0.02707789995400454,"score_gpt":0.20144400682987698,"score_spread":0.17436610687587245,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2334573816","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4481787,0.0011489836,0.0000017139458,0.00027152212,0.0006207185,0.00006691745,0.000026514857,0.000045987857,0.5496389],"genre_scores_gemma":[0.9933511,0.00004464272,0.000012240927,0.00044425498,0.0032727334,0.000011843426,0.000010359979,0.000017675717,0.0028351755],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949396,0.000010421107,0.00009034353,0.000082658655,0.00010582783,0.00021677508],"domain_scores_gemma":[0.99980235,0.000010589361,0.000026826901,0.00011009019,8.4018495e-7,0.00004930305],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000049028913,0.00010597619,0.0000888983,0.000024894773,0.00029585615,0.000019927471,0.00006847091,0.00001544156,0.0053747073],"category_scores_gemma":[5.31054e-7,0.000086638254,0.00005145257,0.00000622128,0.00018954254,0.0003271532,0.000046586763,0.00006422824,0.0022673889],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006961271,0.0009565331,0.12302502,0.00007333858,0.00026219347,0.000004298344,0.19329916,0.000007044131,0.001459117,0.6479178,0.0077141915,0.025211688],"study_design_scores_gemma":[0.00027059493,0.000057083053,0.0064314874,0.000014701096,0.000026794907,0.0000032598937,0.0035262676,0.0000033766244,0.0005019522,0.0076731117,0.9811845,0.0003069106],"about_ca_topic_score_codex":0.000010518395,"about_ca_topic_score_gemma":0.0000030039166,"teacher_disagreement_score":0.9734703,"about_ca_system_score_codex":0.000024752333,"about_ca_system_score_gemma":8.5084764e-7,"threshold_uncertainty_score":0.99850947},"labels":[],"label_agreement":null},{"id":"W2334588713","doi":"10.1017/s0307883314000030","title":"Performing Visions of Governmentality: Care and Capital in <i>100% Vancouver</i>","year":2014,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Canada Council for the Arts; Australian Government; University of Chicago","keywords":"Vision; Governmentality; Capitalism; Capital (architecture); Redistribution (election); Welfare capitalism; Sociology; Political science; Economy; Economic history; Political economy; Public administration; Welfare state; Economics; Law; Art; Visual arts","score_opus":0.03819987346211441,"score_gpt":0.3213526068136373,"score_spread":0.2831527333515229,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2334588713","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.55291,0.00021764237,0.0000013063028,0.00017993158,0.00028211554,0.00006533522,0.000048894028,0.0000072230614,0.44628754],"genre_scores_gemma":[0.9982752,0.00020378939,0.000027190259,0.000025934074,0.00040973412,0.000011554623,0.000009880955,0.000007789651,0.0010288965],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896777,0.000046489204,0.0001663891,0.0001345211,0.00049042824,0.00019438785],"domain_scores_gemma":[0.9995703,0.00014640848,0.000027398482,0.000102261154,0.00011780471,0.000035796125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043591473,0.000073557974,0.00011758023,0.00014550399,0.00018929577,0.000043201933,0.00016036717,0.00002016118,0.00059412624],"category_scores_gemma":[0.00001537113,0.00005873982,0.000034236647,0.00003090621,0.00031210895,0.00020125322,0.00016721702,0.00017452985,0.00001733342],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028665233,0.0002761771,0.10921942,0.00029187487,0.00016875876,0.0000071997215,0.24246785,0.000026097658,0.00061661407,0.22934963,0.009940743,0.407349],"study_design_scores_gemma":[0.0013459348,0.0006455295,0.00461907,0.0003329384,0.000011548761,0.0000037176972,0.18347104,0.0008105178,0.001265166,0.0082792975,0.7989577,0.00025753165],"about_ca_topic_score_codex":0.0014146947,"about_ca_topic_score_gemma":0.01098881,"teacher_disagreement_score":0.78901696,"about_ca_system_score_codex":0.00008738869,"about_ca_system_score_gemma":0.000022272845,"threshold_uncertainty_score":0.6505266},"labels":[],"label_agreement":null},{"id":"W233486118","doi":"10.1353/mdr.2001.0006","title":"Embodied Memory: The Theatre of George Tabori by Anat Feinberg (review)","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.01793947117644819,"score_gpt":0.23213853353385575,"score_spread":0.21419906235740754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W233486118","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08051726,0.09751209,0.000018005603,0.0064548766,0.0005105362,0.00038897473,0.0001291298,0.00009486316,0.81437427],"genre_scores_gemma":[0.93751925,0.021382263,0.0000045438674,0.0015447316,0.0004906137,0.00003392836,0.000024000998,0.000023555862,0.038977116],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991244,0.000037363207,0.0002396727,0.00016191046,0.00017411348,0.0002625101],"domain_scores_gemma":[0.9994017,0.000045187724,0.00008840435,0.0003513417,0.000080365666,0.000032993747],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016354978,0.00017262663,0.00029184495,0.000027544254,0.00037601034,0.000033413555,0.00025107266,0.000028658795,0.0018606555],"category_scores_gemma":[0.000005119623,0.0001001441,0.000118670614,0.00004105746,0.000235681,0.00013259608,0.000060833343,0.0001226776,0.00009736442],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001013958,0.00022851741,0.0009610336,0.00044901686,0.00030125087,0.0000069521934,0.05297734,0.00001905963,0.00015339688,0.027530963,0.6883747,0.2288964],"study_design_scores_gemma":[0.00022105222,0.00006196815,0.000059256094,0.00012901807,0.0000727774,0.0000028512247,0.001529136,0.00014711857,0.000108393426,0.001974563,0.9955387,0.00015514756],"about_ca_topic_score_codex":0.00055534695,"about_ca_topic_score_gemma":0.0010923642,"teacher_disagreement_score":0.85700196,"about_ca_system_score_codex":0.000012889842,"about_ca_system_score_gemma":0.000015344423,"threshold_uncertainty_score":0.99905175},"labels":[],"label_agreement":null},{"id":"W2335597710","doi":"10.3138/md.46.1.119","title":"Afterword: Theatre and Exile","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Performative utterance; Dilemma; Politics; Ideology; Aesthetics; Displacement (psychology); Literature; History; Sociology; Art; Political science; Philosophy; Psychoanalysis; Psychology; Law; Epistemology","score_opus":0.019148368192525723,"score_gpt":0.21386697782442796,"score_spread":0.19471860963190224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2335597710","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33941504,0.0016686172,0.000027929482,0.00020101298,0.00022702354,0.000060625167,0.000009743303,0.000052186253,0.65833783],"genre_scores_gemma":[0.984054,0.00007947111,0.000033469456,0.00024424487,0.00021588792,0.000011184898,0.0000014929858,0.000010629538,0.015349608],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957913,0.000013811644,0.00007591786,0.000114386676,0.0000615375,0.0001551992],"domain_scores_gemma":[0.9998085,0.000016167738,0.000014602762,0.00010938186,0.00002212537,0.000029230494],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000049336937,0.000089596215,0.00009868247,0.00002616008,0.0002670978,0.00008766838,0.000037685717,0.000017338085,0.0010377995],"category_scores_gemma":[0.000002728423,0.00006702484,0.000027399637,0.000008772085,0.000109022374,0.00011737918,0.000017676326,0.00005476827,0.00009215469],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057319034,0.0001395195,0.009971743,0.00010435462,0.0001419976,0.000014303477,0.23517433,0.000013620265,0.00009047259,0.5481208,0.02242304,0.18374848],"study_design_scores_gemma":[0.0001962453,0.000045806857,0.00022503977,0.000011975602,0.000013112932,0.000002852472,0.0022362014,0.000071166636,0.00009208747,0.021001507,0.97597486,0.0001291413],"about_ca_topic_score_codex":0.000047009093,"about_ca_topic_score_gemma":0.00040997154,"teacher_disagreement_score":0.9535518,"about_ca_system_score_codex":0.0000053243334,"about_ca_system_score_gemma":0.0000064370574,"threshold_uncertainty_score":0.99987537},"labels":[],"label_agreement":null},{"id":"W2336042378","doi":"10.14288/1.0165696","title":"Homa Bay Memories : using research-based theatre to explore a narrative inheritance","year":2013,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Narrative; Inheritance (genetic algorithm); Bay; Computer science; Sociology; History; Art; Literature; Biology; Genetics; Gene","score_opus":0.06712633688505956,"score_gpt":0.23865942122132205,"score_spread":0.1715330843362625,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2336042378","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98400813,0.00019822177,0.000023223782,0.00056088297,0.00023300944,0.00037099086,0.00007779087,0.000061510356,0.014466249],"genre_scores_gemma":[0.99678206,0.000029162564,0.00028336773,0.00008399478,0.0001900992,0.0000037952007,0.0000059209146,0.000015408039,0.002606166],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99889356,0.00007915949,0.00010629595,0.00028214374,0.00029092783,0.00034791607],"domain_scores_gemma":[0.9988417,0.000055293887,0.00005189762,0.00022218062,0.00072518486,0.000103741826],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015982041,0.000056844507,0.00024957687,0.000078877354,0.001364006,0.00026993637,0.00026963296,0.000043597844,0.0015762673],"category_scores_gemma":[0.0000145139375,0.00015304929,0.00008625422,0.0001619316,0.0011047819,0.00061250443,0.0001249042,0.00015572933,0.00010386181],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000846565,0.0003262127,0.013746712,0.00032904782,0.00021012066,0.000117734264,0.43539572,0.000059812668,0.00049179955,0.00009367664,0.10622296,0.44292155],"study_design_scores_gemma":[0.0007766452,0.00039774238,0.2742381,0.00052525825,0.000028169325,0.0000057177076,0.6979545,0.00022870238,0.000007741593,0.002105379,0.023335671,0.00039635217],"about_ca_topic_score_codex":0.11561344,"about_ca_topic_score_gemma":0.5829784,"teacher_disagreement_score":0.467365,"about_ca_system_score_codex":0.00006991007,"about_ca_system_score_gemma":0.0000807467,"threshold_uncertainty_score":0.9999361},"labels":[],"label_agreement":null},{"id":"W2338378151","doi":"10.14288/1.0101718","title":"Preliminary study of theatre audiences","year":2011,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; History; Media studies; Art; Sociology","score_opus":0.024501661140718903,"score_gpt":0.17248979160250208,"score_spread":0.14798813046178316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2338378151","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8785729,0.00015942522,0.0000011698165,0.0000066672515,0.00013976288,0.00014604698,0.000052286585,0.000027827837,0.12089394],"genre_scores_gemma":[0.9978901,0.000069485446,0.000022968105,0.0000063579705,0.000040801744,4.417905e-7,0.0000019168956,0.000005163846,0.0019627435],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9994522,0.000025746467,0.00010022378,0.00015948435,0.00013188997,0.00013046847],"domain_scores_gemma":[0.9995938,0.000017916096,0.00009612731,0.00015449704,0.00010788307,0.000029774988],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007989651,0.0000322464,0.00020390404,0.00003264599,0.0003395402,0.000020810834,0.00022581377,0.00002198004,0.00086951436],"category_scores_gemma":[0.000001527049,0.00009013042,0.00006676485,0.00004652963,0.0004599229,0.00026980828,0.00010254438,0.0000545744,0.000014785218],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080247184,0.0013139086,0.1403884,0.00014436,0.00020958821,0.000069146394,0.29751,9.16915e-7,0.0000059512467,0.00004767478,0.0036289943,0.5566008],"study_design_scores_gemma":[0.00041132164,0.0010446488,0.79814535,0.00006597598,0.000059840873,0.000003445111,0.19888388,0.0000037968719,4.24576e-7,0.0002115387,0.001079387,0.00009041433],"about_ca_topic_score_codex":0.21063846,"about_ca_topic_score_gemma":0.70385504,"teacher_disagreement_score":0.6577569,"about_ca_system_score_codex":0.0000072661855,"about_ca_system_score_gemma":0.00001670917,"threshold_uncertainty_score":0.9520573},"labels":[],"label_agreement":null},{"id":"W2339048108","doi":"","title":"George Luscombe Directing Chicago ’70 at Toronto Workshop Productions: an insider’s subjective account","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"George (robot); Insider; Politics; Art history; Performance art; Media studies; Art; History; Sociology; Visual arts; Management; Law; Political science","score_opus":0.153990922564083,"score_gpt":0.34473756206731654,"score_spread":0.19074663950323353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2339048108","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5816643,0.003205887,9.866677e-8,0.002159339,0.00094289996,0.00039322546,0.000036424495,0.00004793315,0.41154987],"genre_scores_gemma":[0.99490565,0.00032741184,0.000008757945,0.000096181975,0.0016505793,0.00011265369,0.000017567474,0.000033639302,0.0028475574],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972901,0.00031968567,0.00028088872,0.00041864632,0.0008505263,0.00084017107],"domain_scores_gemma":[0.99868125,0.0002485379,0.00004530911,0.00048584113,0.0002938262,0.0002452552],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014709419,0.00020333011,0.00028452484,0.0001252151,0.0008894383,0.00013378308,0.00030033218,0.00004007114,0.00066860253],"category_scores_gemma":[0.000038403712,0.00016616075,0.00003467383,0.00015527134,0.00025971542,0.00068960944,0.00024399125,0.00047874264,0.000031457068],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001333336,0.00056977675,0.08767614,0.00029394214,0.00042389266,0.0002478622,0.38403746,0.00038701625,0.000069757894,0.008999244,0.23086499,0.2850966],"study_design_scores_gemma":[0.00047948622,0.00015950266,0.0008005083,0.000116337644,0.0000099410745,0.0000129857945,0.21263745,0.00011749672,0.0001640722,0.0018259818,0.78333634,0.00033989295],"about_ca_topic_score_codex":0.9926842,"about_ca_topic_score_gemma":0.9998978,"teacher_disagreement_score":0.55247134,"about_ca_system_score_codex":0.0044640475,"about_ca_system_score_gemma":0.002024636,"threshold_uncertainty_score":0.99935764},"labels":[],"label_agreement":null},{"id":"W2339526496","doi":"10.1177/0306312716638951","title":"Shifting in and out of context: Technoscientific drama as technology of the self","year":2016,"lang":"en","type":"article","venue":"Social Studies of Science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"Verein Deutscher Ingenieure","keywords":"Drama; Context (archaeology); Technoscience; Sociology; Epistemology; Literature; Social science; Art; Philosophy; History","score_opus":0.031223210400280844,"score_gpt":0.28173046411841,"score_spread":0.25050725371812915,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2339526496","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98912734,0.00096483796,3.1344513e-7,0.0017992205,0.00033346823,0.00008877517,0.000007638348,0.000011719631,0.0076667024],"genre_scores_gemma":[0.9994804,0.00014431145,0.000010244298,0.000012911909,0.000030079827,0.0000044369563,9.181818e-9,0.0000017835392,0.0003157742],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99933463,0.0000073103392,0.00020215652,0.00011966942,0.00018724069,0.00014901429],"domain_scores_gemma":[0.99949175,0.0000590654,0.00015091232,0.0000844615,0.00020778296,0.000006042203],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00041762486,0.00005659704,0.0001996368,0.00011963368,0.00068733434,0.0000070069605,0.0002512435,0.000018984292,0.0000076582155],"category_scores_gemma":[0.00013648954,0.000029082423,0.000028082777,0.00021518758,0.014864213,0.000118092845,0.00030868137,0.000039560146,9.213748e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013251681,0.00005895766,0.035798322,0.00008944801,0.00004511146,2.080539e-7,0.54826283,6.006924e-8,0.014051281,0.33258602,0.00020798358,0.068886526],"study_design_scores_gemma":[0.0008556106,0.0002683206,0.017389495,0.0005407279,0.00003172322,4.699562e-7,0.87234414,0.0000017063023,0.054803442,0.03466826,0.01887811,0.00021799],"about_ca_topic_score_codex":0.000101683414,"about_ca_topic_score_gemma":0.0016202754,"teacher_disagreement_score":0.3240813,"about_ca_system_score_codex":0.00001993125,"about_ca_system_score_gemma":0.00004480619,"threshold_uncertainty_score":0.98781675},"labels":[],"label_agreement":null},{"id":"W2340277200","doi":"","title":"Manufaturando dissidência: performance e política em the Noam Chomsky Lectures","year":2005,"lang":"pt","type":"article","venue":"Americanae (AECID Library)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art; Philosophy","score_opus":0.009062452214151024,"score_gpt":0.20636914572078519,"score_spread":0.19730669350663416,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2340277200","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80776584,0.016959777,0.000010956824,0.043590844,0.0018835372,0.00071050687,0.00023841199,0.00040760636,0.12843251],"genre_scores_gemma":[0.8976452,0.006521795,0.00006207821,0.007698549,0.0061284453,0.00006946868,0.000054900196,0.00012151457,0.081698075],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99679136,0.00014377573,0.00070180296,0.00064307085,0.0005398419,0.0011801422],"domain_scores_gemma":[0.99816275,0.00026997426,0.00034829488,0.00092159037,0.000053452455,0.00024393974],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013390476,0.00078320573,0.0008029409,0.00021165381,0.002400104,0.00048501292,0.0010420067,0.00012435504,0.01304108],"category_scores_gemma":[0.000017521348,0.000497422,0.00041341558,0.0003425605,0.0012931748,0.0019489995,0.00036521445,0.00082828494,0.0014567409],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048161307,0.00027033297,0.022520872,0.00015009425,0.000779029,0.000019516601,0.050813153,0.0001341303,0.000014626288,0.009976182,0.6143899,0.3004506],"study_design_scores_gemma":[0.0007986045,0.00052405056,0.13000527,0.0001307047,0.00025499595,0.000014072441,0.00811587,0.00046500817,0.00050803885,0.00011224662,0.85820156,0.0008695871],"about_ca_topic_score_codex":0.002242075,"about_ca_topic_score_gemma":0.00085266057,"teacher_disagreement_score":0.299581,"about_ca_system_score_codex":0.000056106695,"about_ca_system_score_gemma":0.00014765728,"threshold_uncertainty_score":0.99974775},"labels":[],"label_agreement":null},{"id":"W2340769682","doi":"10.3138/tric.36.2.196","title":"Towards Reconciliation: Immigration in Marty Chan’s <i>The Forbidden Phoenix</i> and David Yee’s <i>lady in the red dress</i>","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Immigration; Redress; Style (visual arts); Gender studies; Sociology; Law; History; Political science; Art; Literature","score_opus":0.12673060085544852,"score_gpt":0.30663047674026306,"score_spread":0.17989987588481454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2340769682","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61867326,0.002232298,3.6353458e-7,0.053249106,0.00046537313,0.0008816533,0.00008377613,0.00001240779,0.32440177],"genre_scores_gemma":[0.9979548,0.0006026339,0.0000027650415,0.00049747614,0.00037644437,0.00014808695,0.00001604023,0.000010439189,0.00039130458],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978755,0.0005121234,0.00027518577,0.00020120665,0.0006586419,0.00047732086],"domain_scores_gemma":[0.999236,0.0002994475,0.000034524666,0.00028304334,0.00008651737,0.000060476512],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032000055,0.00012661176,0.00018501768,0.0001452803,0.00025366485,0.00011846296,0.00031426203,0.000031639698,0.00007587546],"category_scores_gemma":[0.000016923968,0.00007432576,0.000018738132,0.00023386654,0.00019283197,0.0002258927,0.000089696325,0.0004730386,0.000005626284],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00042818303,0.00011454155,0.050302587,0.00016460373,0.00004187332,0.00014688079,0.3736476,0.00006466886,0.000032826832,0.0044920463,0.30310884,0.26745534],"study_design_scores_gemma":[0.0010324037,0.00014912194,0.005002103,0.00011699295,0.000005385929,0.000008056281,0.16185091,0.00030870124,0.00007648498,0.005645763,0.82561,0.00019408145],"about_ca_topic_score_codex":0.95226884,"about_ca_topic_score_gemma":0.9992665,"teacher_disagreement_score":0.5225012,"about_ca_system_score_codex":0.00055165065,"about_ca_system_score_gemma":0.001123209,"threshold_uncertainty_score":0.30309168},"labels":[],"label_agreement":null},{"id":"W2341486311","doi":"10.1353/mdr.2002.0015","title":"Of Borders and Thresholds: Theatre Histoty, Practice, and Theory ed. by Michal Kobialka (review)","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.014407888978349177,"score_gpt":0.23366969245016592,"score_spread":0.21926180347181673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2341486311","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.046009533,0.6220537,0.000017905642,0.0038863758,0.00016928928,0.00026530953,0.000081377446,0.00004774616,0.32746878],"genre_scores_gemma":[0.8408681,0.15014641,0.00003116411,0.0015110112,0.00015312326,0.000014068534,0.0000060684933,0.000020317,0.007249727],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930096,0.000045167053,0.0001860372,0.00017561656,0.00012097292,0.00017122256],"domain_scores_gemma":[0.9995529,0.00010868967,0.00008750979,0.00016013837,0.000051769508,0.000038982347],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017419363,0.0001485847,0.00024916284,0.00003199531,0.00023887916,0.000035208086,0.00007427326,0.000032565247,0.00073816784],"category_scores_gemma":[0.000015513093,0.00011371778,0.000041340252,0.000012199497,0.00043261214,0.0002619922,0.000058233687,0.00010310321,0.000013989698],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000118060445,0.00028711112,0.00043483032,0.0010673301,0.0002800258,0.000006746083,0.07392021,0.0000012989965,0.00020011484,0.056681186,0.4287963,0.4382068],"study_design_scores_gemma":[0.00032706544,0.00012311646,0.000017829698,0.00015278236,0.000117546915,0.000011202322,0.0017917706,0.00013380413,0.000024194676,0.0028848872,0.9942443,0.000171536],"about_ca_topic_score_codex":0.00010777625,"about_ca_topic_score_gemma":0.00011065952,"teacher_disagreement_score":0.7948586,"about_ca_system_score_codex":0.000008103405,"about_ca_system_score_gemma":0.0000054095804,"threshold_uncertainty_score":0.808242},"labels":[],"label_agreement":null},{"id":"W2341537184","doi":"","title":"Improvisation Among the Discourses","year":2016,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Improvisation; Aesthetics; Sociology; Art; Visual arts","score_opus":0.01826041009393665,"score_gpt":0.21921451887371315,"score_spread":0.2009541087797765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2341537184","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42632776,0.000040303003,0.000033011976,0.0077945935,0.00038982276,0.000062607454,0.00000527117,0.000053997723,0.5652926],"genre_scores_gemma":[0.91672885,0.00002638824,0.000001350551,0.00016330439,0.0005735528,0.000008415127,3.1480843e-7,0.0000026914893,0.082495145],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997757,0.000005486269,0.00004737202,0.000042814703,0.00004459012,0.00008400468],"domain_scores_gemma":[0.9998527,0.000034330722,0.000014275925,0.000074070034,0.000016511962,0.00000811676],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004794679,0.000037225294,0.00003173553,0.0000091803795,0.00026066476,0.000038611848,0.000047508674,0.0000047730177,0.0026086217],"category_scores_gemma":[0.000003316524,0.000011565847,0.000021544349,0.000004250536,0.00021909218,0.00018130208,0.000014311707,0.00001329903,0.00019159155],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000074019827,0.0000130655,0.011432641,0.0000039412735,0.000031060335,1.8702524e-7,0.03005571,1.06384235e-7,0.0001016884,0.76592803,0.05766336,0.1347628],"study_design_scores_gemma":[0.0001315839,0.000044185977,0.014539349,0.0000125438055,0.000012678703,2.1517592e-7,0.010440292,0.000004684301,0.0004903895,0.004229337,0.97000957,0.00008517014],"about_ca_topic_score_codex":0.00020223277,"about_ca_topic_score_gemma":0.00405778,"teacher_disagreement_score":0.9123462,"about_ca_system_score_codex":0.000004261053,"about_ca_system_score_gemma":0.0000039012425,"threshold_uncertainty_score":0.9983031},"labels":[],"label_agreement":null},{"id":"W2343081375","doi":"10.21153/ps2015vol1no2art477","title":"Staging Nancy Cunard: The Question of Persona in Dramatizing Her Life and Work","year":2015,"lang":"en","type":"article","venue":"Persona Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Persona; Variety (cybernetics); Sociology; Modernism (music); Aesthetics; Scope (computer science); Literature; Art; Humanities; Computer science","score_opus":0.08383447467593566,"score_gpt":0.2984369960694661,"score_spread":0.21460252139353045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2343081375","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93699676,0.043200616,6.539826e-7,0.002515803,0.00029890708,0.00012518297,0.0000059397844,0.000027981667,0.016828133],"genre_scores_gemma":[0.9967619,0.0010262036,0.000034296725,0.00014657457,0.00030114522,0.000024846324,7.50696e-7,0.000009716356,0.0016945737],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993092,0.000049772614,0.0001757985,0.00012887479,0.00015528442,0.00018111507],"domain_scores_gemma":[0.9996128,0.00009600479,0.00006780099,0.00008427386,0.000110026245,0.000029080993],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036122676,0.00012969167,0.00024848452,0.00006103824,0.0003261675,0.000040847364,0.000062532556,0.000016081618,0.000028759543],"category_scores_gemma":[0.00008693804,0.00008044288,0.000035565834,0.00005514595,0.00040406286,0.00016930459,0.00007791437,0.000104543076,0.000008751534],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048059097,0.00002602147,0.06261291,0.00012634475,0.0001419068,0.0000020118282,0.9033688,0.0000054852458,0.000005407407,0.023805516,0.0049337717,0.0049237735],"study_design_scores_gemma":[0.0006423309,0.00012679241,0.012046208,0.00054833846,0.000052685813,9.3778175e-7,0.94925964,0.00004664676,0.000013743911,0.0029961169,0.034014095,0.0002524739],"about_ca_topic_score_codex":0.0003198397,"about_ca_topic_score_gemma":0.0007113333,"teacher_disagreement_score":0.05976511,"about_ca_system_score_codex":0.000029482871,"about_ca_system_score_gemma":0.000019249796,"threshold_uncertainty_score":0.32803655},"labels":[],"label_agreement":null},{"id":"W2343408928","doi":"10.14288/1.0073730","title":"Arts Umbrella's Theatre Troupes : a history of theatre training for children and youth","year":2013,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Visual arts; Training (meteorology); Art; History; Geography","score_opus":0.022304088963247683,"score_gpt":0.16513586995502016,"score_spread":0.1428317809917725,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2343408928","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96000624,0.0014649214,0.000008736917,0.000072994655,0.0001494828,0.00030475517,0.00047640738,0.000035816054,0.037480623],"genre_scores_gemma":[0.99610287,0.00022573509,0.00006985549,0.000032338365,0.000111405876,0.0000011307924,0.000028898166,0.0000119867445,0.0034157627],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.99939877,0.000014575355,0.0001102427,0.00019620043,0.00009422065,0.00018596665],"domain_scores_gemma":[0.9995964,0.000034790202,0.000095192605,0.00012485421,0.000099001685,0.000049741906],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007464058,0.000051400864,0.00028390496,0.000038594455,0.00023825186,0.000043203134,0.00012840072,0.00004208329,0.0003674194],"category_scores_gemma":[0.0000021867074,0.00012933544,0.000117170624,0.000019355535,0.00056696776,0.00029347296,0.000049218168,0.00006068328,0.000004581135],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017546226,0.00006955799,0.0043830937,0.00011413429,0.00015427318,0.0000013504457,0.11686474,7.541689e-7,0.000027960521,0.000078046374,0.018281162,0.8600074],"study_design_scores_gemma":[0.0015616295,0.00033802964,0.8722565,0.00025278874,0.0001858375,0.0000123220325,0.112620555,0.000032703952,4.341303e-7,0.0011229453,0.011316403,0.00029982952],"about_ca_topic_score_codex":0.13263111,"about_ca_topic_score_gemma":0.23243834,"teacher_disagreement_score":0.86787343,"about_ca_system_score_codex":0.000032333763,"about_ca_system_score_gemma":0.000042376345,"threshold_uncertainty_score":0.87314475},"labels":[],"label_agreement":null},{"id":"W2344441662","doi":"","title":"An Awfully Big Adventure - An Introduction","year":2016,"lang":"en","type":"article","venue":"Journal of international women's studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.023472740852107894,"score_gpt":0.27488487162187514,"score_spread":0.25141213076976726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2344441662","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97658855,0.00069409044,0.000025080495,0.01086282,0.008498397,0.00004330534,0.000034073924,0.00002549602,0.0032282015],"genre_scores_gemma":[0.9749851,0.0013338723,0.000052734656,0.00027290636,0.017838305,0.0000071708846,0.0000023048235,0.000011300401,0.0054963003],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989823,0.000035817626,0.0003685544,0.000118590215,0.00032712452,0.0001676038],"domain_scores_gemma":[0.99857527,0.000046712714,0.00029192254,0.00010335402,0.0009234893,0.000059275757],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00033699814,0.00013009629,0.00023159018,0.00019507181,0.00023861075,0.000069139605,0.00023016587,0.000019311754,0.0010225528],"category_scores_gemma":[0.000061131526,0.00006943812,0.000069288,0.00002221324,0.00020176487,0.0009587001,0.00003848767,0.000099044955,0.00002758464],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002098648,0.0013626234,0.008322936,0.000090709065,0.006043438,0.00007441008,0.37551805,0.00007244496,0.0072417166,0.22397666,0.1222908,0.25290757],"study_design_scores_gemma":[0.00072592223,0.0013240883,0.0011797061,0.00005905609,0.00003458618,0.00004176527,0.0785318,0.0000027663327,0.00025724949,0.007972886,0.90970266,0.00016752628],"about_ca_topic_score_codex":0.0000023225641,"about_ca_topic_score_gemma":0.00007023302,"teacher_disagreement_score":0.78741187,"about_ca_system_score_codex":0.00016561529,"about_ca_system_score_gemma":0.000025705698,"threshold_uncertainty_score":0.9998906},"labels":[],"label_agreement":null},{"id":"W2344894905","doi":"10.1080/13569783.2016.1155440","title":"<i>To Kill a Mockingbird</i>as a case study for examining artistic practice in relation to theatre for young audiences in Canada today","year":2016,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relation (database); Visual arts; Media studies; Theatre studies; Sociology; History; Art; Drama; Computer science","score_opus":0.05637633267452845,"score_gpt":0.3457422793791794,"score_spread":0.28936594670465093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2344894905","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9864456,0.0002683579,0.000014230587,0.0037424127,0.00029636346,0.0014686135,0.00000834708,0.000002870919,0.0077531734],"genre_scores_gemma":[0.9984385,0.00031373044,0.0000981997,0.00019750276,0.00039543046,0.0003579381,6.0539725e-7,0.000014344293,0.00018377439],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9984228,0.00012972922,0.0005229041,0.00017726504,0.00034045381,0.00040685124],"domain_scores_gemma":[0.9970656,0.0022516672,0.00014475203,0.00016086778,0.00028278033,0.00009431209],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003564521,0.0001348154,0.00023704156,0.00046805228,0.00044864358,0.00008189815,0.00020513152,0.000025024396,0.000016751404],"category_scores_gemma":[0.0001391698,0.00007816193,0.000017518836,0.0002757262,0.00007312058,0.0003973247,0.000051299186,0.00024836828,0.0000035617095],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00369232,0.0004869717,0.046399906,0.00017763583,0.00005457711,0.000030647367,0.4594079,0.00083229307,0.00013747049,0.002354328,0.00190084,0.4845251],"study_design_scores_gemma":[0.0025348929,0.0035157427,0.017849887,0.0011810128,0.00005349089,0.00032594491,0.8982784,0.00033343164,0.00019863044,0.0035363317,0.07179852,0.00039368618],"about_ca_topic_score_codex":0.12770727,"about_ca_topic_score_gemma":0.69801533,"teacher_disagreement_score":0.5703081,"about_ca_system_score_codex":0.00038483506,"about_ca_system_score_gemma":0.0011114602,"threshold_uncertainty_score":0.8781014},"labels":[],"label_agreement":null},{"id":"W2345391985","doi":"10.3138/ctr.166.018","title":"Staging a Gay Past in the Present: An Interview with <i>The Gay Heritage Project</i> Collaborators Damien Atkins, Paul Dunn, and Andrew Kushnir","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Identity (music); Performance art; Power (physics); Gender studies; Sociology; Media studies; Visual arts; Art history; Art; Aesthetics; Political science; Law","score_opus":0.03421294439893311,"score_gpt":0.25290375360107,"score_spread":0.21869080920213688,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2345391985","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03738073,0.7246407,0.0000023347732,0.11477297,0.00030865867,0.0042893803,0.00088313135,0.00008988385,0.11763221],"genre_scores_gemma":[0.786014,0.19612104,0.000009079023,0.0146205565,0.0008788575,0.00042950636,0.000026802762,0.00006342547,0.001836698],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984503,0.00036332535,0.00026990433,0.000285868,0.00016453935,0.0004660726],"domain_scores_gemma":[0.99912316,0.0001022268,0.00008742493,0.00047547198,0.00007570182,0.00013604094],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007531692,0.00026694956,0.00039727587,0.00008837393,0.00050315843,0.00018989679,0.000370334,0.000028566303,0.0002354195],"category_scores_gemma":[0.0000064031633,0.00010643685,0.00005338622,0.0002174448,0.00035181825,0.00033910567,0.000038394886,0.00015110896,0.00002326209],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031406453,0.00006989147,0.008675819,0.0046660905,0.00019707557,0.00015604729,0.07388882,1.8507961e-7,0.0000033496829,0.00845343,0.27650592,0.62735194],"study_design_scores_gemma":[0.00021626639,0.00013411295,0.0003906412,0.004022913,0.00008055503,0.000020934782,0.006691369,6.051463e-7,0.0000011778643,0.000044227385,0.98818773,0.0002094497],"about_ca_topic_score_codex":0.012614,"about_ca_topic_score_gemma":0.65802044,"teacher_disagreement_score":0.7486333,"about_ca_system_score_codex":0.000072381816,"about_ca_system_score_gemma":0.00023571063,"threshold_uncertainty_score":0.9939611},"labels":[],"label_agreement":null},{"id":"W2345755473","doi":"10.3138/ctr.166.002","title":"Best in Show: Reality Theatre, Performative Authenticity, and the 2015 Federal Election","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Politics; Federal election; Aesthetics; Political science; Art; Law","score_opus":0.03086264965784064,"score_gpt":0.26019049708204467,"score_spread":0.22932784742420403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2345755473","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009248781,0.16621369,0.0000030177048,0.098458,0.00047276542,0.0013181595,0.00018745913,0.00004526731,0.72405285],"genre_scores_gemma":[0.8744391,0.118279986,0.0000015399951,0.0019914857,0.00036478962,0.00008120913,0.000006909457,0.000013397335,0.004821559],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987874,0.00023556179,0.0003043332,0.00018328543,0.00011186358,0.00037753358],"domain_scores_gemma":[0.9993551,0.00013969373,0.00006828248,0.0002387976,0.000062902145,0.00013522664],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008036305,0.00019247939,0.00039131005,0.0000904889,0.00070321665,0.00008512886,0.00014397153,0.000034876633,0.00091707846],"category_scores_gemma":[0.00002227521,0.00008923372,0.00009513184,0.000066624125,0.00048104304,0.00027364472,0.000030605017,0.00016802743,0.00016137847],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000070128815,0.00003512022,0.00354637,0.001291638,0.00014443778,0.000007865448,0.02817781,1.98618e-7,0.0000017577573,0.06701308,0.08357457,0.816137],"study_design_scores_gemma":[0.0005568631,0.000052382362,0.00036757835,0.0021966437,0.00007309097,0.000014475203,0.0013553547,0.0000086346045,0.000003682156,0.0027833474,0.9924026,0.00018534779],"about_ca_topic_score_codex":0.097006895,"about_ca_topic_score_gemma":0.7554058,"teacher_disagreement_score":0.908828,"about_ca_system_score_codex":0.00015042706,"about_ca_system_score_gemma":0.00013079547,"threshold_uncertainty_score":0.99999624},"labels":[],"label_agreement":null},{"id":"W2346103957","doi":"10.3138/ctr.166.001d","title":"<i>Little Lizzie &amp; the Green Fairy</i>","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Performance art; The arts; Girl; Art; Visual arts; History; Art history; Law; Political science; Psychology","score_opus":0.03677233880790328,"score_gpt":0.2340907275519987,"score_spread":0.1973183887440954,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2346103957","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00027356643,0.23377657,0.000001703815,0.08568893,0.0005127136,0.0003883252,0.00022334888,0.000054297,0.67908055],"genre_scores_gemma":[0.22414264,0.45201737,0.000018957053,0.05987405,0.0054819295,0.00026744482,0.00004401044,0.00011035097,0.25804323],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990818,0.000055934623,0.00020532096,0.0001637206,0.00010802112,0.00038520514],"domain_scores_gemma":[0.99918103,0.00007867903,0.000046485933,0.0004611984,0.000057972884,0.0001746512],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000239183,0.0001650752,0.0002492453,0.00004403678,0.0005376271,0.000045083852,0.00030309326,0.000022804705,0.008324959],"category_scores_gemma":[0.000012153789,0.0000716005,0.00014412812,0.000050678245,0.00025898122,0.00013122147,0.000027818425,0.00007851235,0.0035232625],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000013700608,0.0000038545104,0.00016903874,0.00032912465,0.00004997832,0.0000029723615,0.0020408845,1.0817839e-8,0.0000013825158,0.02715143,0.48292983,0.48732013],"study_design_scores_gemma":[0.00006607616,0.000014921204,0.000033099623,0.0012750821,0.000062820574,0.0000064547858,0.00012699042,4.670159e-8,0.0000017028834,0.0009288109,0.9973409,0.00014308261],"about_ca_topic_score_codex":0.057141144,"about_ca_topic_score_gemma":0.78217727,"teacher_disagreement_score":0.7250361,"about_ca_system_score_codex":0.00006779886,"about_ca_system_score_gemma":0.00014525093,"threshold_uncertainty_score":0.9972526},"labels":[],"label_agreement":null},{"id":"W2346293806","doi":"10.3138/ctr.166.001b","title":"A Pageant of Political Ghosts: VideoCabaret’s Performance Archive","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Scrutiny; Presentation (obstetrics); Art; Work (physics); Visual arts; Aesthetics; Media studies; Sociology; Political science; Law; Engineering","score_opus":0.024187112859472046,"score_gpt":0.22805857445931335,"score_spread":0.20387146159984132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2346293806","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016337985,0.110038735,0.00000476519,0.015065839,0.00052169384,0.0006015175,0.0009783531,0.00005773959,0.8563934],"genre_scores_gemma":[0.93949795,0.055787586,0.000011988498,0.002479081,0.00041235876,0.000029940966,0.0000098613955,0.000019889101,0.0017513513],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884516,0.000045538352,0.00031023045,0.00016708259,0.000119446806,0.00051253167],"domain_scores_gemma":[0.99919003,0.000085364845,0.000058308724,0.0003033881,0.00007244585,0.0002904418],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017390228,0.00016726549,0.00038561004,0.00010208514,0.00018814702,0.000013975799,0.00019327359,0.000021982603,0.0032003236],"category_scores_gemma":[0.000020532121,0.0000935406,0.00013876696,0.00004010094,0.00036339022,0.00014670851,0.000025026471,0.00007298107,0.00041186635],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011542574,0.000021903857,0.0035110174,0.003450434,0.0001271485,0.000016899732,0.002703076,2.809104e-8,0.000015397918,0.51549417,0.06580526,0.40884316],"study_design_scores_gemma":[0.000117689604,0.00009826738,0.0005783284,0.0057632704,0.000067509885,0.0000107401775,0.00026874527,8.56428e-7,0.000043926244,0.00077425403,0.99210423,0.0001721554],"about_ca_topic_score_codex":0.021941397,"about_ca_topic_score_gemma":0.1601151,"teacher_disagreement_score":0.926299,"about_ca_system_score_codex":0.000093942275,"about_ca_system_score_gemma":0.00023016678,"threshold_uncertainty_score":0.9977109},"labels":[],"label_agreement":null},{"id":"W2346634281","doi":"10.1162/pajj_a_00323","title":"The Reality of Fiction","year":2016,"lang":"en","type":"article","venue":"PAJ A Journal of Performance and Art","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Romanian; History; Art history; Art; Visual arts","score_opus":0.02517574691557834,"score_gpt":0.22923953283127751,"score_spread":0.20406378591569918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2346634281","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9312716,0.00096936803,0.000025218713,0.0026519932,0.0005586291,0.000035524867,0.000006248859,0.0000049171717,0.06447651],"genre_scores_gemma":[0.9880256,0.007882734,0.0000047306844,0.000039572144,0.00051124796,8.0986564e-7,1.15239246e-7,0.0000027184853,0.0035324667],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99951714,0.000012790585,0.00023858373,0.000033066084,0.000105644605,0.000092766844],"domain_scores_gemma":[0.99956304,0.00006677557,0.00017210156,0.00006211736,0.00011485303,0.000021136222],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033453308,0.000051729476,0.000108317625,0.000030308634,0.00029278747,0.000021271011,0.000062896186,0.000010122842,0.00010754283],"category_scores_gemma":[0.0000098887995,0.00002094473,0.000044586264,0.000012368421,0.00022936199,0.00029471997,0.000014894436,0.000050482424,0.000010199512],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00071510935,0.00009676946,0.040705897,0.00015738797,0.00027173915,0.000002509209,0.03150871,0.0000045265892,0.0014279953,0.043849755,0.13715488,0.74410474],"study_design_scores_gemma":[0.00026820294,0.0002974179,0.0058124657,0.000111742775,0.000018355171,0.00001294337,0.001054789,0.0000096287595,0.00073140126,0.00037845282,0.9912599,0.00004471633],"about_ca_topic_score_codex":0.0000028895738,"about_ca_topic_score_gemma":0.00003724567,"teacher_disagreement_score":0.854105,"about_ca_system_score_codex":0.0000058630526,"about_ca_system_score_gemma":0.000013816755,"threshold_uncertainty_score":0.22519141},"labels":[],"label_agreement":null},{"id":"W2347014568","doi":"10.3138/ctr.166.017","title":"Vital Failures: Jordan Tannahill’s Search for Impressive Theatre","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Political theatre; Art; Theatre studies; Theatre director; Visual arts; Aesthetics; Literature; History; Drama","score_opus":0.02914662739119475,"score_gpt":0.2556387586075784,"score_spread":0.22649213121638365,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2347014568","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017883038,0.33775416,0.000022061313,0.08151956,0.0013377181,0.0028998086,0.0034054008,0.00015741085,0.57111555],"genre_scores_gemma":[0.8351605,0.12862575,0.0000581015,0.008157769,0.004077832,0.0006625662,0.00010248615,0.00014958288,0.023005439],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984148,0.000060869508,0.00031220858,0.00032705782,0.00016060362,0.0007244477],"domain_scores_gemma":[0.99882203,0.00015452302,0.00006204646,0.00043030982,0.00016219344,0.00036891474],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002774677,0.00028528823,0.0004737987,0.0001305808,0.0006794901,0.00008394,0.00033049475,0.000051953513,0.0032088128],"category_scores_gemma":[0.00001382851,0.00016206891,0.00028919624,0.00005711547,0.00029106217,0.00026827474,0.000033999455,0.00010372667,0.0004947288],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012194702,0.000015394447,0.00015510357,0.0015697858,0.00018466359,0.000011307532,0.0036604225,1.1847083e-7,0.000021806876,0.0672885,0.22015806,0.70692265],"study_design_scores_gemma":[0.0002718359,0.00011103348,0.000011851335,0.0027528158,0.000099635035,0.000009303907,0.0008151015,5.863821e-7,0.000055183802,0.0006870791,0.99489725,0.0002883053],"about_ca_topic_score_codex":0.017087301,"about_ca_topic_score_gemma":0.26945937,"teacher_disagreement_score":0.8333722,"about_ca_system_score_codex":0.00015030456,"about_ca_system_score_gemma":0.00033477548,"threshold_uncertainty_score":0.99770236},"labels":[],"label_agreement":null},{"id":"W236238844","doi":"","title":"Meet Me at the Border: Theatre Replacement’s BIOBOXES","year":2014,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art","score_opus":0.06831459388153778,"score_gpt":0.28740115527339516,"score_spread":0.2190865613918574,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W236238844","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94231206,0.00027327784,0.000016004427,0.0016971839,0.00065653655,0.00024262916,0.00005779149,0.0001967624,0.054547746],"genre_scores_gemma":[0.8848165,0.00013921171,0.0000026676087,0.0009298964,0.0005429964,0.0000025252336,0.000024389281,0.000035762525,0.113506034],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981982,0.00024084796,0.00023706708,0.00045679603,0.00034763807,0.00051945815],"domain_scores_gemma":[0.99874496,0.00015291873,0.00015973626,0.0007089497,0.00011345248,0.00011998244],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045032994,0.00034681984,0.00031573357,0.0002021053,0.0017113473,0.00038127307,0.00069901365,0.00008674165,0.0008943176],"category_scores_gemma":[0.000012238295,0.00025371328,0.00018067578,0.00011174554,0.0004979247,0.0010078062,0.0005136764,0.00029487995,0.00081873796],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003089733,0.00008719637,0.9736898,0.00006674426,0.00024831193,0.000019245936,0.015075806,0.000010365559,0.00011311025,0.0074945963,0.00025257733,0.0026332932],"study_design_scores_gemma":[0.00090735295,0.00027936586,0.05712024,0.0000895067,0.00015912397,0.000011087507,0.0040559676,4.659348e-7,0.00064523256,0.00030176077,0.935976,0.00045388337],"about_ca_topic_score_codex":0.000030966818,"about_ca_topic_score_gemma":0.03771554,"teacher_disagreement_score":0.9357234,"about_ca_system_score_codex":0.00011992404,"about_ca_system_score_gemma":0.00002936069,"threshold_uncertainty_score":0.99999154},"labels":[],"label_agreement":null},{"id":"W2391694024","doi":"","title":"The Comparison of Prototype Narrative Structure in Desire under the Elms and Thunderstorm","year":2009,"lang":"en","type":"article","venue":"Journal of Sichuan College of Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Plot (graphics); Narrative; Metaphor; Thunderstorm; Symbol (formal); Literature; Subject (documents); Maturity (psychological); Narrative structure; Sociology; History; Aesthetics; Art; Philosophy; Psychology; Linguistics; Computer science; Meteorology; Geography; Mathematics","score_opus":0.029186555320213626,"score_gpt":0.29452265408459444,"score_spread":0.2653360987643808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2391694024","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98857236,0.0025119977,0.0000012919951,0.00410433,0.00038365767,0.00022795192,0.000006301891,0.0000010345738,0.004191052],"genre_scores_gemma":[0.9992238,0.00011166777,0.0000282983,0.00006623684,0.00025881568,0.0000019229672,4.4302598e-7,0.000002648979,0.00030610882],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99941826,0.000037185637,0.0003117269,0.000037089118,0.00012869586,0.00006703831],"domain_scores_gemma":[0.99923563,0.00009698011,0.00036256982,0.00006719901,0.00022366118,0.000013980737],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018087652,0.00006298472,0.00016285195,0.0000593315,0.00026211145,0.00001878285,0.00009579028,0.000019498448,0.000030585477],"category_scores_gemma":[0.000013131336,0.000031120442,0.00003324172,0.00005161189,0.00018944556,0.00014972009,0.0000062059403,0.00013191596,1.2111373e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00081729045,0.00048322088,0.0061721103,0.00008279514,0.00016858357,3.957594e-7,0.5273757,0.000084140396,0.0005227272,0.42050368,0.016375802,0.027413595],"study_design_scores_gemma":[0.00047884253,0.0014014377,0.05933344,0.00021618845,0.00005653897,0.000009533516,0.8697329,0.000034970257,0.0009606986,0.05000897,0.017668154,0.000098306424],"about_ca_topic_score_codex":0.00001897381,"about_ca_topic_score_gemma":0.0010808648,"teacher_disagreement_score":0.3704947,"about_ca_system_score_codex":0.00002916155,"about_ca_system_score_gemma":0.000171524,"threshold_uncertainty_score":0.20159759},"labels":[],"label_agreement":null},{"id":"W2398009850","doi":"10.3138/md.59.2.4","title":"Age in <i>M. Butterfly</i>: Unquestioned Performance","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Butterfly; Depiction; Ethnic group; Representation (politics); Information Age; Criticism; Action (physics); Sexual orientation; Aesthetics; Sociology; Identity (music); Race (biology); Gender studies; History; Literature; Art; Anthropology; Law; Political science; Politics","score_opus":0.023071015915287083,"score_gpt":0.21845346816132716,"score_spread":0.19538245224604006,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2398009850","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88862103,0.00016666103,0.00009254898,0.0012510412,0.0003190908,0.00008518867,0.000010643381,0.0000870546,0.109366715],"genre_scores_gemma":[0.9757833,0.00014472243,0.000017753187,0.0002935475,0.0004063788,0.00002471096,0.000002732655,0.000013580239,0.023313308],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930793,0.000016010566,0.00016199895,0.00015632667,0.000106683634,0.0002510684],"domain_scores_gemma":[0.99971724,0.00002923074,0.00003025835,0.00016554615,0.00002978491,0.000027940701],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000091642505,0.00011788375,0.00013991116,0.00007515234,0.00017356509,0.00005260272,0.000111998226,0.000026808322,0.0004967494],"category_scores_gemma":[0.0000051882553,0.00007247497,0.000033792447,0.000020774349,0.00015659879,0.00032648115,0.00004058157,0.00006419691,0.00042711463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002538934,0.00025709203,0.06680662,0.00014000623,0.00007500592,0.00006249535,0.13202338,0.000044146247,0.0024057962,0.08519245,0.010055748,0.7026834],"study_design_scores_gemma":[0.0023883497,0.0003275402,0.030020166,0.00049262994,0.000024925128,0.000007658296,0.0008658482,0.0006303241,0.0018730756,0.01999395,0.94257694,0.00079859805],"about_ca_topic_score_codex":0.00007052713,"about_ca_topic_score_gemma":0.0016696091,"teacher_disagreement_score":0.93252116,"about_ca_system_score_codex":0.000027798696,"about_ca_system_score_gemma":0.000011044563,"threshold_uncertainty_score":0.5489837},"labels":[],"label_agreement":null},{"id":"W2398967181","doi":"10.14288/1.0099669","title":"Constructing voices : a narrative case study of the processes and production of a community art performance","year":2009,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Production (economics); Aesthetics; Computer science; Linguistics; History; Sociology; Art; Literature; Philosophy; Economics","score_opus":0.01823380378310814,"score_gpt":0.1910473809823203,"score_spread":0.17281357719921214,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2398967181","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9967023,0.00007970165,2.4554166e-7,0.00006170732,0.000076580895,0.00022894016,0.000023676594,0.000012141566,0.0028146987],"genre_scores_gemma":[0.999451,0.000044178014,0.000007730364,0.000005892917,0.000022872728,2.9861093e-7,9.1988846e-7,0.000002257392,0.00046484068],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99957407,0.000062610496,0.000104905055,0.0000833621,0.00010006135,0.0000750106],"domain_scores_gemma":[0.9993558,0.000031007214,0.0001820537,0.00013253823,0.00028497065,0.000013634681],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013719326,0.000031525033,0.0001822848,0.00002275494,0.000923303,0.000025814086,0.000107749656,0.00001587715,0.00001955663],"category_scores_gemma":[0.000018745384,0.0000641585,0.000025237863,0.00008698495,0.00063956645,0.00032930807,0.000060308754,0.00011113693,2.1163355e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027556753,0.0005068763,0.06442389,0.00052008673,0.00008681485,0.0000147982155,0.60596126,0.0000034838797,0.000023675597,0.000005710781,0.0005276271,0.32789823],"study_design_scores_gemma":[0.00031803045,0.00041697422,0.33404705,0.0001520695,0.000043207994,0.00013912279,0.6647026,0.000004809893,0.0000046031746,0.000044787335,0.000072848365,0.00005391637],"about_ca_topic_score_codex":0.060262885,"about_ca_topic_score_gemma":0.78881973,"teacher_disagreement_score":0.7285569,"about_ca_system_score_codex":0.000009517768,"about_ca_system_score_gemma":0.000029632973,"threshold_uncertainty_score":0.9459949},"labels":[],"label_agreement":null},{"id":"W2402426514","doi":"","title":"The Temporalities of Performance Art Documentation","year":2014,"lang":"fr","type":"article","venue":"Proceedings of the Annual Conference of CAIS / Actes du congrès annuel de l'ACSI","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Temporalities; Documentation; Computer science; Political science; Programming language; Law","score_opus":0.01923469432867746,"score_gpt":0.2340695003680251,"score_spread":0.21483480603934763,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2402426514","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8297154,0.0020754146,0.0000032144005,0.00607349,0.0008739973,0.00032816333,0.00024832072,0.000022642535,0.16065937],"genre_scores_gemma":[0.9553472,0.0039652246,0.000042367377,0.00012284727,0.00050026353,0.000030308644,0.000006317049,0.000025517153,0.03995995],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.997832,0.00004606492,0.0008515576,0.000244986,0.0005260586,0.0004993273],"domain_scores_gemma":[0.9798186,0.00030326354,0.0011724998,0.00023108932,0.01840283,0.000071720366],"candidate_categories":["scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0010624259,0.00034980592,0.0005923519,0.000107849184,0.0007806416,0.0017433619,0.0011079458,0.00012540795,0.000173217],"category_scores_gemma":[0.0015825005,0.00022886631,0.00025227192,0.00014563733,0.0026242922,0.00701639,0.0003610709,0.00029946084,0.000016483444],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041818357,0.000170832,0.09368601,0.0026261832,0.0003847181,1.6540727e-7,0.21356992,0.000009966983,0.0009971,0.6296511,0.033549853,0.024935951],"study_design_scores_gemma":[0.00050898566,0.00072750053,0.017909832,0.00096751744,0.00019956447,0.000007417462,0.028387142,0.00020146849,0.012665619,0.0063375365,0.9317905,0.00029697045],"about_ca_topic_score_codex":0.00070800754,"about_ca_topic_score_gemma":0.00019390525,"teacher_disagreement_score":0.89824057,"about_ca_system_score_codex":0.00004469728,"about_ca_system_score_gemma":0.00015768087,"threshold_uncertainty_score":0.9992929},"labels":[],"label_agreement":null},{"id":"W241039022","doi":"","title":"Lloyd Richards: Reminiscence of a Theatre Life and Beyond","year":2005,"lang":"en","type":"article","venue":"African American Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Medal; Art history; Notice; The arts; Art; Sociology; History; Visual arts; Law; Political science","score_opus":0.017452708233426515,"score_gpt":0.2474946734262866,"score_spread":0.23004196519286008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W241039022","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014025484,0.2561833,0.0000030206158,0.010034805,0.00009754606,0.00037590484,0.00007786264,0.00007279218,0.71912926],"genre_scores_gemma":[0.82212967,0.17149659,0.00021694365,0.004643118,0.00032501016,0.000028201817,0.0000028067057,0.000014749599,0.0011428868],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990659,0.00004581249,0.0003294753,0.00019139936,0.00015523419,0.00021219789],"domain_scores_gemma":[0.9993006,0.00007797045,0.00022720845,0.00024324738,0.000061664774,0.00008933025],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017147254,0.00016353233,0.0005598512,0.000047445774,0.00013839018,0.0000184299,0.00014447932,0.000008512289,0.0007472785],"category_scores_gemma":[0.0000260471,0.00011608237,0.000092351926,0.000111317386,0.00093732507,0.000116916104,0.000060484246,0.000086812244,0.00006681398],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018083323,0.00008121859,0.0010041224,0.0011257202,0.00011681747,0.0000016137435,0.025783012,2.4437264e-7,0.000013922982,0.016657192,0.047771845,0.9074262],"study_design_scores_gemma":[0.00007649076,0.00017849343,0.0001875666,0.00045176587,0.00008420351,0.0000035381975,0.006517243,0.0000035273592,0.0000075972025,0.000040162904,0.9922882,0.00016122023],"about_ca_topic_score_codex":0.00017469711,"about_ca_topic_score_gemma":0.00019936617,"teacher_disagreement_score":0.94451636,"about_ca_system_score_codex":0.000010999797,"about_ca_system_score_gemma":0.000036607034,"threshold_uncertainty_score":0.8182176},"labels":[],"label_agreement":null},{"id":"W2416743335","doi":"10.3138/md.0792r","title":"Meta-Melodrama: Branden Jacobs-Jenkins Appropriates Dion Boucicault’s <i>The Octoroon</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indictment; Context (archaeology); Art; Literature; Performance art; Aesthetics; Visual arts; History; Art history; Law","score_opus":0.051071862932909516,"score_gpt":0.2284618776829279,"score_spread":0.17739001475001837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2416743335","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5809802,0.014831019,0.00222373,0.06281018,0.0042519406,0.0015640683,0.00048063416,0.001195226,0.331663],"genre_scores_gemma":[0.9514475,0.00027804135,0.000024613759,0.00075476017,0.001364637,0.00009638519,0.0000061679957,0.000037662874,0.045990232],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985396,0.000066771485,0.00030253598,0.0003292251,0.00031767925,0.00044418935],"domain_scores_gemma":[0.9990748,0.00017766867,0.00010353063,0.00047098866,0.00010834054,0.00006462898],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002746337,0.0002916924,0.00040296777,0.000053093147,0.000856314,0.00024585865,0.00036631376,0.000062710875,0.0018738644],"category_scores_gemma":[0.00001824449,0.00012606895,0.00030448078,0.000033231892,0.00043263083,0.00040106135,0.00013057551,0.000139697,0.0005957565],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00053429574,0.00058173476,0.002293409,0.00019128036,0.0084539,0.000028571027,0.24370503,0.000038654194,0.0044240737,0.285308,0.09565527,0.35878575],"study_design_scores_gemma":[0.000663891,0.00009385626,0.0002821029,0.000028287368,0.0006775481,0.000004435249,0.0006715891,0.00008759893,0.00093893893,0.015479232,0.98073757,0.00033496204],"about_ca_topic_score_codex":0.0002423296,"about_ca_topic_score_gemma":0.00148754,"teacher_disagreement_score":0.8850823,"about_ca_system_score_codex":0.00003327923,"about_ca_system_score_gemma":0.000023796989,"threshold_uncertainty_score":0.9990386},"labels":[],"label_agreement":null},{"id":"W241691232","doi":"10.3138/ctr.160.007","title":"Perspectives of a Master Teacher: David Latham","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Employability; Meaning (existential); Vocational education; Visual arts; Performance art; Sociology; Pedagogy; Psychology; Aesthetics; Art; Art history","score_opus":0.02878814844485099,"score_gpt":0.231493646255015,"score_spread":0.202705497810164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W241691232","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025407346,0.1880496,9.053808e-7,0.0038782002,0.00014837239,0.00020687343,0.000043509677,0.000022060214,0.80510974],"genre_scores_gemma":[0.93875146,0.046010535,0.000023559318,0.0015687768,0.00088160625,0.000028625602,0.000011741224,0.000028217202,0.0126954615],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993007,0.000054581287,0.00019301409,0.00014095448,0.00007824802,0.00023249416],"domain_scores_gemma":[0.9994764,0.000023323342,0.000055405675,0.00025929345,0.000060481652,0.00012509656],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021003191,0.00013151056,0.00033561574,0.00007429957,0.00016003205,0.000021218964,0.00014301961,0.000021297681,0.004818445],"category_scores_gemma":[0.0000120524055,0.00009603304,0.00012561258,0.000037493006,0.00017029216,0.00009013173,0.0000142592435,0.00008879684,0.00021946417],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007077409,0.00004910111,0.0018554544,0.003860988,0.00020981682,0.000004552773,0.09088473,3.87981e-7,0.0000037257118,0.17057203,0.115722276,0.6168299],"study_design_scores_gemma":[0.000065639004,0.000051171573,0.000090297326,0.0011398209,0.000068569774,0.0000026792318,0.0035895724,0.0000026045561,0.0000019802562,0.00030177252,0.99456406,0.000121834135],"about_ca_topic_score_codex":0.017660424,"about_ca_topic_score_gemma":0.20324405,"teacher_disagreement_score":0.93621075,"about_ca_system_score_codex":0.000041657593,"about_ca_system_score_gemma":0.00007495776,"threshold_uncertainty_score":0.9960913},"labels":[],"label_agreement":null},{"id":"W242356151","doi":"10.1353/mdr.2004.0049","title":"New Visions in Performance: The Impact of Digital Technologies ed. by Gavin Carver and Colin Beardon (review)","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.013353350003398972,"score_gpt":0.2474204446842024,"score_spread":0.23406709468080344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W242356151","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9377831,0.053349998,0.000011813251,0.0010122913,0.000045179193,0.00023804793,0.000077109114,0.0000572491,0.0074251723],"genre_scores_gemma":[0.9771325,0.021985976,0.000007727801,0.000030838495,0.000042762967,0.000010576801,0.00000779854,0.000009037649,0.00077279564],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941975,0.0000048248207,0.00017694573,0.00011467129,0.00010054382,0.00018324595],"domain_scores_gemma":[0.99971366,0.000020927746,0.000048597558,0.00016812906,0.000029212808,0.000019483376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000062933774,0.0001274888,0.00020909283,0.00004467981,0.000162677,0.00005701814,0.0001339795,0.00003380591,0.000079251426],"category_scores_gemma":[0.000010033985,0.00007161182,0.00006659501,0.000040536266,0.0002153729,0.00026096753,0.00008536654,0.00013299311,0.000015666319],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017097905,0.00038992506,0.04708966,0.0007237285,0.00032862826,0.0000066052485,0.09214631,0.0009045285,0.00023429253,0.004798334,0.21792252,0.6352845],"study_design_scores_gemma":[0.014655472,0.008161868,0.09175206,0.013086598,0.00074943557,0.00011122086,0.058762353,0.004322754,0.004667578,0.08253998,0.7164172,0.0047735055],"about_ca_topic_score_codex":0.00073671725,"about_ca_topic_score_gemma":0.00028765338,"teacher_disagreement_score":0.630511,"about_ca_system_score_codex":0.000028809352,"about_ca_system_score_gemma":0.000042117357,"threshold_uncertainty_score":0.29202455},"labels":[],"label_agreement":null},{"id":"W2425778508","doi":"10.3138/md.2957r","title":"Compromised Epistemologies: The Ethics of Historiographic Metatheatre in Tom Stoppard’s <i>Travesties</i> and <i>Arcadia</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Arcadia; Narrative; Literature; Art; Value (mathematics); Historiography; Aesthetics; Face (sociological concept); Mistake; Philosophy; History; Law; Linguistics; Computer science; Political science","score_opus":0.04228060094037519,"score_gpt":0.24173190653014692,"score_spread":0.19945130558977173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2425778508","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9335688,0.008228355,0.000140282,0.014116208,0.0006238161,0.00041613344,0.000114781535,0.00009042272,0.042701244],"genre_scores_gemma":[0.99536127,0.00087643636,0.000033921195,0.00038231382,0.00012707067,0.000028029635,0.0000014455248,0.000014927845,0.0031746007],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900085,0.00011447715,0.0002752907,0.00019491532,0.00017520407,0.00023924968],"domain_scores_gemma":[0.9989913,0.0005151866,0.00011811834,0.00027229532,0.000070529335,0.00003257858],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043278458,0.00016448999,0.00030276243,0.00009739099,0.00027958045,0.00003687043,0.00019684747,0.00007016543,0.000051424813],"category_scores_gemma":[0.000037837064,0.000083604464,0.00008251159,0.00004304525,0.00106767,0.00013384956,0.00006892089,0.00022221121,0.000005856306],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039088255,0.000232489,0.031328246,0.00048978033,0.00033900738,0.000017060052,0.63022745,0.000025816951,0.002118446,0.25064433,0.006451509,0.07773496],"study_design_scores_gemma":[0.002809645,0.0005315538,0.009882227,0.00046140153,0.00016875954,0.000011980295,0.010124764,0.00020400783,0.000764989,0.095053166,0.87928134,0.00070615066],"about_ca_topic_score_codex":0.00064869307,"about_ca_topic_score_gemma":0.0030681975,"teacher_disagreement_score":0.87282985,"about_ca_system_score_codex":0.000024647,"about_ca_system_score_gemma":0.000039372313,"threshold_uncertainty_score":0.39338744},"labels":[],"label_agreement":null},{"id":"W2442864095","doi":"10.2304/csee.2010.9.3.237","title":"Book Review: Still Not Easy being British: Struggles for a Multicultural Citizenship, Global Crises, Social Justice, and Education, Creating Democratic Citizenship through Drama Education: The Writings of Jonothan Neelands, Teachers and Human Rights Education","year":2010,"lang":"en","type":"article","venue":"Citizenship Social and Economics Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia, Okanagan Campus; Okanagan University College; University of British Columbia","funders":"","keywords":"Drama; Citizenship; Democracy; Social justice; Sociology; Economic Justice; Multiculturalism; Multicultural education; Citizenship education; Gender studies; Human rights; Social science; Law; Political science; Pedagogy; Literature; Art","score_opus":0.02319576450427131,"score_gpt":0.28426449091024913,"score_spread":0.26106872640597784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2442864095","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9404908,0.015433931,0.0000021419382,0.0061687455,0.0016931626,0.0010581646,0.00016138823,0.000046556244,0.034945153],"genre_scores_gemma":[0.9804966,0.0017951101,0.00030571746,0.0057150703,0.006358107,0.0004109253,0.00032699681,0.000033690874,0.0045577753],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9983179,0.00009260184,0.0006804427,0.0004522675,0.00010441489,0.00035240228],"domain_scores_gemma":[0.9985011,0.00023673882,0.0005211436,0.00015370734,0.00047365663,0.0001136357],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00035268225,0.0003351057,0.00048954366,0.00005931426,0.0037218812,0.0006027675,0.00016781551,0.00015576008,0.000115970586],"category_scores_gemma":[0.00014474381,0.00031793732,0.00012152289,0.000061006664,0.0008128829,0.0003485303,0.000059349215,0.0002899107,0.0000018670614],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004471352,0.00020394544,0.0040007927,0.002525663,0.00020303958,7.688675e-8,0.09261188,1.2354074e-7,0.000048754766,0.44979042,0.4109254,0.039645206],"study_design_scores_gemma":[0.0016498145,0.0002192564,0.0677117,0.0020843681,0.002545161,0.00010899969,0.16276214,0.000024406476,0.00011586641,0.4747152,0.28628874,0.001774329],"about_ca_topic_score_codex":0.0011293708,"about_ca_topic_score_gemma":0.0021046277,"teacher_disagreement_score":0.12463664,"about_ca_system_score_codex":0.000100757694,"about_ca_system_score_gemma":0.00059561065,"threshold_uncertainty_score":0.9999273},"labels":[],"label_agreement":null},{"id":"W244371734","doi":"10.1353/mdr.2000.0001","title":"Theatre of Chaos: Beyond Absurdism, into Orderly Disorder by William W. Demastes (review)","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.008325871527016174,"score_gpt":0.21854481256967295,"score_spread":0.2102189410426568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W244371734","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32020813,0.22426407,0.000046579535,0.0027907856,0.0002797195,0.0004950134,0.00018648848,0.00015092918,0.45157826],"genre_scores_gemma":[0.93902004,0.028397193,0.000036973426,0.0010780379,0.0002934678,0.000047841786,0.000056562065,0.00004108694,0.031028794],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989226,0.00002903345,0.0003338241,0.00022707139,0.00020955899,0.00027793864],"domain_scores_gemma":[0.9994805,0.000038419414,0.000072974406,0.00029278107,0.000067748064,0.000047607307],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010091629,0.0002289866,0.0003927978,0.000037191105,0.0003044651,0.000035909266,0.00020359691,0.000041926723,0.0061489376],"category_scores_gemma":[0.0000029138682,0.00016912831,0.00013345463,0.000040061295,0.00027181255,0.00023732544,0.000034918347,0.00011204294,0.0002948875],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005214878,0.00022459979,0.0009975267,0.0007763928,0.00017054904,0.0000015280889,0.05712478,0.00002859837,0.00005060162,0.002080392,0.07681531,0.8616776],"study_design_scores_gemma":[0.00031068153,0.0001801265,0.0000955904,0.0002867857,0.000069091555,0.0000011548267,0.0009809574,0.00014850499,0.00006300231,0.0053237625,0.9922766,0.00026370786],"about_ca_topic_score_codex":0.00048788424,"about_ca_topic_score_gemma":0.0014446987,"teacher_disagreement_score":0.9154613,"about_ca_system_score_codex":0.000011523247,"about_ca_system_score_gemma":0.000015957929,"threshold_uncertainty_score":0.99475956},"labels":[],"label_agreement":null},{"id":"W245135163","doi":"","title":"Introduction: Marie Clements/Presentation: Marie Clements","year":2010,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Accidental; Presentation (obstetrics); Politics; Poetry; Drama; Representation (politics); History; White (mutation); Art history; Art; Visual arts; Literature; Law","score_opus":0.059713872987680265,"score_gpt":0.3197726139468121,"score_spread":0.26005874095913184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W245135163","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24461474,0.00038749466,0.000001046152,0.034389455,0.0050367713,0.0006639318,0.00017742296,0.00004729508,0.71468186],"genre_scores_gemma":[0.9902429,0.00014510941,0.000026393933,0.00018672475,0.0049297963,0.00008154884,0.000054802353,0.000021657652,0.004311091],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99769425,0.00012985221,0.00030358654,0.00030709908,0.0008613955,0.00070381036],"domain_scores_gemma":[0.99897504,0.0002847016,0.000037906073,0.0004181021,0.00015334343,0.00013093576],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00085159723,0.00015355366,0.00018616478,0.00019876873,0.0007287484,0.00022202269,0.00033351994,0.000030822637,0.017839123],"category_scores_gemma":[0.000014278665,0.00013210862,0.000033196888,0.00017230495,0.00033463008,0.00028612037,0.00017840488,0.000747935,0.0001379142],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017940438,0.00010856335,0.03140685,0.00011238134,0.00012354847,0.00007012632,0.0038999317,0.000028149434,0.00012477586,0.029383382,0.49649274,0.43807012],"study_design_scores_gemma":[0.00038055133,0.00005736736,0.0006138838,0.000012651385,0.0000054180778,0.0000015295059,0.0076402132,0.000042171003,0.0001521903,0.0022596132,0.98868793,0.00014649639],"about_ca_topic_score_codex":0.92570144,"about_ca_topic_score_gemma":0.9961306,"teacher_disagreement_score":0.7456281,"about_ca_system_score_codex":0.0003550654,"about_ca_system_score_gemma":0.0010093845,"threshold_uncertainty_score":0.9830587},"labels":[],"label_agreement":null},{"id":"W246919903","doi":"","title":"Power as Pedagogy: The Potent Possibilities in Drama Education.","year":2002,"lang":"en","type":"article","venue":"English quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Pedagogy; Power (physics); Sociology; Higher education; Psychology; Literature; Art; Political science","score_opus":0.012570244389992047,"score_gpt":0.2358853195241153,"score_spread":0.22331507513412324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W246919903","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53149605,0.0015916603,1.9432952e-7,0.0014271649,0.0015469828,0.00012426174,0.000007648275,0.00005528981,0.46375072],"genre_scores_gemma":[0.9340074,0.000032232605,0.0000041456587,0.0008089509,0.0013009852,0.000049537844,0.0000031290742,0.000012394555,0.06378121],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991909,0.00004628747,0.00021280188,0.00016311373,0.00014344903,0.00024340113],"domain_scores_gemma":[0.9994725,0.000069265,0.000041424588,0.0002647739,0.000119464086,0.000032564756],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012240467,0.00013659158,0.00013335871,0.00007435937,0.0003247453,0.00022363532,0.00017526353,0.00002860433,0.0062120007],"category_scores_gemma":[0.000019735735,0.00008962793,0.00006933145,0.000038158574,0.00020415749,0.00032823972,0.0000113317965,0.00017211949,0.00052915496],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000063882567,0.00012936717,0.00036000356,0.000008867895,0.00001537219,0.0000014491964,0.8705377,7.242175e-7,4.7323675e-7,0.06241594,0.044104073,0.022419618],"study_design_scores_gemma":[0.00018008355,0.00033455036,0.0011035046,0.000024082472,0.00000777527,0.0000014090062,0.43100387,0.000008161376,0.0000029154608,0.008954268,0.55822724,0.00015213067],"about_ca_topic_score_codex":0.00069212134,"about_ca_topic_score_gemma":0.0015248322,"teacher_disagreement_score":0.51412314,"about_ca_system_score_codex":0.000028785238,"about_ca_system_score_gemma":0.000033987773,"threshold_uncertainty_score":0.99469644},"labels":[],"label_agreement":null},{"id":"W2474965976","doi":"","title":"Intergenerational theatre in India: a reflective practitioner case study on an intercultural theatre exchange between Canada and rural Tamil Nadu","year":2016,"lang":"en","type":"dissertation","venue":"UVic’s Research and Learning Repository (University of Victoria)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tamil; Geography; Sociology; Art; Literature","score_opus":0.03009207087129668,"score_gpt":0.2866928673523115,"score_spread":0.2566007964810148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2474965976","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96698326,0.00025086655,1.469346e-7,0.0000703288,0.00047243424,0.00030964377,0.00004857801,0.00001637476,0.031848367],"genre_scores_gemma":[0.9828275,0.00014023695,0.0000023009923,0.0000036079764,0.0009529452,0.0000050596905,0.00014478576,0.000016449438,0.015907114],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99824184,0.0005348034,0.00016820132,0.00033948108,0.00044580727,0.0002698429],"domain_scores_gemma":[0.99899596,0.0002698011,0.00013447726,0.00013382442,0.00035323162,0.00011268285],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00036766392,0.00020676268,0.00032217856,0.00030473009,0.001764927,0.00011146705,0.00012837125,0.00011340261,0.00012557124],"category_scores_gemma":[0.000014448804,0.00017569384,0.00003714615,0.000076075805,0.0001984832,0.0004115514,0.00005866027,0.000913643,0.0000023158348],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001330824,0.00035781175,0.08078249,0.0003126727,0.00064539316,0.0015959266,0.9011753,0.0000034156878,0.00052617013,0.00023271036,0.002256361,0.010780876],"study_design_scores_gemma":[0.00092088943,0.0023823131,0.057328492,0.00038185366,0.000058702903,0.00004439355,0.9181823,0.000007453636,0.000043881948,0.000049689384,0.020301607,0.00029843528],"about_ca_topic_score_codex":0.46200842,"about_ca_topic_score_gemma":0.88304865,"teacher_disagreement_score":0.42104024,"about_ca_system_score_codex":0.00024748634,"about_ca_system_score_gemma":0.00024315433,"threshold_uncertainty_score":0.99953467},"labels":[],"label_agreement":null},{"id":"W2475778047","doi":"10.1057/9780230801455_8","title":"Meta-Physicality: Women Characters in the Plays of Frank McGuinness","year":2007,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Psychology; Psychoanalysis","score_opus":0.085136276443707,"score_gpt":0.25128071147648356,"score_spread":0.16614443503277657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2475778047","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0058062114,0.00094147667,0.0000010601218,0.00006397187,0.00027413986,0.0004291915,0.0003677842,0.000033011136,0.99208313],"genre_scores_gemma":[0.9853689,0.00017408008,0.0000035250157,0.0006825261,0.0009685963,0.00007564933,0.000043024746,0.00005435894,0.012629344],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99806815,0.00004060363,0.0006277709,0.00033542563,0.00045360994,0.0004744637],"domain_scores_gemma":[0.998718,0.00023250825,0.00032736245,0.00056446943,0.000102595026,0.00005502994],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005772177,0.0005227212,0.0010913707,0.00025472048,0.00021548958,0.00005843211,0.00046098846,0.00014720473,0.0015647453],"category_scores_gemma":[0.000004142365,0.00032145093,0.00045369778,0.0000097984985,0.00061429973,0.0000016192673,0.00009977794,0.00044773731,0.000098455675],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006441952,0.0000013566489,0.000016934871,0.00013127438,0.0013777418,0.000021598873,0.055735122,2.1343848e-7,0.0000043530326,0.9389188,0.00003601388,0.0036921669],"study_design_scores_gemma":[0.00044672666,0.00022204281,0.00032187204,0.00013305731,0.0009993489,0.00000502972,0.003408261,0.0000016396688,0.00004678071,0.83552146,0.1581993,0.0006944872],"about_ca_topic_score_codex":0.00024151968,"about_ca_topic_score_gemma":0.0010421483,"teacher_disagreement_score":0.9795627,"about_ca_system_score_codex":0.000043029562,"about_ca_system_score_gemma":0.000028896764,"threshold_uncertainty_score":0.99992377},"labels":[],"label_agreement":null},{"id":"W2477826882","doi":"10.1057/pmed.2015.33","title":"Recomposing the Critical/Liberal/Arts","year":2015,"lang":"en","type":"article","venue":"postmedieval a journal of medieval cultural studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"University of Chicago; College of Charleston; Ohio State University; Ohio State University Press","keywords":"Liberal arts education; Art; The arts; Aesthetics; Visual arts; Sociology; Political science; Law","score_opus":0.17569439991093724,"score_gpt":0.3616416896683117,"score_spread":0.18594728975737448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2477826882","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5627926,0.23629881,0.0000064828096,0.10862657,0.02451727,0.00040557006,0.000033498512,0.0001161583,0.06720303],"genre_scores_gemma":[0.983095,0.0037707433,0.00022173853,0.0017174261,0.009476248,0.000007794553,0.0000021187857,0.00002455589,0.0016843815],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976834,0.00015699373,0.00071522343,0.00015282707,0.00085051183,0.00044104838],"domain_scores_gemma":[0.9964404,0.00068943604,0.00031443537,0.00013877093,0.0022058305,0.00021110743],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013058889,0.00029283884,0.00059594377,0.000078021745,0.00087333116,0.00017207192,0.00036355917,0.000038772607,0.0001231004],"category_scores_gemma":[0.001414633,0.00013293946,0.00026823458,0.00007414177,0.001694878,0.0007531699,0.00015631161,0.00045772083,0.00007793482],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00084041816,0.00015101561,0.0003974627,0.0001343898,0.0015237988,0.0001178661,0.50548387,0.000016772203,0.00015649553,0.015167907,0.46404853,0.0119615],"study_design_scores_gemma":[0.0011851782,0.0015142466,0.00018560974,0.00038398,0.00051979866,0.00041615957,0.23668969,0.000015030684,0.0002776426,0.010754074,0.7476867,0.0003718881],"about_ca_topic_score_codex":0.000024866424,"about_ca_topic_score_gemma":0.0001944218,"teacher_disagreement_score":0.4203024,"about_ca_system_score_codex":0.00012960182,"about_ca_system_score_gemma":0.00007876418,"threshold_uncertainty_score":0.67170453},"labels":[],"label_agreement":null},{"id":"W2477849945","doi":"10.1017/rmu.2015.6","title":"NOBODY'S HOME: <i>METIS</i>, IMPROVISATION AND THE INSTABILITY OF RETURN IN HOMER'S <i>ODYSSEY</i>","year":2015,"lang":"en","type":"article","venue":"Ramus","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; nobody; Metis; Art; Literature; Visual arts; Computer science; World Wide Web; Computer security","score_opus":0.023751233380877035,"score_gpt":0.21779950737078013,"score_spread":0.1940482739899031,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2477849945","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9596935,0.0014168532,0.0000023779535,0.0010774813,0.00036311295,0.00019975644,0.000016630005,0.000018723937,0.037211582],"genre_scores_gemma":[0.9991316,0.0001655651,0.0000122346255,0.00016661888,0.00019520782,0.00001590786,0.0000039394536,0.0000058446412,0.00030306212],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937767,0.00005646622,0.00020209602,0.00010714146,0.00012117472,0.00013545406],"domain_scores_gemma":[0.99958986,0.00008203065,0.0000673615,0.00015829736,0.00007397535,0.000028448341],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057111896,0.00008457113,0.00019815599,0.00004233617,0.00008916689,0.000037163685,0.00007509074,0.00002431476,0.00004420819],"category_scores_gemma":[0.000037982827,0.000050671868,0.00003276857,0.000042970256,0.00056071946,0.00016885882,0.000050915245,0.000095942996,0.0000058961436],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015764418,0.0002744441,0.08551589,0.00035324768,0.00013448691,0.0000045056768,0.6252358,0.000020708849,0.00019194982,0.1873949,0.008233694,0.09106391],"study_design_scores_gemma":[0.015097489,0.00083189073,0.04888965,0.00015265319,0.0001579912,0.000011927241,0.107601754,0.00088901754,0.0012222765,0.05209815,0.7722067,0.0008404983],"about_ca_topic_score_codex":0.0014059494,"about_ca_topic_score_gemma":0.004786244,"teacher_disagreement_score":0.763973,"about_ca_system_score_codex":0.000017198474,"about_ca_system_score_gemma":0.00003049648,"threshold_uncertainty_score":0.26708364},"labels":[],"label_agreement":null},{"id":"W2477912223","doi":"10.1057/9781137373229_9","title":"Dance Dramaturgy as a Process of Learning: koosil-ja’s mech[a] OUTPUT","year":2015,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Dramaturgy; Dance; Emancipation; Aesthetics; Sociology; Art; Theatrical production; Theatre studies; Performing arts; Visual arts; Order (exchange); Media studies; Drama; Political science; Law","score_opus":0.037758428633728386,"score_gpt":0.2512855600908209,"score_spread":0.21352713145709254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2477912223","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00055802654,0.0041996194,0.000002352729,0.000046065452,0.0006963272,0.00041907394,0.00014660574,0.00016130328,0.9937706],"genre_scores_gemma":[0.72860175,0.00017828961,0.000009371034,0.00006672171,0.00095563417,0.000029579818,0.00005429614,0.000095587995,0.27000874],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9977421,0.000027473392,0.00062646804,0.0005149375,0.0006176663,0.00047131543],"domain_scores_gemma":[0.99816304,0.00006942583,0.00056464126,0.0004916588,0.0005606645,0.00015054319],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023149369,0.0006826105,0.000990927,0.00025583155,0.00035289561,0.000098291566,0.00044247095,0.0002616971,0.0014758413],"category_scores_gemma":[0.00002684011,0.00056556234,0.000311535,0.000008972846,0.0006612184,0.0000025466948,0.0001770499,0.00061325013,0.00044781252],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011718671,9.3444925e-7,0.00003137441,0.0003595028,0.00031415827,0.000022591952,0.033313084,0.000004557169,0.0000056247445,0.9539303,0.00032677222,0.011573869],"study_design_scores_gemma":[0.00035634302,0.00034820216,0.000004576367,0.00040154357,0.000154017,0.000012774294,0.0019178601,0.0000068220966,0.000088318884,0.62213403,0.3739955,0.00058001286],"about_ca_topic_score_codex":0.00018302441,"about_ca_topic_score_gemma":0.00073730334,"teacher_disagreement_score":0.72804374,"about_ca_system_score_codex":0.000051785755,"about_ca_system_score_gemma":0.00018339694,"threshold_uncertainty_score":0.99967957},"labels":[],"label_agreement":null},{"id":"W2479172708","doi":"10.1093/acprof:oso/9780195336252.003.0007","title":"Burnett, Barrie, and the Emergence of Children’s Theatre","year":2009,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art","score_opus":0.012553800131722453,"score_gpt":0.19158771591028456,"score_spread":0.17903391577856212,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2479172708","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017513061,0.008398365,2.9675093e-7,0.00056735106,0.00016072996,0.00018650235,0.00006438534,0.000026088872,0.9904212],"genre_scores_gemma":[0.09788635,0.008101274,0.0000047128256,0.00036736167,0.0008377809,0.0000035076616,0.000010945911,0.000016738113,0.8927713],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993609,0.000006716394,0.00023563052,0.00014762628,0.00013189946,0.00011721285],"domain_scores_gemma":[0.9995759,0.00003839096,0.00010253116,0.00021277744,0.000047903577,0.000022461722],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009102509,0.00021498962,0.00034455725,0.00004314607,0.00026034762,0.000030177556,0.00013636786,0.00005468786,0.0111889],"category_scores_gemma":[0.0000011489207,0.00010737671,0.00012804539,0.0000031233656,0.0007703287,0.000053656062,0.00005299458,0.00015584675,0.000041093615],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031744163,0.0000030566257,0.000015909087,0.000013839856,0.00012483266,3.0607245e-7,0.0064356537,2.2403773e-7,1.14621066e-7,0.94385105,0.027182369,0.022340868],"study_design_scores_gemma":[0.00034831942,0.000088940054,0.00005736084,0.00007563409,0.00014233486,0.0000035839337,0.00056239625,0.0000022198374,0.0000062177833,0.05043298,0.94807273,0.0002072575],"about_ca_topic_score_codex":0.0001865978,"about_ca_topic_score_gemma":0.0012617438,"teacher_disagreement_score":0.9208904,"about_ca_system_score_codex":0.0000021668632,"about_ca_system_score_gemma":0.000011301384,"threshold_uncertainty_score":0.989715},"labels":[],"label_agreement":null},{"id":"W2479707072","doi":"10.1007/978-94-6300-483-1_13","title":"Telling Old Stories in New Ways","year":2016,"lang":"en","type":"book-chapter","venue":"SensePublishers eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Kenya; Drama; Media studies; Visual arts; History; Sociology; Political science; Art; Law","score_opus":0.050823270346141626,"score_gpt":0.21216666570282705,"score_spread":0.16134339535668543,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2479707072","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00011365502,0.00077539467,0.0000038644716,0.00034315756,0.0025002728,0.0002292123,0.00005824351,0.00016836902,0.9958078],"genre_scores_gemma":[0.003160972,0.00009655322,0.000024986693,0.0004255804,0.0047314134,0.0000047308454,0.000015543304,0.000102647566,0.99143755],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99837875,0.000009304206,0.0004354123,0.0004193233,0.00030263703,0.0004545946],"domain_scores_gemma":[0.9990995,0.000098320495,0.00017774323,0.00039712008,0.000114802766,0.000112515256],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016113294,0.0004832274,0.00054636126,0.00034519334,0.0002885381,0.00045518458,0.00024076451,0.00023408004,0.0033167906],"category_scores_gemma":[0.000010797811,0.00036314377,0.0002046748,0.000005437408,0.0004192984,0.00034162714,0.00009871362,0.00048004478,0.0003402839],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032175063,0.0000031398845,0.000008527476,0.000041203526,0.00009661971,0.0000243275,0.030978546,2.3963892e-7,0.0000022406998,0.81428444,0.11420544,0.04032308],"study_design_scores_gemma":[0.00031237808,0.00006358087,0.0000011777494,0.0003676379,0.000039364437,0.0000027258964,0.0008869383,4.809417e-7,0.00001412845,0.07186275,0.925971,0.00047788036],"about_ca_topic_score_codex":0.00048200495,"about_ca_topic_score_gemma":0.010844658,"teacher_disagreement_score":0.8117655,"about_ca_system_score_codex":0.000112793816,"about_ca_system_score_gemma":0.00019383157,"threshold_uncertainty_score":0.99988204},"labels":[],"label_agreement":null},{"id":"W2479811253","doi":"10.1017/s0040557415000472","title":"Manifesto Now! Instructions for Performance, Philosophy, Politics. Edited by Laura Cull and Will Daddario. Fishponds, Bristol, UK: Intellect Ltd., 2013. pp. xiii + 229, 24 illustrations. $57 cloth, $20 e-book.","year":2015,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Intellect; Manifesto; Politics; Performance art; Art history; History; Philosophy; Theology; Political science; Law","score_opus":0.045589341139161986,"score_gpt":0.24146083876961597,"score_spread":0.19587149763045397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2479811253","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.55991644,0.01700308,0.00009376593,0.008768801,0.011076281,0.0023654872,0.010956129,0.00092634646,0.38889366],"genre_scores_gemma":[0.9642605,0.0021993062,0.000104767794,0.00054254977,0.0031835653,0.00011366564,0.0015909405,0.00009810648,0.027906587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978903,0.00012879509,0.00058342435,0.0004581709,0.00030835683,0.0006309486],"domain_scores_gemma":[0.9984342,0.0002437162,0.00016874631,0.00042616884,0.00048169208,0.0002454898],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00064058043,0.0004631483,0.0005232344,0.00019935683,0.001303759,0.00026898782,0.0002791553,0.00014225284,0.0006203663],"category_scores_gemma":[0.000041215855,0.00040062075,0.00012739436,0.0001434478,0.0008264374,0.0008570368,0.00011938706,0.00034208305,0.0001204516],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019920425,0.00011582089,0.007273184,0.00010271744,0.00021120138,0.0000015795074,0.006958224,0.0000116815545,0.000008325994,0.0071830093,0.97564185,0.0022931816],"study_design_scores_gemma":[0.0013411673,0.00063863466,0.0013875979,0.00007313508,0.00011308167,0.000038158305,0.0016353084,0.00040827514,0.000041033003,0.0031746735,0.9905349,0.0006140283],"about_ca_topic_score_codex":0.003390568,"about_ca_topic_score_gemma":0.022016069,"teacher_disagreement_score":0.40434408,"about_ca_system_score_codex":0.00010121097,"about_ca_system_score_gemma":0.00016053517,"threshold_uncertainty_score":0.9999964},"labels":[],"label_agreement":null},{"id":"W2482446264","doi":"10.1007/978-94-6300-214-1_5","title":"Sustainability, Immanence and the Monstrous in Caryl Hurchill’s the Skriker","year":2015,"lang":"en","type":"book-chapter","venue":"SensePublishers eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Immanence; Embodied cognition; Variety (cybernetics); Sustainability; Aesthetics; Sociology; Work (physics); Epistemology; Art; Philosophy; Engineering; Computer science","score_opus":0.023844216691812692,"score_gpt":0.21524588795029626,"score_spread":0.19140167125848356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2482446264","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012756006,0.003947511,2.058383e-7,0.004162706,0.00064693263,0.00078848924,0.000038198214,0.000058100897,0.9890823],"genre_scores_gemma":[0.1746141,0.00011929256,0.000002053539,0.00059011445,0.0009107463,0.00004002689,0.0000116249685,0.00005180466,0.82366025],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983889,0.00007678248,0.00039008123,0.0003730741,0.00036878948,0.00040238787],"domain_scores_gemma":[0.9985697,0.00026367087,0.00016234668,0.0005995043,0.0003391659,0.00006560702],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00088081515,0.00041408933,0.00050078036,0.0001314888,0.0006044472,0.0006616237,0.00037175696,0.00014201435,0.00019646257],"category_scores_gemma":[0.000049826023,0.00021139902,0.00016043156,0.000008826904,0.0038844277,0.00019232582,0.0003300178,0.0008158699,0.000016555603],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013800766,0.0000047406947,0.000020201796,0.000054242628,0.00011070502,0.000022995626,0.07964172,0.0000022299876,3.2874592e-8,0.82838,0.06958099,0.022044163],"study_design_scores_gemma":[0.0005726498,0.000043829503,0.000011661031,0.000046954257,0.0000689569,0.00001631694,0.011435356,0.000009074722,1.75962e-7,0.18787943,0.79967654,0.00023903589],"about_ca_topic_score_codex":0.0022907024,"about_ca_topic_score_gemma":0.011552675,"teacher_disagreement_score":0.73009557,"about_ca_system_score_codex":0.00011891136,"about_ca_system_score_gemma":0.0002028517,"threshold_uncertainty_score":0.99882644},"labels":[],"label_agreement":null},{"id":"W2482725993","doi":"10.1017/ccol0521770440.006","title":"Forms of confusion","year":2001,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Confusion; Art; Drama; Literature; Embarrassment; Meaning (existential); Ceremony; Nothing; Aesthetics; History; Philosophy; Psychology; Psychoanalysis; Theology; Social psychology; Epistemology","score_opus":0.030702692443461705,"score_gpt":0.18705807159576107,"score_spread":0.15635537915229936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2482725993","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000532424,0.00019868423,0.000005124205,0.000008881032,0.0002678515,0.00017598868,0.0003553159,0.00005873475,0.998397],"genre_scores_gemma":[0.009113554,0.000514894,0.0000025306786,0.000031644257,0.00027902817,2.2771702e-7,0.00003864546,0.000022654776,0.98999685],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993451,0.0000058678347,0.00015102989,0.0001864525,0.00015017907,0.00016137274],"domain_scores_gemma":[0.9993586,0.000024154035,0.00017454254,0.00024930885,0.00014634218,0.00004703343],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00003712753,0.00022509694,0.0003453113,0.00012077577,0.00026039916,0.000020041973,0.00021398425,0.000113967566,0.00013127296],"category_scores_gemma":[8.931521e-7,0.00020993166,0.00018349758,0.0000013408195,0.00045819566,0.00007984758,0.00017714979,0.00019028428,0.00002199205],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006828392,0.0000054986313,0.0000012943744,0.00008789693,0.00011692995,0.000028614792,0.0012503505,1.8246982e-7,0.000004401029,0.955431,0.040695798,0.002309751],"study_design_scores_gemma":[0.00029501645,0.00008465821,0.0000021086023,0.00016033779,0.00014928124,0.0000026680443,0.00046739308,0.0000025341876,0.00007345709,0.000054058513,0.9984708,0.00023767496],"about_ca_topic_score_codex":0.00024732747,"about_ca_topic_score_gemma":0.00006139824,"teacher_disagreement_score":0.957775,"about_ca_system_score_codex":0.000037842437,"about_ca_system_score_gemma":0.000030468924,"threshold_uncertainty_score":0.8560765},"labels":[],"label_agreement":null},{"id":"W2483593190","doi":"10.1017/s004055741500068x","title":"Contemporary Women Playwrights: Into the Twenty-First Century. Edited by Penny Farfan and Lesley Ferris. New York: Palgrave Macmillan, 2013; pp. xv + 306. $105 cloth, $33 paper.","year":2015,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"History; Art history; Performance art; Art","score_opus":0.04485039540474481,"score_gpt":0.2354288860622994,"score_spread":0.19057849065755458,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2483593190","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50765544,0.14790806,0.000008483494,0.0130841425,0.00654172,0.0019000886,0.0026065814,0.0006851404,0.31961036],"genre_scores_gemma":[0.9867948,0.0060348287,0.000008279423,0.0009666129,0.0018559474,0.00004555356,0.00044413586,0.000072412295,0.0037773992],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99735206,0.00041225847,0.0005315598,0.0005071096,0.0004527277,0.0007442859],"domain_scores_gemma":[0.9982493,0.00036615122,0.0001937342,0.0006191778,0.00016069622,0.0004109775],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001267425,0.0005533094,0.00063952757,0.00008355661,0.0010976557,0.0003510852,0.0004977535,0.00013231288,0.00097104395],"category_scores_gemma":[0.000026280515,0.00033476413,0.00010554638,0.00011958894,0.0006581915,0.00015968274,0.00023256324,0.00036893555,0.0002568256],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00054795295,0.000043019732,0.014949596,0.000041614854,0.00032908458,0.000006960026,0.1514808,0.0000021503035,0.00000973084,0.0018175659,0.82417685,0.0065947045],"study_design_scores_gemma":[0.0014551507,0.00033642838,0.004240409,0.000052256168,0.00003638939,0.0000051690854,0.02835295,0.000015962743,0.0000148380395,0.0037638824,0.9611946,0.0005319747],"about_ca_topic_score_codex":0.07509961,"about_ca_topic_score_gemma":0.07313658,"teacher_disagreement_score":0.4791394,"about_ca_system_score_codex":0.00010270582,"about_ca_system_score_gemma":0.00015184452,"threshold_uncertainty_score":0.9999422},"labels":[],"label_agreement":null},{"id":"W2484909900","doi":"10.1057/9781137455697_9","title":"Performing Toronto: Enacting Creative Labour in the Neoliberal City","year":2014,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Parliament; Honour; Political science; Victory; Attendance; Art; Style (visual arts); Boycott; Media studies; Law; Sociology; Visual arts","score_opus":0.028446489225761425,"score_gpt":0.2373129935390019,"score_spread":0.20886650431324047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2484909900","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0049253646,0.0014322052,0.0000021832702,0.000057615183,0.00052548,0.00040340345,0.0001005975,0.00006429228,0.99248886],"genre_scores_gemma":[0.8707623,0.00018662433,0.000013333779,0.0006087017,0.0025897261,0.000037447244,0.000027076734,0.000057423415,0.1257174],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9982235,0.000053550353,0.00046617087,0.00038577092,0.00034714813,0.0005238834],"domain_scores_gemma":[0.9989171,0.00021426963,0.00026293754,0.00044362943,0.00010487147,0.00005717644],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044473994,0.0005581336,0.00060927804,0.00008833502,0.0006600841,0.0001884919,0.00040920472,0.00015892331,0.0042355284],"category_scores_gemma":[0.000012692473,0.00037177172,0.00025085165,0.0000044865765,0.000341391,0.0000031407837,0.00013614167,0.0005349167,0.00010868855],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003233003,3.4131685e-7,0.000101729864,0.000061157145,0.00010062964,0.00001295843,0.104276635,2.8979468e-7,0.0000012113743,0.8709751,0.00008818323,0.024349472],"study_design_scores_gemma":[0.00047708946,0.0002288131,0.0003394972,0.00039661446,0.00011905298,0.000018597471,0.011254923,0.000014540636,0.000017657405,0.7156581,0.27064657,0.0008284855],"about_ca_topic_score_codex":0.0070212954,"about_ca_topic_score_gemma":0.056843128,"teacher_disagreement_score":0.86677146,"about_ca_system_score_codex":0.0001250032,"about_ca_system_score_gemma":0.000039862476,"threshold_uncertainty_score":0.9998734},"labels":[],"label_agreement":null},{"id":"W2485366340","doi":"10.3138/md.2016.59.2.256","title":"Joanna Mansbridge, <i>Paula Vogel</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Scholarship; Appeal; Art; Literature; Law; Political science","score_opus":0.022393934274072817,"score_gpt":0.21901047696818718,"score_spread":0.19661654269411435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2485366340","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34877893,0.000910917,0.0006233573,0.005255323,0.0010390163,0.00014647434,0.0001073605,0.00027965973,0.6428589],"genre_scores_gemma":[0.9004994,0.00009874703,0.0000144633395,0.0005868966,0.0010031352,0.000015568723,0.0000027771498,0.000019838266,0.09775915],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992422,0.000013360036,0.00014428562,0.00017969763,0.00013853755,0.0002819141],"domain_scores_gemma":[0.9996049,0.00003208502,0.000034780944,0.00022684816,0.000055643082,0.000045789937],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000066132445,0.00013919537,0.00014901353,0.0000440195,0.0003100964,0.000081508224,0.00014151756,0.000027199594,0.0014559007],"category_scores_gemma":[0.0000049826485,0.0000809221,0.000078261626,0.000012900489,0.00018371188,0.00024513612,0.00005582233,0.000052934556,0.0012488426],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011725619,0.00016545369,0.0025319709,0.00006779719,0.00020019087,0.00003091536,0.06069143,0.0000046957057,0.001840818,0.18299368,0.24272373,0.50863206],"study_design_scores_gemma":[0.0003727107,0.000059016802,0.00034917428,0.00004121473,0.000016754637,0.000003219923,0.00031052154,0.000045948433,0.00064303086,0.010264165,0.98769414,0.00020011015],"about_ca_topic_score_codex":0.00006438462,"about_ca_topic_score_gemma":0.000497556,"teacher_disagreement_score":0.7449704,"about_ca_system_score_codex":0.00001741792,"about_ca_system_score_gemma":0.000011890871,"threshold_uncertainty_score":0.9995288},"labels":[],"label_agreement":null},{"id":"W2487317218","doi":"10.1057/9781137453020_12","title":"From Silence to Breath: An Irigarayan Study of the Representation of Motherhood in Modern Drama","year":2015,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Civilization; Taboo; Silence; Symbol (formal); Western culture; Totem; Drama; Gender studies; Psychoanalysis; Order (exchange); Innocence; Sociology; Literature; History; Psychology; Art; Philosophy; Aesthetics; Anthropology","score_opus":0.05727578830337119,"score_gpt":0.27198210631522857,"score_spread":0.21470631801185738,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2487317218","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30788755,0.0002548077,0.0000014925555,0.000015301111,0.00025227727,0.00071897416,0.00031864108,0.000018175675,0.69053274],"genre_scores_gemma":[0.99386483,0.0000121500225,0.00000989506,0.000032844928,0.00041927883,0.000025663041,0.000016897873,0.000045274897,0.005573164],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9984706,0.00005305874,0.0005226472,0.00035841402,0.00041602665,0.00017925764],"domain_scores_gemma":[0.99864435,0.000054225497,0.00029718483,0.00076031464,0.00018608832,0.000057850415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012694481,0.00030607643,0.00058503536,0.00015879306,0.00009759472,0.000029415212,0.00040717944,0.00008662618,0.00027552663],"category_scores_gemma":[0.000007978208,0.00021557478,0.00011656049,0.000011614961,0.00019994979,0.000002282337,0.00016849962,0.00017358927,0.00001205475],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024468038,0.000015655512,0.0036993448,0.00005877727,0.00032757703,0.000008418412,0.72379833,0.0000707809,0.00014160211,0.24027307,0.000050323,0.03131146],"study_design_scores_gemma":[0.00092454394,0.00083676435,0.002760222,0.0003654245,0.00016789319,9.968255e-7,0.041315284,0.000052342963,0.00023872922,0.95243424,0.0004763095,0.00042725707],"about_ca_topic_score_codex":0.0066675157,"about_ca_topic_score_gemma":0.0266129,"teacher_disagreement_score":0.7121612,"about_ca_system_score_codex":0.000031988362,"about_ca_system_score_gemma":0.000040098155,"threshold_uncertainty_score":0.9999472},"labels":[],"label_agreement":null},{"id":"W2488403069","doi":"10.1017/cbo9781107587977.012","title":"The micro-political and the socio-structural in applied theatre with homeless youth","year":2016,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Politics; Sociology; Neighbourhood (mathematics); Drama; Inequality; Metropolitan area; Gender studies; Political science; Media studies; Geography; Visual arts; Art","score_opus":0.016223308843569217,"score_gpt":0.17222435240509587,"score_spread":0.15600104356152666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2488403069","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003642416,0.00035825398,0.0000011090249,0.00020098584,0.00012781321,0.00037650837,0.00035904153,0.00003580248,0.9948981],"genre_scores_gemma":[0.31170216,0.00014112513,0.0000011379983,0.00006799556,0.0003139998,0.000001503065,0.0000071355958,0.00002149292,0.6877434],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907863,0.000030680392,0.00013323202,0.00025455724,0.000148176,0.000354698],"domain_scores_gemma":[0.99931914,0.00019235488,0.00009457841,0.00028645157,0.000051255487,0.000056228884],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00009713055,0.00030169476,0.00037586398,0.00005162147,0.0010166321,0.00011991123,0.00031094844,0.0001024651,0.0000056376475],"category_scores_gemma":[7.5161626e-7,0.00014018363,0.00009046142,0.0000018833214,0.0033839527,0.000044376324,0.00022570092,0.00036265372,0.000004585185],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005539475,0.0000011282631,0.0000084959,0.000028034057,0.00013998314,0.000010534544,0.006229559,3.704873e-8,4.6504945e-7,0.99053407,0.0005307074,0.0019630627],"study_design_scores_gemma":[0.0026003313,0.000045276433,0.000027293869,0.00016853823,0.0002899835,0.0000069428647,0.01811416,0.0000020881037,0.000015593143,0.00062030373,0.97769,0.00041950762],"about_ca_topic_score_codex":0.00023282596,"about_ca_topic_score_gemma":0.00025023264,"teacher_disagreement_score":0.98991376,"about_ca_system_score_codex":0.00006903788,"about_ca_system_score_gemma":0.000043051223,"threshold_uncertainty_score":0.99932826},"labels":[],"label_agreement":null},{"id":"W2488494367","doi":"10.1057/9781137373229_3","title":"Errancy as Work: Seven Strewn Notes for Dance Dramaturgy","year":2015,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Dramaturgy; Documentation; Interrogation; Dance; The arts; Visual arts; Performing arts; Proposition; Action (physics); Sociology; Art; History; Archaeology","score_opus":0.05982560396663415,"score_gpt":0.25886569599914844,"score_spread":0.19904009203251427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2488494367","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013001991,0.0064990055,0.000010543325,0.0001393935,0.0016040156,0.00078836,0.0007308909,0.00017973469,0.98991805],"genre_scores_gemma":[0.7855277,0.0001728681,0.000069808295,0.00025753133,0.003173656,0.00010227391,0.0001759325,0.00013730497,0.2103829],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.997918,0.000014498098,0.0005169695,0.0005588608,0.00038025822,0.00061139016],"domain_scores_gemma":[0.9983829,0.00019515665,0.0003145037,0.00059952127,0.00034519474,0.00016270581],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001832867,0.00073822774,0.0008420397,0.00017965106,0.0005398517,0.00018816523,0.00039349144,0.00027035677,0.0018693634],"category_scores_gemma":[0.000023629447,0.0006177669,0.0004106916,0.0000068334107,0.00037795806,0.0000022776037,0.00015849342,0.000361112,0.00061307533],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016765168,5.714455e-7,0.000016147294,0.00014674137,0.00031657555,0.000012421247,0.013826564,8.2550656e-7,0.0000015030804,0.9474051,0.0022075702,0.03589833],"study_design_scores_gemma":[0.00036538462,0.00015389085,0.000006270052,0.00027627609,0.00011955295,0.000004075544,0.00031085112,0.0000018144332,0.000014304945,0.5564902,0.4417191,0.0005382551],"about_ca_topic_score_codex":0.00012697966,"about_ca_topic_score_gemma":0.0016773135,"teacher_disagreement_score":0.7853977,"about_ca_system_score_codex":0.00006877697,"about_ca_system_score_gemma":0.00011669587,"threshold_uncertainty_score":0.99962735},"labels":[],"label_agreement":null},{"id":"W2490218457","doi":"10.1017/ccol9780521886093.010","title":"Harold Pinter as director","year":2009,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McMaster University","keywords":"Art; Passion; Miller; Comics; Wife; Carpentry; Visual arts; Aesthetics; Literature; Psychology; History; Law; Social psychology; Political science","score_opus":0.02689158575821042,"score_gpt":0.18836859003236142,"score_spread":0.16147700427415101,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2490218457","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013868614,0.0003633257,0.0000011469442,0.000051026735,0.000581325,0.0002159454,0.0003110033,0.00020868187,0.99812883],"genre_scores_gemma":[0.0025983665,0.00028237872,0.000003873321,0.0003136917,0.0010494217,5.0360075e-7,0.00003853669,0.000038700597,0.99567455],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990416,0.000012755701,0.00014976396,0.0003429197,0.00018554226,0.00026740905],"domain_scores_gemma":[0.9992784,0.000028626913,0.00012622304,0.00034714834,0.00012550337,0.00009409337],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00003775738,0.0003743291,0.00040181962,0.00014540457,0.00044224295,0.00009644524,0.00032430878,0.00014564014,0.00024808032],"category_scores_gemma":[0.0000017258857,0.00037307158,0.00027178787,0.0000014346311,0.0003610418,0.00012343726,0.00016769485,0.00035435686,0.00027599814],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000076698714,0.000006561307,4.0354223e-7,0.000034715944,0.00016810559,0.00008470872,0.0011975826,8.071002e-8,0.0000022303695,0.794269,0.19949926,0.0046606283],"study_design_scores_gemma":[0.00028568067,0.00012247193,0.0000035220482,0.00017352168,0.00021054072,0.0000045598167,0.00017476265,0.0000015385274,0.000056094173,0.000039268394,0.9984898,0.00043825182],"about_ca_topic_score_codex":0.00032798795,"about_ca_topic_score_gemma":0.00006582921,"teacher_disagreement_score":0.79899055,"about_ca_system_score_codex":0.000085805405,"about_ca_system_score_gemma":0.000040615345,"threshold_uncertainty_score":0.99987215},"labels":[],"label_agreement":null},{"id":"W2495395629","doi":"10.1002/9781118893241.ch14","title":"The Fragmentation of the Self in Postcolonial Drama","year":2016,"lang":"en","type":"other","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Colonialism; Drama; Literature; Multitude; Narrative; Modernism (music); History; Art; China; Dozen; Postcolonial literature; Philosophy","score_opus":0.00850488601545513,"score_gpt":0.22903299956645642,"score_spread":0.2205281135510013,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2495395629","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008187501,0.00026007715,1.16778615e-7,0.0012484906,0.0008167419,0.00015388125,0.00002279423,0.00002353236,0.99665564],"genre_scores_gemma":[0.026654508,0.00037548025,0.0000025351394,0.000097766686,0.00065654743,0.0000122296,9.520932e-7,0.000033494118,0.9721665],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967635,0.000018463317,0.00009449051,0.000051264753,0.000078495934,0.00008092367],"domain_scores_gemma":[0.99976504,0.000035582543,0.00007116721,0.000112916,0.000011457926,0.000003819063],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000048453385,0.000069827554,0.0000831569,0.00002669151,0.0001207349,0.000020535712,0.00011724013,0.000029110017,0.006660083],"category_scores_gemma":[0.0000014978418,0.000024585033,0.000039631344,0.000008130708,0.0001384898,0.000018339062,0.00003212661,0.00004518846,0.000115674564],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008994518,0.000016134389,0.00035530023,0.000022312337,0.000060503255,1.13743184e-7,0.01472861,3.8067636e-8,0.0000018066895,0.15744178,0.8221249,0.0052394955],"study_design_scores_gemma":[0.00012260926,0.000014925367,0.0002440238,0.00005499361,0.0000090007825,6.752104e-8,0.0010248814,2.9903026e-7,0.0000126285295,0.00039779386,0.9980753,0.00004348895],"about_ca_topic_score_codex":0.00078403443,"about_ca_topic_score_gemma":0.048905894,"teacher_disagreement_score":0.17595038,"about_ca_system_score_codex":0.000009833548,"about_ca_system_score_gemma":0.000017770242,"threshold_uncertainty_score":0.994248},"labels":[],"label_agreement":null},{"id":"W2495754382","doi":"10.1057/978-1-137-59475-4_4","title":"Spectatorship as Embodied Practice","year":2016,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centennial College; University of Waterloo","funders":"","keywords":"Embodied cognition; Action (physics); Perception; Process (computing); Cognitive science; Cognition; Psychology; Property (philosophy); Aesthetics; Epistemology; Domain (mathematical analysis); Computer science; Art; Philosophy","score_opus":0.02910080944864241,"score_gpt":0.2444983889044099,"score_spread":0.21539757945576748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2495754382","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000022198354,0.0018653512,0.0000014027727,0.00035138516,0.0014727248,0.000391138,0.00023986516,0.00020658261,0.99544936],"genre_scores_gemma":[0.6529633,0.00034844285,0.000014978201,0.000670467,0.0036428054,0.000021309215,0.000017703156,0.000101588215,0.3422194],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99799645,0.00003230057,0.0004776563,0.0005293375,0.00044277636,0.0005214934],"domain_scores_gemma":[0.99829364,0.00030839554,0.00037627516,0.00061324524,0.0002588561,0.00014958391],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020710826,0.00067521434,0.0006440882,0.00021852483,0.0005426971,0.0001728902,0.00033893416,0.00020768598,0.011351389],"category_scores_gemma":[0.000040272338,0.0004839038,0.00033227867,0.0000034793907,0.00059849053,0.0000027294877,0.00016847301,0.00038879138,0.0071975617],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011668454,3.7614424e-7,0.000005854027,0.00005609007,0.00040670784,0.0000812401,0.010841559,9.6850705e-9,0.0000030229528,0.97587276,0.0005897021,0.0120260045],"study_design_scores_gemma":[0.00020791467,0.00012791915,0.0000018219845,0.00015846515,0.00014607424,0.000020494123,0.00053165195,7.7843524e-8,0.000018901568,0.5345685,0.46378288,0.00043533117],"about_ca_topic_score_codex":0.00010501196,"about_ca_topic_score_gemma":0.00097519543,"teacher_disagreement_score":0.65322995,"about_ca_system_score_codex":0.00007902012,"about_ca_system_score_gemma":0.00008994677,"threshold_uncertainty_score":0.9997613},"labels":[],"label_agreement":null},{"id":"W2496372071","doi":"10.3138/md.2016.59.2.258","title":"Elizabeth A. Osborne and Christine Woodworth, eds., <i>Working in the Wings: New Perspectives on Theatre History and Labor</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theatre studies; Political theatre; Performance art; Visual arts; Theatre director; Art history; Art; History; Sociology; Drama","score_opus":0.02037520250771661,"score_gpt":0.20933397598202425,"score_spread":0.18895877347430765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2496372071","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7768978,0.07011744,0.000014631664,0.009102418,0.00030475997,0.00023719645,0.000014763777,0.000085625434,0.14322536],"genre_scores_gemma":[0.98981637,0.003129659,0.000015452477,0.0007815585,0.0008643825,0.000010249843,0.0000010589081,0.000017388018,0.0053638546],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992268,0.00003947129,0.00013092473,0.00024784138,0.00013030317,0.00022463073],"domain_scores_gemma":[0.99958307,0.00013148949,0.00004488665,0.00017930115,0.000023738086,0.000037522448],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015550804,0.0001677333,0.00017846044,0.00006651363,0.00023549962,0.00006960806,0.00010534011,0.000033025583,0.0001495991],"category_scores_gemma":[0.000010606258,0.00008763217,0.000029179202,0.000021888965,0.0002987093,0.00014386978,0.000044267417,0.00012999524,0.000011484188],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015407203,0.00009147132,0.013971025,0.000029545661,0.00005894922,0.0000117556465,0.6242617,0.0000019312763,0.00010492264,0.059464976,0.023157429,0.27869225],"study_design_scores_gemma":[0.00093021564,0.00020169196,0.0054289256,0.00025579802,0.000030021401,0.000005255651,0.01878599,0.000037811424,0.00001681358,0.0057742954,0.9682698,0.00026338338],"about_ca_topic_score_codex":0.00031720047,"about_ca_topic_score_gemma":0.0016716542,"teacher_disagreement_score":0.94511235,"about_ca_system_score_codex":0.000046547975,"about_ca_system_score_gemma":0.000026267026,"threshold_uncertainty_score":0.3573536},"labels":[],"label_agreement":null},{"id":"W2497144575","doi":"10.1017/s0307883315000103","title":"Theatres of Affect.","year":2015,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Media studies; History; Art history; Art; Sociology","score_opus":0.23495942848912088,"score_gpt":0.40496012156925304,"score_spread":0.17000069308013216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2497144575","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10493749,0.00038798116,0.0000040877626,0.0018044,0.0007551467,0.000097350116,0.000049730665,0.000033048218,0.89193076],"genre_scores_gemma":[0.9905119,0.000079834776,0.00003131407,0.000027585103,0.001450851,0.000016664022,0.000013236685,0.00001031326,0.007858318],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99869525,0.00008846828,0.00015636686,0.00012050475,0.0007104183,0.0002289629],"domain_scores_gemma":[0.9991048,0.00016181645,0.000029882927,0.00015782563,0.00047291155,0.000072737384],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008820537,0.0000775526,0.000121460995,0.00022821521,0.0001309096,0.00006103628,0.0003334772,0.000020227251,0.0018056474],"category_scores_gemma":[0.000030715597,0.000055365235,0.000058704598,0.000048275044,0.0004850555,0.00019208777,0.00013527967,0.00016213598,0.00032378326],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004850978,0.00033145447,0.008229305,0.00005105961,0.0003519243,0.000012156425,0.06678651,0.00003406966,0.000297748,0.62024176,0.2092033,0.093975626],"study_design_scores_gemma":[0.0004537103,0.0002691466,0.00021886609,0.000049487968,0.0000057343495,0.0000036910544,0.011563734,0.00011394409,0.0010817524,0.017577821,0.96856916,0.000092970055],"about_ca_topic_score_codex":0.0006829537,"about_ca_topic_score_gemma":0.0005296095,"teacher_disagreement_score":0.8855744,"about_ca_system_score_codex":0.000048597256,"about_ca_system_score_gemma":0.00007446608,"threshold_uncertainty_score":0.9991068},"labels":[],"label_agreement":null},{"id":"W2497511766","doi":"10.1057/9781137065995","title":"Loss and Cultural Remains in Performance","year":2012,"lang":"en","type":"book","venue":"Palgrave Macmillan US eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; University of British Columbia; University of the Fraser Valley; University of Guelph; Smithsonian Institution","keywords":"History","score_opus":0.02548621260793722,"score_gpt":0.2297778297940359,"score_spread":0.2042916171860987,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2497511766","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0549608,0.0034374413,7.6371585e-8,0.000026210962,0.0005702137,0.00028698388,0.00010358377,0.00006863837,0.94054604],"genre_scores_gemma":[0.7267986,0.00096014707,0.0000067260457,0.00015826999,0.0018390664,0.000027633416,0.00006007371,0.000043958687,0.2701055],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985241,0.000027138429,0.00036663277,0.000317199,0.00021305148,0.000551858],"domain_scores_gemma":[0.99936616,0.000045264962,0.00014269578,0.00027825104,0.00006964095,0.00009795413],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000162351,0.00047096444,0.0005500033,0.00018644203,0.00034242022,0.000103510414,0.00018136245,0.00016409863,0.00041376034],"category_scores_gemma":[0.0000036269664,0.00036025592,0.000107602544,0.000007927199,0.00062420045,0.000012088474,0.00015048363,0.00043185253,0.00016418824],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014528965,0.0000066344332,0.018218175,0.0014018961,0.00032101513,0.000061012317,0.1427907,7.7785046e-7,0.000008617645,0.78333986,0.0059483196,0.047757708],"study_design_scores_gemma":[0.0006602869,0.00017042599,0.0051933024,0.00056981295,0.000117211945,0.00004379169,0.0010794842,0.000011472469,0.000022951102,0.030487988,0.96061987,0.001023413],"about_ca_topic_score_codex":0.00010778383,"about_ca_topic_score_gemma":0.003886332,"teacher_disagreement_score":0.95467156,"about_ca_system_score_codex":0.000088132336,"about_ca_system_score_gemma":0.00005529589,"threshold_uncertainty_score":0.99988496},"labels":[],"label_agreement":null},{"id":"W2499836639","doi":"10.3138/tric.37.1.120","title":"Plus Ça Change, the Rest Stays the Same: Perpetual Spring in New Brunswick Theatre","year":2016,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rest (music); Spring (device); Metaphor; Art history; Art; History; Visual arts; Philosophy; Engineering; Theology","score_opus":0.13186689574758528,"score_gpt":0.30819602544137986,"score_spread":0.17632912969379458,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2499836639","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47059113,0.007844722,6.8332173e-7,0.11658735,0.0008893702,0.0012216433,0.00007323807,0.000042539443,0.40274933],"genre_scores_gemma":[0.99147505,0.0020444277,0.0000020304756,0.0004460297,0.0018318467,0.000056111352,0.0000014522402,0.00003154841,0.004111518],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970558,0.00038545215,0.00031330177,0.00030897465,0.0008463878,0.0010900327],"domain_scores_gemma":[0.9978969,0.0012411609,0.00004054269,0.0006292715,0.00006310518,0.00012899343],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014656249,0.00021967238,0.00026813272,0.00018071123,0.00077220245,0.00012772004,0.00080054643,0.00003809475,0.0008820177],"category_scores_gemma":[0.0000131841925,0.000094902665,0.00005466578,0.00024431056,0.000563688,0.00024070428,0.00029624507,0.0006575932,0.00008061494],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033833372,0.000044467215,0.04883038,0.000084328865,0.000082849336,0.0001362375,0.06371992,0.00002280409,0.000028521177,0.03588294,0.047145266,0.80368394],"study_design_scores_gemma":[0.00068389863,0.00008362469,0.008935784,0.00031118057,0.0000059887902,0.000003890769,0.041038387,0.00003190114,0.00004588028,0.0016045073,0.94704807,0.00020687269],"about_ca_topic_score_codex":0.9959756,"about_ca_topic_score_gemma":0.9998855,"teacher_disagreement_score":0.8999028,"about_ca_system_score_codex":0.0010873271,"about_ca_system_score_gemma":0.0050785085,"threshold_uncertainty_score":0.96574754},"labels":[],"label_agreement":null},{"id":"W250036262","doi":"","title":"Historical Dictionary of Russian Theater","year":2008,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Linguistics; Computer science; Philosophy","score_opus":0.024033630639426637,"score_gpt":0.1793903963237839,"score_spread":0.15535676568435725,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W250036262","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12865973,0.0013538359,8.997207e-8,0.0014561757,0.0006830784,0.000050494586,0.000029175471,0.00002372065,0.86774373],"genre_scores_gemma":[0.9699475,0.00022859423,0.000005427305,0.0003261941,0.00035291797,0.0000068283975,0.0000044468975,0.000009635001,0.029118447],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994456,0.000010188329,0.00013349534,0.000100368175,0.00008157347,0.00022875475],"domain_scores_gemma":[0.99968255,0.000013568382,0.00002542106,0.00012632432,0.000017862507,0.000134261],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000031355798,0.00008676727,0.00013867955,0.000109788525,0.00043824705,0.0000058643554,0.0000844257,0.000028019538,0.0025839983],"category_scores_gemma":[0.0000028523782,0.000069943235,0.00007555701,0.000026810034,0.00020179921,0.000069743095,0.0000071881186,0.00007458885,0.000076630575],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007275411,0.000103294784,0.056016035,0.00008973762,0.0004758223,0.00024449354,0.22464146,0.000016579903,0.00022281733,0.33321652,0.3596562,0.025244277],"study_design_scores_gemma":[0.00010607543,0.00005035234,0.0094447825,0.0000106712705,0.000011156794,0.000010681943,0.0008071291,0.0000014798858,0.0000123541095,0.00010632698,0.98934233,0.00009665988],"about_ca_topic_score_codex":0.09479379,"about_ca_topic_score_gemma":0.28340378,"teacher_disagreement_score":0.8412878,"about_ca_system_score_codex":0.00029266693,"about_ca_system_score_gemma":0.00021339564,"threshold_uncertainty_score":0.9983278},"labels":[],"label_agreement":null},{"id":"W2503493220","doi":"10.1057/9780230294554_9","title":"Calling off the Border Patrol: Intercultural Dramaturgy in Toronto","year":2011,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Sociology; Negotiation; Aesthetics; Praxis; Situated; Individualism; Multiculturalism; Political science; Social science; Art; Pedagogy; Law","score_opus":0.025857213373178683,"score_gpt":0.23913672761418445,"score_spread":0.21327951424100577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2503493220","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005189605,0.009341164,8.2872515e-7,0.00007699962,0.0010373492,0.00038331846,0.00009500308,0.00007774102,0.98846865],"genre_scores_gemma":[0.9233809,0.0011331686,0.000006529113,0.0003730381,0.0014762777,0.00004229167,0.000037327478,0.000072258605,0.073478185],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841946,0.000026094112,0.00049675186,0.0003702866,0.00023257178,0.00045484788],"domain_scores_gemma":[0.9991134,0.000063737905,0.00019167185,0.00045561916,0.00011241545,0.00006319935],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015173014,0.00055957964,0.00055710674,0.00007084353,0.00037439744,0.00013926433,0.00040956374,0.00018599782,0.007656071],"category_scores_gemma":[0.000004244946,0.0003366648,0.00029485353,0.0000031354978,0.00041988143,0.000002851589,0.0001883218,0.00046221635,0.00020624015],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056491943,4.1815795e-7,0.000022296474,0.00004028219,0.00017168719,0.000015751113,0.06778144,1.5297205e-7,0.0000020476455,0.9000877,0.00017604118,0.031645663],"study_design_scores_gemma":[0.0003705955,0.00014435455,0.00008652548,0.00035122468,0.00012502336,0.000010696872,0.0065816096,0.0000069483435,0.000010094196,0.40950286,0.5820574,0.0007526645],"about_ca_topic_score_codex":0.0063540675,"about_ca_topic_score_gemma":0.21084256,"teacher_disagreement_score":0.92286193,"about_ca_system_score_codex":0.00013622092,"about_ca_system_score_gemma":0.000031063726,"threshold_uncertainty_score":0.99990857},"labels":[],"label_agreement":null},{"id":"W250678247","doi":"","title":"Natalie Rewa, Ed.: Design and Scenography","year":2012,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scenography; Dramaturgy; Context (archaeology); Narrative; Visual arts; Art; Reading (process); Aesthetics; Sociology; History; Literature; Linguistics; Archaeology","score_opus":0.11308287247499711,"score_gpt":0.3061030702789247,"score_spread":0.1930201978039276,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W250678247","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2869973,0.025345245,0.000005110816,0.0022116627,0.00082329725,0.0005861761,0.00006953722,0.000037852693,0.68392384],"genre_scores_gemma":[0.99795437,0.001096764,0.000037059475,0.00009912056,0.0005396527,0.00003009736,0.0000030871188,0.000013426573,0.00022645191],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984297,0.00017622687,0.00013513415,0.00012978952,0.00040315455,0.00072598463],"domain_scores_gemma":[0.99929976,0.00031744278,0.00001445699,0.00017485404,0.000043068827,0.00015038312],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010390949,0.000105719155,0.00014629187,0.00018911701,0.000426244,0.00005614304,0.00013834411,0.000018787165,0.00048311963],"category_scores_gemma":[0.000002745054,0.000081872546,0.000018176941,0.00010568601,0.00029186334,0.0002245837,0.00008122284,0.000279314,0.000024078729],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002904161,0.00015236984,0.111987434,0.00035955315,0.00018564402,0.00007427153,0.039423592,0.000022674636,0.000044526914,0.03587321,0.3003748,0.5112115],"study_design_scores_gemma":[0.00025645012,0.00007569225,0.001230905,0.00007604006,0.000005786061,0.000005585557,0.014053818,0.000035576642,0.00012749853,0.0017210705,0.98222196,0.0001896066],"about_ca_topic_score_codex":0.9195024,"about_ca_topic_score_gemma":0.9589221,"teacher_disagreement_score":0.71095705,"about_ca_system_score_codex":0.00017936138,"about_ca_system_score_gemma":0.0003993889,"threshold_uncertainty_score":0.5289821},"labels":[],"label_agreement":null},{"id":"W2507172313","doi":"10.7202/1036454ar","title":"Danse en tandem : étude du mouvement des spectateurs et des performeurs dans Sleep No More de Punchdrunk1","year":2016,"lang":"fr","type":"article","venue":"Tangence","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.021620909730112586,"score_gpt":0.24566166644401405,"score_spread":0.22404075671390147,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2507172313","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9015578,0.00944816,0.00047679234,0.003008171,0.0010846293,0.00025335117,0.00021138131,0.000113556656,0.08384613],"genre_scores_gemma":[0.93230546,0.02574931,0.00048992713,0.00041920503,0.0016406813,0.00006255283,0.000006289894,0.00005383708,0.039272726],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978805,0.00012999792,0.00036169088,0.0004004112,0.00031553002,0.00091186736],"domain_scores_gemma":[0.9989528,0.00018675538,0.000117241616,0.000327645,0.00022739613,0.00018815282],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005188154,0.00042953953,0.00033391285,0.00007593221,0.0012376944,0.00015376945,0.00039277284,0.00009066394,0.0034413028],"category_scores_gemma":[0.00006907003,0.00029858944,0.0001587862,0.000079392725,0.0020564802,0.00074407394,0.00017429328,0.00019263165,0.00072622753],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016998948,0.00040693177,0.35777935,0.00050908665,0.0003993043,0.00013664071,0.47444254,0.00006894896,0.0029979139,0.05269075,0.00903245,0.101366065],"study_design_scores_gemma":[0.0016104677,0.0015326387,0.24466725,0.0016121678,0.00052792905,0.00011925433,0.082137555,0.00046099263,0.005947611,0.005545862,0.65423864,0.0015996282],"about_ca_topic_score_codex":0.0020794088,"about_ca_topic_score_gemma":0.011627197,"teacher_disagreement_score":0.6452062,"about_ca_system_score_codex":0.0004377036,"about_ca_system_score_gemma":0.000089089066,"threshold_uncertainty_score":0.9999466},"labels":[],"label_agreement":null},{"id":"W2507523064","doi":"10.3138/ctr.167.004","title":"Addressing the Cost Barrier: Downstage’s Pay-It-Forward Program","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Attendance; Point (geometry); Demographics; Work (physics); Public relations; Sociology; Media studies; Advertising; History; Business; Political science; Engineering; Law","score_opus":0.07938361704266224,"score_gpt":0.29728769098101443,"score_spread":0.2179040739383522,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2507523064","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014071618,0.17708571,0.0000025176082,0.07808192,0.0009067271,0.0018554028,0.00043918157,0.00014115013,0.74134666],"genre_scores_gemma":[0.44602978,0.43985885,0.000047014935,0.045754544,0.004745091,0.0015134048,0.00006078247,0.00014497395,0.06184555],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986623,0.00008866182,0.00029637423,0.00022145595,0.00015325788,0.0005779833],"domain_scores_gemma":[0.99897295,0.00008857356,0.000077716104,0.0004746611,0.00008677418,0.00029934704],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00036814358,0.00023300677,0.00034772896,0.00006283737,0.00097067107,0.00014726122,0.000340047,0.000035170397,0.006855128],"category_scores_gemma":[0.000026414671,0.00009150915,0.0001930392,0.000067555186,0.00042975257,0.0002082562,0.000033320805,0.00014525594,0.0009049925],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016350224,0.0000045273587,0.00014629246,0.00031564932,0.000043612952,0.000006386577,0.0012164998,2.185632e-8,5.886026e-7,0.0053966986,0.17875573,0.81411237],"study_design_scores_gemma":[0.00010926481,0.000040184677,0.000041272215,0.003669768,0.000102008176,0.000009054969,0.00051937054,6.478702e-7,0.0000042439524,0.00014883664,0.99515164,0.00020372042],"about_ca_topic_score_codex":0.012328113,"about_ca_topic_score_gemma":0.42811704,"teacher_disagreement_score":0.8163959,"about_ca_system_score_codex":0.00009303307,"about_ca_system_score_gemma":0.00031214417,"threshold_uncertainty_score":0.9998729},"labels":[],"label_agreement":null},{"id":"W2507750763","doi":"10.24908/jcri.v3i1.5976","title":"Moving Unsettlement: Excursions into Public and Pedagogical Memory","year":2017,"lang":"en","type":"article","venue":"Journal of Critical Race Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Colonialism; Performative utterance; White (mutation); Aesthetics; White supremacy; Sociology; Memorialization; Gender studies; Power (physics); Mainstream; Politics; History; Racism; Art; Political science; Law; Archaeology","score_opus":0.22052718230442978,"score_gpt":0.4083124157343747,"score_spread":0.18778523342994494,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2507750763","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88951784,0.0032139819,0.00015691419,0.06474507,0.0030204623,0.00006403736,0.000008337461,0.00001979185,0.039253566],"genre_scores_gemma":[0.9945887,0.00031114384,0.00017310117,0.00043087348,0.003223659,0.000001677419,4.183832e-7,0.000009410546,0.0012610533],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990029,0.00004153692,0.000338785,0.00010131606,0.00026972734,0.00024576386],"domain_scores_gemma":[0.9989333,0.0002809738,0.00014581732,0.00018596598,0.0002773776,0.00017655938],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048276447,0.000115431474,0.00025722614,0.0000864783,0.0015257759,0.000565277,0.00025390368,0.000040309915,0.00104605],"category_scores_gemma":[0.00084473804,0.00008070132,0.000095405965,0.000007996773,0.0017182047,0.0011238215,0.00015791963,0.0003085977,0.000023541024],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015687209,0.00042919317,0.0025525766,0.00028262896,0.000202885,0.00022272782,0.20543917,0.0000011333102,0.000232809,0.684036,0.03512248,0.07132152],"study_design_scores_gemma":[0.0012515192,0.00094723725,0.004631201,0.0003636832,0.00025868954,0.00018304745,0.14134397,0.000048207632,0.00016056965,0.056856304,0.7934939,0.0004616848],"about_ca_topic_score_codex":0.000013947333,"about_ca_topic_score_gemma":0.00007954924,"teacher_disagreement_score":0.7583714,"about_ca_system_score_codex":0.000019730871,"about_ca_system_score_gemma":0.000046055677,"threshold_uncertainty_score":0.99986714},"labels":[],"label_agreement":null},{"id":"W2508106470","doi":"10.3138/ctr.167.008","title":"Including the Inclusive: An Online Conversation with Col Cseke, Hope McIntyre, Majdi Bou-Matar, and Kate Rubin","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Excellence; Conversation; Equity (law); Odds; The arts; Sociology; Diversity (politics); Performing arts; Media studies; Political science; Visual arts; Public relations; Art; Law; Medicine; Anthropology","score_opus":0.03866706661569392,"score_gpt":0.2564943116825477,"score_spread":0.2178272450668538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2508106470","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19136348,0.45275858,0.000014338757,0.1763439,0.001139185,0.004735073,0.0026402655,0.00027065026,0.17073452],"genre_scores_gemma":[0.8676918,0.1202881,0.000026874633,0.008849553,0.00074346876,0.00006694146,0.00007161071,0.000042927848,0.002218733],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900436,0.00008969691,0.0002272506,0.00022214881,0.0001245605,0.0003319536],"domain_scores_gemma":[0.9992154,0.000073280855,0.000091952585,0.00031565447,0.0000958958,0.00020780614],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002924165,0.00020890616,0.00031881983,0.000076156204,0.0008405438,0.00008097353,0.00018955705,0.00002887101,0.001007411],"category_scores_gemma":[0.000011741677,0.00009811943,0.000043681077,0.00006609789,0.000354307,0.0003530069,0.000055241548,0.00010100225,0.000073817726],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004128123,0.00003445564,0.0039265743,0.0015962264,0.00023872487,0.000032307813,0.022033239,5.688215e-7,0.000014570742,0.02459537,0.030196736,0.91729],"study_design_scores_gemma":[0.00027447476,0.0001206255,0.0004607273,0.0024390642,0.00013153335,0.00001540609,0.0017606335,0.0000056184494,0.0000059705926,0.00030278438,0.9942694,0.00021381148],"about_ca_topic_score_codex":0.03344988,"about_ca_topic_score_gemma":0.66974366,"teacher_disagreement_score":0.9640726,"about_ca_system_score_codex":0.000125887,"about_ca_system_score_gemma":0.00020230388,"threshold_uncertainty_score":0.9999058},"labels":[],"label_agreement":null},{"id":"W2508251464","doi":"10.3138/ctr.167.018","title":"A Collaborative Director Prepares: Ric Knowles’s <i>Fundamentals of Directing</i>","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Sociology; Art","score_opus":0.01802764373319175,"score_gpt":0.24695147617216698,"score_spread":0.22892383243897524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2508251464","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0043105343,0.32301778,3.8911503e-7,0.0021454275,0.00042036508,0.00043764277,0.00072754466,0.000049734394,0.6688906],"genre_scores_gemma":[0.7033109,0.2726566,0.000026397862,0.0019936678,0.00078383234,0.00019919746,0.00001758049,0.00005497179,0.020956868],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989389,0.000086542685,0.0003284949,0.00020574628,0.00011317726,0.00032713724],"domain_scores_gemma":[0.99911904,0.00012871437,0.00012908093,0.0002747185,0.00016350391,0.00018494576],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000206595,0.00019091158,0.0004990759,0.00009905328,0.00025802455,0.000025038002,0.00016749803,0.000024637822,0.003954925],"category_scores_gemma":[0.00003518695,0.00011192956,0.0001301476,0.00012234571,0.00025088538,0.00015545786,0.000022896946,0.000046029578,0.00027720717],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001738411,0.000049042414,0.0027930425,0.002864148,0.00033565535,0.000009632155,0.012099702,3.4782737e-8,0.00007267216,0.013004895,0.25993824,0.7088156],"study_design_scores_gemma":[0.00012658695,0.000064522545,0.000047772122,0.005113502,0.00008587254,0.0000021178269,0.0007346914,6.822005e-8,0.00010984134,0.00012195738,0.9934204,0.00017263067],"about_ca_topic_score_codex":0.0145047605,"about_ca_topic_score_gemma":0.37985736,"teacher_disagreement_score":0.7334822,"about_ca_system_score_codex":0.00016358636,"about_ca_system_score_gemma":0.00032597937,"threshold_uncertainty_score":0.9969556},"labels":[],"label_agreement":null},{"id":"W2510160126","doi":"10.1057/978-1-137-55013-2_10","title":"Historiographing a Feminist Utopia: Collective Creation, History, and Feminist Theatre in Canada","year":2016,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan US eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Windsor","funders":"","keywords":"Centrality; Utopia; Power (physics); Sociology; Period (music); Political science; Aesthetics; Art; Gender studies; Law","score_opus":0.017578274360493164,"score_gpt":0.19657023710388735,"score_spread":0.17899196274339418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2510160126","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00062258897,0.004186865,2.6909777e-7,0.00006521039,0.0011328784,0.000395061,0.000448566,0.0000488444,0.9930997],"genre_scores_gemma":[0.6396416,0.00028287157,0.000005100609,0.00036793572,0.00072109234,0.000047364505,0.00001812983,0.00006820654,0.35884774],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99824715,0.000024949699,0.00049630983,0.00051817496,0.0002996012,0.00041379628],"domain_scores_gemma":[0.9990078,0.00016155388,0.00027603598,0.00033832507,0.000095574986,0.000120684424],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000111239606,0.00056723517,0.00070917053,0.00035306308,0.00046719963,0.00005557805,0.00019795402,0.00013928929,0.00096583465],"category_scores_gemma":[0.0000054320763,0.00045908455,0.00013950274,0.000008115437,0.00063949084,0.000004577972,0.000096974254,0.00031987883,0.000013770893],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009954071,0.0000015111899,0.0038630266,0.00014331778,0.0002554713,0.00009694939,0.03338966,6.516426e-8,0.0000027326632,0.9425353,0.0052160756,0.014396369],"study_design_scores_gemma":[0.00045715284,0.000097473705,0.00025167761,0.00037523772,0.00009693201,0.00001601894,0.0009072651,0.0000014015768,0.0000024843812,0.05483463,0.94234455,0.0006151549],"about_ca_topic_score_codex":0.39380613,"about_ca_topic_score_gemma":0.97455555,"teacher_disagreement_score":0.9371285,"about_ca_system_score_codex":0.002382589,"about_ca_system_score_gemma":0.0011812302,"threshold_uncertainty_score":0.9999474},"labels":[],"label_agreement":null},{"id":"W2510540892","doi":"10.55016/ojs/ajer.v50i2.55052","title":"The \"Ideal Spectator\": Dramatic Chorus, Collective Creation, and Curriculum","year":2004,"lang":"en","type":"article","venue":"Alberta Journal of Educational Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Chorus; Curriculum; Ideal (ethics); Sociology; Humanities; Pedagogy; Political science; Aesthetics; Art; Literature; Law","score_opus":0.03825306298134032,"score_gpt":0.3443865891701928,"score_spread":0.3061335261888525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2510540892","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6989359,0.0033048976,3.0241807e-7,0.030743878,0.00040205417,0.00012065949,0.0000021034264,4.7209394e-7,0.26648974],"genre_scores_gemma":[0.94723856,0.00088108354,0.000020502692,0.000048939528,0.001409217,0.0000127397625,0.0000014572221,0.0000072419825,0.050380237],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900496,0.00006910646,0.0002531513,0.000075800766,0.00038391666,0.00021306986],"domain_scores_gemma":[0.99442565,0.0044597895,0.00009921339,0.00007962281,0.0008570302,0.0000786943],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00050857774,0.000070621754,0.00010874047,0.00013685969,0.0016036076,0.00027459324,0.00016617028,0.000015581367,0.0021246625],"category_scores_gemma":[0.001433394,0.000041586325,0.00004369661,0.00010296188,0.00055302057,0.0002453138,0.000033404038,0.00025304075,0.000117691285],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006653061,0.00020462045,0.01494964,0.000023367154,0.00018211314,4.6415363e-7,0.070105985,0.000011308821,0.000013409127,0.84153235,0.07227096,0.0006392622],"study_design_scores_gemma":[0.00096185284,0.0007067926,0.040906753,0.00022298646,0.000053799085,0.0001159111,0.047531214,0.00000960698,0.00008371205,0.13880041,0.77041173,0.0001952196],"about_ca_topic_score_codex":0.0020710968,"about_ca_topic_score_gemma":0.010818595,"teacher_disagreement_score":0.7027319,"about_ca_system_score_codex":0.00015162067,"about_ca_system_score_gemma":0.0008317918,"threshold_uncertainty_score":0.9996962},"labels":[],"label_agreement":null},{"id":"W2510701220","doi":"10.3138/tric.37.1.125","title":"“How’s Work?” Tackling the Issues of Academic Labour One Scholar at a Time","year":2016,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Globe; Work (physics); Set (abstract data type); Task (project management); Front (military); Sociology; Media studies; Public relations; Mathematics education; Political science; Management; Psychology; Computer science; Engineering; Economics","score_opus":0.08090370811685539,"score_gpt":0.31158433647318984,"score_spread":0.23068062835633446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2510701220","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8799637,0.0070535946,1.2694676e-7,0.041044515,0.00015201689,0.00026219361,0.00011390535,0.00001575568,0.0713942],"genre_scores_gemma":[0.9742075,0.0018806006,0.000004654454,0.000083172905,0.0005729095,0.000024981893,0.0000014715072,0.000017153347,0.023207545],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980613,0.00023645848,0.00021291953,0.00017828471,0.0007264499,0.0005846161],"domain_scores_gemma":[0.9988794,0.0005565442,0.000045141733,0.00032060547,0.0001257389,0.00007258202],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013485674,0.000118424665,0.00022594898,0.00012809076,0.0005323432,0.00005111759,0.00044303428,0.00003597283,0.0012435246],"category_scores_gemma":[0.00002484092,0.000060848102,0.000034884397,0.00016548808,0.0004150039,0.00021387976,0.00022276849,0.00055363006,0.00008230557],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000707934,0.00008344548,0.03965582,0.00034660546,0.0003618188,0.0000551674,0.02903034,0.00001447399,0.0053398553,0.018926293,0.15891583,0.7465624],"study_design_scores_gemma":[0.00027623383,0.000051739265,0.0006729023,0.00041239127,0.000005574286,0.0000010082482,0.004096257,0.0000035360379,0.0019928776,0.0018095941,0.9905569,0.00012100769],"about_ca_topic_score_codex":0.7044466,"about_ca_topic_score_gemma":0.93049014,"teacher_disagreement_score":0.8316411,"about_ca_system_score_codex":0.00049585477,"about_ca_system_score_gemma":0.00051127566,"threshold_uncertainty_score":0.9996695},"labels":[],"label_agreement":null},{"id":"W2512047244","doi":"10.3138/tric.37.1.3","title":"Introduction: Taking Time","year":2016,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Immediacy; Publication; Publishing; Reading (process); Schedule; Audience measurement; Media studies; Computer science; World Wide Web; Public relations; Internet privacy; Sociology; Political science; Law; Epistemology","score_opus":0.06842235114291141,"score_gpt":0.29214838920151665,"score_spread":0.22372603805860525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2512047244","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0829142,0.00044462568,4.1409535e-7,0.037835825,0.00063626,0.00014181249,0.000039166396,0.000026518777,0.87796116],"genre_scores_gemma":[0.9883529,0.000120259116,0.0000033206773,0.000058993435,0.0032771975,0.000018556002,0.0000016175316,0.0000112661655,0.008155881],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99872583,0.000093958784,0.0001374613,0.00017275281,0.00039891785,0.00047107053],"domain_scores_gemma":[0.99942964,0.00021037662,0.000020930293,0.0002146113,0.00006604777,0.000058418475],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005155908,0.00007974549,0.00012333613,0.0001251053,0.0002909925,0.00003573711,0.00016603885,0.000012186169,0.011215762],"category_scores_gemma":[0.000006234654,0.000047295496,0.000017974504,0.00008168699,0.00020804883,0.00014923392,0.0000639414,0.00015247561,0.00039782652],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055554883,0.000016274726,0.0020411552,0.000026980324,0.00002908587,0.000035330435,0.0020268722,0.0000027474082,0.0002110077,0.008265536,0.33669826,0.6505912],"study_design_scores_gemma":[0.00015495757,0.00003436641,0.00014533964,0.000050274633,0.0000013097538,0.0000026023656,0.001684524,0.0000063100806,0.00018688435,0.0012573638,0.9963916,0.00008449467],"about_ca_topic_score_codex":0.90286624,"about_ca_topic_score_gemma":0.991847,"teacher_disagreement_score":0.9054387,"about_ca_system_score_codex":0.00059234304,"about_ca_system_score_gemma":0.00067132723,"threshold_uncertainty_score":0.9896881},"labels":[],"label_agreement":null},{"id":"W2512950579","doi":"","title":"ERIN HURLEY, ed. Theatres of Affect . New Essays on Canadian Theatre, Volume Four.","year":2016,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Affect (linguistics); Volume (thermodynamics); Operating theatres; History; Art; Psychology; Medicine; Communication; Physics; Medical emergency; Thermodynamics","score_opus":0.0710854176258794,"score_gpt":0.28823976398844775,"score_spread":0.21715434636256836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2512950579","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13058169,0.0012878093,6.034859e-7,0.009487791,0.00059855357,0.0004806201,0.00044125685,0.000027998067,0.8570937],"genre_scores_gemma":[0.9931435,0.00084405905,0.000006212759,0.00014646686,0.0008617958,0.000036258123,0.0000060703596,0.000044845176,0.0049107973],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967705,0.00029020198,0.0003705535,0.00038684858,0.00088022096,0.0013016852],"domain_scores_gemma":[0.9979934,0.0007413561,0.00005361837,0.00062647625,0.000109290224,0.00047586134],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00086212443,0.00028787344,0.00044690422,0.0005513323,0.00044931797,0.00006164328,0.0005957243,0.00006160656,0.004009271],"category_scores_gemma":[0.000012446131,0.00018049765,0.00009497249,0.00020431477,0.00043020563,0.0001877953,0.00010415816,0.00039375311,0.00016708187],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026319094,0.00005090163,0.03441996,0.000116494506,0.00011174231,0.0001424581,0.0029458646,0.000027996592,0.00009126528,0.011312547,0.34300315,0.60751444],"study_design_scores_gemma":[0.0008433451,0.000473015,0.0025389364,0.0006843902,0.000012801485,0.0000054673874,0.0040035816,0.00001968563,0.00045886397,0.0040454417,0.9865384,0.0003760872],"about_ca_topic_score_codex":0.9991,"about_ca_topic_score_gemma":0.9999315,"teacher_disagreement_score":0.8625618,"about_ca_system_score_codex":0.0013515727,"about_ca_system_score_gemma":0.005605054,"threshold_uncertainty_score":0.9969012},"labels":[],"label_agreement":null},{"id":"W2513629664","doi":"10.3138/ctr.164.020","title":"Unsettling Beauty","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Politics; Beauty; Sociology; Queer theory; Gender studies; Feminism; Aesthetics; Visual arts; Media studies; Art; Political science; Law","score_opus":0.06202240418942708,"score_gpt":0.25247795364167147,"score_spread":0.19045554945224438,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2513629664","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00040764676,0.2957672,4.4330096e-7,0.0055301185,0.00058981247,0.00017783532,0.000053037405,0.000044271786,0.69742966],"genre_scores_gemma":[0.66237503,0.23163024,0.00012114717,0.0569741,0.0077920323,0.00016749717,0.00019993931,0.00014276081,0.04059724],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924356,0.000030256171,0.00016832288,0.00012541524,0.0000956514,0.00033677235],"domain_scores_gemma":[0.9992636,0.000014589477,0.000031492065,0.00021368869,0.00007389718,0.00040276788],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028070717,0.00012596043,0.00024325354,0.000062820785,0.00023277686,0.000048824524,0.0001387252,0.00001849129,0.001527491],"category_scores_gemma":[0.000014020271,0.00009459212,0.0000790398,0.000045980385,0.0000917396,0.00012122739,0.000012598017,0.000090101756,0.0012528173],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002099756,0.0000072832554,0.00037813018,0.0007988512,0.000054400487,0.000020498963,0.00845191,9.605322e-7,1.373511e-7,0.037502643,0.7492747,0.20350844],"study_design_scores_gemma":[0.0000632638,0.000023215127,0.0000079751,0.00088654156,0.000047600188,0.0000065208555,0.0006422559,0.000002098625,8.216815e-7,0.00058381085,0.99760133,0.00013455523],"about_ca_topic_score_codex":0.04546246,"about_ca_topic_score_gemma":0.49499178,"teacher_disagreement_score":0.6619674,"about_ca_system_score_codex":0.00010605357,"about_ca_system_score_gemma":0.00031259574,"threshold_uncertainty_score":0.99952483},"labels":[],"label_agreement":null},{"id":"W2515776145","doi":"10.3138/md.2016.59.3.382","title":"Frederick Burwick, <i>British Drama of the Industrial Revolution</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; Politics; Romanticism; Industrial Revolution; Relation (database); History; Economic history; Art history; Literature; Media studies; Political science; Art; Sociology; Law; Archaeology","score_opus":0.030065884420342675,"score_gpt":0.20761096600831078,"score_spread":0.1775450815879681,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2515776145","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8080692,0.0014576116,0.00013541784,0.0038414348,0.0019866382,0.00030261924,0.00020387616,0.00010422157,0.18389894],"genre_scores_gemma":[0.96257913,0.000090884714,0.0000080101945,0.00017629977,0.0012248694,0.000013809667,0.0000015235088,0.000014654928,0.035890814],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915326,0.000034808963,0.00023077073,0.00015543182,0.00019861988,0.00022713789],"domain_scores_gemma":[0.9994646,0.000047662998,0.00009823848,0.00026869113,0.00009180141,0.000029061572],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000094341645,0.000111961366,0.00018055132,0.000023580571,0.00040460646,0.000070873924,0.00023442433,0.000055590906,0.0007162076],"category_scores_gemma":[0.0000302131,0.00006560822,0.00012230621,0.000032333122,0.00044398638,0.0001947491,0.00010933551,0.000097461765,0.000059743736],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013621147,0.00026561646,0.01706734,0.000058283167,0.0002936951,0.0000066758116,0.045108523,0.000014014254,0.001628715,0.08568277,0.49589384,0.3538443],"study_design_scores_gemma":[0.001092337,0.000090622314,0.0018316086,0.00021282911,0.00004597352,0.0000069635907,0.0009232882,0.00003814052,0.00067318976,0.013765639,0.9810831,0.00023631299],"about_ca_topic_score_codex":0.0010357298,"about_ca_topic_score_gemma":0.0026653553,"teacher_disagreement_score":0.48518926,"about_ca_system_score_codex":0.000028153254,"about_ca_system_score_gemma":0.000040586983,"threshold_uncertainty_score":0.7841971},"labels":[],"label_agreement":null},{"id":"W2516438225","doi":"10.18432/r23018","title":"What I Learn from Theatregoing: Review Haiku","year":2016,"lang":"en","type":"article","venue":"Art/Research International A Transdisciplinary Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Haiku; Drama; Suite; Reflection (computer programming); Visual arts; Art; Computer science; History; Literature; Poetry; Archaeology","score_opus":0.11623935882616887,"score_gpt":0.371411049041297,"score_spread":0.25517169021512814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2516438225","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12367444,0.05518816,0.00023833335,0.4588967,0.011209702,0.00062285544,0.00029312566,0.00015214016,0.34972456],"genre_scores_gemma":[0.7179955,0.18399937,0.00006949176,0.00091975107,0.007007767,0.00005351349,0.00003355144,0.000046581496,0.089874454],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99739933,0.00021405799,0.00046724328,0.000291089,0.0011033642,0.00052489765],"domain_scores_gemma":[0.998471,0.00045287726,0.00008933743,0.0002214015,0.0005760693,0.00018928346],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013223424,0.00019667488,0.00026353743,0.000251217,0.0011779435,0.0006239049,0.0007134146,0.00003675449,0.027540734],"category_scores_gemma":[0.000046611975,0.00011116945,0.0002481733,0.000064387474,0.0005838944,0.002459122,0.00015108894,0.0005601284,0.0024742908],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00062353903,0.0005368789,0.0010431339,0.00016679906,0.0010330997,0.0003090733,0.116830185,0.0000042897336,0.00085797923,0.0354156,0.6097,0.23347941],"study_design_scores_gemma":[0.0007364924,0.0002734957,0.00038692102,0.0043581435,0.000028366321,0.00008426591,0.00982137,0.000014901898,0.00008456939,0.031521592,0.95247954,0.0002103589],"about_ca_topic_score_codex":0.000014973539,"about_ca_topic_score_gemma":0.00053771574,"teacher_disagreement_score":0.5943211,"about_ca_system_score_codex":0.00011273331,"about_ca_system_score_gemma":0.000100712394,"threshold_uncertainty_score":0.9983024},"labels":[],"label_agreement":null},{"id":"W2517397072","doi":"10.3138/ctr.167.016","title":"Questions That Emerge in <i>Dramaturgy in Motion</i>","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Motion (physics); Art; Visual arts; Interculturalism; Performing arts; Movement (music); Aesthetics; Philosophy; Computer science; Theology; Artificial intelligence","score_opus":0.02840513572592603,"score_gpt":0.23673390234391772,"score_spread":0.20832876661799168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2517397072","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004736939,0.35785225,0.0000017698387,0.046650387,0.0008566561,0.0006879468,0.00020605107,0.000057310994,0.5889507],"genre_scores_gemma":[0.8049515,0.18873695,0.0000040093114,0.0026161992,0.00023305615,0.00008110984,0.000008800029,0.00001677494,0.0033516379],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991711,0.000056739827,0.00022109669,0.00015288935,0.000066044726,0.00033215125],"domain_scores_gemma":[0.99958915,0.000035222773,0.000032155098,0.00020336203,0.000022763312,0.00011734769],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020091317,0.00012933624,0.00026448566,0.00017051154,0.00011490335,0.000020264199,0.0001223845,0.000027762711,0.003157217],"category_scores_gemma":[0.0000121599405,0.00008127039,0.00006682932,0.00008442333,0.00008638516,0.00019570175,0.000011983672,0.00008407296,0.00040798372],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003993495,0.000037892867,0.021110438,0.0010879568,0.000028160535,0.00004889977,0.0041748495,5.471126e-7,0.0000025199913,0.09222069,0.08506535,0.7962187],"study_design_scores_gemma":[0.000119652155,0.000009579609,0.001364724,0.0038894883,0.000011616602,0.0000030200433,0.0001599556,4.3835e-7,0.0000015002901,0.0007351883,0.99357194,0.00013287812],"about_ca_topic_score_codex":0.07070915,"about_ca_topic_score_gemma":0.9192436,"teacher_disagreement_score":0.90850663,"about_ca_system_score_codex":0.00014918335,"about_ca_system_score_gemma":0.000100926656,"threshold_uncertainty_score":0.99775404},"labels":[],"label_agreement":null},{"id":"W2518470691","doi":"10.3138/md.2016.59.3.393","title":"Daniel Sack, <i>After Live: Possibility, Potentiality, and the Future of Performance</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sack; Teleology; State (computer science); Visual arts; Performance art; Art; Aesthetics; Literature; History; Art history; Epistemology; Philosophy; Computer science; Engineering","score_opus":0.010746431422810473,"score_gpt":0.2088092308322745,"score_spread":0.19806279940946403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2518470691","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95960623,0.0029766208,0.000044549975,0.0027932378,0.00043215737,0.00017417189,0.00005607071,0.00003257337,0.033884384],"genre_scores_gemma":[0.9891503,0.0008660334,0.000011209517,0.00029328503,0.0008561693,0.000018108145,0.0000012161496,0.000011343731,0.008792332],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924415,0.00003898345,0.00020599268,0.00016647148,0.00015716007,0.0001872473],"domain_scores_gemma":[0.9994961,0.000053683256,0.00006300128,0.00027583019,0.00008286977,0.000028496335],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002149963,0.00013493902,0.00021274683,0.000022634435,0.00026759802,0.00006400379,0.0001403712,0.00003561609,0.00036584944],"category_scores_gemma":[0.0000034162476,0.000059080194,0.00008051891,0.000013491076,0.0008693555,0.00025135136,0.0001442471,0.00007426152,0.000032870834],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002538831,0.00023044966,0.047597714,0.0005024919,0.00040422994,0.0000036944948,0.30455607,0.0000024436138,0.00028705804,0.12518968,0.0108442865,0.507843],"study_design_scores_gemma":[0.0073742294,0.00051655836,0.03451798,0.00038769105,0.00031277898,0.00002203315,0.0096656075,0.000594498,0.0008947834,0.07091402,0.87394273,0.0008570738],"about_ca_topic_score_codex":0.00008623629,"about_ca_topic_score_gemma":0.0009211301,"teacher_disagreement_score":0.86309844,"about_ca_system_score_codex":0.000008552418,"about_ca_system_score_gemma":0.0000139813765,"threshold_uncertainty_score":0.40057948},"labels":[],"label_agreement":null},{"id":"W2519338895","doi":"10.14288/cl.v0i144.193424","title":"“The Story of Rehearsal Never Ends”: Rehearsal, Performance, Identity in Settler Culture Drama","year":2020,"lang":"en","type":"article","venue":"Open Collections","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Identity (music); Psychology; Literature; Communication; History; Aesthetics; Art","score_opus":0.030040812006013943,"score_gpt":0.25814230756974654,"score_spread":0.2281014955637326,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2519338895","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04797918,0.0004810207,0.000003492307,0.004463804,0.0010035001,0.000575714,0.000102013495,0.000046225865,0.94534504],"genre_scores_gemma":[0.5724371,0.0007006831,0.000042716274,0.0006479069,0.000581641,0.000091475355,0.000009227091,0.000019314899,0.4254699],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992173,0.00007347276,0.00021686318,0.00015454333,0.00014873987,0.00018911123],"domain_scores_gemma":[0.999582,0.000058612255,0.00006688826,0.00015135514,0.000099003635,0.000042125903],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022339141,0.00010665069,0.00018664416,0.000036295787,0.0038903577,0.00061699795,0.00030575233,0.00003524429,0.0012606512],"category_scores_gemma":[0.00002979921,0.00007660655,0.00006057785,0.00032426883,0.00022210465,0.000979704,0.00016960442,0.0003253186,0.000049100927],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008849847,0.000048944883,0.00043211566,0.000026987005,0.000054029802,0.0000010225951,0.03445531,0.000025309671,0.000015493042,0.0037081756,0.96027714,0.00086700363],"study_design_scores_gemma":[0.00038309535,0.00019152842,0.0013014618,0.000026291247,0.000018281095,0.0000013404449,0.010625231,0.00008948721,0.00004410111,0.0002372856,0.986974,0.0001079089],"about_ca_topic_score_codex":0.0017158892,"about_ca_topic_score_gemma":0.022017146,"teacher_disagreement_score":0.52445793,"about_ca_system_score_codex":0.000039490824,"about_ca_system_score_gemma":0.000081774684,"threshold_uncertainty_score":0.9996523},"labels":[],"label_agreement":null},{"id":"W2520896111","doi":"","title":"Full Houses: mobility and complicity in the dramas of real buildings.","year":2011,"lang":"en","type":"article","venue":"Figshare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Complicity; Living room; Visual arts; Sociology; Art; Art history; Engineering; Architectural engineering; Law; Political science","score_opus":0.11537792417108692,"score_gpt":0.24943479894592033,"score_spread":0.1340568747748334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2520896111","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7527762,0.0002199852,3.93079e-8,0.000030069357,0.000027810665,0.00018471091,0.033289794,0.000028363955,0.21344301],"genre_scores_gemma":[0.99921364,0.000015619418,0.0000068417776,0.00006822928,0.00007126767,0.00002057258,0.00050957204,0.000003737954,0.00009049747],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965197,0.000016742208,0.00010523008,0.0000780691,0.00005682993,0.000091170594],"domain_scores_gemma":[0.9997597,0.000044260327,0.000039041577,0.000112767244,0.00003385547,0.0000103747325],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005367464,0.00006086089,0.0000992775,0.00001945104,0.0001045365,0.00001935976,0.000106669686,0.000015983853,0.029622164],"category_scores_gemma":[0.000020297864,0.000037461945,0.000024151444,0.000016638976,0.000043987333,0.000086482716,0.00004943549,0.000065485656,0.000044446766],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016074142,0.00034992522,0.008401791,0.00079985184,0.00005260008,0.0000053424465,0.75180423,8.677058e-7,0.000034228673,0.023577765,0.20985484,0.0049577914],"study_design_scores_gemma":[0.0007015739,0.00082400057,0.2126387,0.00093471154,0.000028531631,0.0000059230583,0.047329,0.000036433827,0.00087535166,0.0027270787,0.7334347,0.00046402702],"about_ca_topic_score_codex":0.0007170443,"about_ca_topic_score_gemma":0.003350438,"teacher_disagreement_score":0.7044753,"about_ca_system_score_codex":0.0000038488456,"about_ca_system_score_gemma":0.0000057323437,"threshold_uncertainty_score":0.9712649},"labels":[],"label_agreement":null},{"id":"W2522735840","doi":"10.3390/h5030079","title":"Re-Affecting the Stage: Affective Resonance as the Function of the Audience","year":2016,"lang":"en","type":"article","venue":"Humanities","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Affect (linguistics); Function (biology); Power (physics); Psychology; Quality (philosophy); Aesthetics; Sociology; Social psychology; Public relations; Political science; Art; Epistemology; Communication","score_opus":0.03796324884411076,"score_gpt":0.23147447383917938,"score_spread":0.19351122499506862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2522735840","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5978734,0.001964483,0.000007776991,0.0022712587,0.0014349195,0.00037151788,0.00003340215,0.00006285588,0.39598042],"genre_scores_gemma":[0.93332934,0.0001462172,5.3433916e-7,0.00056035194,0.00071159727,0.000044545202,2.4038084e-7,0.000011251035,0.06519595],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991405,0.00013020306,0.00015897723,0.00013404133,0.00022632164,0.00020996854],"domain_scores_gemma":[0.9987203,0.0006545724,0.00014844793,0.0003494885,0.0001196338,0.0000075408793],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003691043,0.00013379224,0.00012508474,0.000023094099,0.0022903578,0.000090670284,0.00031657258,0.00001831117,0.00096034596],"category_scores_gemma":[0.00008098628,0.00004440791,0.00010278215,0.00003788292,0.0014462564,0.00024632824,0.00013197499,0.00013084833,0.00006783543],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085092404,0.000024290068,0.0015970074,0.00004782341,0.000085744075,4.916626e-7,0.26380658,0.0000031342338,0.00013703569,0.6988484,0.012423269,0.022941113],"study_design_scores_gemma":[0.00020993102,0.00022987445,0.016664702,0.00019048376,0.000051542243,0.0000010449814,0.1309116,0.0000024436888,0.0011077414,0.008185258,0.84230316,0.0001421922],"about_ca_topic_score_codex":0.000513274,"about_ca_topic_score_gemma":0.012845817,"teacher_disagreement_score":0.82987994,"about_ca_system_score_codex":0.000028620827,"about_ca_system_score_gemma":0.000024871604,"threshold_uncertainty_score":0.9999529},"labels":[],"label_agreement":null},{"id":"W252390605","doi":"","title":"The telling of tales: an installation and readings concerning waiting","year":2002,"lang":"en","type":"article","venue":"Research Online (University of Wollongong)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Computer science","score_opus":0.16342135066658126,"score_gpt":0.2960516252286514,"score_spread":0.13263027456207016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W252390605","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98360014,0.0005889653,0.000011227739,0.0005104943,0.00002408142,0.00007947864,0.000024894269,0.000014589689,0.015146152],"genre_scores_gemma":[0.9938315,0.0018042973,0.000107176566,0.0000034024604,0.00012773462,8.829078e-8,0.000007133939,0.000005098668,0.0041135745],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99932927,0.000061446495,0.00009353813,0.000107514476,0.00022770796,0.00018052637],"domain_scores_gemma":[0.9993269,0.00021935509,0.000071038194,0.00010344877,0.00024036394,0.000038895512],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043628272,0.000054379485,0.000117555806,0.00011145166,0.0011628441,0.0000328046,0.0001470095,0.000023140303,0.00016505009],"category_scores_gemma":[0.00002777849,0.000046515004,0.000031714193,0.00007383439,0.00090964476,0.00032156042,0.00009649803,0.00016488456,0.0000041669978],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000186123,0.00021940579,0.013888666,0.00028147871,0.00020847835,0.000013310525,0.46771368,0.00006209895,0.0017276928,0.21159376,0.0010164042,0.3030889],"study_design_scores_gemma":[0.0009166012,0.0007986061,0.006232118,0.00035293857,0.000042703097,0.0000040632476,0.61822444,0.052781045,0.00019679633,0.00076040084,0.31942976,0.00026051953],"about_ca_topic_score_codex":0.0009619158,"about_ca_topic_score_gemma":0.004364361,"teacher_disagreement_score":0.31841338,"about_ca_system_score_codex":0.000016907044,"about_ca_system_score_gemma":0.000012321048,"threshold_uncertainty_score":0.89437747},"labels":[],"label_agreement":null},{"id":"W2526020120","doi":"10.33915/etd.1924","title":"From the Forest to the Rose","year":2008,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rose (mathematics); Character (mathematics); Minor (academic); Art; Art history; Humanities; Mathematics","score_opus":0.026729597605374324,"score_gpt":0.2406690084775469,"score_spread":0.21393941087217258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2526020120","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17592077,0.0013175565,5.381134e-7,0.0027645056,0.0025595715,0.00024950242,0.0001188039,0.000047307676,0.8170214],"genre_scores_gemma":[0.42362934,0.00054358895,0.0000037384095,0.0020164633,0.006381784,0.00007283235,0.00053084973,0.000021101168,0.5668003],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995162,0.000010806568,0.00011360847,0.00011033414,0.00012618612,0.00012289724],"domain_scores_gemma":[0.9995845,0.00008739478,0.000035905698,0.00022652709,0.000051000912,0.000014679738],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003450305,0.00013448205,0.00011800479,0.000014952158,0.0009630969,0.000115235576,0.00024525766,0.000031088144,0.002451608],"category_scores_gemma":[0.000006088003,0.000052224554,0.000080364276,0.000014112647,0.000047802547,0.000044154334,0.000019291587,0.00013380141,0.0010925572],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002317813,0.0000068505274,0.00008719608,0.0000039384354,0.000058618836,5.609964e-7,0.2893007,0.0000024461237,4.239645e-7,0.013001258,0.6920716,0.0054431716],"study_design_scores_gemma":[0.000034330515,0.000021042906,0.0028046735,0.000020880289,0.000028147224,1.3959537e-7,0.06603561,0.0000018869083,0.000010687888,0.000545066,0.9304052,0.0000923036],"about_ca_topic_score_codex":0.0074753575,"about_ca_topic_score_gemma":0.42196736,"teacher_disagreement_score":0.414492,"about_ca_system_score_codex":0.0000060990296,"about_ca_system_score_gemma":0.00001946933,"threshold_uncertainty_score":0.9996852},"labels":[],"label_agreement":null},{"id":"W2529132356","doi":"","title":"Ambos lados: deconstructing identity, performing memory","year":2015,"lang":"ca","type":"article","venue":"Estudis escènics: quaderns de l'Institut del Teatre de la Diputació de Barcelona","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Identity (music); Visual arts; Embodied cognition; Media studies; The arts; Performing arts; History; Art; Sociology; Aesthetics; Computer science; Artificial intelligence","score_opus":0.030269209735228123,"score_gpt":0.2912853677566928,"score_spread":0.26101615802146466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2529132356","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.756965,0.017383138,0.0012886316,0.00092051725,0.0025392806,0.00092350383,0.00028757364,0.00061570253,0.21907668],"genre_scores_gemma":[0.9826115,0.0038297987,0.0022069125,0.0011544178,0.0050036265,0.00017054204,0.00007095447,0.0002439047,0.0047083856],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9922546,0.00079254236,0.0015826798,0.0013411619,0.0012224545,0.0028065743],"domain_scores_gemma":[0.99588543,0.0007416936,0.0006363479,0.0011241529,0.0004608099,0.001151587],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0034162248,0.0014828104,0.0015860804,0.00065639004,0.0032394535,0.0018584226,0.0014534417,0.0007629264,0.0009615462],"category_scores_gemma":[0.0005657114,0.001516039,0.0008198634,0.00042087934,0.0022085446,0.0025821,0.0011423533,0.0021812283,0.00097305863],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006341405,0.0012157572,0.40349245,0.002135318,0.0030834288,0.0021974153,0.3342793,0.0036722624,0.00014070401,0.13732879,0.022965608,0.08885483],"study_design_scores_gemma":[0.010417438,0.0012583311,0.015349421,0.0028468487,0.0039602485,0.0038799518,0.29649663,0.016557442,0.0006579817,0.030650964,0.6115771,0.0063476614],"about_ca_topic_score_codex":0.0048346627,"about_ca_topic_score_gemma":0.007984364,"teacher_disagreement_score":0.5886115,"about_ca_system_score_codex":0.0018918241,"about_ca_system_score_gemma":0.0022865843,"threshold_uncertainty_score":0.9999517},"labels":[],"label_agreement":null},{"id":"W2530475234","doi":"","title":"La Danse du guerrier, Canada [Québec] 2001, 52 minutes La Danse du guerrier, Canada [Québec] 2001, 52 minutes","year":2001,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Environmental science","score_opus":0.01250620958269485,"score_gpt":0.2034413465880323,"score_spread":0.19093513700533746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2530475234","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27361035,0.1309433,0.000010899106,0.2898827,0.005545065,0.00081466476,0.0024625177,0.00021336356,0.29651716],"genre_scores_gemma":[0.4820118,0.026780311,0.00017658365,0.0032298919,0.0060359095,0.00019807414,0.0001634594,0.00018597808,0.48121798],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9939988,0.00074768084,0.0012418466,0.0010659783,0.00076844066,0.002177235],"domain_scores_gemma":[0.99524784,0.0019837576,0.000531756,0.00095156423,0.0004642473,0.000820861],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010982468,0.0012201854,0.0012913854,0.00021028996,0.00219013,0.00045899933,0.0012002985,0.00043222646,0.004574189],"category_scores_gemma":[0.00043968094,0.0011707216,0.00034489436,0.0003860431,0.0019915097,0.00076171476,0.0002668907,0.0010193366,0.00007116351],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015935654,0.00018735723,0.04945457,0.00055523316,0.00050721754,0.0035631177,0.01780201,0.00021080577,0.000044532466,0.0039972523,0.9152736,0.008244913],"study_design_scores_gemma":[0.0009100031,0.00022518862,0.006052288,0.0008834421,0.00043350566,0.0013598535,0.014811803,0.00042143613,0.00013574376,0.00025442112,0.9730978,0.0014144963],"about_ca_topic_score_codex":0.99976856,"about_ca_topic_score_gemma":0.99998784,"teacher_disagreement_score":0.2866528,"about_ca_system_score_codex":0.001465104,"about_ca_system_score_gemma":0.010202936,"threshold_uncertainty_score":0.9991089},"labels":[],"label_agreement":null},{"id":"W2531726994","doi":"10.1080/20567790.2016.1234022","title":"On expressionistic mysterium: Michael Chekhov’s tragic character on page and on stage","year":2016,"lang":"en","type":"article","venue":"Stanislavski Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"HAMLET (protein complex); Tragedy (event); Literature; Character (mathematics); Reading (process); Style (visual arts); Art; Cleopatra; Drama; Russian literature; Close reading; Philosophy; Linguistics","score_opus":0.04916777819043445,"score_gpt":0.27184839823388696,"score_spread":0.22268062004345252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2531726994","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8856279,0.0013456239,0.0000022218578,0.002711148,0.0012950551,0.00034386548,0.00052898884,0.00015113076,0.10799402],"genre_scores_gemma":[0.95017296,0.0019127053,0.000004702696,0.0010254951,0.00069299474,0.00007276477,0.0000036154222,0.000034821653,0.046079963],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854934,0.00005256002,0.00027616663,0.0004276798,0.00028128666,0.00041297876],"domain_scores_gemma":[0.99902,0.00042072244,0.000110390814,0.00030838806,0.00008089897,0.000059603426],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014420423,0.00038262943,0.00044921075,0.00010750386,0.0009003236,0.00008820209,0.000099084915,0.00004320374,0.0006430575],"category_scores_gemma":[0.000046905203,0.00020029861,0.00008212978,0.00002254824,0.00051612296,0.00015565137,0.000092269045,0.00013942175,0.00039090868],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002114904,0.00063117483,0.0005211863,0.0005825057,0.0012106673,0.00016003686,0.24304323,0.0000012544817,0.0046062046,0.6388033,0.08111274,0.027212778],"study_design_scores_gemma":[0.003966635,0.006414456,0.0042358837,0.0029242341,0.000174368,0.0000057326215,0.051404733,0.0000036490014,0.0048737777,0.014684698,0.9097137,0.0015981566],"about_ca_topic_score_codex":0.000012524047,"about_ca_topic_score_gemma":0.00018972706,"teacher_disagreement_score":0.82860094,"about_ca_system_score_codex":0.00006409042,"about_ca_system_score_gemma":0.000011137824,"threshold_uncertainty_score":0.81679404},"labels":[],"label_agreement":null},{"id":"W2531953064","doi":"10.3138/md.2016.59.3.387","title":"Lynette Goddard, <i>Contemporary Black British Playwrights: Margins to Mainstream</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Kwame; Mainstream; History; Sociology; Art history; Media studies; Anthropology; Political science; Law","score_opus":0.020945974491850216,"score_gpt":0.20859820578117355,"score_spread":0.18765223128932335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2531953064","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5021211,0.00065598445,0.0005214484,0.004785083,0.0006427779,0.00031339694,0.0005140876,0.0002466061,0.49019954],"genre_scores_gemma":[0.9035136,0.00011112798,0.000035443027,0.0018714094,0.0009819743,0.000029852843,0.0000085578595,0.000036377125,0.09341164],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875784,0.000024429555,0.0002554716,0.00033562415,0.00021310232,0.0004135522],"domain_scores_gemma":[0.9993948,0.000044336513,0.00005138726,0.00030647585,0.00007549474,0.00012754498],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009170481,0.00021249725,0.00026724063,0.00006986752,0.00037798737,0.0002468625,0.00023202598,0.000048710834,0.0014997355],"category_scores_gemma":[0.0000060867783,0.00015323807,0.00011162118,0.00002857343,0.00027999858,0.0003963862,0.00008042905,0.000083351726,0.0016919258],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015684034,0.0001640121,0.0022371851,0.00007624117,0.00021179911,0.00012372533,0.046120875,0.000007802004,0.00046342096,0.020129371,0.7712203,0.15908839],"study_design_scores_gemma":[0.0006908617,0.000121127836,0.0005363277,0.00021059466,0.000014214947,0.0000067839605,0.00067897025,0.000027673439,0.00032145082,0.0035207244,0.9935137,0.00035754012],"about_ca_topic_score_codex":0.00057642884,"about_ca_topic_score_gemma":0.0068857963,"teacher_disagreement_score":0.40139255,"about_ca_system_score_codex":0.000046231642,"about_ca_system_score_gemma":0.000038604794,"threshold_uncertainty_score":0.999413},"labels":[],"label_agreement":null},{"id":"W253254512","doi":"","title":"Voice and Body: Ahead of the Curve and Scouts Are Cancelled","year":2007,"lang":"en","type":"article","venue":"Cineaction!","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Feeling; Pleasure; Aesthetics; Visual arts; Art; Sociology; Psychology; Social psychology","score_opus":0.020806140802594197,"score_gpt":0.23572288348275658,"score_spread":0.2149167426801624,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W253254512","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94000226,0.0011507672,0.0000038538324,0.00046328103,0.0004421906,0.00006673124,0.00001024117,0.000012855843,0.05784784],"genre_scores_gemma":[0.9943503,0.00015144372,0.0000025921129,0.00010963707,0.00037229393,0.0000014384376,5.619152e-7,0.0000040320006,0.0050077],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970645,0.000005996875,0.00008699943,0.00006523953,0.0000544485,0.000080877544],"domain_scores_gemma":[0.9997706,0.000039484003,0.000057324494,0.00007169161,0.00004450038,0.00001644311],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000881505,0.00005423936,0.000086274915,0.000023426705,0.00026532952,0.000015683925,0.000026584059,0.000013418274,0.00008225248],"category_scores_gemma":[0.0000065876575,0.000033824464,0.000017013597,0.000018021527,0.00016265405,0.00008350283,0.000020470292,0.00005947226,0.0000039798206],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037803894,0.00019259547,0.6753967,0.00065438607,0.0003487693,0.000006134579,0.1805786,0.000005003681,0.003160748,0.048157804,0.05164151,0.039479706],"study_design_scores_gemma":[0.0004576656,0.00005479309,0.3641901,0.00008291211,0.000047421458,0.0000060266084,0.01784886,0.00001760571,0.0015778404,0.0003145166,0.6152818,0.000120413504],"about_ca_topic_score_codex":0.000481876,"about_ca_topic_score_gemma":0.008360029,"teacher_disagreement_score":0.56364036,"about_ca_system_score_codex":0.000006989864,"about_ca_system_score_gemma":0.000006197182,"threshold_uncertainty_score":0.46650928},"labels":[],"label_agreement":null},{"id":"W2538267519","doi":"10.3138/md.2885r","title":"Playing the Help, Playing the Slave: Disrupting Racial Fantasies in Lynn Nottage’s <i>By the Way, Meet Vera Stark</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Identity (music); Normative; White (mutation); Race (biology); Sociology; Gender studies; Aesthetics; Art; Epistemology; Philosophy","score_opus":0.023282693757293676,"score_gpt":0.24043992993820487,"score_spread":0.2171572361809112,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2538267519","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92749155,0.0019866684,0.000111003515,0.011933579,0.00071894494,0.0003882534,0.00015491323,0.00008724378,0.057127856],"genre_scores_gemma":[0.994197,0.00019685074,0.0000064425317,0.0011163345,0.0011092972,0.000079910336,0.00000497815,0.000033733748,0.0032554273],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984046,0.00012611852,0.00033289264,0.00026316746,0.00032741117,0.00054580945],"domain_scores_gemma":[0.998721,0.0006804744,0.000120926576,0.00040307475,0.00004571986,0.000028812405],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.000582206,0.00026997793,0.000239016,0.00003960974,0.003356197,0.00040560646,0.00052968995,0.00004783769,0.00018593082],"category_scores_gemma":[0.000043163367,0.00010125517,0.00011767131,0.00004787665,0.0005441495,0.00038302105,0.00023608522,0.00026347293,0.0000663742],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002800374,0.0000911104,0.012097995,0.000057932495,0.00024048955,0.000017208402,0.78233093,0.00007897452,0.00251799,0.042914,0.023998937,0.13537438],"study_design_scores_gemma":[0.0032121832,0.00024637263,0.005743243,0.00062081876,0.00022369449,0.000031055733,0.09783453,0.0041496726,0.0018033201,0.018128684,0.8665256,0.001480827],"about_ca_topic_score_codex":0.00082881475,"about_ca_topic_score_gemma":0.009579318,"teacher_disagreement_score":0.8425267,"about_ca_system_score_codex":0.00005451443,"about_ca_system_score_gemma":0.000025631407,"threshold_uncertainty_score":0.9979413},"labels":[],"label_agreement":null},{"id":"W2539122465","doi":"10.3138/md.3066r","title":"“Devour Him!”: Appetites, Politics, and the Foundations of the Epic in Bertolt Brecht’s <i>Edward II</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanity; Politics; Courage; Asceticism; EPIC; Literature; Aesthetics; Philosophy; History; Psychoanalysis; Environmental ethics; Art history; Art; Law; Political science; Psychology; Theology","score_opus":0.01750606785167769,"score_gpt":0.2174639302150809,"score_spread":0.1999578623634032,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2539122465","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7223621,0.0018116073,0.00011593374,0.040072605,0.0007347473,0.00047706184,0.00013646537,0.00004187633,0.23424758],"genre_scores_gemma":[0.97947,0.00017504039,0.0000074510535,0.00047291745,0.00019419225,0.000017351815,0.0000011359651,0.0000088200795,0.0196531],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999385,0.00004347788,0.00017934534,0.00010546166,0.00010677308,0.00017996843],"domain_scores_gemma":[0.9995097,0.00014948664,0.00005686298,0.00021812932,0.000048428043,0.000017377213],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013604075,0.00009421159,0.00015086366,0.000032763186,0.00048176915,0.000038731214,0.00015533471,0.000022714483,0.00016972491],"category_scores_gemma":[0.000028674496,0.00003928862,0.000058107664,0.0000224909,0.00069766515,0.00011250356,0.00012709787,0.000072471434,0.000012068323],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039710223,0.0000609258,0.0070451978,0.000036894427,0.00006281402,4.530176e-7,0.075928725,0.000004060129,0.000085320346,0.89656985,0.0032694903,0.01689655],"study_design_scores_gemma":[0.0021707858,0.00006500518,0.0068190834,0.00022695225,0.000058313162,0.0000047109997,0.0024756338,0.00025456937,0.00035547727,0.22230645,0.76503825,0.00022476935],"about_ca_topic_score_codex":0.0010212505,"about_ca_topic_score_gemma":0.006608517,"teacher_disagreement_score":0.76176876,"about_ca_system_score_codex":0.000017678902,"about_ca_system_score_gemma":0.000026411677,"threshold_uncertainty_score":0.37054273},"labels":[],"label_agreement":null},{"id":"W2545030825","doi":"10.3138/utq.85.3.450","title":"<i>Dramaturgy of Sound in the Avant-Garde and Postdramatic Theatre</i> by Mladen Ovadija","year":2016,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Dramaturgy; Avant garde; Sound (geography); Art; Art history; Literature; Acoustics; Physics","score_opus":0.008024870450226183,"score_gpt":0.17857052599106693,"score_spread":0.17054565554084075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2545030825","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85852015,0.001659895,0.00002010917,0.0009892357,0.00012317376,0.00015974832,0.00011818373,0.000016254971,0.13839325],"genre_scores_gemma":[0.9962564,0.00020846515,0.000014216322,0.00003698952,0.000037170143,1.7258103e-7,0.0000019239683,0.0000036189867,0.003441021],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995218,0.00004389289,0.00010805852,0.00009479698,0.00010481651,0.00012666658],"domain_scores_gemma":[0.9996289,0.000104808074,0.00007240553,0.00014345709,0.00003148804,0.00001891653],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009976665,0.00008504537,0.00017250278,0.000017111883,0.00012527047,0.000014413089,0.00017452292,0.000025635245,0.000753329],"category_scores_gemma":[0.0000012367956,0.000051749663,0.000047492253,0.0000032041478,0.00032626465,0.00030160465,0.000015039598,0.000032645046,0.0000102614695],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016980387,0.00012359835,0.0024339496,0.0001021635,0.000104347324,0.0000045690276,0.9200172,7.297533e-8,0.00056717644,0.0086705685,0.015575772,0.05223081],"study_design_scores_gemma":[0.0030189601,0.0023770886,0.010679575,0.00031602965,0.00016899516,0.000008434154,0.47429442,0.000013630566,0.00007424874,0.004803395,0.50379556,0.0004496905],"about_ca_topic_score_codex":0.010362793,"about_ca_topic_score_gemma":0.09293543,"teacher_disagreement_score":0.48821977,"about_ca_system_score_codex":0.00002396375,"about_ca_system_score_gemma":0.00000857618,"threshold_uncertainty_score":0.99622726},"labels":[],"label_agreement":null},{"id":"W2545842188","doi":"","title":"Historical Text and the Postmodern Aesthetic: Case Study of Handmade Performance's The Last Judgement","year":2000,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Judgement; Postmodernism; Aesthetics; Art; Visual arts; Literature; Philosophy; Epistemology","score_opus":0.01708105188674408,"score_gpt":0.2058533186652301,"score_spread":0.18877226677848602,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2545842188","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95762223,0.001452275,1.7094281e-7,0.0014105423,0.00017218177,0.00039681137,0.0000041271946,0.000025178235,0.03891646],"genre_scores_gemma":[0.99201334,0.00024953412,0.0000015909646,0.000118235264,0.00032758576,0.00004099979,3.9178292e-7,0.000013823925,0.0072345175],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910176,0.00009062915,0.0002461934,0.0001546012,0.00020309031,0.0002037427],"domain_scores_gemma":[0.9995032,0.00006703692,0.00005613851,0.00030553757,0.0000386703,0.000029398547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022590414,0.00016041032,0.00023880512,0.00003208962,0.0010220289,0.0000922869,0.00016594627,0.000020717502,0.00061319896],"category_scores_gemma":[0.0000010335143,0.00007167347,0.000067267,0.000036344176,0.00040980824,0.00012414857,0.000056140132,0.0001647145,0.000042992713],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035834394,0.00033015435,0.009882524,0.00002117099,0.0001206653,0.000041513787,0.68214417,0.000025774827,9.980877e-7,0.0010500984,0.0026632166,0.30336136],"study_design_scores_gemma":[0.004843075,0.0025728326,0.0073530013,0.000049670405,0.00035307914,0.00052655436,0.093672186,0.0001918295,0.00000886837,0.00033293336,0.8897223,0.00037368835],"about_ca_topic_score_codex":0.004664161,"about_ca_topic_score_gemma":0.0037754828,"teacher_disagreement_score":0.8870591,"about_ca_system_score_codex":0.000025212492,"about_ca_system_score_gemma":0.000010425514,"threshold_uncertainty_score":0.78607225},"labels":[],"label_agreement":null},{"id":"W2546447349","doi":"","title":"The theatre of collective creation a study of the treatment of several issues in canadian drama","year":2013,"lang":"en","type":"dissertation","venue":"Shodhganga","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Literature; Political science; Art; Visual arts; Aesthetics; Sociology","score_opus":0.015226252405178716,"score_gpt":0.2630207236625463,"score_spread":0.2477944712573676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2546447349","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9024103,0.0011384579,3.6228076e-9,0.00007895424,0.0003830643,0.0008644009,0.00008605177,0.0000032239557,0.095035486],"genre_scores_gemma":[0.94233036,0.0003582154,8.210447e-7,0.000004040074,0.00011133215,0.00010970474,0.0000358802,0.0000123340005,0.05703734],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991816,0.00008218605,0.00030859341,0.000109648536,0.00015811677,0.00015985126],"domain_scores_gemma":[0.9992806,0.000088649205,0.00020875054,0.00022113894,0.00018199693,0.000018889414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008064933,0.0001578267,0.0003370413,0.000120709934,0.00031523372,0.000023187558,0.00014723485,0.000052426924,0.00017303416],"category_scores_gemma":[0.0000074260547,0.00007977093,0.00009660117,0.00007824315,0.00011480642,0.000047245652,0.000006346322,0.00006910885,0.0000022199388],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017201029,0.00044245223,0.011644258,0.00007531865,0.0003758265,4.2617967e-7,0.9779843,0.000019331761,0.000015131274,0.0021765258,0.0014692395,0.0056251786],"study_design_scores_gemma":[0.0011056857,0.0028985434,0.13845518,0.00028748202,0.00031950657,2.1163747e-7,0.7840083,0.000029564106,0.0016027908,0.0010755768,0.06996863,0.00024850023],"about_ca_topic_score_codex":0.6952006,"about_ca_topic_score_gemma":0.9900807,"teacher_disagreement_score":0.2948801,"about_ca_system_score_codex":0.00013712644,"about_ca_system_score_gemma":0.00027548836,"threshold_uncertainty_score":0.3252964},"labels":[],"label_agreement":null},{"id":"W2547332780","doi":"10.1177/1077800416673661","title":"Veracity in Alana Valentine’s <i>Ladies Day</i> : Implications for Research-Informed Theater","year":2016,"lang":"en","type":"article","venue":"Qualitative Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Sociology; Media studies; Psychology","score_opus":0.4371100906562195,"score_gpt":0.49257486475747875,"score_spread":0.05546477410125927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2547332780","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85162157,0.00061523484,0.00044516765,0.02986738,0.001181607,0.0011759275,0.0009690185,0.0001377353,0.11398636],"genre_scores_gemma":[0.98712337,0.00018775805,0.00007414587,0.00028601047,0.00071485713,0.00046475153,0.000021170394,0.000016496633,0.011111417],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986665,0.00022643512,0.00031456855,0.00021570874,0.0001382359,0.00043854993],"domain_scores_gemma":[0.99699295,0.002386654,0.00005823644,0.0002166397,0.00030328744,0.000042224725],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014555965,0.00013331788,0.00020396085,0.00018856418,0.00049774983,0.000055464396,0.0001692314,0.000033232795,0.00031740466],"category_scores_gemma":[0.0002631951,0.00007966754,0.00007834976,0.00006163605,0.0010642809,0.00046333447,0.00006372162,0.00009455222,0.00018317252],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006835354,0.000042338826,0.0009966984,0.000053414293,0.000042482254,1.9049644e-7,0.6186131,1.2506403e-7,0.00013567343,0.3187867,0.054027412,0.0072334684],"study_design_scores_gemma":[0.0008862728,0.00025036075,0.007092323,0.00016539643,0.0000109669745,3.510667e-7,0.17545368,0.000001357855,0.0003694534,0.120617956,0.694904,0.00024783015],"about_ca_topic_score_codex":0.00012784294,"about_ca_topic_score_gemma":0.0025352472,"teacher_disagreement_score":0.64087665,"about_ca_system_score_codex":0.00007418082,"about_ca_system_score_gemma":0.000050549836,"threshold_uncertainty_score":0.39213872},"labels":[],"label_agreement":null},{"id":"W2549662631","doi":"10.3390/h5040083","title":"Correction: Ana Pais. “Re-Affecting the Stage: Affective Resonance as the Function of the Audience.” Humanities 5 (2016): 79","year":2016,"lang":"en","type":"article","venue":"Humanities","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Function (biology); Psychology; Humanities; Stage (stratigraphy); Art; Cognitive psychology; Geology; Biology","score_opus":0.037125510714514184,"score_gpt":0.2270892076289347,"score_spread":0.1899636969144205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2549662631","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35834792,0.0060600718,0.00001975323,0.0016153654,0.009441132,0.00085224793,0.00008861425,0.00021977775,0.62335515],"genre_scores_gemma":[0.8394894,0.00042073312,6.279189e-7,0.000726,0.0016768435,0.00010318401,0.0000012945956,0.000026304666,0.15755561],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99828416,0.0002780464,0.00034267284,0.0002674537,0.0004204429,0.00040722245],"domain_scores_gemma":[0.99763364,0.0011810365,0.00032221284,0.00055387866,0.0002931129,0.000016132099],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00060651853,0.00029824054,0.00027310348,0.00007299504,0.004475105,0.00022381202,0.0005034067,0.000046354457,0.002542504],"category_scores_gemma":[0.00013795153,0.00011689151,0.00021876513,0.00008223488,0.002701481,0.0004557443,0.00020655175,0.00028604138,0.00012323489],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021408827,0.00006787927,0.0017406908,0.00010848566,0.00028347282,0.0000017798976,0.3319898,0.000013478206,0.00010165934,0.5002404,0.1162505,0.04898775],"study_design_scores_gemma":[0.00032011056,0.0004281432,0.017062496,0.00034514416,0.000104593666,0.00000470176,0.170271,0.000009262293,0.0005975764,0.005202002,0.8053854,0.00026959492],"about_ca_topic_score_codex":0.0016357072,"about_ca_topic_score_gemma":0.02623482,"teacher_disagreement_score":0.6891349,"about_ca_system_score_codex":0.000083443614,"about_ca_system_score_gemma":0.00007304793,"threshold_uncertainty_score":0.99836934},"labels":[],"label_agreement":null},{"id":"W2550010898","doi":"10.1007/978-3-319-39844-0_10","title":"Chapter 9 As the Curtain Closes","year":2016,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"","keywords":"Iron Curtain; Face (sociological concept); Political science; Computer science; Engineering; Sociology; Law; Social science","score_opus":0.033811983164712664,"score_gpt":0.22249135106248288,"score_spread":0.18867936789777023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2550010898","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00001826549,0.0011008921,6.260263e-7,0.0036692938,0.00076569535,0.00014963352,0.000064317166,0.00008355998,0.9941477],"genre_scores_gemma":[0.01098308,0.0016336726,0.0000014104169,0.0017637163,0.003414248,0.000009308372,0.000004652226,0.000038580754,0.9821513],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992858,0.0000036611787,0.00018172189,0.00017952341,0.00016379257,0.00018545898],"domain_scores_gemma":[0.99945897,0.00007453046,0.000077839744,0.0002937414,0.000067961155,0.000026935135],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006958329,0.00026820178,0.00022742643,0.000050833725,0.0004891547,0.0000885825,0.00019431504,0.00006596611,0.08933201],"category_scores_gemma":[0.000002105876,0.00011419012,0.00016909868,0.0000012129094,0.0004682146,0.000090525304,0.000090073474,0.0001569194,0.009313447],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008551941,0.0000019957502,0.0000012086693,0.000008691454,0.000104739454,0.000002377641,0.0046290914,7.1317774e-9,2.5377827e-7,0.9478318,0.028163815,0.019247469],"study_design_scores_gemma":[0.00006308115,0.000059341943,8.090894e-7,0.00007186157,0.000040920415,0.0000020882321,0.00032219148,1.038179e-7,0.0000044833478,0.15112406,0.8481165,0.00019454103],"about_ca_topic_score_codex":0.000063011255,"about_ca_topic_score_gemma":0.000927331,"teacher_disagreement_score":0.8199527,"about_ca_system_score_codex":0.0000106866655,"about_ca_system_score_gemma":0.000014740243,"threshold_uncertainty_score":0.99145794},"labels":[],"label_agreement":null},{"id":"W2550254801","doi":"10.1177/0262728016663271","title":"Caste from Below","year":2016,"lang":"en","type":"article","venue":"South Asia Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Caste; Hinduism; BENGAL; Scholarship; Sociology; Performative utterance; Gender studies; Mythology; Anthropology; Social science; Aesthetics; History; Political science; Religious studies; Art; Philosophy; Law","score_opus":0.13560900704019488,"score_gpt":0.3302615020965467,"score_spread":0.19465249505635182,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2550254801","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40340602,0.0005754128,0.000004225078,0.0033847895,0.0003895133,0.0001414117,0.00023149111,0.000066140055,0.591801],"genre_scores_gemma":[0.92969495,0.00005423795,0.000011405979,0.00003106554,0.0014729374,0.00002135057,0.0000035717746,0.000013078113,0.06869738],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886763,0.00006945157,0.0001081382,0.00018259938,0.00035871917,0.00041348403],"domain_scores_gemma":[0.9993629,0.00016407296,0.000015620959,0.00023716892,0.00015283175,0.00006744541],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032341015,0.00008110372,0.00010995966,0.000103955565,0.00057327515,0.00009218095,0.00018422522,0.000026602867,0.0075743254],"category_scores_gemma":[0.000038222017,0.000044390075,0.000046079258,0.00003839106,0.00044593707,0.00013387614,0.0001108857,0.00014562892,0.005865992],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036055254,0.000107135405,0.025345467,0.000066291665,0.00028700262,0.000057605,0.42888123,2.464314e-7,0.0007650403,0.2157146,0.14012662,0.18828821],"study_design_scores_gemma":[0.00039733187,0.00010122692,0.0016124181,0.000055936984,0.0000052174773,3.7515474e-7,0.020249283,0.0000024398032,0.000368076,0.006030261,0.9710588,0.00011867437],"about_ca_topic_score_codex":0.00050205615,"about_ca_topic_score_gemma":0.0014449363,"teacher_disagreement_score":0.83093214,"about_ca_system_score_codex":0.000027231563,"about_ca_system_score_gemma":0.000040082377,"threshold_uncertainty_score":0.99490803},"labels":[],"label_agreement":null},{"id":"W2553232403","doi":"","title":"Enacting Cognition: Actor Education and the Performance of Everyday Life","year":2015,"lang":"en","type":"article","venue":"QSpace (Queen's University Library)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University","keywords":"Cognition; Everyday life; Psychology; Cognitive psychology; Cognitive science; Epistemology; Philosophy","score_opus":0.014741365132597516,"score_gpt":0.18190583801202292,"score_spread":0.1671644728794254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2553232403","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81782824,0.00012237385,0.0000015153702,0.02300363,0.00031490225,0.0001371624,0.000016679272,0.00006257264,0.15851292],"genre_scores_gemma":[0.9318031,0.00039669793,0.00004871265,0.00024392987,0.00030175524,7.451576e-7,0.000010845158,0.000007638373,0.06718659],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953145,0.000054209817,0.000080382284,0.000107401494,0.000109055756,0.00011753166],"domain_scores_gemma":[0.9995573,0.00008590946,0.000094981486,0.00011589797,0.000072927345,0.0000729613],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00005696976,0.0000975805,0.00014788458,0.00007868854,0.0003403169,0.000053701762,0.00011883071,0.00002635633,0.0002776322],"category_scores_gemma":[0.000014506436,0.00007214833,0.000040647952,0.000059358954,0.0003770847,0.0014091516,0.000102774036,0.000101607926,0.000021051905],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015207826,0.00022044257,0.037990835,0.000299727,0.00029459823,0.000003423491,0.2184785,0.000014885462,0.0000024410429,0.11999669,0.61652863,0.0046490547],"study_design_scores_gemma":[0.0010617267,0.00014254687,0.0022721123,0.00008694959,0.000090907415,3.4868043e-7,0.09021368,0.0000152536795,0.00036079093,0.0002550788,0.9053208,0.0001797917],"about_ca_topic_score_codex":0.0010553643,"about_ca_topic_score_gemma":0.000040769926,"teacher_disagreement_score":0.2887922,"about_ca_system_score_codex":0.000012291076,"about_ca_system_score_gemma":0.00016308123,"threshold_uncertainty_score":0.3039878},"labels":[],"label_agreement":null},{"id":"W2553903514","doi":"10.1515/jcde-2016-0022","title":"The Messy Business of Art, Research, and Collaboration: Audience Engagement in Home/Less/Mess","year":2016,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Audience response; Subject (documents); Audience participation; Theatre studies; Audience reception; Sociology; Public relations; Media studies; Aesthetics; Art; Visual arts; Political science; Drama; Engineering; World Wide Web","score_opus":0.06390438302856312,"score_gpt":0.2892353379656302,"score_spread":0.22533095493706712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2553903514","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9358479,0.00510832,0.0000035822497,0.004555286,0.0010573246,0.00018451246,0.000013493428,0.000006147991,0.05322348],"genre_scores_gemma":[0.995457,0.0022332298,0.00000787466,0.000027023145,0.0005537538,0.000009080157,3.7801357e-7,0.0000070470664,0.0017046011],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859124,0.00020457213,0.0005873506,0.00009320937,0.00034212274,0.00018150543],"domain_scores_gemma":[0.99758,0.0006784101,0.00026796808,0.00012905644,0.0013097152,0.00003483744],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023903886,0.00009321707,0.0002702031,0.0002393754,0.00022461063,0.00012336111,0.00021615716,0.000028406086,0.000034775792],"category_scores_gemma":[0.00030620713,0.000048726743,0.0000266396,0.00019662028,0.0006133436,0.0008812679,0.00007628349,0.00023061372,0.0000013869968],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0021359965,0.000701928,0.17006142,0.00037409377,0.00023325766,0.00021669881,0.43936887,0.000030072637,0.00035073937,0.20674743,0.14566775,0.03411174],"study_design_scores_gemma":[0.001958074,0.0004194568,0.024532981,0.000891454,0.0000054964457,0.0000029629514,0.08308125,0.0000035686016,0.0001859361,0.004771758,0.8840087,0.00013835714],"about_ca_topic_score_codex":0.000038800925,"about_ca_topic_score_gemma":0.0014398185,"teacher_disagreement_score":0.738341,"about_ca_system_score_codex":0.00004164069,"about_ca_system_score_gemma":0.00019978322,"threshold_uncertainty_score":0.22598901},"labels":[],"label_agreement":null},{"id":"W2557625206","doi":"10.3138/md.2016.59.4.500","title":"Alyson Campbell and Stephen Farrier, eds., <i>Queer Dramaturgies: International Perspectives on Where Performance Leads Queer</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Queer theory; Sociology; Gender studies","score_opus":0.01249216400902586,"score_gpt":0.21926122683141222,"score_spread":0.20676906282238636,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2557625206","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78583896,0.00534322,0.0001069213,0.0040369644,0.00092138315,0.00023273427,0.000107645035,0.00018384925,0.2032283],"genre_scores_gemma":[0.9473297,0.0042894795,0.00003016577,0.00028673292,0.0010005343,0.00003251914,0.000004312538,0.000033056585,0.0469935],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987567,0.000027666223,0.00021593008,0.00037818647,0.00028872752,0.00033279415],"domain_scores_gemma":[0.9993487,0.00007893346,0.00008549982,0.00026567615,0.00015197929,0.000069183705],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011723925,0.0002705312,0.00024836042,0.000105097024,0.0004483761,0.00022495656,0.00022714678,0.00006606169,0.0010630972],"category_scores_gemma":[0.0000142606,0.00017050629,0.0000833371,0.000022754837,0.00039060463,0.0006024297,0.0001035937,0.00015994483,0.00023857999],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006887471,0.00022549706,0.010318183,0.00018682069,0.00056719146,0.000013361271,0.514339,0.00003985047,0.0008301349,0.0634838,0.028938144,0.38036925],"study_design_scores_gemma":[0.0011834679,0.00035320694,0.001170682,0.0003333643,0.000045343822,0.0000075575285,0.016232148,0.0005057034,0.0004660532,0.0015502807,0.97760576,0.00054644543],"about_ca_topic_score_codex":0.00010831248,"about_ca_topic_score_gemma":0.0004476482,"teacher_disagreement_score":0.9486676,"about_ca_system_score_codex":0.00007242967,"about_ca_system_score_gemma":0.000025373165,"threshold_uncertainty_score":0.9998501},"labels":[],"label_agreement":null},{"id":"W2557662907","doi":"10.3138/md.2016.59.4.512","title":"Mary Mazzilli, <i>Gao Xingjian’s Post-Exile Plays: Transnationalism and Postdramatic Theatre</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Transnationalism; Art; Sociology; Literature; Politics; Political science; Law","score_opus":0.01565502319014295,"score_gpt":0.20556226229147476,"score_spread":0.1899072391013318,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2557662907","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70763993,0.0027355978,0.00042308331,0.027330415,0.0007310306,0.00049043994,0.000631431,0.00031673766,0.25970134],"genre_scores_gemma":[0.98643565,0.00017808835,0.000053440814,0.0013887264,0.0004718385,0.00003338988,0.000019069937,0.0000307183,0.011389101],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989859,0.00002823684,0.00022713581,0.00024799758,0.0002085954,0.0003021525],"domain_scores_gemma":[0.99947655,0.00013035061,0.000051029747,0.0001975152,0.0000758691,0.00006867121],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000107278385,0.0002075909,0.00021932874,0.000078983496,0.00042498903,0.00013718409,0.00013629283,0.000049554506,0.0016217254],"category_scores_gemma":[0.000005367447,0.00012726398,0.00007996258,0.000015909496,0.0002627958,0.00043841294,0.00004556605,0.000080523736,0.00017825617],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036921498,0.00032561482,0.0025291839,0.00041066078,0.0004958859,0.000041278185,0.24074972,0.000010490523,0.0052502225,0.41087008,0.020348052,0.3185996],"study_design_scores_gemma":[0.0037196882,0.00066265534,0.003703703,0.00044099698,0.00021742281,0.00008191839,0.005753066,0.00066024327,0.0012089923,0.1518046,0.8302938,0.0014529229],"about_ca_topic_score_codex":0.00010008677,"about_ca_topic_score_gemma":0.0005085699,"teacher_disagreement_score":0.80994576,"about_ca_system_score_codex":0.000026901824,"about_ca_system_score_gemma":0.000024234421,"threshold_uncertainty_score":0.99929094},"labels":[],"label_agreement":null},{"id":"W2558420557","doi":"10.3138/md.2016.59.4.502","title":"Dorothy Chansky, <i>Kitchen Sink Realisms: Domestic Labor, Dining, and Drama in American Theatre</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Originality; Sink (geography); Aesthetics; History; Visual arts; Art; Advertising; Sociology; Business; Social science; Geography; Cartography","score_opus":0.01476316860760936,"score_gpt":0.23465334746963054,"score_spread":0.21989017886202117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2558420557","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9170051,0.00135414,0.00009126832,0.0077494914,0.0002953245,0.00024541037,0.00012225812,0.00016775678,0.07296923],"genre_scores_gemma":[0.99300504,0.0007170608,0.00004200353,0.000828408,0.0005331745,0.000048680828,0.0000051629086,0.000035866204,0.004784581],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987687,0.000045076238,0.00025078008,0.00032925748,0.00016875922,0.0004374264],"domain_scores_gemma":[0.99936783,0.00014014536,0.00008691241,0.000277179,0.000048229223,0.000079676145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014419935,0.00024329107,0.00035216822,0.0001207936,0.00025233353,0.00013560272,0.00015965306,0.00004030824,0.0002042485],"category_scores_gemma":[0.000013920161,0.00015323794,0.000051684056,0.00006050738,0.0006340442,0.00028528686,0.000097979704,0.000115586234,0.00006675637],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020764477,0.00017781263,0.03319894,0.00009362084,0.00013816464,0.000055401695,0.23874897,0.000006079362,0.00088998827,0.049079772,0.004065151,0.6733385],"study_design_scores_gemma":[0.00414426,0.001075235,0.014779287,0.0007041972,0.00013476545,0.000032529428,0.014871792,0.0005807487,0.00040035782,0.086040206,0.87573755,0.0014990887],"about_ca_topic_score_codex":0.0018892313,"about_ca_topic_score_gemma":0.0064033596,"teacher_disagreement_score":0.8716724,"about_ca_system_score_codex":0.00004366964,"about_ca_system_score_gemma":0.000028132465,"threshold_uncertainty_score":0.6248862},"labels":[],"label_agreement":null},{"id":"W2558982201","doi":"10.3138/md.2016.59.4.508","title":"Joe Kelleher, <i>The Illuminated Theatre: Studies on the Suffering of Images</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Performance art; Literature; Art history","score_opus":0.03605743224411531,"score_gpt":0.2403598380781138,"score_spread":0.2043024058339985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2558982201","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84470797,0.0029721118,0.00002707022,0.01754823,0.00088393147,0.00029110708,0.0000714897,0.00009649532,0.13340163],"genre_scores_gemma":[0.9869829,0.00043218257,0.0000023527562,0.00044309223,0.00039415498,0.00003088429,6.333449e-7,0.000018187384,0.011695644],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991861,0.00005573302,0.00021186958,0.00014721081,0.00017749312,0.0002215991],"domain_scores_gemma":[0.99903697,0.00041465534,0.000084334315,0.00034361475,0.00010420823,0.000016227597],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025025246,0.0001610186,0.00020257557,0.000030774903,0.0005938564,0.000041943662,0.00024534512,0.000021165892,0.0002740226],"category_scores_gemma":[0.000026506785,0.000057184854,0.00009780525,0.000027807297,0.00078646606,0.00009902758,0.0000999271,0.00009484687,0.00009070679],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003264993,0.00026798947,0.0009270469,0.00017363147,0.0012614994,0.000010621736,0.48828477,0.00005633496,0.009291103,0.21408987,0.10277845,0.18253219],"study_design_scores_gemma":[0.0014620625,0.0007187141,0.00066618656,0.0007330086,0.00020903513,0.000006031317,0.061233386,0.00024825428,0.054320727,0.04251828,0.83713084,0.00075349014],"about_ca_topic_score_codex":0.000057118214,"about_ca_topic_score_gemma":0.00033458738,"teacher_disagreement_score":0.73435235,"about_ca_system_score_codex":0.00001894174,"about_ca_system_score_gemma":0.0000102483955,"threshold_uncertainty_score":0.45675233},"labels":[],"label_agreement":null},{"id":"W2559002086","doi":"10.7202/1038602ar","title":"Online “iDentity” Formation and the High School Theatre Trip","year":2017,"lang":"en","type":"article","venue":"McGill Journal of Education / Revue des sciences de l éducation de McGill","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Identity (music); Identity formation; Digital media; Digital native; Psychology; Pedagogy; Social psychology; Art; Self-concept; Aesthetics; Computer science; World Wide Web","score_opus":0.27701568778708485,"score_gpt":0.3893768005033411,"score_spread":0.11236111271625626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2559002086","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90286005,0.0010715264,0.00006982713,0.016497644,0.003708993,0.00023252236,0.00006164895,0.000017539607,0.07548023],"genre_scores_gemma":[0.99312085,0.0014377865,0.0009681622,0.0010375663,0.0010616612,0.000011824077,0.0000034631005,0.00000769818,0.0023509697],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989099,0.00012868366,0.00041879056,0.0001208245,0.00021438645,0.00020739777],"domain_scores_gemma":[0.9983128,0.00013413286,0.00076072046,0.00022808093,0.00046171976,0.000102557235],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0016655632,0.00011913792,0.00019360062,0.00019266356,0.00590605,0.0005192448,0.00054229563,0.000031966367,0.00022595616],"category_scores_gemma":[0.00044903805,0.000077932615,0.00008980916,0.00006834658,0.001337325,0.0027474018,0.00005452299,0.00017267637,0.000015358377],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021426332,0.00061803387,0.0031797725,0.00027927503,0.00011561635,0.0000022138513,0.068597496,0.0001910182,0.00009811528,0.7899475,0.015830718,0.12092598],"study_design_scores_gemma":[0.0017247678,0.0004417653,0.035274204,0.0006416541,0.00028286997,0.0007665602,0.09114027,0.0008072782,0.00035376791,0.1986745,0.66946626,0.00042614003],"about_ca_topic_score_codex":0.000648366,"about_ca_topic_score_gemma":0.0024367697,"teacher_disagreement_score":0.6536355,"about_ca_system_score_codex":0.0002844427,"about_ca_system_score_gemma":0.00019569746,"threshold_uncertainty_score":0.99538815},"labels":[],"label_agreement":null},{"id":"W2559205554","doi":"10.3138/md.2016.59.4.519","title":"Cathy Turner. <i>Dramaturgy and Architecture: Theatre, Utopia and the Built Environment</i>","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Drama; Architecture; Utopia; Art; Visual arts; Literature; Aesthetics; Art history","score_opus":0.010333088515628462,"score_gpt":0.18683407206857575,"score_spread":0.17650098355294727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2559205554","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8223123,0.016080834,0.00074026757,0.021684462,0.00043928562,0.00048823535,0.000092494854,0.00014094105,0.13802117],"genre_scores_gemma":[0.9838687,0.0019143069,0.00002608067,0.0006913338,0.00047574734,0.00002701552,0.0000015483167,0.000017421571,0.012977839],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927634,0.000039831062,0.00013042007,0.00020696076,0.00011699472,0.0002294597],"domain_scores_gemma":[0.9995341,0.00014411773,0.000040496434,0.0002282329,0.000008425288,0.0000446646],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000115337214,0.00016851387,0.00018779235,0.000027012562,0.0004450877,0.00012724547,0.00010768003,0.000032485288,0.00020868574],"category_scores_gemma":[0.000004073198,0.00007229064,0.000047886453,0.0000071040226,0.0009876713,0.00011204805,0.00012304648,0.00009723764,0.00003446237],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026852745,0.000038690963,0.0008355124,0.000040219085,0.00015001968,0.000004456639,0.09278813,0.0000051945976,0.0003563905,0.13550079,0.001884157,0.7681279],"study_design_scores_gemma":[0.0016093628,0.0000625913,0.00044277348,0.000036946916,0.000053545147,0.000016065029,0.00050693034,0.00007066947,0.00014408151,0.05864433,0.9382,0.00021272272],"about_ca_topic_score_codex":0.00019607623,"about_ca_topic_score_gemma":0.00043316142,"teacher_disagreement_score":0.93631583,"about_ca_system_score_codex":0.000008075625,"about_ca_system_score_gemma":0.0000053930307,"threshold_uncertainty_score":0.36391163},"labels":[],"label_agreement":null},{"id":"W2559359611","doi":"10.1080/08929092.2016.1226087","title":"A review of <i>Truth in Play: Drama Strategies for Building Meaningful Performances</i>, by Debbie Nyman and Jill Lloyd-Jones with David S. Craig","year":2016,"lang":"en","type":"review","venue":"Youth Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Drama; Art history; Sociology; Art; Visual arts","score_opus":0.03936327627073967,"score_gpt":0.2880639168080618,"score_spread":0.24870064053732216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2559359611","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018172199,0.9890688,0.000030152309,0.00011515963,0.00047384348,0.0007202832,0.00074308173,0.000029117995,0.008637822],"genre_scores_gemma":[0.0013347525,0.99677193,0.00009532713,0.00013781714,0.0012097978,0.000067782574,0.00004359258,0.0000897653,0.0002492072],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99733126,0.00013118722,0.0012238588,0.00038180867,0.0003268963,0.00060497416],"domain_scores_gemma":[0.99811906,0.00028295853,0.0010113581,0.00027643325,0.00018730186,0.0001228698],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00089872873,0.0007093007,0.0023662273,0.00032351248,0.0005819443,0.00029618348,0.0003980813,0.00013836898,0.00018847833],"category_scores_gemma":[0.000019088067,0.00037342837,0.00042280887,0.00010222832,0.00038208754,0.00073324156,0.0000867821,0.0005818697,0.0000050299122],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000105251005,0.00006992657,0.000037789043,0.0921645,0.0006188402,0.000009517073,0.019801978,3.6712242e-7,5.03975e-7,0.0031227192,0.004132434,0.87993616],"study_design_scores_gemma":[0.0005409256,0.00041112743,6.5081286e-7,0.20569208,0.00084787345,0.00012784901,0.0047129155,8.4793675e-7,7.518583e-7,0.00033312928,0.78688806,0.00044378286],"about_ca_topic_score_codex":0.000047117268,"about_ca_topic_score_gemma":0.00017813685,"teacher_disagreement_score":0.8794924,"about_ca_system_score_codex":0.00007523607,"about_ca_system_score_gemma":0.00033525575,"threshold_uncertainty_score":0.9998718},"labels":[],"label_agreement":null},{"id":"W2559823146","doi":"10.3138/ctr.168.004","title":"Reimagining Theatre Criticism","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Theatre criticism; Mainstream; Political theatre; Excellence; Theatre studies; Aesthetics; Politics; Theatre director; Context (archaeology); Sociology; Media studies; Art; Visual arts; Political science; Literary criticism; Literature; History; Drama; Law","score_opus":0.03164710731764765,"score_gpt":0.24592067420978195,"score_spread":0.21427356689213428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2559823146","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010073116,0.16596645,0.0000025123334,0.042660207,0.0006474441,0.00023984083,0.00015516533,0.00007662464,0.790151],"genre_scores_gemma":[0.6555145,0.24257699,0.000050597024,0.030473989,0.0038388455,0.00015126637,0.000022614418,0.00011359576,0.067257605],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998821,0.000050985916,0.00026449902,0.00023074923,0.00011709835,0.00051566435],"domain_scores_gemma":[0.9991529,0.00007595886,0.00004173781,0.0003723623,0.000075046504,0.00028199246],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021494029,0.00021009779,0.00035553874,0.00010373666,0.00043715735,0.000055442637,0.00022524694,0.000027770167,0.011016189],"category_scores_gemma":[0.00001259515,0.00010470397,0.00015018298,0.00004964566,0.00023776831,0.0002423703,0.00002253756,0.00010813171,0.0019553222],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017188912,0.0000053621548,0.00024681553,0.0006199866,0.000047018657,0.000022206686,0.0015595518,9.836094e-9,0.0000039893116,0.041835528,0.16861229,0.78704554],"study_design_scores_gemma":[0.00010649577,0.000027727016,0.000018448343,0.003975905,0.00006766588,0.000012630877,0.00023234115,2.5123813e-7,0.000008076153,0.0015383519,0.9937929,0.00021921334],"about_ca_topic_score_codex":0.015769059,"about_ca_topic_score_gemma":0.23371193,"teacher_disagreement_score":0.8251806,"about_ca_system_score_codex":0.00010128031,"about_ca_system_score_gemma":0.00020467419,"threshold_uncertainty_score":0.9988218},"labels":[],"label_agreement":null},{"id":"W2559843499","doi":"10.3138/ctr.168.006","title":"Going Inside: The New-Old Practice of Embedded Criticism","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Criticism; Aesthetics; Dramaturgy; Field (mathematics); Sociology; Theatre criticism; Epistemology; Visual arts; Art; Literary criticism; Literature; Philosophy","score_opus":0.030767025138840276,"score_gpt":0.2656418259461864,"score_spread":0.23487480080734613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2559843499","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00028062248,0.24068685,0.0000034595964,0.06702059,0.00048534895,0.00039003606,0.000080882965,0.000027350314,0.69102484],"genre_scores_gemma":[0.52896935,0.33955374,0.000102330545,0.052173074,0.0028504513,0.000068271525,0.000007750691,0.00007910444,0.07619593],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907017,0.000083376624,0.00029102855,0.00013569782,0.000121798315,0.00029792494],"domain_scores_gemma":[0.9989017,0.00033939912,0.00009457944,0.0003825019,0.0001185624,0.00016325075],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000327454,0.00014219657,0.00029490195,0.00005495453,0.00028678344,0.00003289494,0.00021775629,0.00002299629,0.0027443836],"category_scores_gemma":[0.0001375452,0.00006816136,0.00011740541,0.000056174653,0.00020151027,0.00026608628,0.000023219529,0.00008543089,0.0004045585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006373664,0.000010250021,0.000050803937,0.00087500765,0.00011963803,0.000010780453,0.00759526,6.221995e-8,0.000011510521,0.1811273,0.36297974,0.44721326],"study_design_scores_gemma":[0.000096204414,0.000035131743,0.000008286086,0.0026485713,0.00013286757,0.000013446055,0.0007831388,2.2727706e-7,0.000025007539,0.0008926531,0.99525,0.00011448214],"about_ca_topic_score_codex":0.022394685,"about_ca_topic_score_gemma":0.20180775,"teacher_disagreement_score":0.6322702,"about_ca_system_score_codex":0.0000555539,"about_ca_system_score_gemma":0.00027215152,"threshold_uncertainty_score":0.9981672},"labels":[],"label_agreement":null},{"id":"W2559884986","doi":"10.1386/atr.4.3.205_1","title":"Theatre and participation: A critical examination of Sherry Arnstein’s ladder of participation in the Kamiriithu theatre experience","year":2016,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Empowerment; Sociology; Tokenism; Citizenship; Framing (construction); Blessing; Public relations; Political science; Politics; Law; Engineering","score_opus":0.10696815543730359,"score_gpt":0.3815577956660523,"score_spread":0.2745896402287487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2559884986","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7659599,0.0003458064,0.000015613537,0.0014466322,0.00005098976,0.0003932342,0.00001956271,0.0000154697,0.23175277],"genre_scores_gemma":[0.9990469,0.00019681225,0.000017149572,0.00003415055,0.00020194928,0.00035835512,0.000003142481,0.000014710481,0.00012678212],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9979396,0.00033586132,0.00041499216,0.00026542024,0.00061522744,0.00042890254],"domain_scores_gemma":[0.9978309,0.0015359105,0.000060647508,0.00035612413,0.00016760376,0.00004880822],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014966461,0.00014955853,0.00025971615,0.00019095674,0.00029656762,0.000049949955,0.00023573886,0.0000621336,0.0003859392],"category_scores_gemma":[0.000032492768,0.00007903559,0.000045301873,0.0001786648,0.0015421188,0.00024360836,0.00009426726,0.00017385784,0.000022355478],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002669345,0.00049128674,0.006854544,0.00022320433,0.000047940324,0.000003350487,0.2639763,0.0000032779315,0.0046063075,0.3085542,0.0002390732,0.41473356],"study_design_scores_gemma":[0.006079197,0.00313487,0.23336838,0.0016360525,0.00024613703,0.0000137334555,0.53941965,0.00046332358,0.04021141,0.07632237,0.097619355,0.001485544],"about_ca_topic_score_codex":0.00021695437,"about_ca_topic_score_gemma":0.0009271521,"teacher_disagreement_score":0.41324803,"about_ca_system_score_codex":0.000026754777,"about_ca_system_score_gemma":0.000037304333,"threshold_uncertainty_score":0.5682001},"labels":[],"label_agreement":null},{"id":"W2559964384","doi":"10.3138/ctr.168.010","title":"I Really, Really Mean Something: Ten Micro-Plays about Theatre","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bit (key); Honesty; Theme (computing); Face (sociological concept); Criticism; Performance art; Art; Visual arts; Political theatre; Art history; Media studies; Aesthetics; Literature; Sociology; Law; Political science; Social science; Computer science","score_opus":0.026724319997619848,"score_gpt":0.24171573258512735,"score_spread":0.2149914125875075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2559964384","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010070867,0.20453514,0.0000018256299,0.022627655,0.00065967266,0.00064490404,0.00050965144,0.0001423443,0.7698717],"genre_scores_gemma":[0.23960201,0.6848775,0.0001430294,0.023108007,0.0043555857,0.00020966167,0.000115814226,0.00022725527,0.047361106],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99778134,0.0001292293,0.0005372519,0.00045176665,0.00023527647,0.0008651552],"domain_scores_gemma":[0.9983167,0.0001378666,0.00014120695,0.0007459062,0.00014684217,0.000511445],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00061136624,0.00042054668,0.0007098826,0.00021841042,0.0007693292,0.00011882342,0.00052694225,0.00009018429,0.0053938916],"category_scores_gemma":[0.00002060083,0.0002464454,0.00030968018,0.00010882114,0.0003484791,0.0003258104,0.000053691612,0.00021032715,0.0016702554],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013497932,0.00002186054,0.00047484942,0.001265692,0.00022749945,0.00004973003,0.0072794543,8.010939e-8,0.000055560267,0.031631548,0.2228068,0.73617345],"study_design_scores_gemma":[0.00021452071,0.00007301724,0.00010211492,0.005733706,0.00017481076,0.00002576495,0.0004757856,2.2306642e-7,0.000026733032,0.0006997822,0.9920531,0.00042047203],"about_ca_topic_score_codex":0.051008023,"about_ca_topic_score_gemma":0.5582092,"teacher_disagreement_score":0.7692463,"about_ca_system_score_codex":0.00024447386,"about_ca_system_score_gemma":0.0004623657,"threshold_uncertainty_score":0.9999988},"labels":[],"label_agreement":null},{"id":"W2560027703","doi":"10.3138/ctr.168.005","title":"The Pedagogy of Theatre Criticism in Canada","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Theatre criticism; Audience measurement; Curriculum; Art; Theatre studies; Aesthetics; Sociology; Visual arts; Literary criticism; Pedagogy; Literature; Political science; Drama; Law; Literary science","score_opus":0.022935376661982795,"score_gpt":0.24556685702262707,"score_spread":0.22263148036064428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560027703","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004863549,0.41414058,2.1674447e-7,0.04437494,0.0007418404,0.00043359515,0.000305684,0.000011036735,0.53512853],"genre_scores_gemma":[0.8533585,0.1402157,0.0000012026992,0.0023554424,0.00023957598,0.00003795342,0.0000023597595,0.00001741163,0.0037718674],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99893486,0.000066728026,0.00033470252,0.00012902857,0.0001218706,0.00041280134],"domain_scores_gemma":[0.999224,0.0002128588,0.000053588617,0.00031457646,0.00006159693,0.00013334608],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021991115,0.00013926641,0.00031851916,0.00005022002,0.00024898874,0.000013996564,0.00025678528,0.000015688101,0.0015518767],"category_scores_gemma":[0.000015230771,0.00006615252,0.00007412067,0.000051270996,0.00019073207,0.00007255338,0.000017724535,0.00007341024,0.00004918815],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003985122,0.0000043548544,0.0022867117,0.00065327296,0.00003802824,0.000017316652,0.0011047885,1.0612594e-7,0.000001678423,0.032183576,0.06436501,0.89934117],"study_design_scores_gemma":[0.00008714304,0.000015947891,0.0002397907,0.0018532455,0.00002277062,0.000003829316,0.0010345598,2.5813407e-7,0.000007592241,0.00068389834,0.9959424,0.00010856633],"about_ca_topic_score_codex":0.99030346,"about_ca_topic_score_gemma":0.9999728,"teacher_disagreement_score":0.9315774,"about_ca_system_score_codex":0.00031230104,"about_ca_system_score_gemma":0.0021227046,"threshold_uncertainty_score":0.99936086},"labels":[],"label_agreement":null},{"id":"W2560435894","doi":"10.3138/ctr.168.003","title":"Regional Reports: Theatre Criticism across Canada","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Mainstream; Theatre criticism; Flourishing; Journalism; Blogosphere; Media studies; Sociology; History; Art; Political science; Literary criticism; Literature; Psychology; Law","score_opus":0.029823415414700762,"score_gpt":0.2488196741861066,"score_spread":0.21899625877140583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560435894","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0030029342,0.326906,0.0000012328217,0.087582,0.0020144363,0.0006357222,0.0009696908,0.00009546192,0.5787925],"genre_scores_gemma":[0.78542554,0.11759519,0.000013766125,0.050125543,0.0031378965,0.00017337794,0.000062898536,0.00010228096,0.043363478],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99826056,0.000048381287,0.00042670182,0.00031653102,0.00023134782,0.00071645936],"domain_scores_gemma":[0.99875873,0.00008754125,0.00008925892,0.0005226646,0.00013269034,0.00040909759],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000259824,0.00026099404,0.00043711305,0.00003022594,0.000688421,0.000054635017,0.00021266974,0.00003728862,0.005468264],"category_scores_gemma":[0.00001776214,0.00015462685,0.00014904918,0.00005638554,0.00026178683,0.0001917382,0.000027886266,0.00010668841,0.00016426976],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002836707,0.000007342769,0.0007789434,0.00074773916,0.00008388695,0.00026449087,0.0012893664,4.4154973e-8,0.0000016280742,0.0068743606,0.68140703,0.3085423],"study_design_scores_gemma":[0.00008056516,0.000019631389,0.000076706034,0.0027205218,0.00004521438,0.000112539135,0.00058781065,9.131882e-8,0.0000048787865,0.00049866294,0.9955816,0.00027177273],"about_ca_topic_score_codex":0.943994,"about_ca_topic_score_gemma":0.99944913,"teacher_disagreement_score":0.78242266,"about_ca_system_score_codex":0.0003734394,"about_ca_system_score_gemma":0.0010695336,"threshold_uncertainty_score":0.9954409},"labels":[],"label_agreement":null},{"id":"W2560467989","doi":"10.3138/ctr.168.009","title":"Artists on Critics","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Art; Ideal (ethics); Aesthetics; Visual arts; Performance art; Work (physics); Art history; Sociology; Literature; Philosophy; Epistemology; Engineering","score_opus":0.03333116908504463,"score_gpt":0.2451338357752041,"score_spread":0.21180266669015946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560467989","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004328564,0.085762545,7.56549e-7,0.025190974,0.00053971825,0.00020759716,0.00017365578,0.000044595497,0.8876473],"genre_scores_gemma":[0.7329169,0.19909608,0.000009914871,0.031322848,0.0019378853,0.00006830516,0.000011610243,0.0000477188,0.03458872],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931496,0.000025563479,0.00015066177,0.00013145477,0.00007853468,0.00029883801],"domain_scores_gemma":[0.9994528,0.000048659324,0.000022249924,0.00024154155,0.000043936776,0.00019077463],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009842442,0.00012348396,0.00020433737,0.000058786085,0.0002469153,0.000026721238,0.000115244766,0.000017238961,0.006564931],"category_scores_gemma":[0.000014712758,0.00006822946,0.00008232887,0.000024220848,0.00012667167,0.00007988609,0.000007751726,0.000048704092,0.003079047],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000014814777,0.000006521823,0.00008685305,0.00040112628,0.000023799877,0.0000143227935,0.00056039344,1.13571765e-8,0.0000011596072,0.15290926,0.2747575,0.57123756],"study_design_scores_gemma":[0.000059745555,0.000045027107,0.00003201208,0.003027536,0.000028970431,0.000003651682,0.000053964573,7.318478e-8,0.0000070804413,0.0008198151,0.995796,0.00012612354],"about_ca_topic_score_codex":0.0051850732,"about_ca_topic_score_gemma":0.24266095,"teacher_disagreement_score":0.8530586,"about_ca_system_score_codex":0.00007989195,"about_ca_system_score_gemma":0.0000932752,"threshold_uncertainty_score":0.9976972},"labels":[],"label_agreement":null},{"id":"W2560705650","doi":"10.6084/m9.figshare.7515671","title":"Being 20 Years Old in 2015: an exemplary experiment of theatrical mediation","year":2018,"lang":"en","type":"article","venue":"LA Referencia (Red Federada de Repositorios Institucionales de Publicaciones Científicas)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Mediation; Psychology; Art; Linguistics; Aesthetics; Sociology; Philosophy; Social science","score_opus":0.024565942825528993,"score_gpt":0.2570808543609442,"score_spread":0.2325149115354152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560705650","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.807422,0.00036799832,0.000060864313,0.003922284,0.0012489011,0.00033948815,0.000043555287,0.00015186242,0.18644308],"genre_scores_gemma":[0.99734217,0.00008886186,0.00034223212,0.00012564172,0.0016265815,0.00007115682,0.00006991685,0.000024488118,0.00030897273],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981563,0.00015011482,0.0005067945,0.00035171089,0.0004404668,0.00039460417],"domain_scores_gemma":[0.9990632,0.000088563465,0.0001653784,0.00030850543,0.00022716512,0.00014721746],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038350385,0.00022388861,0.0003156954,0.00036017934,0.00038276045,0.00009060402,0.0002882244,0.0001488205,0.00017882833],"category_scores_gemma":[0.00005478823,0.00020336204,0.0000967618,0.00017162887,0.00006337258,0.0005359241,0.00010731747,0.00023895361,0.000015789428],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021374397,0.00046073864,0.0018779526,0.000034489134,0.000072194714,0.000026518932,0.061539438,0.000009290305,0.00150776,0.9305954,0.0012543893,0.0024081154],"study_design_scores_gemma":[0.0008120889,0.00027371827,0.0073142173,0.00007181906,0.000030754563,0.00004503794,0.0038540454,0.0001795623,0.00202914,0.0007129818,0.98436445,0.0003122078],"about_ca_topic_score_codex":0.000010002481,"about_ca_topic_score_gemma":0.001402627,"teacher_disagreement_score":0.98311,"about_ca_system_score_codex":0.0001849499,"about_ca_system_score_gemma":0.00013468655,"threshold_uncertainty_score":0.82928634},"labels":[],"label_agreement":null},{"id":"W2560905631","doi":"10.1163/9789004310704","title":"Spike Milligan's Accordion","year":2016,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Accordion; Spike (software development); Computer science; World Wide Web; Software engineering","score_opus":0.023955894869467895,"score_gpt":0.20962546303485208,"score_spread":0.18566956816538419,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560905631","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00002063518,0.00079206546,0.000002880226,0.00032313805,0.0015833644,0.00010463436,0.000093191935,0.000128888,0.9969512],"genre_scores_gemma":[0.000555173,0.00091012625,0.000004143235,0.0004298279,0.0069575817,0.000009614555,0.000032820553,0.000034032117,0.9910667],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993194,0.000004388359,0.00016494289,0.000179062,0.00013724434,0.00019499539],"domain_scores_gemma":[0.99959147,0.00003317002,0.00006545721,0.00021575429,0.0000637617,0.000030358182],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000046323712,0.00022551554,0.00027256232,0.000078852405,0.00024497026,0.000060519946,0.00013980357,0.00008339248,0.02288525],"category_scores_gemma":[0.0000014887067,0.00012729778,0.00014564983,0.0000030438925,0.00019208892,0.00011258789,0.00006671954,0.00011529731,0.0056140334],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000049132295,0.0000030729834,0.0000025517234,0.00002782998,0.000051678042,0.0000018485163,0.0017635463,5.5235403e-9,4.032927e-7,0.302266,0.6777717,0.018106451],"study_design_scores_gemma":[0.00009175707,0.000052042073,0.000001855697,0.00012828436,0.000036398444,8.764222e-7,0.00015742166,8.332382e-8,0.000009327693,0.012782463,0.986502,0.00023750904],"about_ca_topic_score_codex":0.00003289096,"about_ca_topic_score_gemma":0.00078386196,"teacher_disagreement_score":0.30873027,"about_ca_system_score_codex":0.000041763,"about_ca_system_score_gemma":0.0000622076,"threshold_uncertainty_score":0.9951602},"labels":[],"label_agreement":null},{"id":"W2562739070","doi":"10.1525/tph.2012.34.3.21","title":"Theatre: A Neglected Site of Public History?","year":2012,"lang":"en","type":"article","venue":"The Public Historian","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Repertoire; Public history; Focus (optics); History; Media studies; Visual arts; Sociology; Aesthetics; Art; Literature","score_opus":0.049875439042042266,"score_gpt":0.20795755911183889,"score_spread":0.1580821200697966,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2562739070","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0544788,0.013322562,0.000012714843,0.0070318007,0.009473368,0.00020775723,0.000035107627,0.00019785344,0.91524005],"genre_scores_gemma":[0.9690848,0.0000706971,0.00001131052,0.0002793807,0.0033770695,0.000028577022,0.000015958307,0.000022987693,0.02710922],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878997,0.00011017076,0.00024992882,0.00011508896,0.00023865777,0.0004961852],"domain_scores_gemma":[0.999084,0.00007773094,0.00014187732,0.0004271367,0.00015101496,0.00011821615],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00037513633,0.00016013756,0.0002252,0.00014625321,0.00046240195,0.00004246098,0.0002875792,0.0000392072,0.0042355624],"category_scores_gemma":[0.000039199855,0.00010191565,0.00011708341,0.00008200457,0.0004976788,0.0006348664,0.0000673009,0.00016064242,0.00036601268],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015143284,0.0001837911,0.0019575548,0.00003119197,0.00012228421,3.5958215e-7,0.21902893,5.842351e-8,0.00017434209,0.49482778,0.26867476,0.014983801],"study_design_scores_gemma":[0.0001657431,0.000046318943,0.00041720484,0.000004969167,0.00003253373,0.0000027588821,0.0018298479,0.0000035165028,0.000007831903,0.00015908579,0.9971974,0.00013282875],"about_ca_topic_score_codex":0.00053870195,"about_ca_topic_score_gemma":0.0025181689,"teacher_disagreement_score":0.914606,"about_ca_system_score_codex":0.00035992273,"about_ca_system_score_gemma":0.000108228916,"threshold_uncertainty_score":0.9966747},"labels":[],"label_agreement":null},{"id":"W2566501862","doi":"","title":"it is this it is this, it is this","year":2016,"lang":"en","type":"book-chapter","venue":"RADAR (Glasgow School of Art)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gesture; Event (particle physics); Aesthetics; Politics; Exhibition; Art; Sociology; Visual arts; Philosophy; Political science; Law; Linguistics","score_opus":0.026400212647494176,"score_gpt":0.23208674382886973,"score_spread":0.20568653118137556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2566501862","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00003307991,0.0046043047,0.0000024084284,0.039929252,0.0016903565,0.0004638799,0.0021238017,0.0001350749,0.95101786],"genre_scores_gemma":[0.00084060215,0.011796267,0.00009025167,0.031523947,0.004255233,0.000022686372,0.000065834814,0.00017700247,0.9512282],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960442,0.00003476624,0.0011571713,0.00088816247,0.00108924,0.0007864457],"domain_scores_gemma":[0.9970617,0.00018481901,0.0007160759,0.001278876,0.0004867728,0.00027173993],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00035411018,0.0010718849,0.0014313549,0.00038321625,0.00087431,0.00024080396,0.0008035082,0.0005249132,0.45376816],"category_scores_gemma":[0.000028921862,0.00080716633,0.00091534556,0.000032362892,0.00078563066,0.00068124844,0.00034460542,0.00096218643,0.050799955],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010243358,0.000037083635,0.000044037795,0.00024699478,0.0008415521,0.000016199167,0.025961153,2.5052282e-8,0.000011836679,0.019703364,0.95017844,0.0028568944],"study_design_scores_gemma":[0.00075411896,0.00033100758,0.0000064787127,0.0013188717,0.00042103665,0.000010034736,0.00068035314,0.0000014986817,0.00025713403,0.0047467854,0.9904335,0.0010391652],"about_ca_topic_score_codex":0.00020368144,"about_ca_topic_score_gemma":0.0010410968,"teacher_disagreement_score":0.40296823,"about_ca_system_score_codex":0.00018163209,"about_ca_system_score_gemma":0.0003115721,"threshold_uncertainty_score":0.9994379},"labels":[],"label_agreement":null},{"id":"W2567284584","doi":"10.5216/vis.v13i2.40723","title":"Coreografar Historias da arte da performance. Moments. A History of Performance in 10 Acts","year":2016,"lang":"pt","type":"article","venue":"Visualidades","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec","funders":"","keywords":"Art; Humanities","score_opus":0.05960739179535109,"score_gpt":0.26828036638427305,"score_spread":0.20867297458892195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2567284584","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91375226,0.0074220914,0.00000210775,0.00024824028,0.0042710435,0.00040372182,0.00010925403,0.00008997876,0.07370129],"genre_scores_gemma":[0.82426715,0.004406172,0.000005407469,0.00008546166,0.0008494707,0.0000560004,0.000015987325,0.000065757005,0.17024858],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966543,0.00011461142,0.0010944785,0.00058960106,0.0006025712,0.00094447145],"domain_scores_gemma":[0.99828947,0.00016058392,0.0005391839,0.00062640203,0.00022827431,0.00015608418],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005513232,0.00064149004,0.0009504004,0.0006537838,0.0003183879,0.00009063922,0.00049254904,0.00019893721,0.0064539984],"category_scores_gemma":[0.0000329762,0.00046830744,0.00023349986,0.00016712701,0.0010755559,0.0010594325,0.00020667608,0.000288841,0.00076751516],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0040941206,0.0031800815,0.24001287,0.006555075,0.0013413888,0.000055738405,0.3897509,0.000024025576,0.005951951,0.037177835,0.1737765,0.1380795],"study_design_scores_gemma":[0.0019610217,0.0014324449,0.010968297,0.0014898117,0.00011348368,0.000004183968,0.0024649643,0.00009935056,0.0010662831,0.000022835045,0.9796505,0.0007268069],"about_ca_topic_score_codex":0.00016704506,"about_ca_topic_score_gemma":0.00023814104,"teacher_disagreement_score":0.805874,"about_ca_system_score_codex":0.0011934984,"about_ca_system_score_gemma":0.0003315419,"threshold_uncertainty_score":0.99977684},"labels":[],"label_agreement":null},{"id":"W2569593162","doi":"10.1057/978-1-137-53593-1_2","title":"Influences of Experimental Theatre on the Emergence of Self-revelatory Performance","year":2016,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan US eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Drama; Theatre studies; Drama therapy; Conceptualization; Art; Aesthetics; Visual arts; Theatre director; Political theatre; Psychology; Computer science","score_opus":0.026825767993544948,"score_gpt":0.22660923315256007,"score_spread":0.19978346515901513,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2569593162","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.061244722,0.0018347378,7.606817e-8,0.000024172457,0.00042773152,0.0003077167,0.000188658,0.00004290949,0.9359293],"genre_scores_gemma":[0.9669288,0.0005302032,0.000004965085,0.000106541695,0.0004947613,0.000025771518,0.000004422067,0.00004456992,0.03186001],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985212,0.000023684031,0.00053025264,0.00027431658,0.0003906279,0.0002599314],"domain_scores_gemma":[0.9987954,0.00011059723,0.00042455402,0.0005031344,0.00012392158,0.00004240131],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015296198,0.0004242,0.00051515934,0.00013980274,0.00030920873,0.000014945747,0.0004156481,0.000108466505,0.0033512472],"category_scores_gemma":[0.0000018679822,0.00022961585,0.00026168893,0.000005603299,0.00089156756,0.0000063995817,0.00012347837,0.00019958557,0.000105439816],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006874789,0.0000041367125,0.00032317394,0.00012644898,0.00037987687,0.0000015670965,0.017988123,3.7811242e-7,0.0002762882,0.97212034,0.00030881725,0.008402118],"study_design_scores_gemma":[0.0019729678,0.0045401976,0.0022798001,0.0063676937,0.00094647554,0.000021159867,0.011483205,0.000022094591,0.08167688,0.23537885,0.6513852,0.003925516],"about_ca_topic_score_codex":0.00003588695,"about_ca_topic_score_gemma":0.0000689351,"teacher_disagreement_score":0.90568405,"about_ca_system_score_codex":0.000019306219,"about_ca_system_score_gemma":0.000045806326,"threshold_uncertainty_score":0.99755985},"labels":[],"label_agreement":null},{"id":"W2574536530","doi":"10.3968/9020","title":"Reflections of Chinese Theatre in Thornton Wilder’s Play","year":2016,"lang":"en","type":"article","venue":"Cross-cultural communication","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Appeal; Space (punctuation); Set (abstract data type); Sign (mathematics); Aesthetics; Stage (stratigraphy); Feature film; Literature; Sociology; History; Art; Linguistics; Computer science; Philosophy; Political science; Law; Mathematics","score_opus":0.040856519886418,"score_gpt":0.35950004684259507,"score_spread":0.31864352695617704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2574536530","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80613744,0.00059710955,0.0000013476878,0.0011049837,0.00010017261,0.000085987514,0.00002276644,0.000042734955,0.19190748],"genre_scores_gemma":[0.9948516,0.00081195775,0.000038946713,0.000038916223,0.0001108224,0.000024890858,0.000020057107,0.0000069546604,0.004095845],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942964,0.000046071753,0.0002325182,0.000091979266,0.00007659895,0.00012319617],"domain_scores_gemma":[0.9992829,0.000090775044,0.00008640748,0.00036876823,0.00015537218,0.000015787644],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012930819,0.000099458965,0.00013821083,0.000049936887,0.00043799213,0.00007904172,0.0002370372,0.000032815824,0.00027539392],"category_scores_gemma":[0.000022743992,0.00005059242,0.000056856905,0.00005718346,0.0005690965,0.00070764165,0.00007987069,0.00008958504,0.000038580478],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003513592,0.0004204604,0.24419583,0.00011759252,0.00015514041,8.395962e-7,0.39187413,0.000032214462,0.025952095,0.20899348,0.0055022314,0.12240462],"study_design_scores_gemma":[0.001445066,0.00019116717,0.1505567,0.00034067442,0.000021719788,0.000005050521,0.009168245,0.00001499474,0.0023431894,0.01896069,0.8165304,0.00042206672],"about_ca_topic_score_codex":0.00045504133,"about_ca_topic_score_gemma":0.009691654,"teacher_disagreement_score":0.8110282,"about_ca_system_score_codex":0.000037867376,"about_ca_system_score_gemma":0.000009648735,"threshold_uncertainty_score":0.540817},"labels":[],"label_agreement":null},{"id":"W2575634578","doi":"10.6084/m9.figshare.7517654","title":"The Emergence of Distinctive Voices: unique practices of drama at school and in the community","year":2018,"lang":"en","type":"dataset","venue":"LA Referencia (Red Federada de Repositorios Institucionales de Publicaciones Científicas)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Drama; Sociology; History; Gender studies; Genealogy; Literature; Art","score_opus":0.03730449756800379,"score_gpt":0.27572775106024416,"score_spread":0.23842325349224036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2575634578","genre_codex":"dataset","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.102587715,0.0050194683,0.000009323263,0.014228753,0.0029420794,0.0022058052,0.7174234,0.00011177356,0.15547171],"genre_scores_gemma":[0.94145113,0.002778824,0.00003332992,0.00010671746,0.0007438868,0.0001866281,0.054443646,0.000020338897,0.00023548517],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99702287,0.0010344022,0.0007336887,0.0002940715,0.0005381947,0.00037679428],"domain_scores_gemma":[0.995792,0.0014294416,0.0013921486,0.00079893885,0.0004922054,0.00009532216],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0016045757,0.00035398485,0.0004717197,0.00016480916,0.00304535,0.00027275496,0.0010391468,0.00023522264,0.000077925804],"category_scores_gemma":[0.0011013842,0.00021375995,0.00012634117,0.00018512378,0.0003051761,0.00032924002,0.0004891494,0.0009902976,0.0000046223754],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00066365337,0.0006230369,0.0004443111,0.00068546156,0.00038548937,0.00001608374,0.025444051,0.0000029887337,0.000034540135,0.20698527,0.76444614,0.00026897833],"study_design_scores_gemma":[0.00027414557,0.00015220564,0.0014105584,0.0002381868,0.00012580861,0.00006394845,0.010455068,0.0000069542134,0.000041400122,0.00032637082,0.9866802,0.00022514739],"about_ca_topic_score_codex":0.0001697331,"about_ca_topic_score_gemma":0.08239663,"teacher_disagreement_score":0.83886343,"about_ca_system_score_codex":0.000117846874,"about_ca_system_score_gemma":0.000282541,"threshold_uncertainty_score":0.9982526},"labels":[],"label_agreement":null},{"id":"W2575797114","doi":"","title":"Performance: The Performance Ecology of Contemporary Toronto","year":2009,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Performative utterance; Sociology; Relation (database); Foregrounding; Media studies; Gender studies; Aesthetics; Pedagogy; Art; Literature; Computer science","score_opus":0.02570374977534084,"score_gpt":0.22848715137117442,"score_spread":0.20278340159583358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2575797114","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5148474,0.00042473202,1.8144118e-7,0.00043987553,0.00022770007,0.0000780404,0.000002505917,0.000028662616,0.4839509],"genre_scores_gemma":[0.98243123,0.0005956856,0.000008706995,0.0008500417,0.00041106323,0.000008005578,0.0000032425266,0.0000050951357,0.01568691],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993523,0.000016060285,0.00023389218,0.00009997002,0.00011147872,0.00018632981],"domain_scores_gemma":[0.9995977,0.000035861878,0.00007123756,0.00020006852,0.00007431691,0.000020805272],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001598411,0.000116518255,0.00018493332,0.00001934234,0.00038863442,0.000020953838,0.00018944174,0.00002572057,0.0024571475],"category_scores_gemma":[0.0000022716968,0.000062967956,0.000057912508,0.000016533071,0.00024181053,0.00040996957,0.00002699938,0.00007200655,0.000067755085],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00052074523,0.00051130325,0.10682345,0.0002649822,0.0003109446,0.0000026959954,0.19862987,0.00005840232,0.00030981595,0.27150613,0.21704014,0.20402151],"study_design_scores_gemma":[0.00067157636,0.0021199,0.12725213,0.00004400144,0.00003341127,0.0000056170193,0.016008053,0.0007922373,0.0016005343,0.0001947775,0.8509536,0.00032418314],"about_ca_topic_score_codex":0.00023322941,"about_ca_topic_score_gemma":0.0012252023,"teacher_disagreement_score":0.63391346,"about_ca_system_score_codex":0.000018536422,"about_ca_system_score_gemma":0.00003266839,"threshold_uncertainty_score":0.99845475},"labels":[],"label_agreement":null},{"id":"W2580185417","doi":"","title":"Dramatising new Canadian histories :a creative practice doctoral thesis","year":2016,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Doctoral dissertation; Political science; Law; Higher education","score_opus":0.029385229575032673,"score_gpt":0.2633445239982373,"score_spread":0.23395929442320465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2580185417","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012527375,0.0015673718,0.0000011285501,0.0016000334,0.0026002177,0.00013826393,0.000072338335,0.00006866486,0.99269927],"genre_scores_gemma":[0.102174714,0.0002635621,0.000090557034,0.0003867763,0.002326842,0.000014691468,0.0001838572,0.000036267036,0.8945227],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991012,0.000027522427,0.00021120568,0.00019898592,0.0001691728,0.0002918969],"domain_scores_gemma":[0.99918497,0.00013078706,0.00015556134,0.00015937435,0.00023875062,0.00013053307],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000070656955,0.0002588015,0.0002770998,0.00017315295,0.0008660582,0.00024911828,0.00012722201,0.00009420482,0.016378414],"category_scores_gemma":[0.0000730137,0.00017206608,0.0000852276,0.000020844582,0.00007280655,0.00061473646,0.00000694692,0.00014131634,0.00044184885],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009023356,0.000011579194,0.000032012955,0.00007596506,0.00023267166,0.000007990971,0.45550957,4.841218e-8,0.000002697826,0.2159163,0.26322767,0.064893246],"study_design_scores_gemma":[0.00008685396,0.000043433316,0.00008996996,0.00012509036,0.00013686572,7.927548e-7,0.065020286,1.0038623e-7,0.000048309023,0.0012203113,0.9329593,0.0002686796],"about_ca_topic_score_codex":0.67355204,"about_ca_topic_score_gemma":0.96363306,"teacher_disagreement_score":0.6697316,"about_ca_system_score_codex":0.00025172066,"about_ca_system_score_gemma":0.00064423715,"threshold_uncertainty_score":0.98452073},"labels":[],"label_agreement":null},{"id":"W2580405938","doi":"10.3138/tric.37.2.151","title":"Introduction: Performance and Disability","year":2016,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Performing arts; Visual arts; Arts administration; Equity (law); Disability studies; Political science; Sociology; Arts in education; Gender studies; Art; Law","score_opus":0.05540007809574544,"score_gpt":0.28099755394744835,"score_spread":0.22559747585170292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2580405938","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81887114,0.00025481166,9.2571895e-8,0.022582335,0.00030165308,0.00010706761,0.000022122664,0.000010893342,0.15784991],"genre_scores_gemma":[0.9968518,0.0005660046,0.0000021822068,0.000029414561,0.001391818,0.000021798096,8.312917e-7,0.0000065378226,0.0011295923],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989398,0.00007761243,0.00012817593,0.00018798417,0.00029315797,0.0003732625],"domain_scores_gemma":[0.99948,0.00019447228,0.0000106386515,0.00020755068,0.000043700027,0.00006363402],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005398518,0.000076096985,0.00011444534,0.000044602737,0.00029550993,0.00002770962,0.00010331964,0.000011068246,0.001347823],"category_scores_gemma":[0.0000039861234,0.00004369459,0.000009961589,0.000057607325,0.0006284632,0.0001910022,0.000071433016,0.00014073765,0.000025448748],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007055227,0.000018977193,0.10420212,0.000077433266,0.000013018565,0.0000042037213,0.0015317391,9.3694547e-7,0.000019463465,0.0034818533,0.035605863,0.85497385],"study_design_scores_gemma":[0.00020089847,0.000064851,0.008165211,0.00004429832,0.0000014125004,0.0000028733982,0.002837472,0.000010007824,0.00010120681,0.0008236067,0.987656,0.00009215936],"about_ca_topic_score_codex":0.8419511,"about_ca_topic_score_gemma":0.9927222,"teacher_disagreement_score":0.95205015,"about_ca_system_score_codex":0.0004541758,"about_ca_system_score_gemma":0.0003080543,"threshold_uncertainty_score":0.99956506},"labels":[],"label_agreement":null},{"id":"W2580539294","doi":"","title":"Dramaturgies of Excess and Heterological Theatres: The Physical and Performative Space of Representation","year":2013,"lang":"en","type":"article","venue":"Canadian review of comparative literature","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Space (punctuation); Representation (politics); Aesthetics; Physical space; Art; Literature; Philosophy; Linguistics; Law; Politics; Cartography; Political science; Geography","score_opus":0.026039898777177266,"score_gpt":0.27628360717928446,"score_spread":0.2502437084021072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2580539294","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8702606,0.1077533,4.860332e-7,0.001552552,0.000043188407,0.00040907404,0.00017212477,0.0000031873603,0.01980547],"genre_scores_gemma":[0.9904586,0.00901135,0.000014028735,0.00022657485,0.00006899354,0.00002184517,0.000014193333,0.0000025147956,0.00018186757],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940896,0.0001163932,0.00020601189,0.000088662375,0.00008127762,0.000098670746],"domain_scores_gemma":[0.9992958,0.00016235498,0.00014464637,0.00012189512,0.00022889825,0.00004642141],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008746908,0.00010974476,0.00042031103,0.000045160592,0.00013370812,0.000040638053,0.00008088865,0.000020482355,0.000106123574],"category_scores_gemma":[0.000012053238,0.00005616825,0.000054170952,0.00005690604,0.00064459484,0.0003056543,0.000022478553,0.00013460222,0.0000015053744],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041886477,0.000044867913,0.0024131583,0.008461009,0.000251106,0.0000010827989,0.76495093,0.0000029166465,0.00013384827,0.19835067,0.019884491,0.0054640356],"study_design_scores_gemma":[0.0015865648,0.002306544,0.1051964,0.040234122,0.0006147393,0.000045724042,0.17351024,0.0008595277,0.0037590992,0.026007675,0.6447215,0.001157866],"about_ca_topic_score_codex":0.0012600526,"about_ca_topic_score_gemma":0.0033169445,"teacher_disagreement_score":0.62483704,"about_ca_system_score_codex":0.000004912527,"about_ca_system_score_gemma":0.000020555563,"threshold_uncertainty_score":0.23750365},"labels":[],"label_agreement":null},{"id":"W2581243266","doi":"10.21476/pp.2017.22102","title":"\"Any Search for an Origin is Hysterical\": Summoning the Ghost of J.L. Austin","year":2017,"lang":"en","type":"article","venue":"Performance Philosophy","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Performative utterance; Utterance; Performativity; Dramaturgy; Indexicality; Praxis; Consciousness; Philosophy; Phenomenology (philosophy); Deixis; Context (archaeology); Linguistics; Epistemology; Heteroglossia; Literature; Sociology; Aesthetics; Art; History","score_opus":0.17426995076438095,"score_gpt":0.33116411435805987,"score_spread":0.15689416359367891,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2581243266","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87826025,0.0001734388,0.000007891927,0.0027885279,0.00055602373,0.00033654438,0.00011279131,0.000036833404,0.11772769],"genre_scores_gemma":[0.9957339,0.00013390832,0.000055137945,0.00031046753,0.002182759,0.00006869171,0.000010022865,0.000024160692,0.0014809414],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99893314,0.000016809323,0.00026626483,0.00021505369,0.00022034871,0.00034837556],"domain_scores_gemma":[0.99885035,0.000060098846,0.0001746547,0.0006825223,0.00018071849,0.000051656712],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00033513978,0.00018379232,0.0002639495,0.00005995037,0.0025362934,0.00021722919,0.00063879055,0.00003356887,0.000216263],"category_scores_gemma":[0.00001004138,0.00011714526,0.0001081674,0.000021091886,0.0007210459,0.0007094446,0.00013007518,0.00015815049,0.00007021755],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001580842,0.000617142,0.18157418,0.0027454926,0.0006278934,0.0000031058396,0.32257938,0.000132557,0.0008675935,0.3719931,0.01768771,0.09959099],"study_design_scores_gemma":[0.002512142,0.0033266724,0.034322802,0.00065307337,0.00023364855,0.000007315024,0.0064281654,0.009222568,0.012305141,0.0101444,0.919587,0.0012570334],"about_ca_topic_score_codex":0.0002316093,"about_ca_topic_score_gemma":0.000092977214,"teacher_disagreement_score":0.90189934,"about_ca_system_score_codex":0.00001629658,"about_ca_system_score_gemma":0.00003086516,"threshold_uncertainty_score":0.99876225},"labels":[],"label_agreement":null},{"id":"W2581784527","doi":"","title":"Supporting young theatre audiences to engage with challenging subject matter - a partnership approach","year":2011,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Taboo; Subject (documents); Media studies; Sadness; General partnership; Subject matter; Sociology; Political science; History; Library science; Psychology; Anger; Law; Pedagogy; Social psychology","score_opus":0.06929825986063654,"score_gpt":0.24928169635385852,"score_spread":0.179983436493222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2581784527","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17246993,0.00007026112,0.000084871754,0.0001537261,0.00008625366,0.00015751575,0.0000023856282,0.000103478356,0.8268716],"genre_scores_gemma":[0.9815401,0.000008795574,0.00048595958,0.0004095099,0.00028561166,0.000059472397,0.0000026330679,0.00001949903,0.017188452],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989548,0.000029734825,0.00017822119,0.0002430653,0.00014101314,0.0004531816],"domain_scores_gemma":[0.99965215,0.00002653468,0.00004925542,0.00016982843,0.00003606654,0.00006619124],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029008024,0.00018131419,0.00019163673,0.00008652773,0.0006475132,0.000088145986,0.00014786226,0.000019663228,0.0039528813],"category_scores_gemma":[0.000002226096,0.00010757374,0.000050270133,0.000041315932,0.0001300308,0.00027394333,0.00005204956,0.00012532875,0.00031844745],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008690064,0.0000841588,0.06139049,0.000092900365,0.000111435016,0.000009400429,0.8961945,0.0000054529332,0.0000062011427,0.03526018,0.0047862097,0.001972166],"study_design_scores_gemma":[0.00067257,0.0010619411,0.014454572,0.00016410029,0.00014315946,0.000045953635,0.8670917,0.00016783044,0.0006998218,0.0008854784,0.11328537,0.0013274573],"about_ca_topic_score_codex":0.0006106798,"about_ca_topic_score_gemma":0.0025637702,"teacher_disagreement_score":0.80968314,"about_ca_system_score_codex":0.000009844957,"about_ca_system_score_gemma":0.000011752786,"threshold_uncertainty_score":0.99695766},"labels":[],"label_agreement":null},{"id":"W2582419287","doi":"10.20381/ruor-19439","title":"Impressions of 'Newness' in English Canadian Theatre The role of festivals in the consecration and distribution of new work","year":2010,"lang":"en","type":"dissertation","venue":"uO Research (University of Ottawa)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Consecration; Work (physics); Distribution (mathematics); Art; Sociology; Visual arts; Geography; Engineering; Mathematics; Archaeology","score_opus":0.02830148080236085,"score_gpt":0.2629072999692076,"score_spread":0.23460581916684675,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2582419287","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92932016,0.00028919734,2.1451208e-7,0.00032363014,0.00006280095,0.00028782856,0.00028794623,0.0000020071036,0.069426216],"genre_scores_gemma":[0.9972561,0.00027782828,0.0000031829998,0.0000015390841,0.0000489889,9.486457e-7,0.00021720568,0.000003885787,0.002190296],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99916106,0.00015038827,0.00015277228,0.00010148822,0.00027246747,0.00016180148],"domain_scores_gemma":[0.99904823,0.00030017577,0.00013458493,0.00015541069,0.00032552137,0.000036077636],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00063790695,0.000077495955,0.00021596569,0.00027650926,0.00028110828,0.000012641042,0.0002931864,0.00010497195,0.00016446733],"category_scores_gemma":[0.00007707555,0.000055682274,0.000047514524,0.00018584444,0.00048371954,0.000114587965,0.000031163352,0.00041406296,5.448097e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015125325,0.00014849415,0.13412063,0.00043530794,0.00009837565,0.000004654946,0.707621,0.000008872228,0.00066983164,0.11166707,0.008190925,0.0368836],"study_design_scores_gemma":[0.00039527175,0.00012434993,0.4040577,0.0004629069,0.000036568807,1.891482e-7,0.49698457,0.00001547089,0.00040233528,0.002576433,0.09484768,0.00009651973],"about_ca_topic_score_codex":0.22027141,"about_ca_topic_score_gemma":0.92602795,"teacher_disagreement_score":0.70575655,"about_ca_system_score_codex":0.000025249601,"about_ca_system_score_gemma":0.00035463378,"threshold_uncertainty_score":0.7849209},"labels":[],"label_agreement":null},{"id":"W2583378397","doi":"","title":"Travelling with Harriet's House","year":2013,"lang":"en","type":"article","venue":"TSpace (University of Toronto)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Xenophobia; Racism; Sociology; Politics; Curriculum; Media studies; Performance art; Management; Gender studies; Pedagogy; History; Art history; Political science; Law","score_opus":0.01710476242119312,"score_gpt":0.18588568295888797,"score_spread":0.16878092053769483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2583378397","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5344074,0.0003829318,0.000052622432,0.0006537936,0.000077723904,0.000104254825,0.0000050986205,0.00008495183,0.46423125],"genre_scores_gemma":[0.975447,0.0002340156,0.0002622906,0.000026535148,0.000092823175,2.1008981e-7,0.0000010232789,0.000008637276,0.023927487],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996493,0.000007969336,0.000033724325,0.00009116245,0.00008603015,0.00013181084],"domain_scores_gemma":[0.99972236,0.000012474923,0.000044460525,0.00011228283,0.00007019338,0.00003820982],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000025507494,0.000076302415,0.0001259126,0.000013196946,0.00029819374,0.000021712242,0.00010676364,0.000017782317,0.06632621],"category_scores_gemma":[5.5083035e-7,0.00006831841,0.000040617575,0.000007795512,0.00020095779,0.00059351785,0.000025107105,0.000040284325,0.00015396609],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013182728,0.000086238775,0.0015144926,0.00008606287,0.00025446512,0.00000790149,0.88149107,0.000016290142,0.00016073816,0.02114788,0.014355373,0.08074769],"study_design_scores_gemma":[0.0011702569,0.00061142177,0.08722636,0.00008864755,0.0001283579,0.000002264228,0.63020366,0.00025012234,0.00011178898,0.00009479747,0.27965274,0.00045959518],"about_ca_topic_score_codex":0.18928646,"about_ca_topic_score_gemma":0.20769867,"teacher_disagreement_score":0.44103962,"about_ca_system_score_codex":0.000027274658,"about_ca_system_score_gemma":0.000012167548,"threshold_uncertainty_score":0.9345273},"labels":[],"label_agreement":null},{"id":"W2583757176","doi":"10.3138/ctr.169.006","title":"The Rules of (Dis)Engagement: Exploiting the Formal Characteristics and Reception Etiquette of Team Sports in Binge Culture’s <i>Break Up [We Need to Talk]</i>","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Etiquette; Action (physics); Romance; Aesthetics; Set (abstract data type); Competition (biology); Psychology; Advertising; Grice; Sociology; Social psychology; Media studies; Art; Political science; Law; Computer science; Business; Psychoanalysis","score_opus":0.03380533102774307,"score_gpt":0.25330387844266194,"score_spread":0.21949854741491887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2583757176","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5199172,0.21440879,0.0000019210304,0.02768002,0.0013337159,0.0027160735,0.0006457932,0.000033305783,0.23326316],"genre_scores_gemma":[0.83606905,0.1624264,0.0000063177054,0.00059336,0.00021955594,0.000043407013,0.000011823163,0.000012017158,0.0006180754],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905527,0.00006175631,0.00037894468,0.000116350246,0.00011309483,0.00027456743],"domain_scores_gemma":[0.9991771,0.000048207407,0.0002534015,0.00037124308,0.00006995542,0.000080084166],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008128967,0.00014426789,0.00032669684,0.00005153305,0.0010671634,0.000090159585,0.00026332302,0.000025730164,0.00007472955],"category_scores_gemma":[0.00004721397,0.000078498,0.00007271377,0.000026067075,0.00024093714,0.00021159752,0.000067278335,0.00014321416,0.0000058814035],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020932615,0.000013017453,0.004419864,0.0022449724,0.00006560044,0.00000413922,0.04680766,2.4642088e-7,0.000020001362,0.021833504,0.01354076,0.9110293],"study_design_scores_gemma":[0.00009189298,0.000040705767,0.0036831168,0.0038835285,0.00006402235,0.0000032742628,0.005255903,0.0000028958261,0.000017157254,0.00023599263,0.9866041,0.00011743737],"about_ca_topic_score_codex":0.012634375,"about_ca_topic_score_gemma":0.16904908,"teacher_disagreement_score":0.9730633,"about_ca_system_score_codex":0.000031109255,"about_ca_system_score_gemma":0.00005716884,"threshold_uncertainty_score":0.9939406},"labels":[],"label_agreement":null},{"id":"W2583958050","doi":"10.3138/ctr.169.015","title":"Ten Things about Being an Artist in the Near Future","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Visual arts; Aesthetics; Art; Art history","score_opus":0.02319004792995002,"score_gpt":0.2522488217101612,"score_spread":0.2290587737802112,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2583958050","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006657496,0.14438704,8.1206224e-8,0.042116527,0.0006356284,0.00047368123,0.000050656196,0.000026219202,0.8056527],"genre_scores_gemma":[0.84024584,0.11952532,0.000025715703,0.032276418,0.0042391685,0.000094178205,0.000041718646,0.00004412034,0.0035075245],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915284,0.0000638341,0.00016846274,0.00016485293,0.000104614875,0.00034536803],"domain_scores_gemma":[0.9990677,0.000017368666,0.00007629465,0.000683398,0.000031993477,0.00012321446],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0004467793,0.00015437955,0.00026662942,0.000038624392,0.0021752955,0.0005467761,0.000608906,0.000031142095,0.0007934527],"category_scores_gemma":[0.0000111878035,0.00009178635,0.00008701054,0.000023282524,0.00023931827,0.0005219196,0.00002228845,0.0002118369,0.00018327478],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000029824193,0.00001598927,0.0033797445,0.0009835808,0.000039218226,0.000077434415,0.06553244,1.9566271e-7,2.1982382e-7,0.10412366,0.063706696,0.76213783],"study_design_scores_gemma":[0.000058901267,0.000024289448,0.0024715331,0.0011593872,0.000040549774,0.000008053829,0.00192337,0.0000040624554,1.833103e-7,0.0005652436,0.9936052,0.00013921535],"about_ca_topic_score_codex":0.08693015,"about_ca_topic_score_gemma":0.7840797,"teacher_disagreement_score":0.9298985,"about_ca_system_score_codex":0.00004441755,"about_ca_system_score_gemma":0.00012448599,"threshold_uncertainty_score":0.99912375},"labels":[],"label_agreement":null},{"id":"W2584592457","doi":"10.3138/tric.37.2.263","title":"Infrequently Asked Questions, or: How to Kickstart Conversations Around Inclusion and Accessibility in Canadian Theatre and Why it Might be Good for Everybody","year":2016,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Inclusion (mineral); Diversity (politics); Pedagogy; Sociology; Psychology; Public relations; Media studies; Visual arts; Political science; Art; Gender studies; Law; Communication","score_opus":0.07907034841255511,"score_gpt":0.3299351956748188,"score_spread":0.2508648472622637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2584592457","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77300715,0.0007165134,0.0000028979898,0.18520012,0.00026312374,0.0015352479,0.0012895697,0.000018491468,0.037966873],"genre_scores_gemma":[0.99741185,0.00046897656,0.000021970038,0.00085737626,0.00016910875,0.00015301438,0.00001634979,0.000016388924,0.00088496256],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99807507,0.0001961784,0.00024212745,0.0003563893,0.0003683693,0.00076187204],"domain_scores_gemma":[0.9983523,0.0008408668,0.000027557615,0.00027347507,0.0001345381,0.00037127364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011726677,0.00017230141,0.00025267614,0.0004328051,0.001027605,0.00014787175,0.00021538223,0.000050292805,0.00021690839],"category_scores_gemma":[0.000044836186,0.00011125278,0.000019915438,0.00014638084,0.00029322173,0.0004324853,0.0002556412,0.0001946758,0.0000018117812],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010188781,0.00013851542,0.57625693,0.00062751456,0.00015464505,0.000117513766,0.06489443,0.000007741647,0.00023435005,0.011812139,0.13835974,0.20637761],"study_design_scores_gemma":[0.00092891254,0.00020497772,0.006622661,0.000314887,0.000009105448,0.0000031003585,0.015502881,0.00006898276,0.000051455903,0.0047511687,0.9712976,0.00024423996],"about_ca_topic_score_codex":0.9963301,"about_ca_topic_score_gemma":0.9999852,"teacher_disagreement_score":0.8329379,"about_ca_system_score_codex":0.0016522637,"about_ca_system_score_gemma":0.0032290956,"threshold_uncertainty_score":0.7903611},"labels":[],"label_agreement":null},{"id":"W2584968512","doi":"10.3138/tric.37.2.217","title":"“Please Look at Yourself”: Insecurity and the Failure of Ethical Encounter in Autobiographical Performance","year":2016,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hybridity; Performative utterance; Aesthetics; Reflexivity; Drama; Psychology; Autobiographical memory; Sociology; Psychoanalysis; Literature; Cognitive psychology; Art","score_opus":0.0364630153067043,"score_gpt":0.27400551436953025,"score_spread":0.23754249906282593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2584968512","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94700235,0.0006485872,5.69468e-8,0.019216172,0.00008539909,0.00022372334,0.00006246739,0.00000573138,0.032755528],"genre_scores_gemma":[0.99828696,0.0011909507,0.0000016534007,0.00017343588,0.00012788962,0.000037344187,0.000001349036,0.00000873944,0.00017166733],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981827,0.0003322062,0.0002675375,0.00019617812,0.0005380703,0.00048329102],"domain_scores_gemma":[0.9987008,0.00087291916,0.000030886527,0.0002448409,0.00007447364,0.0000760952],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001589177,0.00012097683,0.00025654383,0.00019657637,0.0002626195,0.000022424349,0.00023823936,0.00006466184,0.00045237612],"category_scores_gemma":[0.000013490151,0.000058811846,0.000036629735,0.00014318744,0.0018553794,0.00010293161,0.0001907995,0.0006621462,0.000006382638],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0031133844,0.00014573948,0.75703436,0.0006227605,0.00013695472,0.00010082295,0.057365958,0.0000059038553,0.00013026816,0.056207553,0.032060165,0.09307614],"study_design_scores_gemma":[0.011631625,0.0006555021,0.05336101,0.0019808693,0.000037319995,0.000034692344,0.040846035,0.00049921224,0.0008164486,0.014583404,0.8746708,0.00088305044],"about_ca_topic_score_codex":0.80273896,"about_ca_topic_score_gemma":0.9966066,"teacher_disagreement_score":0.84261066,"about_ca_system_score_codex":0.00026999172,"about_ca_system_score_gemma":0.00057334604,"threshold_uncertainty_score":0.6836223},"labels":[],"label_agreement":null},{"id":"W2585105731","doi":"10.3138/ctr.169.013","title":"Community, Viability: Theatre Past and Present","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Craft; Context (archaeology); Media studies; Sociology; Identity (music); Public relations; Gender studies; Visual arts; Political science; Art; History; Aesthetics","score_opus":0.054326376241827685,"score_gpt":0.27051496137621056,"score_spread":0.21618858513438288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2585105731","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008327219,0.12105191,1.3830618e-7,0.025173634,0.00036809145,0.00055728,0.00016410733,0.000038639035,0.844319],"genre_scores_gemma":[0.93022287,0.06253986,0.0000063118714,0.0026880198,0.0010152911,0.0000549836,0.000020255457,0.000027262558,0.0034251355],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990565,0.00013020859,0.00020710556,0.00016004323,0.00009506848,0.00035103847],"domain_scores_gemma":[0.99851185,0.000052676376,0.0000832334,0.0010212568,0.000058075606,0.00027291515],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044488677,0.00019747761,0.00038820851,0.000051463932,0.0033081097,0.00029475146,0.000450072,0.000032504617,0.0011632395],"category_scores_gemma":[0.000014138238,0.00014477296,0.00009996245,0.000013626227,0.00059342064,0.00024928234,0.00013298336,0.0002615876,0.00015402804],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000041471867,0.000029185447,0.008538578,0.0033167158,0.00011915511,0.000012041031,0.008438274,7.828902e-8,3.9322148e-7,0.011787837,0.102726236,0.86502737],"study_design_scores_gemma":[0.00009245145,0.000043153268,0.001628706,0.0012971633,0.00008904988,0.000008480791,0.0008559497,0.000001550706,0.0000010022593,0.0012098823,0.99459356,0.0001790217],"about_ca_topic_score_codex":0.22090898,"about_ca_topic_score_gemma":0.7505145,"teacher_disagreement_score":0.9218957,"about_ca_system_score_codex":0.000053242242,"about_ca_system_score_gemma":0.00009061011,"threshold_uncertainty_score":0.99974984},"labels":[],"label_agreement":null},{"id":"W2587055977","doi":"10.3138/md.0769","title":"Still: Sarah Kane after Beckett and Joy Division","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Relation (database); Art; Performance art; Resistance (ecology); Sociology; Art history; Psychoanalysis; Aesthetics; Psychology; Computer science","score_opus":0.029115767964638068,"score_gpt":0.247245000837158,"score_spread":0.21812923287251992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2587055977","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94850385,0.0011415532,0.000019627674,0.0008974271,0.00032571497,0.00007058703,0.000028260716,0.00004036721,0.048972584],"genre_scores_gemma":[0.98214734,0.00010256609,0.000014326029,0.00020030068,0.00047091988,0.000012127812,0.0000026204175,0.0000128825095,0.017036917],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946696,0.0000053867484,0.000092767266,0.00015508498,0.00010195979,0.00017781899],"domain_scores_gemma":[0.9995717,0.000013767654,0.000045916997,0.00029761874,0.00003309284,0.000037903355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00005937191,0.00011374389,0.00013632592,0.000026854086,0.0006443037,0.0004311143,0.00011897231,0.000026329477,0.00042838277],"category_scores_gemma":[0.000007684724,0.000083706145,0.000037231668,0.0000024653816,0.0002582163,0.000318843,0.0001428733,0.00007637216,0.00010281844],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024986514,0.00015384602,0.06892261,0.00018353463,0.00019020234,0.000057748064,0.3335945,0.0000061085702,0.00017229869,0.023050854,0.009573483,0.5638449],"study_design_scores_gemma":[0.00072042935,0.0001672231,0.13129705,0.00010992486,0.000049878072,0.0000033722654,0.00093788386,0.0010483162,0.00014628547,0.013648872,0.8514618,0.00040896426],"about_ca_topic_score_codex":0.000263361,"about_ca_topic_score_gemma":0.0015014819,"teacher_disagreement_score":0.8418883,"about_ca_system_score_codex":0.000006413023,"about_ca_system_score_gemma":0.000004908428,"threshold_uncertainty_score":0.4955528},"labels":[],"label_agreement":null},{"id":"W2588040259","doi":"","title":"Awaken the Gods: Theatre. [Barrie Kosky's The Lost Echo.]","year":2006,"lang":"en","type":"article","venue":"Monthly, The","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Echo (communications protocol); Art; Computer science; Computer security","score_opus":0.01336568247138604,"score_gpt":0.19621003512367055,"score_spread":0.18284435265228452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2588040259","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.058781806,0.0041160993,0.0000026248363,0.02366322,0.001015084,0.00041283417,0.00009877785,0.00009272838,0.91181684],"genre_scores_gemma":[0.96179324,0.00010067056,0.0000025473064,0.0018484568,0.0035035813,0.000062678126,0.000009746745,0.000026488213,0.032652564],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988264,0.00010747873,0.0002381293,0.00018337749,0.00025246988,0.00039217988],"domain_scores_gemma":[0.99887204,0.00030153093,0.00008283841,0.0006658407,0.000055089666,0.00002267068],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042277985,0.00022895524,0.00017332293,0.000022950124,0.0024778985,0.00034710925,0.0006644011,0.000037047586,0.001423327],"category_scores_gemma":[0.000007994191,0.00008085738,0.00017156653,0.00005846843,0.0008352555,0.00014530696,0.00013939626,0.000293671,0.00066080777],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059951824,0.00009139271,0.0016617272,0.000017932129,0.00020539021,0.000006078611,0.07251491,0.00031350108,0.000020069652,0.2460582,0.66491187,0.014138971],"study_design_scores_gemma":[0.00015530662,0.000045080447,0.0017965497,0.00001478578,0.00006894512,0.0000017956767,0.01480577,0.00010924524,0.000078597885,0.012525936,0.9702501,0.00014783168],"about_ca_topic_score_codex":0.0032421218,"about_ca_topic_score_gemma":0.021396952,"teacher_disagreement_score":0.90301144,"about_ca_system_score_codex":0.000022453967,"about_ca_system_score_gemma":0.000021961632,"threshold_uncertainty_score":0.9994895},"labels":[],"label_agreement":null},{"id":"W2589800861","doi":"10.3138/tric.37.2.157","title":"Introduction: Performance et handicap","year":2016,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science; Art history","score_opus":0.05993844754665758,"score_gpt":0.3018746010337259,"score_spread":0.2419361534870683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2589800861","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15245496,0.01774234,0.0000010745779,0.28652993,0.0038174076,0.00029497035,0.00024889392,0.000020778001,0.53888965],"genre_scores_gemma":[0.9211156,0.025558088,0.0000071340073,0.00016439434,0.0063368385,0.000047323774,0.000005360393,0.000030722334,0.04673455],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99683195,0.00040203732,0.0003475245,0.0003882707,0.0008420015,0.0011882093],"domain_scores_gemma":[0.99869573,0.00048595518,0.000042263568,0.0004456837,0.00014686874,0.00018346943],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001572108,0.00022557618,0.00029707278,0.00024467363,0.00073174573,0.00009623958,0.00032845823,0.000058935922,0.009035234],"category_scores_gemma":[0.000008454009,0.00015122867,0.000046178084,0.00022418013,0.0009962814,0.0004818779,0.00016555864,0.0006001263,0.0005084444],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011810394,0.00004777489,0.0046826378,0.00024112393,0.000053649746,0.000048933554,0.0014031708,0.00001259452,0.000020126692,0.017233727,0.33084872,0.6452894],"study_design_scores_gemma":[0.00047490216,0.00026419354,0.00084401545,0.00057793024,0.0000074881405,0.000017401768,0.0031700274,0.000024096176,0.00023644912,0.00084536424,0.99331015,0.00022800357],"about_ca_topic_score_codex":0.96765894,"about_ca_topic_score_gemma":0.99585646,"teacher_disagreement_score":0.76866066,"about_ca_system_score_codex":0.0019077583,"about_ca_system_score_gemma":0.0033332265,"threshold_uncertainty_score":0.99187064},"labels":[],"label_agreement":null},{"id":"W2590014574","doi":"10.3138/md.2017.60.1.115","title":"Donnalee Dox, <i>Reckoning with Spirit in the Paradigm of Performance</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dead reckoning; Aesthetics; Paradigm shift; History; Art; Epistemology; Computer science; Philosophy; Telecommunications; Global Positioning System","score_opus":0.03431298441535673,"score_gpt":0.23455439581314746,"score_spread":0.20024141139779073,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2590014574","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79091394,0.00025159487,0.00001364218,0.0012889826,0.00009595502,0.00010298133,0.000005974796,0.000012612048,0.20731433],"genre_scores_gemma":[0.99804145,0.00009150246,0.000016796332,0.00017568126,0.00028403653,0.000019677376,0.0000019298884,0.000010120572,0.0013587947],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999351,0.000014196285,0.00014894073,0.00011798559,0.00016384976,0.00020403172],"domain_scores_gemma":[0.99940974,0.000026252099,0.00010822658,0.00041422952,0.00002725725,0.000014291765],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018246828,0.000115265684,0.00017294714,0.000033675587,0.0007393149,0.00018631075,0.0003620801,0.000019381887,0.0000840037],"category_scores_gemma":[0.0000036877314,0.00006376395,0.000038639173,0.000011413796,0.0003807985,0.00035854566,0.00004492813,0.00013115231,0.000019278556],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043096952,0.00026441715,0.25310546,0.00032092675,0.00016287148,0.000029517758,0.5047944,0.00032132922,0.00005021163,0.12082721,0.0020152861,0.1176774],"study_design_scores_gemma":[0.0028888,0.0010580412,0.10028232,0.000732893,0.000115581635,0.000027538517,0.011109957,0.004366712,0.000724978,0.009004401,0.86889887,0.00078989286],"about_ca_topic_score_codex":0.0003106648,"about_ca_topic_score_gemma":0.003562284,"teacher_disagreement_score":0.8668836,"about_ca_system_score_codex":0.0000072620714,"about_ca_system_score_gemma":0.000016474885,"threshold_uncertainty_score":0.56862867},"labels":[],"label_agreement":null},{"id":"W2591378243","doi":"10.1080/13569783.2017.1286978","title":"¿Y los de teatro cuándo vuelven? The future of internationalised applied theatre in Nicaragua","year":2017,"lang":"es","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Dance; Drama; Art; Theatre studies; The arts; Visual arts; Publishing; Sociology; Literature","score_opus":0.03125194694923134,"score_gpt":0.33980812299826,"score_spread":0.3085561760490287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2591378243","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87134564,0.0071353,6.064812e-7,0.008180975,0.00060452445,0.000551859,0.000018596653,0.0000036729834,0.11215886],"genre_scores_gemma":[0.9651696,0.031251222,0.000023383885,0.00016253766,0.002971034,0.000039140315,0.0000041353696,0.000027798667,0.0003511486],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973432,0.00025172057,0.0008628671,0.0002098241,0.00076121895,0.0005711696],"domain_scores_gemma":[0.9973769,0.00067269715,0.00070253666,0.000745512,0.00040127442,0.00010107243],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00484588,0.00028845773,0.000505736,0.0004979707,0.0015217849,0.00055537664,0.0015005291,0.00013617816,0.00013899969],"category_scores_gemma":[0.000019072015,0.00016226692,0.000106867745,0.00018755067,0.0013586481,0.00042802969,0.00027757385,0.0015592314,0.000012952139],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0065338104,0.0011554956,0.096951105,0.0013954215,0.00043815974,0.000005285986,0.14560774,0.00039406304,0.00080004684,0.13179225,0.006528141,0.6083985],"study_design_scores_gemma":[0.0051091765,0.0015472055,0.2629605,0.004079164,0.00030167782,0.00014036022,0.25413173,0.00098821,0.0030802733,0.037212647,0.42954975,0.0008993168],"about_ca_topic_score_codex":0.00033190413,"about_ca_topic_score_gemma":0.00058655924,"teacher_disagreement_score":0.6074992,"about_ca_system_score_codex":0.00017893422,"about_ca_system_score_gemma":0.0009798488,"threshold_uncertainty_score":0.9997781},"labels":[],"label_agreement":null},{"id":"W2591540229","doi":"","title":"Chester 2010: Creation and Judgment: Introduction: Creation to [to displays with a strikethrough in the print issue] and Judgment","year":2010,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Event (particle physics); Visual arts; Performance art; Art history; Art; Media studies; Sociology; History; Political science; Law","score_opus":0.010922570837879854,"score_gpt":0.2243295994583076,"score_spread":0.21340702862042776,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2591540229","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9527193,0.000086228094,0.000014866382,0.024591371,0.00030763025,0.00050665543,0.000011969249,0.000021552449,0.021740427],"genre_scores_gemma":[0.9929293,0.00004339102,0.00013438196,0.0005025123,0.0018115661,0.000095139876,0.000007641779,0.000011723357,0.0044643367],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928254,0.00002773089,0.00013848589,0.00023010571,0.00015048397,0.00017064717],"domain_scores_gemma":[0.9996455,0.000033777953,0.00003183474,0.00020518838,0.00003750219,0.000046203713],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020489666,0.00014284618,0.00013512278,0.000075037686,0.00030552672,0.00023536959,0.00007155808,0.00003002072,0.00029237132],"category_scores_gemma":[0.0000043395917,0.00008366401,0.000014833374,0.000055963505,0.00011981254,0.00025922176,0.000043525655,0.00016398133,0.000043526692],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00058196625,0.00021478804,0.059084367,0.00008788515,0.000099501325,0.0000048085976,0.8162938,0.00003580201,0.0006439007,0.027228775,0.019376049,0.076348394],"study_design_scores_gemma":[0.0005625942,0.00080510165,0.19753785,0.000058802787,0.00005267699,0.000011294312,0.011410189,0.000010125569,0.00028189266,0.00042890845,0.78859675,0.00024380695],"about_ca_topic_score_codex":0.0009656892,"about_ca_topic_score_gemma":0.008214808,"teacher_disagreement_score":0.8048836,"about_ca_system_score_codex":0.000012867763,"about_ca_system_score_gemma":0.000008275522,"threshold_uncertainty_score":0.45840558},"labels":[],"label_agreement":null},{"id":"W2591983252","doi":"10.7202/1038321ar","title":"Performativité du « corps » autobiographique de la marionnette dans Billy Twinkle de Ronnie Burkett1","year":2016,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Humanities; Art","score_opus":0.01090485312820512,"score_gpt":0.21404749350775584,"score_spread":0.2031426403795507,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2591983252","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56097525,0.0034862948,0.00018659922,0.051390886,0.0015994188,0.000761174,0.0011460372,0.0005695039,0.3798848],"genre_scores_gemma":[0.87693834,0.019355591,0.00039560068,0.0011390878,0.0034956648,0.0002092784,0.000045091703,0.00020911632,0.0982122],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9943464,0.0008253814,0.0011949732,0.0009451695,0.00048380505,0.0022043043],"domain_scores_gemma":[0.9963681,0.0012712108,0.0005207454,0.0009632355,0.00027017246,0.0006065128],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.0015585793,0.0012831294,0.0011938676,0.00050064636,0.0019264787,0.0005487884,0.0010969278,0.00069717003,0.001531925],"category_scores_gemma":[0.00017523911,0.000990049,0.0010527131,0.0003056009,0.003658024,0.0016504544,0.00029448624,0.000940107,0.00031963486],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00052675203,0.0009889606,0.044569902,0.0015408415,0.0011758544,0.00058339385,0.093594864,0.00013347498,0.0015683293,0.73313475,0.0988127,0.02337018],"study_design_scores_gemma":[0.00070570427,0.00074275665,0.023704346,0.0025964025,0.00058431557,0.0007416944,0.0030699123,0.00019203576,0.000692005,0.00317071,0.96231556,0.0014845487],"about_ca_topic_score_codex":0.0048937197,"about_ca_topic_score_gemma":0.0761247,"teacher_disagreement_score":0.86350286,"about_ca_system_score_codex":0.00077342574,"about_ca_system_score_gemma":0.00066202367,"threshold_uncertainty_score":0.9999921},"labels":[],"label_agreement":null},{"id":"W2592096203","doi":"10.7202/1038323ar","title":"Le solo-machine : incursion dans le travail scénique de Carole Nadeau","year":2016,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Trois-Rivières","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.01184347349336807,"score_gpt":0.21262957050430578,"score_spread":0.20078609701093772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2592096203","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25413188,0.011737436,0.00029548426,0.115219295,0.002487859,0.0010859837,0.0019402307,0.0007135345,0.6123883],"genre_scores_gemma":[0.760587,0.008663734,0.00015365078,0.0005694221,0.002074768,0.00012652832,0.00005847316,0.00018673539,0.22757968],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.994808,0.0004887724,0.0011579365,0.0011050537,0.0004720629,0.0019681628],"domain_scores_gemma":[0.997404,0.00034078956,0.00044349427,0.0009827514,0.00026063167,0.000568367],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0008009644,0.0011657804,0.0012545503,0.0003084086,0.002417199,0.00029804223,0.0010478846,0.00054538104,0.0005615718],"category_scores_gemma":[0.00008716884,0.00095266453,0.00084073894,0.00019859169,0.0026064673,0.0014692836,0.00026834186,0.00076802855,0.00033737818],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046266962,0.001021703,0.0016159946,0.0010191114,0.00061372225,0.00018653687,0.052025836,0.00006578805,0.004518982,0.8629547,0.037630882,0.037884083],"study_design_scores_gemma":[0.00083555136,0.00082614645,0.0031161841,0.0021478108,0.00034665148,0.00019389634,0.00425425,0.00007611906,0.003451512,0.0022857324,0.981078,0.0013881347],"about_ca_topic_score_codex":0.037574004,"about_ca_topic_score_gemma":0.46972987,"teacher_disagreement_score":0.9434471,"about_ca_system_score_codex":0.00046521582,"about_ca_system_score_gemma":0.0014128792,"threshold_uncertainty_score":0.9992924},"labels":[],"label_agreement":null},{"id":"W2592102973","doi":"10.1080/1554480x.2017.1283998","title":"<i>Playlinks</i>: a theatre-for-young audiences artist-in-the-classroom project","year":2017,"lang":"en","type":"article","venue":"Pedagogies An International Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"Social Sciences and Humanities Research Council of Canada; Ontario Trillium Foundation","keywords":"Visual arts; Art; Sociology","score_opus":0.10478098810335235,"score_gpt":0.371945883004857,"score_spread":0.26716489490150463,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2592102973","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6043489,0.0005403819,0.00011537,0.010268818,0.0070061516,0.00037592876,0.0001540492,0.00005394501,0.37713644],"genre_scores_gemma":[0.9905307,0.0007998809,0.00013576711,0.00032185382,0.005371599,0.000043229677,0.000009131159,0.000011275204,0.0027765636],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988354,0.000037364127,0.00029191785,0.00016103264,0.00039708117,0.00027722275],"domain_scores_gemma":[0.9991532,0.00009150089,0.0002580768,0.0002373325,0.00023176154,0.000028122036],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.00053975073,0.00014681794,0.00015432599,0.00012181265,0.0018671572,0.002221714,0.0013102362,0.000027237676,0.00022175797],"category_scores_gemma":[0.00006603888,0.000090746384,0.00013176426,0.000009445913,0.000323717,0.00132583,0.000083049585,0.00024557125,0.000021050333],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00076718995,0.00048565285,0.092002675,0.000046115,0.0005453579,0.00018939919,0.36948642,0.000059530088,0.00006543505,0.28618467,0.047829174,0.2023384],"study_design_scores_gemma":[0.0007514331,0.0003108963,0.017323796,0.00007271302,0.000025088848,0.00019528416,0.0487192,0.00020275768,0.000024755213,0.010235478,0.9219021,0.00023649668],"about_ca_topic_score_codex":0.00066568673,"about_ca_topic_score_gemma":0.011380666,"teacher_disagreement_score":0.8740729,"about_ca_system_score_codex":0.0000376778,"about_ca_system_score_gemma":0.00007818943,"threshold_uncertainty_score":0.99943227},"labels":[],"label_agreement":null},{"id":"W2594673068","doi":"10.1353/asa.2017.0009","title":"What is a Question?","year":2017,"lang":"en","type":"article","venue":"ASAP/journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Surprise; Salient; Space (punctuation); Criticism; Opera; History; Epistemology; Philosophy; Psychology; Literature; Art history; Art; Linguistics; Social psychology","score_opus":0.03517209625414229,"score_gpt":0.29132718960154486,"score_spread":0.25615509334740255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2594673068","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4271941,0.007369291,0.00001607915,0.032217912,0.020854024,0.000106867294,0.00001223212,0.000061340696,0.51216817],"genre_scores_gemma":[0.94070977,0.0046472126,0.000028788918,0.0008298988,0.006057463,0.0000017482088,5.557409e-7,0.000010372163,0.04771421],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994613,0.000012589734,0.00014007383,0.000066147,0.00014116243,0.00017871009],"domain_scores_gemma":[0.9994603,0.000011026207,0.00015424464,0.0001896718,0.00012540517,0.00005939018],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023202422,0.00008578266,0.00011139115,0.000039625964,0.0034754542,0.0030297067,0.000245753,0.000019771365,0.0026781003],"category_scores_gemma":[0.000010844624,0.000059901377,0.00008573183,0.0000034042384,0.00018529841,0.0018485372,0.0000467617,0.00021882114,0.00043375668],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006411026,0.00008930854,0.0081111705,0.000023633327,0.0003139852,0.00011810787,0.16165935,0.0000017719506,0.0000142645795,0.07076143,0.539411,0.21943185],"study_design_scores_gemma":[0.000243077,0.000083439736,0.0022247524,0.000096539974,0.00002404453,0.0001422587,0.005961558,0.0000046867913,0.000049547958,0.010795841,0.98026824,0.00010603232],"about_ca_topic_score_codex":0.000041892985,"about_ca_topic_score_gemma":0.00020779573,"teacher_disagreement_score":0.51351565,"about_ca_system_score_codex":0.000015139337,"about_ca_system_score_gemma":0.00002547102,"threshold_uncertainty_score":0.9982336},"labels":[],"label_agreement":null},{"id":"W2594814518","doi":"","title":"A Selected Bibliography of Writing on Performed Ethnography and Research-Informed Theatre by Tara Goldstein","year":2013,"lang":"en","type":"article","venue":"TSpace (University of Toronto)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnography; Bibliography; Sociology; Visual arts; History; Art; Anthropology; Library science; Computer science","score_opus":0.030907902846622128,"score_gpt":0.2599700974589286,"score_spread":0.22906219461230645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2594814518","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73347014,0.0011226706,6.689526e-7,0.00047439005,0.000032684493,0.00020132826,0.000031898886,0.000033902845,0.26463234],"genre_scores_gemma":[0.9913732,0.0070478306,0.00007796195,0.00001848506,0.0000461823,0.0000013404191,0.000010893071,0.000008956675,0.001415176],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990706,0.000045020504,0.00011463424,0.00016664334,0.00028735914,0.00031574615],"domain_scores_gemma":[0.99914324,0.000157357,0.00009938349,0.0001776476,0.00034447073,0.00007787281],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018762208,0.00013457469,0.00025739,0.0011758597,0.0005866801,0.000039436905,0.00018912781,0.00006003456,0.0077793575],"category_scores_gemma":[0.000005412451,0.0001278431,0.00010116705,0.0006144061,0.00082590687,0.000752232,0.000087837914,0.00015769256,0.000014841744],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006065863,0.0003584198,0.029380249,0.0007410222,0.00076233305,0.0000029812318,0.51157564,0.0000017928929,0.0042619454,0.006805258,0.33053005,0.11497376],"study_design_scores_gemma":[0.0019827646,0.00233749,0.20291202,0.00039373475,0.00009675107,0.0000012627564,0.71945614,0.00019677877,0.00073669135,0.00023087066,0.07115195,0.0005035725],"about_ca_topic_score_codex":0.17168781,"about_ca_topic_score_gemma":0.0538226,"teacher_disagreement_score":0.26321715,"about_ca_system_score_codex":0.000019103041,"about_ca_system_score_gemma":0.000019331377,"threshold_uncertainty_score":0.99312764},"labels":[],"label_agreement":null},{"id":"W2596445391","doi":"","title":"Montreal Pool Room","year":2015,"lang":"en","type":"article","venue":"Ctheory","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cultural studies; Critical theory; Sociology; Media studies; Media theory; Social science; Anthropology; Epistemology; Philosophy","score_opus":0.033877684589031135,"score_gpt":0.2246865179709449,"score_spread":0.1908088333819138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2596445391","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13407367,0.0007927683,0.0000058094292,0.00024524523,0.00064035755,0.000041476633,0.000010247851,0.000081055914,0.86410934],"genre_scores_gemma":[0.95192546,0.000017313801,0.0000052105647,0.00030125884,0.001146813,0.0000067407414,0.0000032630016,0.000007860043,0.04658606],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996487,0.000015951762,0.000069415175,0.00007148258,0.00006868862,0.00012575612],"domain_scores_gemma":[0.99977094,0.00001943716,0.000016794802,0.00010454933,0.000041894786,0.000046376186],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000112346126,0.0000657169,0.00008190222,0.000025776959,0.00013086673,0.00003744735,0.00006769901,0.000013263886,0.0009042887],"category_scores_gemma":[0.000008273557,0.000047871465,0.000032088315,0.000008599604,0.00009380259,0.000110697525,0.000025670664,0.000047215217,0.00093137915],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007907488,0.000042132942,0.0006288821,0.000011809466,0.000051643266,0.000008062382,0.116460085,0.000008123527,0.000005318288,0.62252724,0.20767707,0.052500557],"study_design_scores_gemma":[0.00024406581,0.00006891123,0.00032312804,0.0000068560994,0.000012796586,0.0000014728458,0.010022022,0.000017411692,0.00004422178,0.039333,0.94982445,0.00010165617],"about_ca_topic_score_codex":0.0002103899,"about_ca_topic_score_gemma":0.0009821906,"teacher_disagreement_score":0.8178518,"about_ca_system_score_codex":0.000010545048,"about_ca_system_score_gemma":0.00001541657,"threshold_uncertainty_score":0.9998465},"labels":[],"label_agreement":null},{"id":"W2599312377","doi":"","title":"“Supercharged Reality”: Documentary and Theatrical Disciplinarity","year":2016,"lang":"en","type":"article","venue":"Studies in Canadian Literature","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Discipline; Aesthetics; Performative utterance; Sociology; Art; Dramaturgy; Visual arts; Social science","score_opus":0.042265410036777945,"score_gpt":0.3015919674508673,"score_spread":0.2593265574140894,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2599312377","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68727064,0.069506064,3.9648427e-7,0.09410956,0.0028129758,0.0005328652,0.0017028275,0.00009089631,0.1439738],"genre_scores_gemma":[0.99012125,0.003680215,0.0000110860465,0.0006758075,0.0008268383,0.000027584336,0.000010322,0.000010146348,0.004636764],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990085,0.000045896653,0.00017275296,0.00024118654,0.00009106648,0.00044063965],"domain_scores_gemma":[0.9995051,0.00010331477,0.000017355887,0.00015959716,0.0000641265,0.00015051404],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020200471,0.00016880769,0.00023417409,0.00017491441,0.0005128132,0.00007910604,0.00009371845,0.00004851555,0.00020167558],"category_scores_gemma":[0.0000325332,0.000094399424,0.000039194874,0.00007210896,0.00053980836,0.00031717948,0.000074899915,0.00015935571,0.000015639807],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008317431,0.000035514888,0.07715298,0.00022572366,0.00027573967,0.00018885758,0.5045861,1.481814e-7,0.00001661,0.22586353,0.17074123,0.020830361],"study_design_scores_gemma":[0.00043344777,0.00008207307,0.0068264855,0.00037694615,0.000018618928,0.000008096227,0.011208275,8.124223e-7,0.000005114546,0.013496102,0.96728724,0.00025676124],"about_ca_topic_score_codex":0.043826237,"about_ca_topic_score_gemma":0.86536616,"teacher_disagreement_score":0.82153994,"about_ca_system_score_codex":0.00018193849,"about_ca_system_score_gemma":0.000049504808,"threshold_uncertainty_score":0.962541},"labels":[],"label_agreement":null},{"id":"W2599507687","doi":"10.26512/museologia.v5i10.17727","title":"Expor a arte da performance","year":2016,"lang":"pt","type":"article","venue":"Museologia & Interdisciplinaridade","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.03610235118332802,"score_gpt":0.2627636645712231,"score_spread":0.22666131338789505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2599507687","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88994956,0.0011101795,0.00014525292,0.011503714,0.0048565813,0.000479768,0.00024219292,0.0003391194,0.09137364],"genre_scores_gemma":[0.8767365,0.00064405485,0.000023738869,0.00036742442,0.0023964054,0.00011384903,0.000012865612,0.00007375734,0.119631365],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.996424,0.00010956193,0.00091063534,0.00087509974,0.00039408143,0.0012865949],"domain_scores_gemma":[0.9980899,0.0002338773,0.00035629375,0.0009297617,0.00018640004,0.00020376837],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00042103094,0.0007853558,0.00081358134,0.00031588852,0.0016216248,0.000365427,0.0008433597,0.00025996778,0.009517494],"category_scores_gemma":[0.000035002984,0.000468956,0.00042642895,0.00012485626,0.0015783461,0.0008791813,0.0013949891,0.00046903896,0.0063157845],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0022358198,0.0011684593,0.07955653,0.001051975,0.0018925879,0.00022077297,0.31202796,0.000018635024,0.0021073287,0.042589016,0.3446569,0.21247399],"study_design_scores_gemma":[0.003967574,0.004250326,0.05678042,0.003037196,0.00051675964,0.00010384416,0.03397419,0.00030991144,0.0030322047,0.0019043466,0.8892553,0.0028679566],"about_ca_topic_score_codex":0.00004928504,"about_ca_topic_score_gemma":0.00056930544,"teacher_disagreement_score":0.54459834,"about_ca_system_score_codex":0.00020103362,"about_ca_system_score_gemma":0.000092032176,"threshold_uncertainty_score":0.99977624},"labels":[],"label_agreement":null},{"id":"W2599546888","doi":"10.3138/md.0842","title":"Sermon and Spectacle: J.B. Priestley’s <i>An Inspector Calls</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spectacle; Drama; Plea; Literature; Sermon; History; Art; Aesthetics; Law; Political science","score_opus":0.03235066291911827,"score_gpt":0.24863573277603118,"score_spread":0.21628506985691293,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2599546888","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7995814,0.0003424041,0.000009754355,0.0008430722,0.0003734272,0.00009107883,0.000031969386,0.00008850575,0.19863836],"genre_scores_gemma":[0.9872556,0.00010096163,0.000031656327,0.00022747717,0.001044202,0.000008794394,0.000005342739,0.000019663934,0.011306325],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935013,0.00001028502,0.000111099995,0.00020243177,0.00011171555,0.00021433605],"domain_scores_gemma":[0.9993908,0.000010874251,0.00006579057,0.00042262505,0.00004370258,0.00006623883],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00006137692,0.0001397196,0.00016300118,0.000027057591,0.001510506,0.00063655083,0.00020455693,0.000031020758,0.0003005204],"category_scores_gemma":[0.000008584855,0.00011197908,0.000031831063,0.000003893766,0.00037939637,0.00058906514,0.00011399275,0.00010459697,0.00006875744],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024631715,0.00035108047,0.04776038,0.00020762559,0.00024929142,0.00007813454,0.4098298,0.000007144734,0.001124097,0.35225937,0.016230326,0.17165641],"study_design_scores_gemma":[0.001242063,0.00043094,0.06700639,0.0000732921,0.000076531076,0.000014328028,0.0031288774,0.0015280397,0.0007920607,0.03325369,0.89166844,0.00078532426],"about_ca_topic_score_codex":0.0007134196,"about_ca_topic_score_gemma":0.006402369,"teacher_disagreement_score":0.87543815,"about_ca_system_score_codex":0.000012933679,"about_ca_system_score_gemma":0.000013801942,"threshold_uncertainty_score":0.9997894},"labels":[],"label_agreement":null},{"id":"W260008555","doi":"10.3138/jcs.38.1.65","title":"Kinds of Osmosis","year":2004,"lang":"en","type":"article","venue":"Journal of Canadian Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Painting; Gesture; Texture (cosmology); Oil painting; Aesthetics; Computer science; Artificial intelligence; Image (mathematics)","score_opus":0.06066178601334807,"score_gpt":0.25078208191545853,"score_spread":0.19012029590211046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W260008555","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73949444,0.024613483,0.0000010813262,0.007978533,0.0019571679,0.000065262735,0.000045156885,0.0000069732832,0.2258379],"genre_scores_gemma":[0.99574226,0.0024757525,0.00005633022,0.00031747634,0.0006800108,7.7793777e-7,1.7675828e-7,0.0000057941174,0.00072143704],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999375,0.000007337048,0.00028996624,0.0000383407,0.00013338597,0.00015601284],"domain_scores_gemma":[0.99929714,0.000026164502,0.00016737197,0.00005768171,0.00037187836,0.000079784884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013640994,0.00007838799,0.00027902334,0.0004907439,0.00020699877,0.000015509022,0.000092372575,0.0000139031645,0.0001221317],"category_scores_gemma":[0.000027525877,0.00005488447,0.000103365805,0.000072130635,0.00022754562,0.00014494457,0.000011631658,0.00008470687,0.000008793772],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009600542,0.000099128476,0.0060477266,0.0002518167,0.003654074,0.00015606098,0.50629205,0.00020368487,0.00008439273,0.25886258,0.20460576,0.01964673],"study_design_scores_gemma":[0.0004954651,0.0003644288,0.0018046043,0.00018326298,0.00011443423,0.000019737878,0.051992644,8.622951e-8,0.00036941704,0.0052937986,0.9392477,0.000114376824],"about_ca_topic_score_codex":0.022712836,"about_ca_topic_score_gemma":0.5384623,"teacher_disagreement_score":0.73464197,"about_ca_system_score_codex":0.00007711835,"about_ca_system_score_gemma":0.00016997338,"threshold_uncertainty_score":0.983795},"labels":[],"label_agreement":null},{"id":"W2600204239","doi":"","title":"New vision for Oldham Coliseum Theatre in Cultural Quarter","year":2017,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Visual arts; Art; History; Archaeology","score_opus":0.03247854645178706,"score_gpt":0.2921762287150866,"score_spread":0.25969768226329953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2600204239","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08468484,0.00013742046,0.000012659311,0.00438402,0.0007942432,0.00025006663,0.000016598078,0.000041647403,0.9096785],"genre_scores_gemma":[0.9432461,0.00003455991,0.00007785517,0.00017363453,0.0009965503,0.000015279133,0.0000043967366,0.000005996659,0.055445597],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995699,0.0000039320144,0.00010448095,0.000103770486,0.00005314284,0.00016475214],"domain_scores_gemma":[0.99971443,0.000017588867,0.000035152963,0.0001772264,0.000028627977,0.000026995125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000050818286,0.000086145206,0.00012161042,0.00002486873,0.00063930516,0.00030039597,0.00013630603,0.000020286034,0.000807804],"category_scores_gemma":[0.0000027773924,0.00005233485,0.000058415506,0.0000033574083,0.000068732195,0.00044992325,0.000031052656,0.000040557763,0.00008862104],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012553747,0.000045811405,0.0040536583,0.00003849199,0.00003162267,0.0000012434862,0.06733952,8.671532e-7,0.000049115457,0.14515041,0.72195435,0.06120937],"study_design_scores_gemma":[0.000697036,0.0001557141,0.0060044415,0.000033934775,0.000008420341,3.530554e-7,0.008184354,0.00004738262,0.00006064473,0.002170381,0.98250794,0.00012941696],"about_ca_topic_score_codex":0.0014176248,"about_ca_topic_score_gemma":0.0237593,"teacher_disagreement_score":0.8585613,"about_ca_system_score_codex":0.000008642507,"about_ca_system_score_gemma":0.000010687708,"threshold_uncertainty_score":0.99405456},"labels":[],"label_agreement":null},{"id":"W2600479495","doi":"10.3138/md.0781","title":"Performativity and the Persistence of the Golem Legend","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performativity; Aesthetics; Power (physics); Legend; Art; Sociology; Literature; Gender studies","score_opus":0.04051654307301477,"score_gpt":0.2244230216900633,"score_spread":0.18390647861704854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2600479495","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7753752,0.00042305343,0.000005005322,0.0026224987,0.0001773126,0.000086619395,0.000014222933,0.0000067814435,0.2212893],"genre_scores_gemma":[0.9935143,0.000063354615,0.000002614366,0.000100851365,0.00014310933,0.0000054173406,1.9550701e-7,0.0000035898552,0.006166543],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996367,0.000022179096,0.00008325977,0.000064904445,0.000095939016,0.00009702],"domain_scores_gemma":[0.9994722,0.000033506847,0.000091919086,0.00035766923,0.000034419376,0.0000103012635],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001626804,0.00006633896,0.00011107757,0.0000068661016,0.0018420081,0.0001528255,0.00026841948,0.000012053494,0.000069151814],"category_scores_gemma":[0.0000103176635,0.000028898174,0.00006325554,0.000003243317,0.0013499734,0.00020831416,0.00016919315,0.00008015865,0.0000068435397],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014243687,0.00004124978,0.015301102,0.00012976707,0.00013941078,5.2244565e-7,0.6641584,0.000016313761,0.000050532093,0.2531447,0.00180564,0.06506992],"study_design_scores_gemma":[0.007056788,0.000287526,0.22736976,0.00043299954,0.00050624117,0.000029624965,0.08462731,0.034130014,0.0035112018,0.06008479,0.580932,0.0010317259],"about_ca_topic_score_codex":0.00025849039,"about_ca_topic_score_gemma":0.0011477638,"teacher_disagreement_score":0.5795311,"about_ca_system_score_codex":0.000003998544,"about_ca_system_score_gemma":0.000008557053,"threshold_uncertainty_score":0.9994575},"labels":[],"label_agreement":null},{"id":"W2603512944","doi":"10.1386/public.27.54.51_7","title":"Artwork (She Is Dancing With Herself, Dancing With Myself)","year":2016,"lang":"en","type":"article","venue":"Public","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Council of Professional Engineers","funders":"","keywords":"Dance; Art; Visual arts","score_opus":0.025763936973800392,"score_gpt":0.1873714770285562,"score_spread":0.1616075400547558,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2603512944","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.662216,0.000533917,0.00024370018,0.008101606,0.00045055954,0.00020244959,0.000021585305,0.00029443242,0.32793573],"genre_scores_gemma":[0.9807839,0.00005190389,0.00009900856,0.0010131643,0.0010727221,0.000032483997,0.000002405749,0.000030135614,0.016914282],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99895865,0.000016615322,0.000142218,0.0002346225,0.00021112901,0.00043674163],"domain_scores_gemma":[0.9994109,0.000054881624,0.00007317747,0.00026129602,0.0001230958,0.00007661519],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013672777,0.00018444321,0.00019546476,0.00008160079,0.0005959707,0.00021513872,0.00013930607,0.000023425047,0.0015778886],"category_scores_gemma":[0.000006283758,0.00008790182,0.0000378907,0.00007306164,0.00022691484,0.0007256703,0.000041446572,0.000090694564,0.00020544],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031660622,0.00020517259,0.08713485,0.0001928136,0.0009693679,0.000040040184,0.4475259,0.0000062941103,0.0001374076,0.21555853,0.13789658,0.11001644],"study_design_scores_gemma":[0.0006473792,0.0002427265,0.0010505934,0.00019377789,0.00003726639,0.0000100707275,0.011979823,0.000006717582,0.00015235087,0.00031138016,0.9850559,0.00031199792],"about_ca_topic_score_codex":0.00008434196,"about_ca_topic_score_gemma":0.0024923338,"teacher_disagreement_score":0.8471593,"about_ca_system_score_codex":0.000042501895,"about_ca_system_score_gemma":0.000057436682,"threshold_uncertainty_score":0.9993348},"labels":[],"label_agreement":null},{"id":"W2604195659","doi":"","title":"À louer / For Rent, UMA, various venues, Montreal","year":2012,"lang":"en","type":"article","venue":"Ciel variable : Art, photo, m&#233;dias, culture","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business","score_opus":0.021482115255358942,"score_gpt":0.22982216299017083,"score_spread":0.20834004773481188,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604195659","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00944937,0.0074701025,0.000102299746,0.00010014353,0.003577265,0.00084598316,0.000871094,0.00026407858,0.97731966],"genre_scores_gemma":[0.33567646,0.0015518059,0.001544148,0.011337382,0.019373115,0.0011413485,0.0012934452,0.00026038883,0.6278219],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977972,0.000051589224,0.00041176312,0.000423686,0.0002746247,0.0010411737],"domain_scores_gemma":[0.998773,0.000094307434,0.00019112598,0.0005026867,0.0002095492,0.00022936435],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035421882,0.00046591088,0.00052916084,0.000083903215,0.001067317,0.00023828173,0.00033281735,0.00021381691,0.016730065],"category_scores_gemma":[0.000051308023,0.00037143833,0.00024616296,0.000090686975,0.00020223782,0.00069938507,0.000113742484,0.00038166062,0.0006091367],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010999618,0.00027519875,0.00057145866,0.00022029685,0.0002462518,0.0000035770856,0.025354523,0.000012505237,0.0003512162,0.033134345,0.9379787,0.001741941],"study_design_scores_gemma":[0.00093049736,0.00016697499,0.00034501974,0.00010203882,0.00021960873,0.000012779977,0.0021082785,0.00010258667,0.0002715666,0.0015362222,0.99367595,0.0005284693],"about_ca_topic_score_codex":0.0006896407,"about_ca_topic_score_gemma":0.0002997818,"teacher_disagreement_score":0.34949774,"about_ca_system_score_codex":0.00008297822,"about_ca_system_score_gemma":0.00006737649,"threshold_uncertainty_score":0.99987376},"labels":[],"label_agreement":null},{"id":"W2604234222","doi":"10.1080/19443927.2016.1240100","title":"‘Traditional’ opera in a ‘modern’ society: institutional change in Taiwanese<i>xiqu</i>education","year":2017,"lang":"en","type":"article","venue":"Journal of Theatre Dance and Performance Training","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Modernization theory; Scrutiny; Vocational education; Curriculum; Political science; Sociology; Public administration; Pedagogy; Media studies; Law","score_opus":0.13205227124186245,"score_gpt":0.2920608044533893,"score_spread":0.16000853321152683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604234222","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9772264,0.0018286761,0.0000025594745,0.0016111688,0.00077420764,0.00010217334,0.000015631318,0.00000590828,0.018433275],"genre_scores_gemma":[0.9942314,0.0030000093,0.00015395282,0.0005116121,0.0019216759,0.000022452377,0.0000060228135,0.000009772411,0.00014311098],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9990329,0.000017255965,0.00038412499,0.00012890129,0.00019888575,0.00023793952],"domain_scores_gemma":[0.9994418,0.000030267209,0.00026369037,0.00013492443,0.000079743506,0.00004957802],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050981273,0.00015311272,0.00029544806,0.0001518142,0.0007223008,0.00017573946,0.00023373254,0.00004578459,0.000070629554],"category_scores_gemma":[0.000008783464,0.00012216423,0.00008541689,0.000031607407,0.00032085992,0.0021841363,0.000034271947,0.0003415105,0.0000027014337],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018808398,0.00018686063,0.1664067,0.00018178263,0.000049846054,0.000014077664,0.26918876,0.000088762354,0.00004390397,0.0054027596,0.0003538423,0.55789465],"study_design_scores_gemma":[0.0043615685,0.0010340402,0.8347117,0.0043724594,0.00006703624,0.00036412707,0.050534565,0.0069777025,0.000054872286,0.00545752,0.09123026,0.00083418837],"about_ca_topic_score_codex":0.00016730961,"about_ca_topic_score_gemma":0.0011908934,"teacher_disagreement_score":0.668305,"about_ca_system_score_codex":0.000051019706,"about_ca_system_score_gemma":0.00020009685,"threshold_uncertainty_score":0.5555427},"labels":[],"label_agreement":null},{"id":"W2604378144","doi":"10.3138/ctr.170.010","title":"Playing the Long Game: Some Pros and Cons of Working Collaboratively","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"cons; Realm; Patience; Adaptability; Construct (python library); Sustainability; Sociology; Psychology; Political science; Aesthetics; Public relations; Engineering ethics; Environmental ethics; Computer science; Engineering; Management; Social psychology; Art; Law; Economics; Philosophy","score_opus":0.06469908467539996,"score_gpt":0.26634939655747947,"score_spread":0.2016503118820795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604378144","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028798865,0.624613,3.1198232e-7,0.015042933,0.0004568812,0.0009836524,0.00015915133,0.000018971301,0.32992622],"genre_scores_gemma":[0.9250947,0.07273666,0.0000037205145,0.00092743314,0.00028588614,0.0000287378,0.0000024283975,0.000010215481,0.0009102162],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940056,0.00003326127,0.00017385696,0.00011356652,0.000068149915,0.00021062657],"domain_scores_gemma":[0.9993438,0.000049485017,0.0001420024,0.00031617563,0.00006083269,0.00008769203],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00022043179,0.00011700739,0.0002869222,0.000033770953,0.0015643144,0.00015408434,0.00021371963,0.000018227445,0.00021553824],"category_scores_gemma":[0.000024039184,0.00007067948,0.000048202342,0.000020651974,0.0005514257,0.00017113563,0.000035727448,0.0000936421,0.00001675465],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013901919,0.0000185245,0.050137162,0.0052869865,0.0004265117,0.000039931216,0.039521463,4.6730932e-7,0.000007526745,0.26834264,0.03189856,0.60430634],"study_design_scores_gemma":[0.000105809915,0.000024995777,0.0034830363,0.004019123,0.00010660947,0.000005433659,0.0008500981,0.0000026465189,0.0000074933682,0.00036059055,0.99089676,0.00013741206],"about_ca_topic_score_codex":0.012855901,"about_ca_topic_score_gemma":0.37303752,"teacher_disagreement_score":0.9589982,"about_ca_system_score_codex":0.000025276147,"about_ca_system_score_gemma":0.00017897565,"threshold_uncertainty_score":0.99973553},"labels":[],"label_agreement":null},{"id":"W2604816085","doi":"10.3138/ctr.170.005","title":"“‘Sup Leeches?” Make Some Magic","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"MAGIC (telescope); The Imaginary; Empire; Consciousness; Institution; The arts; Agency (philosophy); Politics; Power (physics); Aesthetics; Sociology; Art; Art history; Visual arts; Social science; Political science; Law; Epistemology; Philosophy; Psychoanalysis; Psychology","score_opus":0.04858980103480211,"score_gpt":0.25809011819033323,"score_spread":0.20950031715553113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604816085","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007846471,0.21811463,8.97071e-8,0.013739541,0.0005676387,0.00028446974,0.00012091318,0.000036917012,0.76635116],"genre_scores_gemma":[0.5063839,0.38477024,0.000025059575,0.022201644,0.004756808,0.000087401466,0.00005514689,0.00008650494,0.0816333],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990395,0.000026453956,0.00020557831,0.00019905945,0.00010071932,0.0004287224],"domain_scores_gemma":[0.99882084,0.000015927706,0.00009135329,0.000766838,0.00005472378,0.00025033075],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020810011,0.00019400581,0.00036815787,0.00006669415,0.0014014526,0.00027110285,0.00046735455,0.000032646465,0.0044863173],"category_scores_gemma":[0.000018179295,0.00014768366,0.00015742425,0.0000130488415,0.00028535863,0.00030266534,0.000042805408,0.00014183322,0.0022773277],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000023811633,0.000011183429,0.00077944365,0.0018572445,0.00010362493,0.000055254797,0.0023386364,1.4238879e-7,4.6717344e-7,0.12121555,0.20830376,0.6653323],"study_design_scores_gemma":[0.00008099858,0.000020548176,0.00020897354,0.0013859158,0.000081375125,0.000007837928,0.0001712579,0.0000015331102,0.0000017050357,0.001577752,0.99625546,0.00020664878],"about_ca_topic_score_codex":0.05785769,"about_ca_topic_score_gemma":0.49441206,"teacher_disagreement_score":0.7879517,"about_ca_system_score_codex":0.000074963296,"about_ca_system_score_gemma":0.00016893924,"threshold_uncertainty_score":0.9998986},"labels":[],"label_agreement":null},{"id":"W2604969919","doi":"10.3138/ctr.170.004","title":"Heart of the Telling","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Indigenous; Status quo; Aesthetics; Perception; Representation (politics); Sociology; Storytelling; Gender studies; Political science; Art; Psychology; Literature; Law","score_opus":0.04628096289094789,"score_gpt":0.2539998103548894,"score_spread":0.2077188474639415,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604969919","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003387668,0.16627425,8.980139e-8,0.014554213,0.00077213766,0.00029302994,0.000062447005,0.000009839215,0.8146463],"genre_scores_gemma":[0.96023166,0.031153716,0.000005759703,0.003022441,0.00050109846,0.000010939354,0.0000014746648,0.000012239475,0.005060681],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999537,0.00001870594,0.00013714153,0.000075672906,0.000065222506,0.00016626122],"domain_scores_gemma":[0.99924886,0.000012991334,0.00007720525,0.0005541102,0.000039541592,0.00006730774],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014395626,0.00007799869,0.00020360183,0.000019232762,0.0010454726,0.000049743685,0.00033889667,0.000012686017,0.001115917],"category_scores_gemma":[0.0000144006835,0.00004442042,0.00012858532,0.0000108904205,0.00025662492,0.0000835348,0.000027812055,0.00006961324,0.00010292046],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000041883636,0.000024667503,0.016531998,0.0061371215,0.00020399348,0.0000060258967,0.0089006815,0.0000015666614,0.000010258464,0.18743183,0.322123,0.4586247],"study_design_scores_gemma":[0.000024836954,0.000007345793,0.000538357,0.0018259411,0.00003994676,0.0000018951582,0.00008189242,7.9075096e-7,0.0000155808,0.00026066342,0.99714273,0.00005999871],"about_ca_topic_score_codex":0.04354653,"about_ca_topic_score_gemma":0.3978867,"teacher_disagreement_score":0.956844,"about_ca_system_score_codex":0.00001938347,"about_ca_system_score_gemma":0.00010896924,"threshold_uncertainty_score":0.9997972},"labels":[],"label_agreement":null},{"id":"W2605132790","doi":"10.3138/ctr.170.021","title":"The Agony and Ecstasy of the Storefront Theatre Movement","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ecstasy; Movement (music); Visual arts; Art; Aesthetics; Sociology; Media studies; Anthropology","score_opus":0.024064365236690727,"score_gpt":0.23439001846134477,"score_spread":0.21032565322465405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2605132790","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003797373,0.40419507,9.433541e-8,0.027333211,0.00083713833,0.0006507482,0.00017468228,0.0000104230485,0.5630013],"genre_scores_gemma":[0.76348644,0.22598377,0.0000030785868,0.003399258,0.00050437823,0.000052106192,0.0000030942463,0.000022036023,0.0065458184],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992023,0.00004960335,0.0002166763,0.00013155003,0.0001221764,0.00027765767],"domain_scores_gemma":[0.99881434,0.000041045623,0.00015188091,0.000833394,0.000051336207,0.00010802355],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00031887883,0.00014845358,0.00025614203,0.00001886081,0.0027404423,0.0001386095,0.00051892665,0.000019882085,0.00027938836],"category_scores_gemma":[0.000013466762,0.00006734792,0.00012405196,0.000013311885,0.00065969594,0.000098524746,0.0000897481,0.00011009493,0.00002258776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000069435923,0.000010289268,0.0029707823,0.0010228613,0.0001796713,0.000002908067,0.005365446,2.1596871e-7,0.0000019689755,0.07906793,0.083620824,0.82775015],"study_design_scores_gemma":[0.00007227385,0.000029071905,0.0015471362,0.0010681499,0.00008447212,0.0000014841231,0.0007319331,0.0000013577929,0.00000696285,0.0010633877,0.9952988,0.000094941315],"about_ca_topic_score_codex":0.052843153,"about_ca_topic_score_gemma":0.69405407,"teacher_disagreement_score":0.911678,"about_ca_system_score_codex":0.000051768184,"about_ca_system_score_gemma":0.0001440483,"threshold_uncertainty_score":0.99855787},"labels":[],"label_agreement":null},{"id":"W2605209017","doi":"10.3138/ctr.170.006","title":"In Place of Power","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pride; Creativity; Power (physics); Identity (music); Sociology; Territoriality; Aesthetics; Mythology; Public relations; Social psychology; Psychology; Political science; Law; History; Art","score_opus":0.02988260882587798,"score_gpt":0.257873537179666,"score_spread":0.227990928353788,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2605209017","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0036463165,0.11341543,2.0496461e-8,0.0069893263,0.00032476409,0.00016460501,0.000051307972,0.0000044404132,0.87540376],"genre_scores_gemma":[0.9346979,0.056523055,0.0000037829973,0.001989257,0.00017746187,0.000013679905,0.0000025708798,0.00001102534,0.0065812236],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995233,0.00001439388,0.00015490415,0.00008205632,0.000048411017,0.00017696044],"domain_scores_gemma":[0.9994643,0.000012555639,0.00006738482,0.00035475352,0.00002707604,0.00007397648],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000149324,0.00007920722,0.00024679172,0.000055304263,0.00024474895,0.000029689969,0.00021773197,0.000014906675,0.0037590088],"category_scores_gemma":[0.000013139482,0.000060484625,0.000060317157,0.000011061926,0.00015034928,0.00015959813,0.000016781301,0.000060953014,0.00015839945],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012511967,0.0000416934,0.007956186,0.0050881566,0.00011948647,0.00008300176,0.021282233,5.286612e-7,0.0000029039422,0.23279722,0.51432836,0.2182877],"study_design_scores_gemma":[0.000064145104,0.000016360715,0.0004948783,0.0015674783,0.000014190055,0.000001465394,0.00017954838,2.879663e-7,0.0000028372272,0.00023198276,0.9973523,0.00007453226],"about_ca_topic_score_codex":0.10012975,"about_ca_topic_score_gemma":0.76717716,"teacher_disagreement_score":0.9310516,"about_ca_system_score_codex":0.00003347708,"about_ca_system_score_gemma":0.00010618509,"threshold_uncertainty_score":0.9971517},"labels":[],"label_agreement":null},{"id":"W2605215394","doi":"","title":"Ten years after : a qualitative study of students' experiences in a high school theatre company","year":2010,"lang":"en","type":"dissertation","venue":"Brock University Digital Repository (Brock University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Qualitative research; Mathematics education; Psychology; Pedagogy; Sociology; Social science","score_opus":0.010910520893929658,"score_gpt":0.22834299247919318,"score_spread":0.21743247158526352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2605215394","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93835944,0.000058462116,3.5583903e-7,6.639255e-7,0.0006402484,0.00045565964,0.00010100725,0.00006740003,0.060316775],"genre_scores_gemma":[0.659205,0.000014338418,0.0000024851815,0.0000031359286,0.000094151226,0.00000154044,0.000049315902,0.000017593802,0.3406124],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99811405,0.00013606984,0.00033072117,0.0005409251,0.0005507746,0.00032748922],"domain_scores_gemma":[0.9988236,0.00009875287,0.0003460142,0.0003348417,0.00025700123,0.00013980447],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000005499356,0.00040737443,0.00062982336,0.0008956249,0.00038845724,0.00019401328,0.0008118135,0.00020718682,0.00007727349],"category_scores_gemma":[0.000008219505,0.0004482291,0.00021584758,0.00025910776,0.00023882893,0.0012889605,0.00026098764,0.0005440438,0.00002841281],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004693008,0.0031146845,0.12941043,0.0002896374,0.0010285646,0.000595455,0.8510379,0.000013368991,0.00023336762,0.00020044131,0.008787757,0.000595336],"study_design_scores_gemma":[0.0012732655,0.0005347646,0.027758436,0.00018710375,0.00017303237,0.0000018349745,0.9384924,9.892417e-8,0.000018357261,0.000018131492,0.031095106,0.00044743554],"about_ca_topic_score_codex":0.002158184,"about_ca_topic_score_gemma":0.07637605,"teacher_disagreement_score":0.2802956,"about_ca_system_score_codex":0.0002010908,"about_ca_system_score_gemma":0.00014560917,"threshold_uncertainty_score":0.9997969},"labels":[],"label_agreement":null},{"id":"W2605304276","doi":"10.3138/ctr.170.019","title":"Learning through Theatre","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Snapshot (computer storage); Conversation; Visual arts; Theatre studies; Art; Sociology; Variety (cybernetics); Computer science; Communication; Artificial intelligence","score_opus":0.046634152036908356,"score_gpt":0.2684528645549888,"score_spread":0.22181871251808044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2605304276","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00041365312,0.12273574,2.7269016e-7,0.010861644,0.00051394803,0.00022710171,0.000034601333,0.000048523187,0.8651645],"genre_scores_gemma":[0.68714565,0.27403522,0.000022659093,0.006175318,0.0020860229,0.000061507075,0.000031729458,0.000056873312,0.030385029],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989791,0.000043907217,0.00020635332,0.00021473094,0.00011361498,0.00044227237],"domain_scores_gemma":[0.9990078,0.000026043497,0.00011372518,0.00062222086,0.000055601176,0.0001745661],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020753537,0.00020508005,0.00037711696,0.000039890943,0.0029094892,0.00026968855,0.00044785938,0.00003426651,0.004838353],"category_scores_gemma":[0.000020329384,0.0001525776,0.00016877268,0.00001688955,0.00029378105,0.00040271887,0.0000470001,0.00022332017,0.0013050444],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002980725,0.00000946194,0.0014777076,0.0013176441,0.00011606112,0.000036585654,0.010189489,9.1650514e-7,5.1545504e-7,0.054703277,0.14777566,0.7843697],"study_design_scores_gemma":[0.00008071826,0.00004101947,0.000109169814,0.0017642049,0.000081202576,0.0000073277743,0.0009162638,0.000001964229,0.0000013984182,0.00066948996,0.99611765,0.0002095844],"about_ca_topic_score_codex":0.10654878,"about_ca_topic_score_gemma":0.42989922,"teacher_disagreement_score":0.848342,"about_ca_system_score_codex":0.00007223799,"about_ca_system_score_gemma":0.00016364934,"threshold_uncertainty_score":0.99947256},"labels":[],"label_agreement":null},{"id":"W2605794052","doi":"10.1017/s0266464x17000094","title":"Plays from a Marxist Perspective: Interpretations and Misinterpretations of Dario Fo","year":2017,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"EPIC; Context (archaeology); Politics; Art history; Marxist philosophy; Relevance (law); Art; Performance art; Perspective (graphical); History; Literature; Humanities; Political science; Law; Visual arts; Archaeology","score_opus":0.018570179292059064,"score_gpt":0.2623652923749167,"score_spread":0.24379511308285762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2605794052","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39856657,0.0010776924,0.00025598757,0.0031655012,0.0006648136,0.00020729244,0.00037878752,0.00006184385,0.59562147],"genre_scores_gemma":[0.99606115,0.000022318784,0.00018905595,0.000065686516,0.0004633085,0.000007821369,0.00001119277,0.000013807363,0.0031656348],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99933356,0.000019989624,0.00020258377,0.00020074607,0.00009809837,0.00014503728],"domain_scores_gemma":[0.99923104,0.000091073765,0.00013996135,0.0003927277,0.00008613128,0.00005905991],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000043843233,0.0001462919,0.00022560616,0.00006368011,0.00076636206,0.00031327363,0.00021741205,0.000030647534,0.0007454509],"category_scores_gemma":[0.000008682771,0.00012102359,0.00008715716,0.000009254733,0.00042486298,0.00044652203,0.000026829424,0.0001015308,0.000048032703],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000118364405,0.000073941126,0.0035164747,0.000021626089,0.00030837525,0.0000030238482,0.75127614,6.946782e-7,0.00020828967,0.14705588,0.0061082197,0.09130898],"study_design_scores_gemma":[0.0038377682,0.003315547,0.049707275,0.0008015135,0.00083875435,0.000014057799,0.46987775,0.00089145487,0.00032703608,0.28722498,0.1819016,0.0012622621],"about_ca_topic_score_codex":0.014877333,"about_ca_topic_score_gemma":0.02968615,"teacher_disagreement_score":0.5974946,"about_ca_system_score_codex":0.000019816172,"about_ca_system_score_gemma":0.000042109627,"threshold_uncertainty_score":0.9916827},"labels":[],"label_agreement":null},{"id":"W2606641399","doi":"","title":"Performer le document : nouvelles théâtralités politiques / Performing the Document: New Political Theatricalities","year":2014,"lang":"fr","type":"article","venue":"Esse/Esse arts + opinions","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Politics; Political science; Art; Visual arts; Law","score_opus":0.034937735278253945,"score_gpt":0.2897700391977536,"score_spread":0.2548323039194997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2606641399","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020161305,0.013011268,0.00009951544,0.44493908,0.00524423,0.00072091597,0.00021179505,0.00020670568,0.5154052],"genre_scores_gemma":[0.8360598,0.0037272507,0.000093898714,0.002404029,0.010539854,0.000110692614,0.000104263214,0.00008960195,0.1468706],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9951893,0.00035609375,0.0010228332,0.00068733696,0.00065410545,0.0020903505],"domain_scores_gemma":[0.9970511,0.00096419314,0.00021827279,0.00093449274,0.00024413843,0.00058775395],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008313429,0.0008280894,0.00078636047,0.00021176861,0.0048373663,0.0011353594,0.0007150222,0.00023268504,0.0056380867],"category_scores_gemma":[0.00008572971,0.000583461,0.0005408791,0.00015414087,0.001771046,0.0013599779,0.00040646398,0.0008206472,0.00090093474],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003878154,0.00016964861,0.00029851566,0.00025148387,0.00025788773,0.000002945003,0.037539728,0.000012523181,0.000002806497,0.8880625,0.06995339,0.003409795],"study_design_scores_gemma":[0.00067415886,0.00043273927,0.00044315803,0.000465085,0.00021588827,0.000039978615,0.059212577,0.00009014216,0.00039225625,0.0557074,0.88159776,0.00072884886],"about_ca_topic_score_codex":0.021047419,"about_ca_topic_score_gemma":0.00200451,"teacher_disagreement_score":0.8323551,"about_ca_system_score_codex":0.00019263846,"about_ca_system_score_gemma":0.00063337595,"threshold_uncertainty_score":0.99990153},"labels":[],"label_agreement":null},{"id":"W2610274084","doi":"","title":"Another Wonderful Day in the Yukon","year":2017,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Evening; Performance art; Art history; Art; Event (particle physics); Visual arts; History","score_opus":0.03912146789751799,"score_gpt":0.22978171614599024,"score_spread":0.19066024824847225,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2610274084","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08447874,0.000002713663,0.0000054375473,0.00084591185,0.0002599753,0.00021165545,0.000017319637,0.000042787324,0.91413546],"genre_scores_gemma":[0.98510206,0.013052814,0.000009712615,0.0003107129,0.0003669507,0.0000019285908,0.0000034229527,0.0000121755365,0.0011402313],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992931,0.00006719175,0.000082921855,0.00018257376,0.00012575304,0.00024844919],"domain_scores_gemma":[0.99933815,0.000049670078,0.00008163556,0.00047928267,0.00003800152,0.000013238082],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018167493,0.00014049113,0.00014245982,0.0017772609,0.0010879576,0.00022984209,0.00062859606,0.000036010715,0.0002456284],"category_scores_gemma":[0.000014013426,0.00009929594,0.00007553305,0.00024690575,0.000284806,0.00056902075,0.00012823747,0.00016365334,0.00008556032],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018012385,0.00033090697,0.007843919,0.000068779285,0.00015844607,0.00024216351,0.76400894,0.0000045277257,0.000002624691,0.14789082,0.0100136185,0.06925516],"study_design_scores_gemma":[0.00045852715,0.000061974315,0.0011127819,0.000025309855,0.000025918032,0.0000012620545,0.011501106,0.000014945243,0.000018014045,0.00000740302,0.9866235,0.00014926199],"about_ca_topic_score_codex":0.058960117,"about_ca_topic_score_gemma":0.23690407,"teacher_disagreement_score":0.9766099,"about_ca_system_score_codex":0.0000392717,"about_ca_system_score_gemma":0.000056975015,"threshold_uncertainty_score":0.94730633},"labels":[],"label_agreement":null},{"id":"W2614071623","doi":"","title":"Théâtres d’Ailleurs à Québec / Hey Girl! Création de Romeo Castellucci. Italie, au Théâtre du Trident, les 8 et 9 juin 2007","year":2007,"lang":"fr","type":"article","venue":"Spirale : arts • Lettres • Sciences humaines","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Trident; Humanities; Art; Political science","score_opus":0.042513514122147364,"score_gpt":0.2838160415175653,"score_spread":0.2413025273954179,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2614071623","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6212837,0.023530126,0.000092075934,0.031103373,0.003738556,0.00045182608,0.00019946008,0.00020392798,0.31939694],"genre_scores_gemma":[0.8294825,0.00225832,0.00016869201,0.0026284966,0.007280294,0.000032480144,0.000039444047,0.00007329455,0.15803647],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99512464,0.00016315475,0.0010347075,0.00092795584,0.0009078385,0.0018417068],"domain_scores_gemma":[0.99785334,0.0005854263,0.0004930198,0.00047813845,0.00028259575,0.00030749477],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0024554543,0.00078455795,0.0006919977,0.00046761055,0.006237453,0.0010460091,0.0008369554,0.00021172885,0.0037897008],"category_scores_gemma":[0.00017860257,0.0006632373,0.00039899992,0.00040458154,0.004910946,0.0019225973,0.00027919663,0.0004461479,0.0003992091],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016919561,0.00063622696,0.18059851,0.00049433316,0.00024452503,0.00025885843,0.055103585,0.001695184,0.00019216676,0.32963932,0.40272743,0.028240684],"study_design_scores_gemma":[0.0006114025,0.00077288673,0.018451586,0.00037851854,0.00014187305,0.00007251667,0.019567674,0.00022132079,0.00035100646,0.0018822186,0.9567157,0.0008333093],"about_ca_topic_score_codex":0.14592277,"about_ca_topic_score_gemma":0.64422715,"teacher_disagreement_score":0.5539883,"about_ca_system_score_codex":0.00038316942,"about_ca_system_score_gemma":0.0006514706,"threshold_uncertainty_score":0.999991},"labels":[],"label_agreement":null},{"id":"W2614140517","doi":"10.3138/md.2017.60.2.241","title":"Kirsty Johnston, <i>Disability Theatre and Modern Drama: Recasting Modernism</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Modernism (music); Representation (politics); Politics; Art; Literature; Political science; Law","score_opus":0.04169508985346983,"score_gpt":0.25336681269571587,"score_spread":0.21167172284224606,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2614140517","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70915705,0.0011278298,0.00045348585,0.0022218337,0.0006104511,0.00029954754,0.00009742172,0.00020878,0.2858236],"genre_scores_gemma":[0.993646,0.0001722086,0.00013800149,0.0002464679,0.0010854407,0.00003562617,0.000009876239,0.000048724123,0.004617646],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99823016,0.000045789275,0.00034588441,0.00055493356,0.00027373063,0.0005494886],"domain_scores_gemma":[0.9985284,0.00008130535,0.0001965396,0.0009619417,0.000103281265,0.000128508],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00030311148,0.00036564757,0.0004417924,0.000036654626,0.0035915019,0.0009655947,0.00042694915,0.000098010256,0.00020958998],"category_scores_gemma":[0.00003566094,0.00029521235,0.00013699739,0.00001063733,0.0012488338,0.0008632971,0.00038062505,0.00031258445,0.000057401772],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025966117,0.0003576878,0.037746403,0.0003643467,0.00026736682,0.00002168915,0.20026192,0.00021452173,0.00030238956,0.015965156,0.0022889972,0.74194986],"study_design_scores_gemma":[0.004611426,0.00059722055,0.020538777,0.0005705842,0.00048638915,0.00006612073,0.008926507,0.23707695,0.0007230561,0.3008786,0.42228395,0.0032404102],"about_ca_topic_score_codex":0.0010383667,"about_ca_topic_score_gemma":0.0042212177,"teacher_disagreement_score":0.73870945,"about_ca_system_score_codex":0.000048656362,"about_ca_system_score_gemma":0.000028808596,"threshold_uncertainty_score":0.99995},"labels":[],"label_agreement":null},{"id":"W2614276969","doi":"10.3138/md.2017.60.2.238","title":"Maki Isaka, <i>Onnagata: A Labyrinth of Gendering in Kabuki Theater</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Kabuki; Gender studies; Visual arts; Aesthetics; Literature; Art; Sociology","score_opus":0.047386691284139554,"score_gpt":0.2567679664452,"score_spread":0.20938127516106045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2614276969","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7521948,0.00045218054,0.000029718265,0.00041904754,0.00031510263,0.000094367104,0.000028133913,0.00002908243,0.24643755],"genre_scores_gemma":[0.9948228,0.00010635986,0.000021694119,0.00009326413,0.0003033478,0.000012780632,0.000002234024,0.00001570185,0.004621831],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993,0.000010947165,0.00018945136,0.00015773607,0.0001111384,0.00023071273],"domain_scores_gemma":[0.99940884,0.000014133467,0.00009075613,0.00042849637,0.00003446077,0.000023304094],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011019107,0.00012428047,0.00021964624,0.000056350345,0.00043457863,0.00014695441,0.0002794827,0.000028485974,0.00028229225],"category_scores_gemma":[0.000007044694,0.000100211335,0.000059697155,0.000007258943,0.00022596895,0.0002947847,0.00015198479,0.00010179885,0.000050660252],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033008793,0.00044117327,0.07943827,0.0006806028,0.00032379047,0.000075212665,0.59827346,0.00023441472,0.0023218794,0.13012245,0.0043731737,0.18338546],"study_design_scores_gemma":[0.0058038635,0.0006071418,0.06668672,0.0015739298,0.00015885303,0.000019421246,0.022686953,0.008175036,0.013456027,0.08580687,0.79293954,0.0020856631],"about_ca_topic_score_codex":0.0009890504,"about_ca_topic_score_gemma":0.005172707,"teacher_disagreement_score":0.78856635,"about_ca_system_score_codex":0.000013972977,"about_ca_system_score_gemma":0.000012499415,"threshold_uncertainty_score":0.40864998},"labels":[],"label_agreement":null},{"id":"W2615035823","doi":"10.3138/md.2017.60.2.233","title":"Sarah Bay-Cheng, Jennifer Parker-Starbuck, and David Z. Saltz, <i>Performance and Media: Taxonomies for a Changing Field</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Bay; Media studies; Sociology; History; Archaeology","score_opus":0.03330394434653004,"score_gpt":0.23427270543870596,"score_spread":0.20096876109217593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2615035823","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96900976,0.001773081,0.00018613957,0.0018228428,0.00057253323,0.00030820275,0.00006578053,0.00006213605,0.026199538],"genre_scores_gemma":[0.99140024,0.0008319809,0.00016438671,0.00044335477,0.0009861968,0.000095106094,0.0000076126616,0.00002217799,0.0060489457],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905264,0.000008480519,0.00017560739,0.00025913885,0.00008943016,0.00041467353],"domain_scores_gemma":[0.9993457,0.00013562976,0.00010150374,0.00030022816,0.00005199794,0.00006493806],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00020563838,0.00020252525,0.00027193213,0.00006864342,0.0020410984,0.0004440461,0.00015918168,0.000058492995,0.00006825088],"category_scores_gemma":[0.000036264213,0.00016572319,0.000049222635,0.00000685073,0.00030489595,0.00055409194,0.00019251803,0.00011664783,0.000008280624],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006685792,0.00011032804,0.065240696,0.0011278505,0.000428515,0.000010301997,0.2985806,0.000014346241,0.00013316718,0.029796455,0.017671667,0.5862175],"study_design_scores_gemma":[0.002247845,0.00045048096,0.008398378,0.00027537937,0.00015522534,0.000010557627,0.006101824,0.011803971,0.0008165838,0.006094438,0.96279174,0.00085355475],"about_ca_topic_score_codex":0.000091882226,"about_ca_topic_score_gemma":0.0014842738,"teacher_disagreement_score":0.9451201,"about_ca_system_score_codex":0.000010141152,"about_ca_system_score_gemma":0.000013706169,"threshold_uncertainty_score":0.9992581},"labels":[],"label_agreement":null},{"id":"W2615231720","doi":"10.3138/md.2017.60.2.245","title":"Hans-Thies Lehmann, <i>Tragedy and Dramatic Theatre</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Modernity; Reading (process); Performance art; Theatre director; Art; Literature; Art history; Philosophy; Linguistics; Epistemology","score_opus":0.026693033330176873,"score_gpt":0.2357207267766871,"score_spread":0.20902769344651023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2615231720","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5104543,0.0015852287,0.00006198899,0.002714131,0.00061118125,0.00016556999,0.000027615702,0.00011976952,0.4842602],"genre_scores_gemma":[0.9827493,0.00023031961,0.000044475335,0.00030557325,0.00070074294,0.000018265897,0.0000027901303,0.000021068854,0.015927456],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992302,0.000016655864,0.00015450317,0.00019758263,0.00013663694,0.00026440382],"domain_scores_gemma":[0.99934,0.000035539528,0.00008227706,0.0004516392,0.000039823724,0.000050724484],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00011642029,0.00017648243,0.00022429039,0.000039878414,0.0023624436,0.00086612225,0.00024013892,0.00003722315,0.00026020483],"category_scores_gemma":[0.000010202756,0.00013344071,0.000059995557,0.000005018878,0.0005802751,0.00049369637,0.00012293362,0.0001329095,0.0001138678],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000115525676,0.00018913664,0.008639836,0.00045757994,0.00034752054,0.0000389743,0.48338476,0.000019622425,0.00038542732,0.12796965,0.023816342,0.3546356],"study_design_scores_gemma":[0.0015685096,0.00031853575,0.006232171,0.00026979402,0.00018369762,0.000021664058,0.010809264,0.002871836,0.00054414006,0.1138998,0.8622715,0.0010090886],"about_ca_topic_score_codex":0.0003813378,"about_ca_topic_score_gemma":0.0023189145,"teacher_disagreement_score":0.83845514,"about_ca_system_score_codex":0.000008580635,"about_ca_system_score_gemma":0.00001144036,"threshold_uncertainty_score":0.99893636},"labels":[],"label_agreement":null},{"id":"W2615298281","doi":"10.3138/md.2017.60.2.236","title":"Jessica Silsby Brater, <i>Ruth Maleczech at Mabou Mines: Woman’s Work</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Performance art; Visual arts; Art; Work (physics); Art history; History; Engineering; Mechanical engineering","score_opus":0.0320426295316087,"score_gpt":0.23784165103845128,"score_spread":0.2057990215068426,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2615298281","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72552836,0.0007906497,0.000016059752,0.0020440433,0.0008898344,0.00013745352,0.000047971258,0.00012693893,0.2704187],"genre_scores_gemma":[0.8156468,0.00008575594,0.000025113934,0.00054711726,0.0010632334,0.00003354279,0.000013075484,0.000031759548,0.1825536],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987956,0.000017671739,0.00021631586,0.0003152532,0.00020461626,0.00045050442],"domain_scores_gemma":[0.9989364,0.000028076553,0.00014179655,0.0007421592,0.00007313759,0.00007839733],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000864486,0.00025614377,0.00028709267,0.000048900947,0.002193803,0.00069163705,0.00046622683,0.00006237202,0.0016126294],"category_scores_gemma":[0.000010832917,0.00020046931,0.00011874183,0.000012189497,0.0004164769,0.00043593172,0.00029191404,0.00011838626,0.00070518994],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007927658,0.00047655616,0.04874342,0.00033857595,0.0005406676,0.0001766566,0.32152495,0.000031163745,0.00061272865,0.020500017,0.45978877,0.14647374],"study_design_scores_gemma":[0.000864112,0.00009024342,0.004908965,0.00011187828,0.000057664787,0.000006583501,0.0009036331,0.00027062593,0.0006504263,0.0028341997,0.98877406,0.0005275832],"about_ca_topic_score_codex":0.00014841314,"about_ca_topic_score_gemma":0.0026383004,"teacher_disagreement_score":0.5289853,"about_ca_system_score_codex":0.0000407187,"about_ca_system_score_gemma":0.0000174512,"threshold_uncertainty_score":0.9993},"labels":[],"label_agreement":null},{"id":"W2615610109","doi":"10.3917/etan.692.0135","title":"Decolonizing Performance Research","year":2016,"lang":"fr","type":"article","venue":"Études anglaises","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Humanities; Art; Sociology; Art history","score_opus":0.11845856794744997,"score_gpt":0.3235692330768822,"score_spread":0.2051106651294322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2615610109","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5042173,0.028287854,0.0000017523191,0.011561983,0.0020302667,0.0001904853,0.00008878768,0.00008390923,0.45353764],"genre_scores_gemma":[0.85061425,0.023301864,0.000048663678,0.00014291346,0.0034038366,0.000042241456,0.000001972654,0.000036490805,0.122407764],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978756,0.000109153814,0.00030242142,0.00034286192,0.00041284054,0.00095712906],"domain_scores_gemma":[0.99861634,0.00051436,0.000063784806,0.0003324071,0.00035733875,0.00011579579],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00071765087,0.0002514692,0.00027583385,0.00018918063,0.002094749,0.00021459808,0.00031451328,0.00010023907,0.0053765154],"category_scores_gemma":[0.00005999697,0.00016264842,0.000120186625,0.00011991101,0.0016671732,0.0007547163,0.00023434205,0.00023894377,0.0028716982],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000076775425,0.00015180564,0.014139112,0.0003112764,0.00013428958,0.000018849089,0.005995427,0.0000013502892,0.00010552757,0.67189574,0.044975467,0.26219437],"study_design_scores_gemma":[0.00037304338,0.0005286185,0.004477729,0.00094183185,0.000035385707,0.000006257345,0.0032509053,0.0000089323585,0.00067410566,0.0006469688,0.9887651,0.00029108574],"about_ca_topic_score_codex":0.0005508577,"about_ca_topic_score_gemma":0.003343406,"teacher_disagreement_score":0.94378966,"about_ca_system_score_codex":0.00016359832,"about_ca_system_score_gemma":0.000121771365,"threshold_uncertainty_score":0.9992044},"labels":[],"label_agreement":null},{"id":"W2615738101","doi":"10.5040/9781472577122.ch-001","title":"Theatre Criticism: Changing Landscapes","year":2016,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Blogosphere; Media studies; Theatre criticism; Mainstream; Politics; Ideology; Dominance (genetics); Political science; The arts; Newspaper; Art criticism; Sociology; Aesthetics; History; The Internet; Art; Literature; Performance art; Literary criticism; Law; Art history","score_opus":0.01912544800009077,"score_gpt":0.21646038911936213,"score_spread":0.19733494111927136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2615738101","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000008795746,0.00153184,0.0000043516534,0.0007329455,0.0010639649,0.00010347587,0.00016957628,0.0001788542,0.9962062],"genre_scores_gemma":[0.0018094532,0.00043375825,0.000004285863,0.00058011204,0.0076617924,0.000016191776,0.000031134736,0.000043210763,0.98942006],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915457,0.000007065927,0.00016754995,0.00019197035,0.0001442289,0.00033458968],"domain_scores_gemma":[0.99959326,0.000074192394,0.00004544675,0.00019215705,0.000060097387,0.00003487475],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006910125,0.00025772702,0.00031261987,0.00018213144,0.0004151901,0.00009569019,0.00014135282,0.00007934404,0.022187907],"category_scores_gemma":[0.0000011775335,0.00014583045,0.0001435609,0.000006010983,0.00012661835,0.000118251584,0.00007799906,0.00012493797,0.002997632],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000048785687,0.000005011381,0.0000021899405,0.00010342868,0.000084234656,0.0000044879284,0.009853918,1.3931761e-8,3.2172488e-7,0.4892988,0.48860806,0.012034653],"study_design_scores_gemma":[0.00011140747,0.00004131338,2.14804e-7,0.000277119,0.000040678708,0.000001908554,0.0011904333,8.143918e-7,0.000007161411,0.016453119,0.98161083,0.0002650136],"about_ca_topic_score_codex":0.000009662115,"about_ca_topic_score_gemma":0.0008764073,"teacher_disagreement_score":0.49300274,"about_ca_system_score_codex":0.000029245944,"about_ca_system_score_gemma":0.00004733073,"threshold_uncertainty_score":0.99777865},"labels":[],"label_agreement":null},{"id":"W2616084611","doi":"10.3138/md.2017.60.2.231","title":"Elaine Aston and Mark O’Thomas, <i>Royal Court: International</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Arts and Humanities Research Council","keywords":"History; Law; Political science","score_opus":0.019041033842917388,"score_gpt":0.23688764924711492,"score_spread":0.21784661540419753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2616084611","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25712752,0.00041358738,0.00004003193,0.0032718163,0.0008862883,0.000064320855,0.00004448745,0.000045667577,0.7381063],"genre_scores_gemma":[0.915303,0.000108821405,0.00003514259,0.00022987649,0.00096910767,0.0000057421394,0.0000074621407,0.000011127488,0.083329745],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995063,0.0000067525925,0.000096655036,0.00013665439,0.00011223717,0.0001414354],"domain_scores_gemma":[0.99961865,0.000015638898,0.00006320488,0.0002181111,0.000052161595,0.000032247044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000784478,0.000101612495,0.000113592105,0.000027006936,0.00081561523,0.0004249735,0.00019339834,0.000022393473,0.0005257945],"category_scores_gemma":[0.000011112066,0.00008229514,0.000033545835,0.0000018967391,0.00023762231,0.00020891403,0.00012789194,0.00007933813,0.00008822009],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035682943,0.00025769146,0.037029963,0.00013310855,0.0005661176,0.00006385074,0.119630516,0.000030145124,0.00021434524,0.20255418,0.246712,0.39245126],"study_design_scores_gemma":[0.00040119493,0.000040159357,0.0043390607,0.000025372006,0.000017836399,0.0000027673295,0.00046319386,0.0017222447,0.000042644813,0.004428621,0.98837626,0.00014064358],"about_ca_topic_score_codex":0.00020571752,"about_ca_topic_score_gemma":0.00088796695,"teacher_disagreement_score":0.74166423,"about_ca_system_score_codex":0.000009933028,"about_ca_system_score_gemma":0.000006273016,"threshold_uncertainty_score":0.6273135},"labels":[],"label_agreement":null},{"id":"W2617510004","doi":"10.7202/1039660ar","title":"Exhibiting Music","year":2017,"lang":"en","type":"article","venue":"Ethnologies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Impromptu; Exhibition; Visual arts; Singing; Visitor pattern; Melody; Construct (python library); Musical; QUIET; The arts; Aesthetics; Sociology; Art; Computer science; Acoustics","score_opus":0.09797444784870833,"score_gpt":0.2861036816020294,"score_spread":0.18812923375332108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2617510004","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4373632,0.00035928036,0.0000011869206,0.0022083928,0.00074141874,0.00003176595,0.000004457973,0.00018018969,0.5591101],"genre_scores_gemma":[0.9866246,0.00008233268,0.000037111633,0.0001228142,0.000656153,0.000008117057,8.281571e-7,0.000005671593,0.012462366],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996111,0.0000052889277,0.000073461946,0.000095730305,0.000049281807,0.00016516606],"domain_scores_gemma":[0.9995597,0.000029771834,0.00006480916,0.0003083216,0.000028342498,0.000009062386],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.000069571695,0.000073048766,0.000095700525,0.000026699605,0.0017769536,0.00025323022,0.0002491289,0.000023823288,0.00078577624],"category_scores_gemma":[0.000086192136,0.00005280006,0.000036989266,0.0000031127893,0.00058768754,0.00027442974,0.00016088368,0.000093848954,0.00032783562],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017049266,0.000029162173,0.009493686,0.00005104729,0.00009080072,0.000018710696,0.16653909,0.000001959601,0.00016757596,0.40206754,0.0693846,0.35213876],"study_design_scores_gemma":[0.00022664061,0.00007416216,0.008312313,0.000047219462,0.000014962818,0.0000013075114,0.065114155,0.000009342306,0.0013421825,0.014461355,0.9101594,0.00023695714],"about_ca_topic_score_codex":0.0003164548,"about_ca_topic_score_gemma":0.0024110952,"teacher_disagreement_score":0.84077483,"about_ca_system_score_codex":0.000005015414,"about_ca_system_score_gemma":0.00000538368,"threshold_uncertainty_score":0.9995226},"labels":[],"label_agreement":null},{"id":"W2618298566","doi":"","title":"Disembodying Performance: Mind of a Snail's Curious Contagious at the Vancouver Fringe Festival","year":2016,"lang":"en","type":"article","venue":"ScholarWorks (Central Washington University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Style (visual arts); Musical; Visual arts; Media studies; Art history; Praise; Laughter; History; Art; Advertising; Sociology; Literature","score_opus":0.013250797299309941,"score_gpt":0.18203722339845635,"score_spread":0.1687864260991464,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2618298566","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9306595,0.00027060506,0.000012808125,0.00042236308,0.0013010716,0.00017993759,0.0000511985,0.000050126335,0.067052424],"genre_scores_gemma":[0.93945366,0.00047739,0.000011146838,0.00006209553,0.00035281733,7.683809e-7,0.0000037090545,0.000019363511,0.059619065],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986403,0.00006614957,0.00020988191,0.0002770675,0.00026943616,0.0005371786],"domain_scores_gemma":[0.9991693,0.00014872933,0.00016534982,0.0003001577,0.000109440145,0.00010703691],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016432062,0.0002296205,0.00026017296,0.00013245865,0.0011912397,0.00007909244,0.00042567743,0.000072113646,0.001386001],"category_scores_gemma":[0.000021774202,0.00013753114,0.00016944876,0.00010490707,0.00057588523,0.0009864346,0.00027497974,0.00022684547,0.00008062308],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.003776247,0.00066320563,0.40470713,0.0004465894,0.0016578218,0.00024384314,0.16239613,0.00025247812,0.0041399873,0.05019974,0.10964974,0.26186708],"study_design_scores_gemma":[0.0014941292,0.000164866,0.007920584,0.00040228403,0.00014972042,0.000003473049,0.0061480403,0.000021393624,0.0016787302,0.00007847954,0.98155695,0.0003813757],"about_ca_topic_score_codex":0.00011770729,"about_ca_topic_score_gemma":0.0033533585,"teacher_disagreement_score":0.8719072,"about_ca_system_score_codex":0.00021461266,"about_ca_system_score_gemma":0.000048435075,"threshold_uncertainty_score":0.99952686},"labels":[],"label_agreement":null},{"id":"W2618564916","doi":"","title":"Uncovering a \"Herstory\" of Power: Mediterranean Goddess Myth, Image and Symbol in Contemporary Canadian Women's Playwriting","year":2015,"lang":"en","type":"article","venue":"Scripta Mediterranea","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mythology; Symbol (formal); Power (physics); Art; Visual arts; History; Literature; Linguistics; Philosophy","score_opus":0.060868074946913736,"score_gpt":0.24409737958104785,"score_spread":0.18322930463413412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2618564916","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84499204,0.0020222077,0.0000010679689,0.00068333937,0.0041067027,0.00023055253,0.00013794239,0.00004560562,0.14778052],"genre_scores_gemma":[0.99750483,0.00003444559,0.000021964006,0.00061527663,0.0007326943,0.000033123208,0.000020984571,0.000029851491,0.0010068256],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984591,0.00005952843,0.00042394295,0.00026066718,0.00029225159,0.0005044915],"domain_scores_gemma":[0.9991814,0.000036268488,0.000106726184,0.00020793146,0.000111387504,0.0003562774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006165578,0.00023624256,0.00044152504,0.00036595162,0.0001721468,0.00009254854,0.00019021731,0.00006636272,0.00039523057],"category_scores_gemma":[0.00006945254,0.00021455127,0.000044421537,0.00007327535,0.00047723975,0.00070408656,0.00006114311,0.00023781566,0.000018946033],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018889029,0.0000530484,0.004728929,0.0002915179,0.00010072292,0.00017841742,0.93390507,0.0000016323338,0.00024222747,0.0009653316,0.055224232,0.00411997],"study_design_scores_gemma":[0.0025365537,0.00051401707,0.0010254541,0.00050951494,0.000019908652,0.000023442592,0.45877075,0.00011565724,0.00012134158,0.0009598667,0.5348139,0.00058962207],"about_ca_topic_score_codex":0.035861578,"about_ca_topic_score_gemma":0.08847666,"teacher_disagreement_score":0.47958964,"about_ca_system_score_codex":0.0001702116,"about_ca_system_score_gemma":0.0002502979,"threshold_uncertainty_score":0.9705587},"labels":[],"label_agreement":null},{"id":"W2620529225","doi":"","title":"À l’ombre des projecteurs : DARE-DARE au Quartier des spectacles / In the Shadows of the Floodlights: DARE-DARE at Quartier des spectacles","year":2014,"lang":"fr","type":"article","venue":"Esse/Esse arts + opinions","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.03798646803581732,"score_gpt":0.26042567256304694,"score_spread":0.22243920452722962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2620529225","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8711172,0.020590752,0.000021983788,0.016815884,0.0030194216,0.0013661418,0.00092656375,0.00015778591,0.08598431],"genre_scores_gemma":[0.9848362,0.0020912816,0.0001032734,0.00029651762,0.0024949166,0.00022372532,0.00010467623,0.00011956698,0.009729808],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99500465,0.0007740486,0.0011642928,0.00081086584,0.0007292741,0.001516847],"domain_scores_gemma":[0.99686885,0.0006883948,0.00044311432,0.0013670496,0.00043772938,0.00019488049],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0009052569,0.0009079208,0.0009424875,0.0002982031,0.005606068,0.0004979828,0.0012005456,0.00023379711,0.0014468507],"category_scores_gemma":[0.00022704322,0.0005745707,0.00055460224,0.00058342173,0.005826886,0.0011393327,0.0004926103,0.0007032929,0.00023937682],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019611309,0.0010805374,0.07555403,0.0016345786,0.00039549833,0.000016350741,0.49392316,0.00014239599,0.00019109169,0.39563817,0.02287926,0.0083488235],"study_design_scores_gemma":[0.0010691955,0.0007104514,0.16431853,0.0029618824,0.0003131238,0.000057232282,0.158779,0.00011253442,0.001890029,0.022371994,0.64641017,0.0010058807],"about_ca_topic_score_codex":0.005965436,"about_ca_topic_score_gemma":0.14365955,"teacher_disagreement_score":0.62353086,"about_ca_system_score_codex":0.0003295217,"about_ca_system_score_gemma":0.00032349466,"threshold_uncertainty_score":0.99967057},"labels":[],"label_agreement":null},{"id":"W2620550157","doi":"10.3138/md.0873","title":"Feeling, Sensation, and Being Moved: Case Studies in Affective Performance","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Feeling; Drama; Historicity (philosophy); Temporality; Interpretation (philosophy); Psychology; Aesthetics; Sociology; Art; History; Literature; Social psychology; Philosophy; Epistemology","score_opus":0.047097910806628986,"score_gpt":0.2877529138519496,"score_spread":0.24065500304532064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2620550157","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97040826,0.0007679178,0.0000053534227,0.00022607048,0.0003048609,0.00011635115,0.000005637711,0.00003098033,0.028134575],"genre_scores_gemma":[0.9964882,0.00045471103,0.000022124208,0.000067232315,0.0003731554,0.00001964143,9.5138665e-7,0.00001148092,0.0025625003],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99941057,0.000015987418,0.00013155061,0.00017649114,0.00007621701,0.00018919805],"domain_scores_gemma":[0.9995701,0.00004670307,0.00007395572,0.00020829767,0.000078387675,0.000022599548],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00016316382,0.00012979713,0.00018878622,0.00006102652,0.0015564172,0.00019569302,0.000069185226,0.000024434594,0.000020051977],"category_scores_gemma":[0.00003498334,0.00010543982,0.000023956525,0.000007094763,0.00037186284,0.0004931958,0.00010628541,0.00010811413,0.00001333587],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006200296,0.000054110034,0.08443358,0.00028345032,0.00018144089,0.00043613295,0.7939275,0.00013332265,0.000032580254,0.012048826,0.00042203447,0.10798505],"study_design_scores_gemma":[0.012742545,0.0019377585,0.20634706,0.0030323013,0.0006213,0.0023931619,0.35498425,0.18270761,0.003069075,0.13560875,0.09119098,0.005365211],"about_ca_topic_score_codex":0.00043685624,"about_ca_topic_score_gemma":0.0066399965,"teacher_disagreement_score":0.43894324,"about_ca_system_score_codex":0.000028226466,"about_ca_system_score_gemma":0.00000796151,"threshold_uncertainty_score":0.9997434},"labels":[],"label_agreement":null},{"id":"W2621135143","doi":"","title":"Shedding Perfection and Accepting Truth: Exploring Compassion and an Embodied Physicality for the First Soldier and Third Girl in Oh What a Lovely War","year":2015,"lang":"en","type":"dissertation","venue":"YorkSpace (York University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Girl; Compassion; Construct (python library); Perfection; Psychology; Aesthetics; Self; Stern; Psychoanalysis; Sociology; Art; Epistemology; Social psychology; Engineering; Computer science; Philosophy; Developmental psychology; Political science; Law","score_opus":0.07121616272134734,"score_gpt":0.26045181633350734,"score_spread":0.18923565361216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2621135143","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98676944,0.0020643824,0.00001272041,0.00027866173,0.00071931235,0.00040746265,0.000016885506,0.00005764178,0.009673522],"genre_scores_gemma":[0.9927215,0.004261074,0.000029409735,0.000019873834,0.0005255439,0.000009526135,0.000054472468,0.000023700146,0.0023548917],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991447,0.000040728104,0.00012037339,0.00034604216,0.000115601055,0.00023255528],"domain_scores_gemma":[0.99935585,0.00024046793,0.00013396576,0.00012470104,0.00008150712,0.0000634966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019944937,0.00024912084,0.00032667548,0.00019677152,0.0012436901,0.00033061943,0.00010254241,0.00009871437,0.000011645336],"category_scores_gemma":[0.000016592892,0.00020178208,0.00004958178,0.00007520318,0.00015434141,0.0013555932,0.00006818227,0.00025917566,0.0000010079102],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015614893,0.00013580472,0.0032730107,0.0011017374,0.0002744741,0.000007552129,0.8657849,0.00012978957,0.000042135296,0.038288187,0.0016628627,0.087738074],"study_design_scores_gemma":[0.0011684925,0.00023379296,0.0063839825,0.00089263683,0.0002313033,0.0000010684254,0.8622753,0.0016686071,0.000022905717,0.0005103763,0.12613595,0.00047559687],"about_ca_topic_score_codex":0.0006054395,"about_ca_topic_score_gemma":0.02738706,"teacher_disagreement_score":0.12447308,"about_ca_system_score_codex":0.00006870596,"about_ca_system_score_gemma":0.000022234875,"threshold_uncertainty_score":0.9903606},"labels":[],"label_agreement":null},{"id":"W2622851389","doi":"","title":"Lloyd Richards in rehearsal","year":2013,"lang":"en","type":"dissertation","venue":"York University Digital Library (York University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Performance art; Action (physics); Order (exchange); Art history; Art; Humanities; Visual arts; Cartography; History; Sociology; Geography","score_opus":0.01156238014987666,"score_gpt":0.15653194709678797,"score_spread":0.14496956694691132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2622851389","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20817758,0.00022856977,4.427334e-7,0.00010149949,0.00069120445,0.0002576936,0.00082077336,0.00030122697,0.789421],"genre_scores_gemma":[0.28012747,0.00031575924,0.000017376557,0.00004696705,0.0003192005,2.051779e-7,0.002262189,0.000047793354,0.71686304],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984535,0.00005070053,0.00020391413,0.00053322536,0.00025819894,0.00050043606],"domain_scores_gemma":[0.9991937,0.00007664846,0.00019139145,0.00031806238,0.000055696368,0.00016448107],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000020040592,0.00046597433,0.00051756453,0.0011781515,0.00057738484,0.0004913237,0.0007788328,0.00027602707,0.0030970855],"category_scores_gemma":[0.000004097554,0.00054001214,0.00029790294,0.00046551402,0.00026316382,0.004131002,0.00021444705,0.0005439751,0.0009992871],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002070077,0.0006856607,0.012127816,0.0006505839,0.0007994819,0.001187565,0.060176343,0.000020949006,0.0000073984015,0.37159488,0.5344941,0.016185157],"study_design_scores_gemma":[0.0005793773,0.000113490045,0.0009949214,0.00021431458,0.00007118904,0.0000012004407,0.08205047,0.0000046635682,0.000011357348,0.00023880797,0.91513336,0.0005868549],"about_ca_topic_score_codex":0.00041895593,"about_ca_topic_score_gemma":0.0014390787,"teacher_disagreement_score":0.38063928,"about_ca_system_score_codex":0.00013901418,"about_ca_system_score_gemma":0.00024286735,"threshold_uncertainty_score":0.99977857},"labels":[],"label_agreement":null},{"id":"W26319525","doi":"10.5281/zenodo.8275489","title":"Tight Instances of the Lonely Runner","year":2006,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Integer (computer science); Combinatorics; Conjecture; Mathematics; Integer programming; Subfamily; Discrete mathematics; Characterization (materials science); Computer science; Physics; Algorithm","score_opus":0.01255059552870384,"score_gpt":0.1781092554106459,"score_spread":0.16555865988194207,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W26319525","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24291708,0.0002769871,9.740829e-7,0.00042335785,0.00025605806,0.000027706106,0.0000055452088,0.000013977074,0.7560783],"genre_scores_gemma":[0.91557187,0.000014156315,0.000007395526,0.00011523407,0.0003219226,0.0000018851074,5.90048e-7,0.0000024828212,0.08396444],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973136,0.0000046889595,0.00008694366,0.000040806346,0.00006691234,0.00006925969],"domain_scores_gemma":[0.99985236,0.000010036966,0.000026849122,0.000080656355,0.000026342583,0.0000037291509],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000025387535,0.0000429446,0.00006191662,0.0000118422695,0.00017338764,0.00001536969,0.000071191454,0.000007101448,0.0015060881],"category_scores_gemma":[6.0514213e-7,0.000019637728,0.00003932711,0.000014305264,0.00017389626,0.00006856528,0.000019221425,0.000025238796,0.00003389144],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000046920445,0.000023643659,0.0066762017,0.00001159066,0.000011825862,1.1465969e-7,0.004711305,0.0000031740221,0.000042042688,0.92441976,0.06314953,0.00094611634],"study_design_scores_gemma":[0.000083625186,0.000015626945,0.007468029,0.00001027639,0.000007772932,1.9328309e-7,0.0018700538,0.0000040257205,0.0014247204,0.0049417615,0.98412234,0.000051594234],"about_ca_topic_score_codex":0.0006008487,"about_ca_topic_score_gemma":0.0143695045,"teacher_disagreement_score":0.92097276,"about_ca_system_score_codex":0.0000026092973,"about_ca_system_score_gemma":0.0000056342797,"threshold_uncertainty_score":0.9994067},"labels":[],"label_agreement":null},{"id":"W2659252081","doi":"10.3968/9478","title":"Nora and Du Liniang: A Study of the Imported Feminism and the Fettered Feminism in Traditional Chinese Theatre","year":2017,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Feminism; Popularity; Appropriation; Emancipation; Theme (computing); Pavilion; Art; Embodied cognition; Sociology; China; Gender studies; Aesthetics; Literature; History; Political science; Philosophy; Law; Politics","score_opus":0.02604364080462507,"score_gpt":0.2776334703315889,"score_spread":0.25158982952696385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2659252081","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9624684,0.019584365,1.0356044e-8,0.0016472088,0.00028703615,0.00032134785,0.00006216545,0.0000060242937,0.015623461],"genre_scores_gemma":[0.99738646,0.0014023151,0.0000026002363,0.0002967889,0.0004823755,0.000041006824,0.0000034664217,0.0000070267674,0.00037799228],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99928415,0.00006895227,0.00023788128,0.00017610613,0.000101526675,0.00013137699],"domain_scores_gemma":[0.9993798,0.00020999514,0.00011812749,0.00024910987,0.000027876738,0.00001510113],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003091462,0.00016611132,0.0003333324,0.000051799372,0.00071540254,0.00015129025,0.00014165539,0.0000338864,0.0000112914895],"category_scores_gemma":[0.00004452484,0.0000735523,0.000035153407,0.000034431923,0.0010619105,0.0001507903,0.00020434785,0.00022282891,1.4800573e-7],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010501993,0.00007644712,0.09976315,0.00007258068,0.000106493215,0.000023244065,0.89474183,7.850501e-8,0.0000052574424,0.0032703876,0.00031745507,0.0015180619],"study_design_scores_gemma":[0.0063560996,0.00026672627,0.5744842,0.0004955458,0.000086457294,0.000026802192,0.409687,0.000015837124,0.000004530299,0.004256991,0.0040710806,0.00024868158],"about_ca_topic_score_codex":0.00021213999,"about_ca_topic_score_gemma":0.0061311703,"teacher_disagreement_score":0.48505482,"about_ca_system_score_codex":0.000004750388,"about_ca_system_score_gemma":0.0000056536137,"threshold_uncertainty_score":0.55023706},"labels":[],"label_agreement":null},{"id":"W266112797","doi":"","title":"Une bibliographie commentée en temps réel : l'art de la performance au Québec et au Canada","year":2015,"lang":"fr","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.014655629220746777,"score_gpt":0.2335864710731841,"score_spread":0.2189308418524373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W266112797","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065242134,0.006182673,0.000011399525,0.010647668,0.003949522,0.0008022691,0.0013158483,0.00020725801,0.91164124],"genre_scores_gemma":[0.36092266,0.008430223,0.000040274925,0.003094893,0.0054247105,0.00016745953,0.00048079432,0.0002462162,0.62119275],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99355555,0.0007048,0.001318648,0.0010358683,0.0012317915,0.0021533475],"domain_scores_gemma":[0.99578506,0.0011357915,0.0006423002,0.0012067092,0.00045379024,0.0007763344],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","insufficient_payload"],"category_scores_codex":[0.0021099444,0.0016324082,0.0016489241,0.0016188751,0.003544313,0.00051128166,0.0011097103,0.00062220875,0.0031294967],"category_scores_gemma":[0.00005355464,0.0015330729,0.00058231363,0.000869029,0.0028039906,0.0009593406,0.00043117572,0.0019712783,0.0018858922],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016069534,0.0002820433,0.013535585,0.00088869454,0.00093429186,0.0001019795,0.042133592,0.00013350605,0.0000037358652,0.042321347,0.8854593,0.014045226],"study_design_scores_gemma":[0.0014209986,0.00061802106,0.022571038,0.0012231191,0.0005557117,0.00009189257,0.0042668595,0.00009467698,0.000011122941,0.0007732933,0.9666677,0.0017055749],"about_ca_topic_score_codex":0.9767379,"about_ca_topic_score_gemma":0.99851584,"teacher_disagreement_score":0.29568052,"about_ca_system_score_codex":0.0033527755,"about_ca_system_score_gemma":0.017896764,"threshold_uncertainty_score":0.9999098},"labels":[],"label_agreement":null},{"id":"W2725467374","doi":"10.12745/et.20.1.3169","title":"Nicole R. Rice and Margaret Aziza Pappano. &lt;i&gt;The Civic Cycles: Artisan Drama and Identity&lt;/i&gt;. Notre Dame, IN: Notre Dame University Press, 2015. Pp 360.","year":2017,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; Art; Identity (music); Media studies; Sociology; Art history; Humanities; Visual arts; Aesthetics","score_opus":0.014020803197542373,"score_gpt":0.2234650378762548,"score_spread":0.20944423467871243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2725467374","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81992203,0.004715753,0.0000017814988,0.0021159803,0.0004145948,0.0003846216,0.0003310499,0.000084119885,0.17203008],"genre_scores_gemma":[0.9769797,0.0028810434,0.000014029376,0.00012554746,0.00060538895,0.000008631832,0.000017376611,0.000032884305,0.019335434],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99840957,0.00010424121,0.00025253583,0.0004575313,0.00028037303,0.0004957658],"domain_scores_gemma":[0.99875045,0.00011545021,0.00019438972,0.00074451265,0.000074970165,0.00012021295],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00025570637,0.00034113607,0.00040604608,0.00007862005,0.0022445163,0.0009072565,0.00058044656,0.00011426094,0.00026249516],"category_scores_gemma":[0.0000150601345,0.00026815594,0.00009591658,0.000048148686,0.0010433267,0.001620082,0.0005434131,0.0002962905,0.000076009404],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009724794,0.0007214894,0.23725694,0.0008860602,0.0011290697,0.0003715175,0.2517175,0.000022029135,0.0014464412,0.17643557,0.28996593,0.03907497],"study_design_scores_gemma":[0.0010219779,0.00015458123,0.24898955,0.0001599685,0.0001356401,0.000008310443,0.0036520471,0.000054440097,0.000023957504,0.0009419406,0.74443364,0.00042395465],"about_ca_topic_score_codex":0.0021595326,"about_ca_topic_score_gemma":0.03176686,"teacher_disagreement_score":0.4544677,"about_ca_system_score_codex":0.000038687194,"about_ca_system_score_gemma":0.000038142,"threshold_uncertainty_score":0.99997705},"labels":[],"label_agreement":null},{"id":"W2729680197","doi":"","title":"Saved by the Belles : les mots de la nuit / Saved by the Belles, Canada [Québec] 2002, 90 minutes","year":2003,"lang":"fr","type":"article","venue":"Séquences : la revue de cinéma","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.01120429041287592,"score_gpt":0.20512612180532905,"score_spread":0.19392183139245311,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2729680197","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06633424,0.33789542,0.000009254817,0.17687964,0.00083074905,0.00043564313,0.0010371386,0.000041352385,0.41653657],"genre_scores_gemma":[0.5089923,0.010865135,0.00003053754,0.0010915253,0.00076302566,0.00008030186,0.00003151421,0.000047873862,0.47809777],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99711436,0.0008091513,0.00047908863,0.0004021072,0.00028888002,0.0009064415],"domain_scores_gemma":[0.9973329,0.0016956492,0.000232195,0.00048525736,0.00010486403,0.00014917144],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00082942814,0.0005019351,0.00045909526,0.000039214807,0.0029922088,0.00031538188,0.00070644246,0.0002015189,0.0036889096],"category_scores_gemma":[0.0001228974,0.00032514083,0.00018429846,0.00013058116,0.0019660413,0.00017255946,0.00009457872,0.0006317189,0.00005927807],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021661002,0.000077355486,0.006199518,0.00015015555,0.0002539165,0.000025347925,0.019817142,0.00003231874,0.00004716234,0.04474583,0.9150379,0.013591743],"study_design_scores_gemma":[0.00030374137,0.00008773597,0.00066268834,0.00025163556,0.00019271235,0.00012468513,0.028912589,0.00013172407,0.00065931777,0.00079790055,0.96743894,0.0004363588],"about_ca_topic_score_codex":0.9240588,"about_ca_topic_score_gemma":0.9902485,"teacher_disagreement_score":0.44265807,"about_ca_system_score_codex":0.0003969804,"about_ca_system_score_gemma":0.0007739193,"threshold_uncertainty_score":0.99992007},"labels":[],"label_agreement":null},{"id":"W2729696150","doi":"","title":"Performance pour l’image / Image as Performance","year":2006,"lang":"fr","type":"article","venue":"Ciel variable : art, photo, médias, culture","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Image (mathematics); Computer vision; Computer science; Artificial intelligence","score_opus":0.014459207402874244,"score_gpt":0.2230073256908436,"score_spread":0.20854811828796938,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2729696150","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1351169,0.0113568,0.000025449583,0.00033657454,0.0030645397,0.00063835504,0.0005339589,0.00029046243,0.848637],"genre_scores_gemma":[0.059601393,0.010957507,0.0016759099,0.0064863455,0.00808112,0.00019746085,0.00039165857,0.00016979937,0.9124388],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9955127,0.000120052035,0.0009652999,0.00097137335,0.0006433822,0.0017871668],"domain_scores_gemma":[0.99772054,0.00009725629,0.00040801888,0.0008924477,0.00060866185,0.00027306972],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00054851547,0.0011164291,0.000953856,0.00019193039,0.0027110514,0.0008932276,0.00074148143,0.0004953566,0.20830163],"category_scores_gemma":[0.000036862813,0.0009954937,0.00038822385,0.0003280779,0.001178401,0.0025654957,0.00029031126,0.0011956298,0.0110170655],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015426773,0.0005644405,0.001519759,0.001255402,0.00021978517,0.000047405218,0.0021957587,0.0001919997,0.0028921897,0.039497133,0.949791,0.0016708421],"study_design_scores_gemma":[0.0014488957,0.00048584794,0.0012565008,0.00074525044,0.00035272006,0.00013873815,0.0025255654,0.0025848493,0.0049504475,0.00058723136,0.98357415,0.0013498174],"about_ca_topic_score_codex":0.0013174205,"about_ca_topic_score_gemma":0.000039876337,"teacher_disagreement_score":0.19728458,"about_ca_system_score_codex":0.00023532052,"about_ca_system_score_gemma":0.0003482662,"threshold_uncertainty_score":0.9992495},"labels":[],"label_agreement":null},{"id":"W273435625","doi":"","title":"Special Section on Dramaturgy","year":2001,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Section (typography); Art; Computer science; Visual arts","score_opus":0.02107532624794343,"score_gpt":0.19990431539485087,"score_spread":0.17882898914690745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W273435625","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6231476,0.000030956995,0.000037150035,0.0002037667,0.0016959615,0.000053091582,0.000016197233,0.000050056304,0.37476522],"genre_scores_gemma":[0.95302457,0.000102952734,0.000016348951,0.00009073104,0.00817277,1.6411829e-7,0.00001602018,0.000009001346,0.03856743],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993405,0.000023845627,0.000086334614,0.00016546383,0.00018060165,0.00020325839],"domain_scores_gemma":[0.9995971,0.00003610085,0.000080445025,0.00015646528,0.00008466948,0.000045221423],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008216712,0.00012164638,0.0001816221,0.00013823621,0.0008492619,0.00005385526,0.00014383995,0.000051003746,0.005248689],"category_scores_gemma":[0.0000053942335,0.00013022045,0.0001289345,0.000062204555,0.00032304,0.00033194284,0.00004637087,0.00013610852,0.00039404345],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019441458,0.00007416479,0.0013825014,0.00001801978,0.00008094529,0.000012364001,0.03443197,0.000020056843,0.00000126845,0.916792,0.04658928,0.00040304032],"study_design_scores_gemma":[0.00031905898,0.00013766391,0.0009791482,0.0000120199375,0.00002730822,0.0000031585657,0.020229595,0.0000072990733,2.4654645e-7,0.50663507,0.4715324,0.00011704478],"about_ca_topic_score_codex":0.0007070766,"about_ca_topic_score_gemma":0.011128154,"teacher_disagreement_score":0.42494312,"about_ca_system_score_codex":0.00005682009,"about_ca_system_score_gemma":0.00001737124,"threshold_uncertainty_score":0.99566066},"labels":[],"label_agreement":null},{"id":"W2734828810","doi":"10.1093/oxfordhb/9780199697861.013.0020","title":"London Street Theater","year":2011,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Art; Visual arts; History; Media studies; Sociology","score_opus":0.035304456969121,"score_gpt":0.183781007673752,"score_spread":0.148476550704631,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2734828810","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017428036,0.0001573954,0.0000020882421,0.0000065695094,0.000516929,0.00020501694,0.00031753187,0.00013887582,0.99848133],"genre_scores_gemma":[0.0012235286,0.00038412688,0.000008881754,0.000061910694,0.0006964319,9.846607e-7,0.000060513557,0.000035255594,0.9975284],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914974,0.000023129582,0.00012453066,0.00027274413,0.00014596041,0.00028392315],"domain_scores_gemma":[0.99937356,0.000023126078,0.00011435594,0.00034203706,0.0000837258,0.00006321597],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000041445674,0.00031374613,0.0003323801,0.000119194505,0.00045690694,0.000055193144,0.0003835449,0.00015076474,0.00077119557],"category_scores_gemma":[5.172848e-7,0.0002825746,0.00018990881,0.0000018631076,0.000402698,0.0001298426,0.00025347935,0.00030520774,0.000012133784],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010367832,0.000014359126,0.000009374623,0.00010250434,0.00025777324,0.0000432461,0.012798726,1.8644852e-7,2.6206644e-7,0.8450348,0.13632433,0.0053107953],"study_design_scores_gemma":[0.00028415793,0.00010126399,0.000002915166,0.000101910075,0.00019863993,8.42119e-7,0.0005761531,8.6507504e-7,0.000021848195,0.00077185535,0.9975909,0.00034862472],"about_ca_topic_score_codex":0.00033544554,"about_ca_topic_score_gemma":0.0015950082,"teacher_disagreement_score":0.8612666,"about_ca_system_score_codex":0.00007532189,"about_ca_system_score_gemma":0.00007323803,"threshold_uncertainty_score":0.9999626},"labels":[],"label_agreement":null},{"id":"W2741337242","doi":"","title":"Early Theatre: Special Issue on Women and Performance: June 2012","year":2011,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Performance art; Art; Media studies; Aesthetics; Sociology; Art history","score_opus":0.020178319346098286,"score_gpt":0.2007603491385508,"score_spread":0.1805820297924525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2741337242","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52831745,0.00020769544,8.219524e-8,0.00015566875,0.0010704552,0.000118645425,0.000023431938,0.00006649592,0.47004008],"genre_scores_gemma":[0.9174484,0.00034887754,0.00001564133,0.00024497672,0.014730508,0.00003837938,0.000003902368,0.000040745934,0.06712857],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985995,0.00003754723,0.00024560615,0.00030833596,0.00023249921,0.0005764865],"domain_scores_gemma":[0.99940443,0.000034332046,0.0000677172,0.00032301605,0.000044167296,0.00012632266],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017776231,0.0003129823,0.0003262463,0.00013438622,0.0006752536,0.0001401342,0.0002048705,0.00007378082,0.014762893],"category_scores_gemma":[0.000001365973,0.00022911106,0.00007602391,0.000051800696,0.00037138627,0.00064166257,0.00008381064,0.00026887082,0.0021123018],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008756503,0.00022742187,0.021140499,0.00008079078,0.00021759997,0.000014808564,0.63698316,3.8580146e-7,0.000009606498,0.010208602,0.06906098,0.2611805],"study_design_scores_gemma":[0.00063922425,0.0015072396,0.03632616,0.000055565546,0.000032431988,0.0000043153277,0.0057925526,0.0000023111866,0.00010014735,0.0015570511,0.95358074,0.00040228298],"about_ca_topic_score_codex":0.00032958254,"about_ca_topic_score_gemma":0.00032819572,"teacher_disagreement_score":0.88451976,"about_ca_system_score_codex":0.000033684755,"about_ca_system_score_gemma":0.000018258832,"threshold_uncertainty_score":0.9986647},"labels":[],"label_agreement":null},{"id":"W2742918380","doi":"10.33137/rr.v41i2.29871","title":"Playwriting Playgoers in Shakespeare's Theater","year":2017,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Performance art; Literature; Art history","score_opus":0.030597734465365324,"score_gpt":0.2485078683491223,"score_spread":0.217910133883757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2742918380","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6604645,0.00031965738,0.00000171423,0.0009349601,0.00018109156,0.00006821516,0.0000057242996,0.00002157226,0.33800256],"genre_scores_gemma":[0.9984957,0.0002835193,0.000009429436,0.00009364749,0.00028584836,0.000008734786,0.000005587759,0.0000047365324,0.0008128139],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99958646,0.000006938032,0.0001301111,0.000077260906,0.00006376125,0.00013546247],"domain_scores_gemma":[0.99975383,0.0000069440166,0.00007370223,0.0001305808,0.000018310087,0.000016614304],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012117444,0.00007106759,0.000094851086,0.00004711343,0.0008461702,0.00020861375,0.0000756856,0.000021825233,0.000073368414],"category_scores_gemma":[0.0000068032346,0.00004710101,0.000017432076,0.000006078595,0.00014877006,0.0009285067,0.0000336246,0.00007293731,0.000036604426],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027792083,0.0001016025,0.10113468,0.0007167,0.00010220447,0.00002554654,0.36914718,0.00004582851,0.00041065703,0.20027046,0.019701852,0.30806535],"study_design_scores_gemma":[0.0016149421,0.0001527487,0.14601907,0.0007804505,0.000019064151,0.000013806645,0.023924517,0.0010372587,0.0010056582,0.0029291438,0.82194465,0.0005586948],"about_ca_topic_score_codex":0.0001875284,"about_ca_topic_score_gemma":0.0011093672,"teacher_disagreement_score":0.8022428,"about_ca_system_score_codex":0.000011955502,"about_ca_system_score_gemma":0.0000041135513,"threshold_uncertainty_score":0.65081424},"labels":[],"label_agreement":null},{"id":"W2746602071","doi":"10.3138/ctr.171.013","title":"Immersed in Musicals","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Lyrics; Art; Visual arts; Performance art; Theatre director; Art history; Literature","score_opus":0.04942447402808572,"score_gpt":0.2700334350689477,"score_spread":0.220608961040862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2746602071","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001707453,0.090286806,5.81691e-8,0.014855126,0.00044617924,0.00025743214,0.000043256514,0.000012357958,0.8923913],"genre_scores_gemma":[0.8884878,0.09447412,0.0000073660917,0.008885026,0.00084450823,0.000053202326,0.00001186211,0.000022464601,0.0072136144],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933183,0.000021379745,0.00016625857,0.00013131418,0.000057555095,0.00029164928],"domain_scores_gemma":[0.9993188,0.000014618879,0.00005542089,0.00044854163,0.000023174824,0.00013945943],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018277619,0.000111824935,0.0002794933,0.000064329935,0.0006143407,0.00010619004,0.0002746491,0.000019489717,0.0038462116],"category_scores_gemma":[0.000017911862,0.00008527557,0.00008126072,0.000014052716,0.00016740603,0.0001644094,0.000021286825,0.0000942562,0.00062107696],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000033171043,0.000017246168,0.0032636374,0.0014214965,0.00005024861,0.000078195335,0.005604715,1.1667549e-7,0.0000012140408,0.06266028,0.14601491,0.7808846],"study_design_scores_gemma":[0.0000852984,0.0000109989105,0.0009486314,0.0015029161,0.000021400136,0.0000016674234,0.0001951171,9.2360426e-7,9.517577e-7,0.00040148856,0.9967117,0.00011891521],"about_ca_topic_score_codex":0.14065154,"about_ca_topic_score_gemma":0.87202924,"teacher_disagreement_score":0.8867804,"about_ca_system_score_codex":0.00005519071,"about_ca_system_score_gemma":0.00011078415,"threshold_uncertainty_score":0.9970644},"labels":[],"label_agreement":null},{"id":"W2746732207","doi":"10.3138/tric.38.1.92","title":"Restaging Indigenous — Settler Relations: Intercultural Theatre as Redress Rehearsal in Marie Clements’s and Rita Leistner’s <i>The Edward Curtis Project</i>","year":2017,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Redress; Negotiation; Sociology; Context (archaeology); Gender studies; History; Art; Literature; Social science; Archaeology","score_opus":0.08107389121096932,"score_gpt":0.34128420298196865,"score_spread":0.26021031177099935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2746732207","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7264738,0.0020236715,8.6804846e-8,0.013609625,0.00044709037,0.0008422945,0.00013535023,0.000018994913,0.25644904],"genre_scores_gemma":[0.9967517,0.0007896356,0.000008328401,0.00015184839,0.00038719096,0.00012218731,0.000018603654,0.000026057529,0.0017444008],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974641,0.00032358678,0.0003697849,0.0003612673,0.00064170454,0.00083951245],"domain_scores_gemma":[0.9987426,0.00035150046,0.000084011226,0.0006447968,0.00009256606,0.000084545354],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0012955912,0.00021020779,0.0002746762,0.00021167469,0.0022758006,0.00061658816,0.00062505616,0.00004847186,0.00019286122],"category_scores_gemma":[0.000030683594,0.00014244353,0.000036483372,0.00010043717,0.0007370372,0.0004864614,0.00044138893,0.0009114897,0.000018251016],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005220597,0.000122976,0.36632165,0.0002797885,0.00018086478,0.00047783158,0.1700289,0.000029316465,0.000023645618,0.005582382,0.0885775,0.36785308],"study_design_scores_gemma":[0.0009688899,0.0001811302,0.014360363,0.00058027817,0.000016635835,0.000019178986,0.095811546,0.00010991627,0.000035175344,0.0042232424,0.88331234,0.00038127336],"about_ca_topic_score_codex":0.9826973,"about_ca_topic_score_gemma":0.9968279,"teacher_disagreement_score":0.7947349,"about_ca_system_score_codex":0.0007087646,"about_ca_system_score_gemma":0.0013261522,"threshold_uncertainty_score":0.9990231},"labels":[],"label_agreement":null},{"id":"W2746740742","doi":"","title":"Weather, Merlyn Theatre, Southbank, VIC, 17 October 2012","year":2012,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Meteorology; The arts; Geography; History; Visual arts; Art; Library science; Computer science","score_opus":0.02887600250234875,"score_gpt":0.231089828483235,"score_spread":0.20221382598088625,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2746740742","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030629888,0.0037263746,0.000010857989,0.00050874584,0.001109664,0.00010403741,0.000022391872,0.00015692024,0.9637311],"genre_scores_gemma":[0.74295837,0.00012198739,0.000041479587,0.0007567249,0.0026567255,0.000017028224,0.000006983783,0.000020383844,0.25342032],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990629,0.000019550522,0.00017116599,0.00012251231,0.00014601783,0.0004778848],"domain_scores_gemma":[0.9995752,0.00003736463,0.00003741795,0.00022316286,0.00003971881,0.00008715278],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014928158,0.00018529638,0.00019009192,0.00005705356,0.0004391114,0.000074018564,0.00012101171,0.000036952493,0.04251721],"category_scores_gemma":[0.0000014108514,0.000118851465,0.00010832118,0.000022329808,0.00015322104,0.0006730139,0.00005357429,0.000107010375,0.0037512477],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036238842,0.00022047744,0.011734835,0.000029092684,0.00021424546,9.1731533e-7,0.13058062,6.5713147e-7,0.000039703085,0.25721088,0.5694497,0.030482627],"study_design_scores_gemma":[0.00018063356,0.00004077203,0.00075427006,0.0000083119285,0.000039740746,0.0000019482761,0.008059801,0.0000023662876,0.00009062986,0.00046906158,0.9901437,0.00020872522],"about_ca_topic_score_codex":0.00031764703,"about_ca_topic_score_gemma":0.0012021124,"teacher_disagreement_score":0.7123285,"about_ca_system_score_codex":0.000012051456,"about_ca_system_score_gemma":0.000008374751,"threshold_uncertainty_score":0.9970245},"labels":[],"label_agreement":null},{"id":"W2747245323","doi":"","title":"Kathleen Gallagher and Barry Freeman, eds. In Defence of Theatre: Aesthetic Practices and Social Interventions. Toronto: University of Toronto Press, 2016. 316 pp.","year":2017,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Regina","funders":"","keywords":"Sociology; Psychological intervention; Media studies; Gerontology; Psychology; Medicine; Psychiatry","score_opus":0.09222323972051176,"score_gpt":0.3305766651036153,"score_spread":0.2383534253831035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2747245323","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62752104,0.06619705,1.1331993e-7,0.0013685224,0.00013256271,0.00036019812,0.0001286995,0.0000060880975,0.3042857],"genre_scores_gemma":[0.9811782,0.018269911,0.0000092716045,0.0000041775993,0.0000656762,0.0000034292666,0.000002161364,0.000007565558,0.0004595736],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988435,0.00017917284,0.00019868434,0.00018834617,0.00029885402,0.0002914538],"domain_scores_gemma":[0.99927706,0.00013513668,0.00017899025,0.00026887562,0.00008901091,0.00005090452],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006685804,0.0001086074,0.00026923348,0.000017166203,0.00045466115,0.00005298656,0.00031906998,0.00003607548,0.0005570462],"category_scores_gemma":[0.000006557827,0.00009194028,0.00004389831,0.000009887107,0.00070685404,0.0005891468,0.00026297392,0.00015995443,6.9887733e-7],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011542503,0.00039374034,0.1923149,0.0023214046,0.00028853078,0.0000992071,0.06866434,0.0000062403315,0.00007444288,0.007529219,0.046051502,0.6811022],"study_design_scores_gemma":[0.0026702848,0.0007376765,0.11900914,0.0017708322,0.00008866787,0.000009801555,0.104044974,0.00015984736,0.00007311459,0.002127468,0.768733,0.0005751423],"about_ca_topic_score_codex":0.9979128,"about_ca_topic_score_gemma":0.9997541,"teacher_disagreement_score":0.7226815,"about_ca_system_score_codex":0.0003435608,"about_ca_system_score_gemma":0.00046828625,"threshold_uncertainty_score":0.6099265},"labels":[],"label_agreement":null},{"id":"W2747416348","doi":"","title":"Lynne Marsh, Stage Backstage, Galerie Donald Browne, Montréal, Du 8 octobre au 5 novembre 2011","year":2012,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Art; Humanities; Geology","score_opus":0.010191418271790298,"score_gpt":0.16442474648006153,"score_spread":0.15423332820827124,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2747416348","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2055399,0.50173944,0.000054262295,0.04275201,0.0041333735,0.00052619993,0.0020352348,0.0002439287,0.24297568],"genre_scores_gemma":[0.17146988,0.07530046,0.00011071572,0.001262361,0.0039894446,0.00001392984,0.00012453632,0.00011056812,0.7476181],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966589,0.00013674487,0.00043779614,0.00052332843,0.0004804217,0.0017627741],"domain_scores_gemma":[0.99798733,0.00019720462,0.00032659524,0.0006837765,0.00020823911,0.000596845],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003962283,0.00074776245,0.0007251276,0.00026133208,0.0033108015,0.0001071817,0.0005039207,0.00032649434,0.020009726],"category_scores_gemma":[0.00001578909,0.0007712787,0.00047604562,0.00014830913,0.0007166071,0.0015428294,0.0006490905,0.00054626865,0.00362202],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041150727,0.00046821547,0.007865693,0.0003871377,0.0006652598,0.0005816917,0.014735,0.00005360377,0.00007297208,0.12778734,0.82933253,0.017639084],"study_design_scores_gemma":[0.001456972,0.00026179996,0.0042719077,0.0001523839,0.00046549123,0.0001550722,0.014282939,0.00008031899,0.000097782366,0.00018204327,0.9776902,0.00090304797],"about_ca_topic_score_codex":0.14113995,"about_ca_topic_score_gemma":0.4443367,"teacher_disagreement_score":0.5046424,"about_ca_system_score_codex":0.0045262943,"about_ca_system_score_gemma":0.00011394331,"threshold_uncertainty_score":0.9994738},"labels":[],"label_agreement":null},{"id":"W2747754150","doi":"10.1007/978-3-319-59743-0_4","title":"Kurosawa, Kozintsev, Kaurismäki, and Almereyda: Hamlet and Transnational Dialogism","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Vancouver Island University","funders":"","keywords":"HAMLET (protein complex); HERO; Literature; Tragedy (event); Chronotope; Ideology; Art; Referent; Philosophy; Political science; Politics; Linguistics; Law","score_opus":0.03917670759591998,"score_gpt":0.22025210753979546,"score_spread":0.18107539994387548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2747754150","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024631686,0.002299376,0.0000035608982,0.0026504283,0.0005060078,0.0001516963,0.0002551431,0.000049370155,0.9938381],"genre_scores_gemma":[0.07372485,0.0022396275,0.000023100907,0.00038624118,0.0010775204,0.000008270669,0.000056242374,0.00003163432,0.9224525],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918026,0.000004403775,0.00019905539,0.00028788726,0.00015903277,0.00016934058],"domain_scores_gemma":[0.9995243,0.00005519033,0.00010094676,0.00019601308,0.000065094566,0.0000584397],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000084547995,0.00029983892,0.00035745924,0.00008761649,0.0007946876,0.0002337473,0.00010717125,0.00012374502,0.005107484],"category_scores_gemma":[0.0000029144314,0.0002278746,0.000076159224,8.38232e-7,0.00087095716,0.00021211794,0.000071460156,0.00021592401,0.00005319025],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000124604685,0.000004947471,0.000025738591,0.00004732867,0.00011874883,0.0000055928585,0.004488847,2.7226104e-8,5.482459e-7,0.96545166,0.01855977,0.011284346],"study_design_scores_gemma":[0.00026160595,0.00006840315,0.00020972644,0.00003369149,0.00007907904,0.0000066884236,0.0001179564,0.0000027559843,0.0000017534487,0.07515819,0.9237631,0.0002970296],"about_ca_topic_score_codex":0.000068147725,"about_ca_topic_score_gemma":0.0025929855,"teacher_disagreement_score":0.90520334,"about_ca_system_score_codex":0.000008180411,"about_ca_system_score_gemma":0.000022021739,"threshold_uncertainty_score":0.995802},"labels":[],"label_agreement":null},{"id":"W2747860021","doi":"10.3138/ctr.171.020","title":"Q2Q Conference: Artist’s Statement and Reflections","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Statement (logic); Art; Visual arts; Performance art; Art history; Aesthetics; Philosophy; Epistemology","score_opus":0.0957205705791788,"score_gpt":0.3198237010774116,"score_spread":0.2241031304982328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2747860021","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00074950233,0.08456291,8.632319e-7,0.016068785,0.00041780947,0.00027375965,0.00012255643,0.00002211597,0.89778167],"genre_scores_gemma":[0.6833017,0.28893733,0.000024078277,0.003348161,0.00058902026,0.00007610055,0.000019570787,0.000018942845,0.023685109],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939936,0.000019273726,0.00015972866,0.00013408653,0.000057205627,0.00023037085],"domain_scores_gemma":[0.99935603,0.000008714807,0.000068158326,0.0003325897,0.00005493059,0.00017956585],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014353117,0.0001109015,0.00020929913,0.0000403879,0.001694157,0.00024064594,0.0001341472,0.000015391075,0.0028363115],"category_scores_gemma":[0.000009011297,0.000084725514,0.00004270569,0.000008616973,0.0002375073,0.0001774381,0.000024581499,0.00007771046,0.00019473914],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000029513542,0.000012376917,0.00088764966,0.0015710248,0.0001271936,0.000019831426,0.007951261,5.6449363e-8,0.0000022000318,0.18576553,0.22593662,0.5777233],"study_design_scores_gemma":[0.000058686805,0.000028234937,0.00029800588,0.00087146525,0.000056550434,0.000004731123,0.0004086187,9.920323e-7,0.0000016128744,0.0009699915,0.9971874,0.00011370791],"about_ca_topic_score_codex":0.06185663,"about_ca_topic_score_gemma":0.81763834,"teacher_disagreement_score":0.8740966,"about_ca_system_score_codex":0.000047455003,"about_ca_system_score_gemma":0.00013689634,"threshold_uncertainty_score":0.9996055},"labels":[],"label_agreement":null},{"id":"W2748190640","doi":"","title":"Jordan Tannahill Theatre of the Unimpressed: In Search of Vital Drama. Toronto: Coach House Books, 2015. 160 pp.","year":2017,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Drama; Art; Media studies; History; Visual arts; Sociology","score_opus":0.059388734837533284,"score_gpt":0.31770112538316747,"score_spread":0.2583123905456342,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2748190640","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62935245,0.00379239,7.8792375e-8,0.0024938134,0.0003811015,0.00055440614,0.00030627634,0.000010930528,0.36310852],"genre_scores_gemma":[0.99785644,0.0010201047,0.000004125162,0.000027800521,0.00023387549,0.000027175049,0.0000030605581,0.0000361834,0.000791242],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971874,0.00033608635,0.00044038382,0.00027654925,0.0009661547,0.0007934218],"domain_scores_gemma":[0.9980789,0.0003273771,0.00011522235,0.001182538,0.00019011236,0.000105842184],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012893755,0.00020345708,0.0004400148,0.00009452816,0.00069703755,0.000095462114,0.001324357,0.000054447377,0.00042608567],"category_scores_gemma":[0.000015339478,0.0001361977,0.000085745356,0.000075335214,0.0011825656,0.00034115932,0.00053911883,0.0005784786,0.0000036692434],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0026062364,0.0012401671,0.3959412,0.002521052,0.00079547695,0.00026255834,0.114589706,0.00039360032,0.0033298705,0.04841435,0.16342947,0.26647633],"study_design_scores_gemma":[0.0051738718,0.0012954421,0.054383095,0.002426786,0.00006536626,0.000015804948,0.19469771,0.00088667084,0.013892972,0.008280239,0.71754193,0.001340137],"about_ca_topic_score_codex":0.993864,"about_ca_topic_score_gemma":0.99927026,"teacher_disagreement_score":0.55411243,"about_ca_system_score_codex":0.0006747539,"about_ca_system_score_gemma":0.0019647554,"threshold_uncertainty_score":0.5553981},"labels":[],"label_agreement":null},{"id":"W2748407988","doi":"10.3138/ctr.171.011","title":"Riding the Cyclone: One Actor’s Take on the Rollercoaster Journey of Atomic Vaudeville’s <i>Ride the Cyclone</i>","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Cyclone (programming language); Musical; Variety (cybernetics); Performance art; Visual arts; History; Art; Art history; Media studies; Sociology; Engineering; Computer science; Artificial intelligence","score_opus":0.06404410891395915,"score_gpt":0.2554551308146477,"score_spread":0.19141102190068857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2748407988","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026203414,0.1999647,4.196499e-7,0.16218871,0.0012382013,0.0014955691,0.00026635762,0.00003120314,0.6086114],"genre_scores_gemma":[0.8619858,0.12477997,0.0000014728604,0.009074005,0.0011520898,0.00007474699,0.0000052686796,0.00003820906,0.0028884604],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99831986,0.00020156395,0.00044756394,0.00023022518,0.00027843777,0.0005223293],"domain_scores_gemma":[0.9975194,0.00032000412,0.00037322598,0.0015370133,0.00009772813,0.00015268354],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010726468,0.0003129105,0.0005593885,0.000053022413,0.0038037784,0.00032918996,0.0013412713,0.000045651934,0.0019456208],"category_scores_gemma":[0.00007904145,0.00013142709,0.0003499615,0.00004819451,0.0007009717,0.0001880993,0.00010943054,0.00043461917,0.00032125006],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004943043,0.00006617377,0.0011764456,0.0016900961,0.0011022692,0.000021287315,0.025349014,0.0000051560287,0.000019410109,0.14606796,0.53283787,0.29161486],"study_design_scores_gemma":[0.00013282355,0.00003833987,0.0005654983,0.0027235784,0.00016650671,0.000009168655,0.0011545283,0.0000038626295,0.000030810177,0.0005525493,0.994432,0.00019036047],"about_ca_topic_score_codex":0.03376742,"about_ca_topic_score_gemma":0.3593639,"teacher_disagreement_score":0.83578235,"about_ca_system_score_codex":0.0000921413,"about_ca_system_score_gemma":0.00023721678,"threshold_uncertainty_score":0.99896675},"labels":[],"label_agreement":null},{"id":"W2748758333","doi":"10.3138/md.0878","title":"Sarah Bernhardt’s Exteriority Effects","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Feeling; Framing (construction); Aesthetics; Agency (philosophy); Psychology; Sociology; Social psychology; Art; Psychoanalysis; History; Social science","score_opus":0.02753389110728351,"score_gpt":0.25169953208964174,"score_spread":0.22416564098235822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2748758333","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62911785,0.0005334664,0.000040859064,0.00059999607,0.0012547015,0.00011364694,0.00001621813,0.00008648766,0.36823678],"genre_scores_gemma":[0.9703057,0.000044101816,0.000022052822,0.0001973259,0.0012056353,0.000016459317,0.0000024478086,0.000014074115,0.028192228],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993944,0.000011821132,0.00009521622,0.00016104181,0.00011397321,0.00022351171],"domain_scores_gemma":[0.9993688,0.000021882537,0.0000646823,0.0004667102,0.000038022168,0.00003994035],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00007010947,0.00012671086,0.00017131167,0.00002356625,0.00159515,0.0004941018,0.00025704,0.000028833449,0.00045990123],"category_scores_gemma":[0.000015807705,0.000100536825,0.00007414843,0.0000027280403,0.00023937014,0.00034505982,0.000121591416,0.00009606084,0.00044466756],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014137082,0.00024244993,0.023378473,0.0004238573,0.00030113358,0.00008136312,0.17773838,0.0000061652217,0.0006925178,0.109065115,0.037875313,0.65005386],"study_design_scores_gemma":[0.00094559556,0.00018805859,0.048035055,0.00011601937,0.00006937101,0.0000039997085,0.00055543653,0.0006836659,0.00096281664,0.026439182,0.92147845,0.00052235415],"about_ca_topic_score_codex":0.00034202114,"about_ca_topic_score_gemma":0.0009466655,"teacher_disagreement_score":0.88360316,"about_ca_system_score_codex":0.000010845359,"about_ca_system_score_gemma":0.000009584742,"threshold_uncertainty_score":0.99970466},"labels":[],"label_agreement":null},{"id":"W2749000044","doi":"10.3138/md.60.3.404","title":"Valerie Barnes Lipscomb, <i>Performing Age in Modern Drama</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Representation (politics); Period (music); Theatre studies; Performance art; Art; History; Visual arts; Art history; Literature; Aesthetics; Political science; Law","score_opus":0.038383937062829644,"score_gpt":0.25052434426647613,"score_spread":0.2121404072036465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2749000044","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7349572,0.00060160155,0.000076635886,0.0005410566,0.0006715675,0.00016479398,0.000018782837,0.000096099655,0.26287225],"genre_scores_gemma":[0.9791411,0.0001626762,0.000060178372,0.00030208877,0.0009727098,0.000042216867,0.000010590275,0.000042706095,0.019265687],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99857724,0.000023259805,0.0003069858,0.00033847083,0.00023172071,0.0005223527],"domain_scores_gemma":[0.999007,0.000038576174,0.00013043471,0.00069969357,0.000052739666,0.00007155097],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001979955,0.0002821405,0.00037603787,0.000099130804,0.0016393458,0.0007630674,0.00052126776,0.00007657943,0.00032254308],"category_scores_gemma":[0.000022690123,0.00024030216,0.00012358933,0.000014190095,0.00041117799,0.000888333,0.0002479425,0.00027708898,0.00015471912],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002407637,0.00042403964,0.025461463,0.00035218088,0.0002137227,0.00024169146,0.47003078,0.00035382342,0.0011927624,0.03840662,0.0048948913,0.45818725],"study_design_scores_gemma":[0.0057293703,0.00057202106,0.019487238,0.0009769024,0.00019915403,0.000025799087,0.015532723,0.035060145,0.0027311572,0.19253741,0.7239158,0.003232293],"about_ca_topic_score_codex":0.0007467694,"about_ca_topic_score_gemma":0.008970625,"teacher_disagreement_score":0.7190209,"about_ca_system_score_codex":0.00003795298,"about_ca_system_score_gemma":0.000026871372,"threshold_uncertainty_score":0.9996604},"labels":[],"label_agreement":null},{"id":"W2749320058","doi":"10.3138/ctr.171.018","title":"Hybrid between a Subjective and Critical Reflection on Q2Q: Symposium on Queer Theatre and Performance","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Inclusion (mineral); Sociology; Critical reflection; Equity (law); Race (biology); Reflection (computer programming); Aesthetics; Gender studies; Diversity (politics); Performance art; Media studies; Visual arts; History; Art history; Art; Anthropology; Political science; Computer science; Law; Pedagogy","score_opus":0.041170255351354504,"score_gpt":0.28419933535819525,"score_spread":0.24302908000684076,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2749320058","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16837451,0.042194363,3.7013444e-7,0.020760855,0.0006054094,0.0006762849,0.00026552906,0.000056663506,0.767066],"genre_scores_gemma":[0.93931204,0.05724289,0.0000027963372,0.00168262,0.0008064806,0.00003589309,0.000008407266,0.000023636881,0.0008852254],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989382,0.000055908,0.00019131732,0.00032113856,0.0001210347,0.0003723965],"domain_scores_gemma":[0.99909776,0.00010237185,0.00006206961,0.00041705882,0.000059787537,0.0002609444],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00024060243,0.00024748774,0.00040603403,0.00010506327,0.0019744767,0.00023801316,0.00014731288,0.00004003544,0.00017911199],"category_scores_gemma":[0.000022921047,0.00018401185,0.000066191824,0.0000156532,0.0004378938,0.0002793082,0.000031841522,0.00023881346,0.00009654702],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000078435114,0.000032958218,0.024243133,0.0037760607,0.00021500223,0.000039077302,0.005421215,2.8622358e-7,0.0000031047641,0.03330368,0.01755323,0.9153338],"study_design_scores_gemma":[0.00022406124,0.0007471902,0.010487093,0.0049529336,0.00022097082,0.000026071899,0.0001970159,0.0000071140994,0.00004177095,0.0007583486,0.98194027,0.00039716344],"about_ca_topic_score_codex":0.011889633,"about_ca_topic_score_gemma":0.047979165,"teacher_disagreement_score":0.96438706,"about_ca_system_score_codex":0.00009983667,"about_ca_system_score_gemma":0.0000923366,"threshold_uncertainty_score":0.9993248},"labels":[],"label_agreement":null},{"id":"W2750385792","doi":"10.3138/ctr.171.019","title":"Exploring Intersectionality at Q2Q","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Intersectionality; Indigenous; Session (web analytics); Gender studies; Queer theory; Key (lock); Race (biology); Art; Visual arts; Sociology; Computer science; World Wide Web; Ecology","score_opus":0.20211163684406344,"score_gpt":0.28074518463053644,"score_spread":0.078633547786473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2750385792","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010318534,0.055173043,1.4567054e-7,0.0069202054,0.0013653489,0.0001949318,0.00008450697,0.000032883556,0.9259104],"genre_scores_gemma":[0.88494587,0.10235558,0.0000040207833,0.0024371485,0.0013767749,0.00009072676,0.000015665179,0.000019480183,0.008754731],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993664,0.000019250647,0.00014784475,0.00014521983,0.00007295997,0.00024830666],"domain_scores_gemma":[0.99925405,0.000013706919,0.00006534532,0.0004589691,0.000042468244,0.00016545264],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016357534,0.00011889498,0.00021948628,0.00004046243,0.0015653089,0.00011001382,0.00023876723,0.000011865769,0.004719027],"category_scores_gemma":[0.000014854,0.00009302524,0.00011641706,0.0000091732645,0.00017972502,0.00036782844,0.0000508843,0.00008008881,0.00091452606],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008881673,0.000014983972,0.005070459,0.0027929381,0.00020974364,0.000038647893,0.014207808,2.2390103e-7,0.0000014585786,0.087524444,0.15226166,0.7378688],"study_design_scores_gemma":[0.00004415887,0.00001187525,0.00090562296,0.001163006,0.000037156813,0.0000056575113,0.00022201428,3.1323557e-7,0.0000027724411,0.00034169422,0.9971437,0.000122053105],"about_ca_topic_score_codex":0.09227821,"about_ca_topic_score_gemma":0.80228454,"teacher_disagreement_score":0.9171557,"about_ca_system_score_codex":0.00016200739,"about_ca_system_score_gemma":0.000065911154,"threshold_uncertainty_score":0.9998634},"labels":[],"label_agreement":null},{"id":"W2750389359","doi":"10.3138/tric.38.1.11","title":"Ryga, Miss Donohue, and Me: Forty Years of <i>The Ecstasy of Rita</i> Joe in the University","year":2017,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Ecstasy; Meaning (existential); George (robot); Curriculum; Pedagogy; Sociology; History; Psychology; Media studies; Visual arts; Art; Political science; Art history; Law; Psychiatry","score_opus":0.06295665609234945,"score_gpt":0.27869006904351973,"score_spread":0.21573341295117027,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2750389359","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7877518,0.0003348537,1.7172768e-8,0.0015678168,0.00007049754,0.0001373452,0.00008122516,9.4632304e-7,0.21005549],"genre_scores_gemma":[0.99931645,0.0003116106,0.0000015445282,0.000024907635,0.000047201927,0.0000013629525,6.594659e-7,0.0000036693853,0.00029260284],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911004,0.0001336624,0.00011167757,0.00009061702,0.00032678337,0.00022722284],"domain_scores_gemma":[0.9992871,0.00021985185,0.00004623159,0.00037972498,0.00004226989,0.000024797142],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006990259,0.000054904744,0.00013827108,0.000059775986,0.00043584348,0.00002461515,0.0005299218,0.000015681175,0.000052362488],"category_scores_gemma":[0.0000078117755,0.00003465723,0.000024234258,0.00005256607,0.0007286317,0.00009412653,0.00017853864,0.00022230684,5.853671e-7],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00060281815,0.00018407173,0.56873393,0.00076255016,0.00015273169,0.00015757243,0.089481704,0.00003566854,0.00013090565,0.039163027,0.061107744,0.23948725],"study_design_scores_gemma":[0.0011247811,0.00015426114,0.19526419,0.00033958134,0.000017728307,0.0000034935008,0.108597495,0.000045565106,0.00030884144,0.00452061,0.68943775,0.0001857201],"about_ca_topic_score_codex":0.9588115,"about_ca_topic_score_gemma":0.9966451,"teacher_disagreement_score":0.62833,"about_ca_system_score_codex":0.00009915303,"about_ca_system_score_gemma":0.00045774615,"threshold_uncertainty_score":0.33521998},"labels":[],"label_agreement":null},{"id":"W2751368182","doi":"10.14288/1.0354986","title":"Les belles-soeurs : an oratorio for 15 women","year":2017,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Oratorio; Art; Computer science; Literature","score_opus":0.028310944700257634,"score_gpt":0.20504908156794652,"score_spread":0.17673813686768888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2751368182","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9636273,0.000083046514,0.000011927146,0.00011304242,0.00029875623,0.0001498964,0.0004819884,0.000044552373,0.035189494],"genre_scores_gemma":[0.9873147,0.00007468874,0.000040551142,0.00002080513,0.00023834834,0.000001519095,0.000016759614,0.000010927668,0.0122817075],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.99939793,0.000012140949,0.000068765105,0.0001975807,0.00009758782,0.00022600505],"domain_scores_gemma":[0.99933666,0.000017390312,0.00011485773,0.00029510216,0.00016480817,0.00007115997],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00011850808,0.000038785296,0.0002025001,0.000020339283,0.0026695791,0.0003451475,0.00037440303,0.000040053616,0.0005853664],"category_scores_gemma":[0.0000093429935,0.00012003279,0.000077063705,0.0000109042585,0.00052923826,0.0006307222,0.00009574615,0.000059317095,0.00001571591],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003337017,0.00010697912,0.016980324,0.00010006247,0.00009193964,0.000016703667,0.021209963,4.666683e-7,0.000006832649,0.00040930166,0.015005604,0.9460384],"study_design_scores_gemma":[0.0009830992,0.00032978773,0.7874889,0.00006480334,0.000038137845,0.0000031034224,0.051763713,0.000033117263,4.3717202e-7,0.0012116602,0.15785079,0.0002324732],"about_ca_topic_score_codex":0.14558403,"about_ca_topic_score_gemma":0.8687178,"teacher_disagreement_score":0.94580597,"about_ca_system_score_codex":0.000047327987,"about_ca_system_score_gemma":0.000029562232,"threshold_uncertainty_score":0.9986288},"labels":[],"label_agreement":null},{"id":"W2752396998","doi":"10.14236/ewic/eva2017.88","title":"Fractured Perspectives: Movement and Light","year":2017,"lang":"en","type":"article","venue":"Electronic workshops in computing","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Multitude; Movement (music); Improvisation; Abstraction; Computer science; Cognitive science; Visual arts; Virtual reality; Human–computer interaction; Aesthetics; Artificial intelligence; Art; Psychology; Epistemology; Philosophy","score_opus":0.01243419096285656,"score_gpt":0.2506563940421065,"score_spread":0.23822220307924993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2752396998","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8113166,0.015347498,0.0000900653,0.0047044717,0.00052041153,0.00022152899,0.0000013165089,0.00008226969,0.16771585],"genre_scores_gemma":[0.9973953,0.0002595177,0.000029283985,0.00017834347,0.00086223095,0.000003785694,7.550739e-7,0.000011199642,0.0012596274],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913776,0.000015967495,0.00013967609,0.0002115914,0.00008732465,0.00040766905],"domain_scores_gemma":[0.9995824,0.000047975092,0.00009194347,0.00022921081,0.00002633353,0.000022129041],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021489292,0.00012807042,0.00016535232,0.0000532502,0.00119659,0.00030030665,0.00017973786,0.000027972632,0.00013640507],"category_scores_gemma":[0.000020982394,0.00010812001,0.000032981403,0.000012797287,0.00013385531,0.00016817701,0.00013399892,0.00029606652,0.000008701665],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055730467,0.00011178223,0.011228459,0.000037266636,0.00014763058,0.000009935421,0.42850363,0.000104208215,0.000032351054,0.41379368,0.002875928,0.1430994],"study_design_scores_gemma":[0.0025842162,0.00044620034,0.05535566,0.00064242294,0.000063850894,0.0000059391446,0.08615831,0.005615548,0.00034730008,0.040684737,0.8068224,0.0012733876],"about_ca_topic_score_codex":0.00012958006,"about_ca_topic_score_gemma":0.0029528528,"teacher_disagreement_score":0.8039465,"about_ca_system_score_codex":0.00007819743,"about_ca_system_score_gemma":0.000024962117,"threshold_uncertainty_score":0.9203324},"labels":[],"label_agreement":null},{"id":"W2754250991","doi":"10.3138/md.s0917","title":"Performing Heteroglossia: The Translating Theatre Project in London","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Heteroglossia; Stress (linguistics); Contextualization; Brexit; Media studies; Referendum; Reinterpretation; Vernacular; Representation (politics); Sociology; Linguistics; History; Visual arts; Aesthetics; Art; Literature; Politics; Political science; Law","score_opus":0.034508330259395585,"score_gpt":0.2563234141164742,"score_spread":0.2218150838570786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2754250991","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76006603,0.0005790781,0.00004789656,0.0009975897,0.00028335018,0.00023494706,0.000008008834,0.00006430289,0.2377188],"genre_scores_gemma":[0.99660164,0.000021985312,0.000025199584,0.00021355909,0.0012071154,0.00003040449,0.0000023919606,0.00001734596,0.001880368],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919116,0.000031010622,0.00018353826,0.00016481784,0.00012838509,0.00030108355],"domain_scores_gemma":[0.999701,0.00003381821,0.000035924884,0.0001824044,0.000033107917,0.000013692987],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017618798,0.00013907453,0.00014467486,0.00006173695,0.00072374457,0.00014337731,0.00015756645,0.00002946519,0.00021317042],"category_scores_gemma":[0.000002849813,0.00008106031,0.000063883745,0.00003980378,0.00029841127,0.00023418403,0.000034647353,0.00016693314,0.00006172881],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008250133,0.000056891415,0.005370914,0.0000522158,0.000046652578,0.0000054052566,0.70257103,0.00002146601,0.00012451342,0.005596537,0.0010045028,0.28506738],"study_design_scores_gemma":[0.00270557,0.0011513636,0.0029641774,0.0005422008,0.000114304785,0.0000370156,0.06722697,0.05616248,0.001719802,0.019746032,0.84639585,0.0012342518],"about_ca_topic_score_codex":0.00062963023,"about_ca_topic_score_gemma":0.013327153,"teacher_disagreement_score":0.84539133,"about_ca_system_score_codex":0.000019631681,"about_ca_system_score_gemma":0.000022650891,"threshold_uncertainty_score":0.74368644},"labels":[],"label_agreement":null},{"id":"W2754909390","doi":"10.1080/10462937.2017.1363983","title":"Interpretation of poetry with Dr. Roloff","year":2017,"lang":"en","type":"article","venue":"Text and Performance Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; Interpretation (philosophy); Quarter (Canadian coin); Art; Performance art; Art history; Literature; History; Visual arts; Linguistics; Philosophy; Archaeology","score_opus":0.014792971082155394,"score_gpt":0.23078498147613416,"score_spread":0.21599201039397878,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2754909390","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8839306,0.00014447974,0.000008790886,0.00018486675,0.00017437767,0.00006462416,0.000008456902,0.000020869891,0.11546291],"genre_scores_gemma":[0.99634707,0.00007333542,0.000017873497,0.000045192992,0.00023294023,0.000008401972,0.0000037188286,0.00000835852,0.0032631303],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9995047,0.0000061084256,0.00014095508,0.0001116362,0.000094224546,0.0001423902],"domain_scores_gemma":[0.9995334,0.0000134617785,0.00013635389,0.00023075048,0.000059618153,0.000026408718],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000801425,0.00011183379,0.0001661964,0.000047788366,0.0006625905,0.0001187911,0.00012884405,0.000022625663,0.0002472082],"category_scores_gemma":[0.0000012236017,0.0000757683,0.000021418844,0.000007683736,0.00053886394,0.00068344665,0.000012297972,0.000078098245,0.000034790737],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009325808,0.000062209096,0.04574424,0.0002769416,0.000106451655,0.0000016398575,0.2361031,0.0000018885703,0.000072896066,0.007264406,0.0013204417,0.7081132],"study_design_scores_gemma":[0.0053858976,0.024244089,0.70465565,0.0011623108,0.00030522083,0.00004150768,0.06910037,0.009478411,0.0008932015,0.0023676476,0.18077493,0.0015907736],"about_ca_topic_score_codex":0.0001318521,"about_ca_topic_score_gemma":0.0005465709,"teacher_disagreement_score":0.7065224,"about_ca_system_score_codex":0.0000038513263,"about_ca_system_score_gemma":0.0000108596405,"threshold_uncertainty_score":0.50961775},"labels":[],"label_agreement":null},{"id":"W2756292409","doi":"10.1057/978-1-349-95192-5_1","title":"Introduction: Genealogies of Performance Philosophy","year":2017,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Emily Carr University of Art and Design","funders":"","keywords":"Discipline; Performative utterance; Multidisciplinary approach; Epistemology; Field (mathematics); Sociology; History; Social science; Philosophy","score_opus":0.03918865747749506,"score_gpt":0.22493303897485534,"score_spread":0.18574438149736028,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2756292409","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021149116,0.0021896588,8.7278045e-7,0.00023699879,0.001864092,0.00025489996,0.00022679115,0.00008648936,0.9949287],"genre_scores_gemma":[0.85598934,0.0011930597,0.00002032813,0.000047973375,0.00991079,0.000016562388,0.000052676474,0.000060686856,0.13270858],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.998503,0.000008936099,0.0004730203,0.00040259876,0.00030660885,0.00030580442],"domain_scores_gemma":[0.99824303,0.000029001656,0.00051209965,0.00092588336,0.00023449444,0.00005549995],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001228136,0.0004983114,0.0007125704,0.00019983809,0.00070551736,0.00008423453,0.0004506822,0.00015665161,0.0029923627],"category_scores_gemma":[0.000006951539,0.00041095764,0.0002836343,0.000001913644,0.0012342827,0.0000026399623,0.00019609861,0.00029583974,0.00035978874],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005406376,3.3523128e-7,0.000033232365,0.00031317407,0.00026863746,0.000004890401,0.0041477876,6.9022826e-7,0.0000067962806,0.9701749,0.00059936533,0.024396148],"study_design_scores_gemma":[0.00018320263,0.00021336158,0.000040799452,0.00018488639,0.000119856995,0.000007942796,0.000095524665,0.0000018546923,0.0001587449,0.52461576,0.47395492,0.00042314501],"about_ca_topic_score_codex":0.000035654903,"about_ca_topic_score_gemma":0.0002752783,"teacher_disagreement_score":0.8622201,"about_ca_system_score_codex":0.000029960736,"about_ca_system_score_gemma":0.00004916483,"threshold_uncertainty_score":0.99983424},"labels":[],"label_agreement":null},{"id":"W2756453152","doi":"","title":"CAPITALIST DUETS, The Theatre Centre, Toronto","year":2017,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Media studies; Sociology; Art; Aesthetics; Art history","score_opus":0.008022940027386792,"score_gpt":0.1612324795720413,"score_spread":0.1532095395446545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2756453152","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19475418,0.02106571,0.0000011482167,0.035729617,0.0007244796,0.00016715586,0.0000932423,0.00009527836,0.74736917],"genre_scores_gemma":[0.8342915,0.0036387376,0.0000059824483,0.0002467431,0.00061553705,0.0000023287514,0.000007866381,0.0000140975935,0.16117716],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993239,0.000020280975,0.0000783004,0.00015646314,0.00013282166,0.00028824498],"domain_scores_gemma":[0.9991964,0.000037582475,0.00009888094,0.0005607701,0.00004660197,0.000059748378],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000076992685,0.00014759871,0.00014532145,0.000014777516,0.0043150242,0.00013509206,0.00047839386,0.00003329241,0.001673002],"category_scores_gemma":[0.0000055183336,0.00010133725,0.00011557958,0.0000055273,0.0002941275,0.00040712603,0.00025386878,0.00008040613,0.0002107269],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009710986,0.000049649345,0.003441225,0.000020759828,0.00023981209,0.00019083543,0.05169679,0.000004031961,0.000021387395,0.3972228,0.5023049,0.0447107],"study_design_scores_gemma":[0.00029914168,0.000029252982,0.0025913613,0.000013417647,0.00006465964,0.000013001112,0.018840585,0.00002418349,0.000019465619,0.00064180256,0.97731775,0.00014537884],"about_ca_topic_score_codex":0.079390585,"about_ca_topic_score_gemma":0.86505,"teacher_disagreement_score":0.78565943,"about_ca_system_score_codex":0.0009289866,"about_ca_system_score_gemma":0.0000109934,"threshold_uncertainty_score":0.9992396},"labels":[],"label_agreement":null},{"id":"W2757193535","doi":"","title":"Inset forms of art in the plays of Philip Massinger","year":2000,"lang":"en","type":"dissertation","venue":"Library and Archives Canada (Government of Canada)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history","score_opus":0.005064354409200539,"score_gpt":0.14877305106288632,"score_spread":0.1437086966536858,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2757193535","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30442953,0.00040241252,3.7153747e-8,0.00037863603,0.00012544266,0.00009902248,0.0004604655,0.0000013860791,0.69410306],"genre_scores_gemma":[0.9659386,0.0005777991,0.0000063391217,0.00024941706,0.00007355922,0.000007780274,0.00010771344,0.000011946431,0.033026844],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998548,0.000025280951,0.0003394749,0.00011410896,0.00081896596,0.00015417417],"domain_scores_gemma":[0.9994946,0.00012782977,0.00020879816,0.00013782448,6.751335e-7,0.000030231024],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000012112674,0.00015797572,0.00030997887,0.00003588298,0.000117913274,0.000011812304,0.00018766716,0.000022969252,0.0003716055],"category_scores_gemma":[7.491385e-7,0.00010907912,0.000038297134,0.000025770167,0.00010999879,0.00018746179,0.000018202636,0.00013017353,4.6097464e-9],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0051690903,0.00025018715,0.014332443,0.004686961,0.00061609014,0.00006928084,0.08057884,0.00005252813,0.001697316,0.8256559,0.03072499,0.036166422],"study_design_scores_gemma":[0.0006939759,0.00025964776,0.06616308,0.001221797,0.000120949604,0.000002847725,0.13651916,0.000060306025,0.020002173,0.006392001,0.76801175,0.00055232097],"about_ca_topic_score_codex":0.0028537158,"about_ca_topic_score_gemma":0.39916787,"teacher_disagreement_score":0.8192639,"about_ca_system_score_codex":0.0000024510143,"about_ca_system_score_gemma":0.00058551127,"threshold_uncertainty_score":0.6117957},"labels":[],"label_agreement":null},{"id":"W2758491711","doi":"10.1086/695270","title":": <i>Second Death: Theatricalities of the Soul in Shakespeare’s Drama</i>","year":2017,"lang":"en","type":"article","venue":"Renaissance Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Royal Military College of Canada","funders":"","keywords":"Soul; Drama; Theology; Performance studies; Performance art; History; Art history; Classics; Art; Philosophy; Literature","score_opus":0.03451983175803417,"score_gpt":0.2499411322034639,"score_spread":0.21542130044542973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2758491711","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6461829,0.0008720017,0.0000011858091,0.0008654291,0.0005574718,0.00013616806,0.000049850983,0.000021193508,0.35131377],"genre_scores_gemma":[0.990242,0.000025609035,0.000005466884,0.0000949461,0.00041681633,0.000018074954,0.0000010111266,0.000012898889,0.00918316],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909097,0.000035893543,0.00027455366,0.00016844322,0.00016433612,0.00026577865],"domain_scores_gemma":[0.99901915,0.00005340544,0.00018789757,0.0006617943,0.0000515231,0.000026262544],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014955655,0.00014749375,0.0002579284,0.00004453744,0.00074716,0.0001721964,0.000532844,0.000036696827,0.0007484723],"category_scores_gemma":[0.000011927378,0.00009242712,0.00012420879,0.000019631678,0.0005897502,0.00033672957,0.00003826175,0.00015735622,0.00004158445],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016270542,0.0002586095,0.13566734,0.000404648,0.00014468568,0.00001397608,0.39607808,0.000003458201,0.00036092248,0.4017199,0.02651414,0.03867153],"study_design_scores_gemma":[0.0013150905,0.0005926541,0.18037528,0.00048259614,0.000047954254,0.0000056556837,0.02413604,0.000033933487,0.0012415963,0.023191191,0.7680114,0.0005665947],"about_ca_topic_score_codex":0.0006833924,"about_ca_topic_score_gemma":0.010886328,"teacher_disagreement_score":0.7414973,"about_ca_system_score_codex":0.00001586989,"about_ca_system_score_gemma":0.000026573087,"threshold_uncertainty_score":0.81952465},"labels":[],"label_agreement":null},{"id":"W2761364650","doi":"10.20381/ruor-21085","title":"Performing the Past in Situ","year":2017,"lang":"en","type":"dissertation","venue":"uO Research (University of Ottawa)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"In situ; Geology; Geography; Meteorology","score_opus":0.0754325037929092,"score_gpt":0.3090237032371302,"score_spread":0.233591199444221,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2761364650","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30376822,0.000118310396,6.460923e-8,0.00049235765,0.00020574381,0.00014707481,0.000017731427,0.000007921407,0.6952426],"genre_scores_gemma":[0.6844329,0.00045220222,0.0000032485184,0.0000033045403,0.00025948754,7.493249e-7,0.00006745037,0.000008544445,0.31477207],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989092,0.00007070115,0.00009321927,0.00017760815,0.00043746206,0.00031181728],"domain_scores_gemma":[0.9991443,0.00011299556,0.00010840967,0.0003346514,0.00026689575,0.00003270504],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00066688214,0.00011395868,0.00022343057,0.00036051887,0.002187832,0.00008498586,0.00074699,0.000081675054,0.0013328533],"category_scores_gemma":[0.000025872603,0.000094996154,0.000099400524,0.000048734113,0.0005640718,0.0002851756,0.00008303036,0.00062942563,0.00014843706],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011454991,0.00019378251,0.023460781,0.001324181,0.00030786495,0.000114828705,0.55952245,0.000002956727,0.00019868831,0.18861887,0.09941244,0.1267286],"study_design_scores_gemma":[0.00021832064,0.0000837217,0.030196967,0.00017285571,0.000017968237,3.3838052e-7,0.17212722,0.000008209621,0.00003348502,0.000394546,0.7966285,0.00011791615],"about_ca_topic_score_codex":0.0016438208,"about_ca_topic_score_gemma":0.27301177,"teacher_disagreement_score":0.69721603,"about_ca_system_score_codex":0.000050828472,"about_ca_system_score_gemma":0.000098553865,"threshold_uncertainty_score":0.9995801},"labels":[],"label_agreement":null},{"id":"W2761748083","doi":"10.1386/peet.7.1.25_1","title":"Delegated performance: Interdisciplinary tensions, provocations and questions","year":2017,"lang":"en","type":"article","venue":"Performing Ethos International Journal of Ethics in Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Drama; Delegation; Citizen journalism; Performance practice; Performance studies; Set (abstract data type); Sociology; Value (mathematics); Performance management; Pedagogy; Psychology; Visual arts; Management; Art; Political science; Law; Computer science","score_opus":0.07388544332847005,"score_gpt":0.36371431281492284,"score_spread":0.2898288694864528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2761748083","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9740863,0.0005570568,0.000010827684,0.0058036726,0.0014166512,0.00011053245,0.000015208537,0.00001594065,0.017983826],"genre_scores_gemma":[0.9864888,0.011223264,0.0003447441,0.00016104947,0.00096696295,0.000010854454,0.000005166978,0.000017780807,0.0007813654],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9985628,0.000050560644,0.0005810179,0.0001877658,0.000378918,0.00023889741],"domain_scores_gemma":[0.998335,0.00023480142,0.00043831696,0.00024139043,0.00066839455,0.00008208016],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0012338023,0.00021100481,0.0002944998,0.0003562503,0.0018203214,0.00037833248,0.00050591555,0.0001223867,0.00006837751],"category_scores_gemma":[0.00014443541,0.00014567381,0.00007674828,0.000028772027,0.000767816,0.0017058882,0.00040255432,0.0011988395,0.0000064720393],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00066088163,0.00020552681,0.3871479,0.00030780394,0.00034710442,0.00003520462,0.17501107,0.00017917887,0.00012167929,0.010181959,0.00039348914,0.4254082],"study_design_scores_gemma":[0.005822953,0.0036757323,0.78247523,0.009176174,0.00037246858,0.0019384469,0.040387962,0.033935297,0.00082523155,0.011759019,0.1077579,0.0018735918],"about_ca_topic_score_codex":0.00016071647,"about_ca_topic_score_gemma":0.00043240405,"teacher_disagreement_score":0.42353463,"about_ca_system_score_codex":0.00006985324,"about_ca_system_score_gemma":0.0001767373,"threshold_uncertainty_score":0.9994792},"labels":[],"label_agreement":null},{"id":"W2763113169","doi":"10.33137/rr.v40i2.28531","title":"Selected Drama and Verse","year":2017,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Art; Literature; History","score_opus":0.021025371296223165,"score_gpt":0.2338490811795202,"score_spread":0.21282370988329702,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2763113169","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8351412,0.00061304605,0.0000035682876,0.0007935997,0.00019386395,0.0000659416,0.0000061930477,0.00003723445,0.16314536],"genre_scores_gemma":[0.9976551,0.00080044,0.000012522645,0.00004726748,0.00024603592,0.0000042443426,0.0000056777117,0.0000033426052,0.0012253461],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997229,0.0000045003785,0.000075228556,0.00006189802,0.000046652298,0.00008880908],"domain_scores_gemma":[0.99976027,0.0000044746234,0.000066353794,0.00010531008,0.00004288494,0.000020697309],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.000051574043,0.000059123533,0.000073596784,0.000023964447,0.0013150367,0.00020066208,0.00004013016,0.000018619146,0.00003771605],"category_scores_gemma":[0.000008303119,0.000038771264,0.000008938516,0.000005729648,0.00020421279,0.00073940534,0.000028378512,0.000044417277,0.000021293361],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022839766,0.00007030047,0.029230403,0.0006674498,0.00018994583,0.0000060956068,0.26109087,0.0000024497388,0.00068857975,0.2356751,0.0469939,0.4251565],"study_design_scores_gemma":[0.00069757807,0.00012721332,0.08681748,0.000117822456,0.00002696185,0.000009361142,0.0039321543,0.00032404353,0.0005177244,0.001288274,0.9059104,0.00023100319],"about_ca_topic_score_codex":0.00010386907,"about_ca_topic_score_gemma":0.00033178108,"teacher_disagreement_score":0.85891646,"about_ca_system_score_codex":0.0000046992113,"about_ca_system_score_gemma":0.000004305375,"threshold_uncertainty_score":0.9999851},"labels":[],"label_agreement":null},{"id":"W2763811225","doi":"","title":"Come From Away, February 14 – 24, 2013","year":2013,"lang":"en","type":"article","venue":"SOURCE Sheridan's Institutional Repository (Sheridan College)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Ontario Arts Council; Canada Council for the Arts","keywords":"Geography","score_opus":0.013278153967927891,"score_gpt":0.19222813446256917,"score_spread":0.17894998049464128,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2763811225","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67759854,0.0012006368,0.000059691698,0.0011045007,0.0054402896,0.0005641676,0.00019508795,0.00037884476,0.31345826],"genre_scores_gemma":[0.9193449,0.0000712054,0.00025926833,0.00082036055,0.0046761413,0.00026000806,0.000086998494,0.00006351811,0.07441761],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997041,0.00011658895,0.0007457982,0.0006857254,0.000723503,0.0006873784],"domain_scores_gemma":[0.99831367,0.00015691576,0.00023198778,0.0006314456,0.00038246033,0.00028351528],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015089942,0.0005686755,0.0005853671,0.00015824226,0.0033724601,0.0005311869,0.0005722416,0.00017814379,0.0051821135],"category_scores_gemma":[0.000023549352,0.00051105366,0.00033867982,0.00013412633,0.0015354854,0.00121552,0.000251816,0.0005095306,0.0019960355],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005142321,0.0009865382,0.02950511,0.0002580459,0.0016059863,0.0004113523,0.031552617,0.001748532,0.004490964,0.112247534,0.810247,0.0064320597],"study_design_scores_gemma":[0.0009128134,0.00018334926,0.0150829,0.0001375175,0.000088074965,0.00007134767,0.005948041,0.00044744756,0.0005647535,0.0015881428,0.9741357,0.00083990855],"about_ca_topic_score_codex":0.015297235,"about_ca_topic_score_gemma":0.0015559042,"teacher_disagreement_score":0.24174638,"about_ca_system_score_codex":0.00025374594,"about_ca_system_score_gemma":0.00030826987,"threshold_uncertainty_score":0.9997341},"labels":[],"label_agreement":null},{"id":"W2764191309","doi":"10.1002/tesj.337","title":"Enhancing Teaching English as an Additional Language Through Playfulness: Seniors (Ethno)Drama Club in Vancouver's Downtown Eastside","year":2017,"lang":"en","type":"article","venue":"TESOL Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Drama; Downtown; Club; Pedagogy; Language acquisition; Psychology; Framing (construction); Population; Sociology; Mathematics education; Medicine; Visual arts; History; Art","score_opus":0.016740594326591415,"score_gpt":0.2730404254593479,"score_spread":0.2562998311327565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2764191309","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6672298,0.00027831248,0.00003074273,0.00020197475,0.0027030578,0.00011336471,0.00025809408,0.000083391074,0.3291013],"genre_scores_gemma":[0.9863673,0.00002489317,0.00029821417,0.0003698689,0.0078441715,0.00001612757,0.000032930133,0.000026662581,0.0050198375],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985318,0.00008629131,0.00038081454,0.00021359266,0.0003366708,0.00045080858],"domain_scores_gemma":[0.9990328,0.0001295089,0.00030648065,0.00030390444,0.00012562529,0.000101663354],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005098126,0.0002332116,0.00029329365,0.000115908515,0.0030822079,0.0010611784,0.00041651513,0.000065576016,0.015107837],"category_scores_gemma":[0.00025650163,0.00018646456,0.00011519241,0.000014407179,0.00022718479,0.0030758549,0.00010247268,0.00092956563,0.0000696225],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022361462,0.00035922733,0.0028709657,0.000063942905,0.00022424871,0.00051229796,0.7948959,0.00006319239,0.0001994386,0.020008853,0.12511675,0.05546156],"study_design_scores_gemma":[0.0020560345,0.00043130358,0.0032348954,0.0008235188,0.000070860595,0.000161838,0.2473267,0.00007882265,0.0006997617,0.007282884,0.73699206,0.0008413001],"about_ca_topic_score_codex":0.0021033986,"about_ca_topic_score_gemma":0.06776031,"teacher_disagreement_score":0.6118753,"about_ca_system_score_codex":0.000080441816,"about_ca_system_score_gemma":0.00009239124,"threshold_uncertainty_score":0.9999758},"labels":[],"label_agreement":null},{"id":"W2765152112","doi":"10.1386/atr.5.2.67_1","title":"Theatre and participation: Towards a holistic notion of participation","year":2017,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Drama; The arts; Sociology; Theatre studies; Audience participation; Aesthetics; Media studies; Visual arts; Art","score_opus":0.2260018766992944,"score_gpt":0.4117107050328468,"score_spread":0.1857088283335524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2765152112","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44382682,0.0001696858,0.000010550978,0.0007871937,0.00011459644,0.00025877112,0.000022030858,0.000025138226,0.55478525],"genre_scores_gemma":[0.99842477,0.00018796306,0.000021474794,0.000018370221,0.00057865976,0.00014094205,0.00000993332,0.000015716256,0.00060217036],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987069,0.00006095386,0.00023244196,0.00022325014,0.00040216962,0.00037431554],"domain_scores_gemma":[0.999054,0.00013391071,0.0000924099,0.0004829784,0.00016235448,0.0000743107],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0007586184,0.00012407058,0.00022315752,0.000114754264,0.0015741395,0.00024113203,0.00021758609,0.000047008583,0.00026293666],"category_scores_gemma":[0.000021919075,0.00009444042,0.00004065791,0.00003501199,0.0010285156,0.00021560583,0.000168548,0.0001878997,0.0000909176],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026130804,0.00018406581,0.0035467271,0.00022423627,0.00010205106,0.0000024419464,0.036507886,0.000009121147,0.00072108733,0.34625277,0.00083701685,0.61135125],"study_design_scores_gemma":[0.0054804916,0.0020592792,0.23023988,0.0005879254,0.0004691122,0.0000059999584,0.03968124,0.0017503633,0.021094628,0.17761497,0.51940906,0.0016070533],"about_ca_topic_score_codex":0.00082830834,"about_ca_topic_score_gemma":0.0011271869,"teacher_disagreement_score":0.60974425,"about_ca_system_score_codex":0.000022215048,"about_ca_system_score_gemma":0.000041519877,"threshold_uncertainty_score":0.9997257},"labels":[],"label_agreement":null},{"id":"W2765666758","doi":"10.3138/ctr.172.005","title":"The Larval Journey","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Status quo; Puppetry; Visual arts; Process (computing); Aesthetics; Push and pull; History; Art; Computer science; Law; Political science; Engineering","score_opus":0.051118898492998145,"score_gpt":0.26910146981486255,"score_spread":0.2179825713218644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2765666758","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021251795,0.2318049,4.1985782e-8,0.026276885,0.0007710034,0.0001666457,0.000034066026,0.000014122237,0.7407198],"genre_scores_gemma":[0.3389667,0.60681504,0.0000044074136,0.0075776046,0.0028599424,0.00005546233,0.000008092162,0.000033458222,0.043679297],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932534,0.000027437303,0.0001471837,0.000098077144,0.00008155329,0.00032041475],"domain_scores_gemma":[0.99907047,0.00003021462,0.000078828016,0.00060140406,0.000052269515,0.00016683726],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030739562,0.00011057152,0.00018258659,0.000019893117,0.0049266336,0.00043850197,0.00048943114,0.000015356401,0.0013683568],"category_scores_gemma":[0.000029066156,0.000060682087,0.00011127548,0.000008181379,0.0003188415,0.00016064291,0.000030281239,0.000116964045,0.0008221213],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000001378451,0.0000025157874,0.00036306458,0.0002541058,0.000058837726,0.000011362401,0.0013113776,2.3152767e-8,8.9599105e-8,0.07210492,0.39699847,0.5288939],"study_design_scores_gemma":[0.000041572774,0.000011795205,0.00021325245,0.0007015926,0.000043546817,0.000005589481,0.00023146464,6.5911496e-7,5.447182e-7,0.00063449616,0.9980213,0.00009416978],"about_ca_topic_score_codex":0.04292345,"about_ca_topic_score_gemma":0.8077662,"teacher_disagreement_score":0.76484275,"about_ca_system_score_codex":0.00003996413,"about_ca_system_score_gemma":0.00015364538,"threshold_uncertainty_score":0.99995583},"labels":[],"label_agreement":null},{"id":"W2766040358","doi":"10.3138/ctr.172.003","title":"Work Quickly but Think Slowly","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Work (physics); Public relations; Sociology; Management; Political science; Visual arts; Media studies; Engineering; History; Art; Archaeology; Mechanical engineering","score_opus":0.04079822388426934,"score_gpt":0.2504871480485946,"score_spread":0.20968892416432527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2766040358","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011455519,0.220174,3.0567733e-7,0.012187028,0.0009507413,0.00029496674,0.00008281091,0.000043818065,0.76512074],"genre_scores_gemma":[0.6099146,0.28000665,0.000058641745,0.015500389,0.0045973654,0.00009246843,0.000045043154,0.00008753814,0.08969729],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990247,0.000029112738,0.0002139946,0.00019666665,0.00010736878,0.00042819523],"domain_scores_gemma":[0.99873555,0.000022865372,0.000104850464,0.00080205355,0.00006292539,0.0002717332],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022398501,0.00019492472,0.00037180437,0.00005579468,0.0020043163,0.00028444396,0.0005100944,0.000035049463,0.004369093],"category_scores_gemma":[0.000023809174,0.00014484256,0.00016690526,0.000020454845,0.00027913795,0.00025824335,0.000041560274,0.00015389496,0.0019557858],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000045137094,0.000009762429,0.0018063335,0.0011760691,0.00011057111,0.00004418065,0.005020837,6.300512e-8,2.3002202e-7,0.03677299,0.43814313,0.5169113],"study_design_scores_gemma":[0.000070171925,0.000020125022,0.00070366415,0.0022384487,0.00007868,0.000004032333,0.00022903843,2.420763e-7,9.650652e-7,0.00047357345,0.9959792,0.00020185065],"about_ca_topic_score_codex":0.08273033,"about_ca_topic_score_gemma":0.5260827,"teacher_disagreement_score":0.6754235,"about_ca_system_score_codex":0.000067943634,"about_ca_system_score_gemma":0.00019811839,"threshold_uncertainty_score":0.99929494},"labels":[],"label_agreement":null},{"id":"W2766352853","doi":"10.3138/ctr.172.013","title":"A Practitioner’s Attempt at Quantifying the Actor’s Experience","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scale (ratio); Visual arts; Performance studies; Performance practice; Sociology; Psychology; Art; Geography; Cartography","score_opus":0.12045075056804322,"score_gpt":0.3207774164007405,"score_spread":0.20032666583269726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2766352853","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008476175,0.17195077,4.849283e-7,0.037180495,0.0013374189,0.0005968801,0.000105353065,0.00004598382,0.78030646],"genre_scores_gemma":[0.9082775,0.07546846,0.0000036997676,0.00563415,0.0008540863,0.000110214234,0.000011702077,0.000020533935,0.009619648],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999122,0.00004357478,0.00018826066,0.00018502733,0.00012247254,0.00033862167],"domain_scores_gemma":[0.998786,0.000049943243,0.00015013553,0.0008052737,0.000055585584,0.00015308056],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022332238,0.00015912586,0.00024265941,0.000031553842,0.0045509026,0.00029195,0.00048617055,0.000022703649,0.0048201736],"category_scores_gemma":[0.000041912754,0.000094389274,0.00012149541,0.000016466938,0.00040591802,0.00038498966,0.00006778102,0.00012606606,0.0008855065],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012721605,0.000025147245,0.0076770894,0.0022650748,0.00021723159,0.00006958957,0.061995745,5.1665853e-7,0.000015255785,0.07772013,0.6048132,0.24518831],"study_design_scores_gemma":[0.000046133497,0.000011436733,0.0005957165,0.0010865796,0.00004746339,0.000013538969,0.0010564007,0.0000014681891,0.0000061588153,0.00005884245,0.99693066,0.00014558667],"about_ca_topic_score_codex":0.06839569,"about_ca_topic_score_gemma":0.75837165,"teacher_disagreement_score":0.8998013,"about_ca_system_score_codex":0.000117127,"about_ca_system_score_gemma":0.00011921518,"threshold_uncertainty_score":0.9998924},"labels":[],"label_agreement":null},{"id":"W2766413033","doi":"10.3138/ctr.172.007","title":"A Way to Work on My Problem without Knowing What It Is","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Work (physics); Aesthetics; Sociology; Visual arts; Art; Engineering; Mechanical engineering","score_opus":0.050406458360025566,"score_gpt":0.2727028269923227,"score_spread":0.22229636863229713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2766413033","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00086101587,0.10553181,2.1935946e-7,0.081482925,0.0007131639,0.0007858233,0.000041522962,0.00003427092,0.81054926],"genre_scores_gemma":[0.41045305,0.3173571,0.00010156723,0.16187058,0.0037546374,0.00043285586,0.000021878046,0.00014343087,0.10586493],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888635,0.000027363845,0.00022424608,0.0002676997,0.00012944906,0.00046487272],"domain_scores_gemma":[0.9987618,0.00002033859,0.00007822258,0.00073379726,0.000060179784,0.00034568642],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023620676,0.0002302664,0.00041996216,0.00008479769,0.0015324155,0.00066697923,0.000418736,0.00003193978,0.0028873305],"category_scores_gemma":[0.0000119227625,0.00016867914,0.0001448752,0.000034810968,0.000110153145,0.0004405194,0.00004492161,0.0001437155,0.002524873],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004948285,0.000006584116,0.0002875276,0.0006741653,0.000057311983,0.000009198788,0.011028346,1.9468594e-7,1.3355515e-7,0.0031667985,0.29522505,0.68953973],"study_design_scores_gemma":[0.00007168984,0.00005549121,0.000090204325,0.015917188,0.0000659517,0.000001814289,0.00080846646,2.760694e-7,0.0000024380704,0.00015483735,0.9825943,0.00023730788],"about_ca_topic_score_codex":0.017246937,"about_ca_topic_score_gemma":0.39223996,"teacher_disagreement_score":0.7046843,"about_ca_system_score_codex":0.00010295889,"about_ca_system_score_gemma":0.00010327772,"threshold_uncertainty_score":0.9997675},"labels":[],"label_agreement":null},{"id":"W2766422246","doi":"10.3138/ctr.172.025","title":"<i>Intermission</i> and the Revolution of Audience Communication","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Newspaper; Ticket; Media studies; Visual arts; Advertising; Theatrical production; Art; Sociology; Business; Computer science; Drama","score_opus":0.02988970223031543,"score_gpt":0.25671047477923925,"score_spread":0.22682077254892383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2766422246","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009933608,0.41026753,4.7589484e-7,0.021153629,0.0001263106,0.00028972075,0.000025595773,0.0000067683877,0.5671366],"genre_scores_gemma":[0.7154926,0.28223988,0.000006538051,0.00088239205,0.00006588487,0.000014330766,0.00000238495,0.000003695175,0.001292284],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995962,0.000049093873,0.00014295435,0.0000650893,0.000045848516,0.00010081708],"domain_scores_gemma":[0.9991984,0.000038789593,0.00012474864,0.0005342686,0.00005048155,0.000053355772],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003470913,0.000063222025,0.0001883575,0.00001788553,0.0011901667,0.000046964018,0.00028523858,0.000010643992,0.00021445735],"category_scores_gemma":[0.00003689572,0.000034959754,0.000049429676,0.00000818899,0.00086900825,0.00013153808,0.00004526428,0.000059970273,0.00001728529],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014469184,0.000006605399,0.00085897546,0.0016889545,0.00005532176,0.0000010508091,0.010459246,7.552382e-8,0.0000013194732,0.36130357,0.07168187,0.55392855],"study_design_scores_gemma":[0.00012680885,0.000009131866,0.00041985625,0.0025677518,0.000053310057,0.0000030318279,0.0002874843,0.0000061855735,0.0000017996579,0.001479569,0.99499315,0.000051916566],"about_ca_topic_score_codex":0.0516418,"about_ca_topic_score_gemma":0.26927415,"teacher_disagreement_score":0.9233113,"about_ca_system_score_codex":0.00001629925,"about_ca_system_score_gemma":0.000048397607,"threshold_uncertainty_score":0.9546734},"labels":[],"label_agreement":null},{"id":"W2766752995","doi":"10.3138/ctr.172.024","title":"Curating a Theatrical Commons","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Commons; Media studies; Sociology; Intervention (counseling); Visual arts; Performance art; Public relations; Political science; Management; Art; Art history; Law; Psychology","score_opus":0.05762790923839365,"score_gpt":0.27793937291852655,"score_spread":0.2203114636801329,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2766752995","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00057901413,0.103834465,4.0908714e-7,0.015486648,0.00043159566,0.00025481556,0.00007887736,0.00003577063,0.8792984],"genre_scores_gemma":[0.94261336,0.04567526,0.000019108278,0.0045139957,0.001581818,0.000055844335,0.000017296008,0.000032285865,0.005490999],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991476,0.00003383379,0.00020448524,0.00015729685,0.0000912816,0.00036550226],"domain_scores_gemma":[0.9989546,0.0000345327,0.00009139798,0.0006334036,0.000049960217,0.00023608338],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019582202,0.00015755184,0.0003259867,0.00005181628,0.0024994842,0.00025645806,0.00041965104,0.000025471256,0.0025654633],"category_scores_gemma":[0.00003077392,0.0001141773,0.00014026418,0.00001659111,0.00025355766,0.00023033835,0.000042979464,0.00015347714,0.00065895927],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002429431,0.000014594297,0.0027044835,0.001091528,0.00009050659,0.000041655723,0.0037821983,1.1973906e-7,5.3083744e-7,0.1081881,0.22899388,0.65509],"study_design_scores_gemma":[0.00006468503,0.000019721634,0.0002618435,0.0012432464,0.00006673451,0.000008623081,0.00021044034,0.0000038168246,8.0574483e-7,0.00043643123,0.9975231,0.0001605089],"about_ca_topic_score_codex":0.08235907,"about_ca_topic_score_gemma":0.671861,"teacher_disagreement_score":0.94203436,"about_ca_system_score_codex":0.0000574241,"about_ca_system_score_gemma":0.00014886892,"threshold_uncertainty_score":0.99879915},"labels":[],"label_agreement":null},{"id":"W2766833166","doi":"10.3138/ctr.172.016","title":"Interactive Research: Media | Animator | Performer","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Interactivity; Performing arts; Computer science; Multimedia; Digital media; Interactive media; Visual arts; Process (computing); Interactive art; Media arts; Human–computer interaction; World Wide Web; Art; Performance art","score_opus":0.1409499274666237,"score_gpt":0.34561348926013763,"score_spread":0.20466356179351394,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2766833166","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023164072,0.085028015,4.773128e-8,0.009062904,0.00078461826,0.00033760635,0.00013702725,0.000020405641,0.902313],"genre_scores_gemma":[0.88398474,0.103689194,0.0000092765995,0.0020278257,0.0018929958,0.0000843977,0.000022645389,0.0000346869,0.008254253],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878705,0.00007197404,0.00020022676,0.00021486318,0.0001949503,0.0005309236],"domain_scores_gemma":[0.99863905,0.00009511508,0.00007812336,0.00067141687,0.00020176168,0.00031452434],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00061784935,0.00016145616,0.00032947588,0.00013222785,0.0026030934,0.0003065371,0.0005271015,0.00003114656,0.0098415185],"category_scores_gemma":[0.00012182535,0.000117557815,0.00011244742,0.000026849384,0.0005598784,0.00046294968,0.00006927491,0.00031546172,0.0025553522],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010629998,0.000017197095,0.0009560438,0.0012590642,0.000121984514,0.00004559602,0.020148905,1.5563758e-8,0.0000012787056,0.04439144,0.5326133,0.40043455],"study_design_scores_gemma":[0.00007174609,0.00003369606,0.00044798208,0.0022102832,0.00003691692,0.0000060750376,0.0016711561,0.000001222968,0.0000041508997,0.0005174079,0.9948445,0.00015484943],"about_ca_topic_score_codex":0.07736602,"about_ca_topic_score_gemma":0.6960667,"teacher_disagreement_score":0.8940587,"about_ca_system_score_codex":0.00013512536,"about_ca_system_score_gemma":0.0002893709,"threshold_uncertainty_score":0.9986954},"labels":[],"label_agreement":null},{"id":"W2767044504","doi":"10.3138/ctr.172.021","title":"You’re Invited, Canada: What I learned about making theatre from The Tragically Hip","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Neighbourhood (mathematics); Visual arts; Art; Performance art; Identity (music); Art history; History; Aesthetics","score_opus":0.06090163551823076,"score_gpt":0.2602889125252617,"score_spread":0.19938727700703096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2767044504","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003189835,0.5640356,3.724129e-7,0.15372978,0.0016388784,0.0006905232,0.00049167307,0.000046096324,0.27617726],"genre_scores_gemma":[0.6613015,0.2739538,0.000009052541,0.059221372,0.002744347,0.00008316682,0.00009455148,0.00006896852,0.00252326],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99816984,0.00011810981,0.0003901722,0.0003762164,0.00027362895,0.0006720561],"domain_scores_gemma":[0.99802357,0.00013655583,0.00020931748,0.0012501879,0.00009356992,0.00028677884],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00033571638,0.00036563497,0.0005873582,0.00003899399,0.0032430447,0.0010320306,0.0010962063,0.00006399853,0.0034282785],"category_scores_gemma":[0.00003614992,0.0002236149,0.0002153832,0.000038539103,0.00039090216,0.00056017534,0.00008394148,0.00038076058,0.0001298519],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007834891,0.000007485608,0.0010939414,0.00037291352,0.00018969944,0.00006994759,0.0055166376,0.0000011498333,3.6369684e-7,0.0033001641,0.21757713,0.77186275],"study_design_scores_gemma":[0.00014227376,0.000018815454,0.0008577559,0.0051224814,0.0001910485,0.0000058119854,0.0039652837,0.000004467337,0.0000013953565,0.00047833033,0.98889273,0.00031961562],"about_ca_topic_score_codex":0.9563851,"about_ca_topic_score_gemma":0.999424,"teacher_disagreement_score":0.7715431,"about_ca_system_score_codex":0.00025179455,"about_ca_system_score_gemma":0.00078369246,"threshold_uncertainty_score":0.9980546},"labels":[],"label_agreement":null},{"id":"W2767218413","doi":"10.5539/res.v9n4p83","title":"A Sociological Study on Arthur Miller’s Death of a Salesman and All My Sons, Based on Georgy Lukacs’s Theories","year":2017,"lang":"en","type":"article","venue":"Review of European Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Miller; Field (mathematics); Sociology; The arts; Sociological theory; Epistemology; Drama; Social science; Philosophy; Literature; Law; Art; Mathematics","score_opus":0.14594097948305143,"score_gpt":0.3499019681354303,"score_spread":0.20396098865237886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2767218413","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40342346,0.18106051,7.420108e-7,0.002646731,0.00036063278,0.00092348625,0.000093789495,0.000058720423,0.41143194],"genre_scores_gemma":[0.876611,0.12168074,0.000009704604,0.0007486984,0.00025131457,0.000016674196,0.000002740872,0.000016298898,0.0006628394],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99858,0.00034553016,0.00043117785,0.00025929525,0.00019257455,0.00019142321],"domain_scores_gemma":[0.9987165,0.00022708018,0.00037651803,0.00049991795,0.00014977843,0.000030222316],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009866738,0.00025549627,0.00082295825,0.00004741733,0.0007034698,0.00003202866,0.00024869805,0.0000129020655,0.00004979627],"category_scores_gemma":[0.00027195434,0.00014855915,0.00014901884,0.000010110088,0.0007869293,0.00007116703,0.00022846053,0.00012306709,0.000034966342],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008534871,0.0032258749,0.07581266,0.022197189,0.0060101757,0.00015114404,0.1678061,0.000004455998,0.000024561086,0.6001366,0.057474975,0.06630282],"study_design_scores_gemma":[0.0033345178,0.011426176,0.24842328,0.028989317,0.0016713645,0.000003966476,0.0581295,0.0000059057393,0.000043460586,0.0035594557,0.64322346,0.0011895632],"about_ca_topic_score_codex":0.000011450282,"about_ca_topic_score_gemma":0.000044550827,"teacher_disagreement_score":0.5965771,"about_ca_system_score_codex":0.00000875816,"about_ca_system_score_gemma":0.000009982205,"threshold_uncertainty_score":0.6058066},"labels":[],"label_agreement":null},{"id":"W2767606474","doi":"10.1007/978-3-319-53943-0_8","title":"Ethnography in/as Performance: On the Politics and Ethics of Ethnography in International Performance Research","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Ethnography; Reflexivity; Dichotomy; Politics; Sociology; Knowledge production; Embodied cognition; Media studies; Gender studies; Social science; Epistemology; Political science; Anthropology; Law","score_opus":0.2011156396262263,"score_gpt":0.36545356947356267,"score_spread":0.16433792984733636,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2767606474","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15568672,0.00054459897,3.2904225e-8,0.0019020545,0.00043615323,0.00026598637,0.000044403983,0.000015094933,0.841105],"genre_scores_gemma":[0.7550759,0.016999433,0.000005192855,0.00034233465,0.00039249254,0.00002651336,0.000014441461,0.00003111892,0.2271126],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979462,0.00005456133,0.00047875673,0.0003170536,0.00079018384,0.0004132372],"domain_scores_gemma":[0.9982695,0.0006126741,0.00018687322,0.0005168216,0.0003698012,0.000044309076],"candidate_categories":["sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0018140886,0.0003202859,0.00040255667,0.0012999114,0.0009129381,0.00014251034,0.0006193235,0.00031979894,0.0010466684],"category_scores_gemma":[0.000054288226,0.00021272548,0.00012758601,0.000033025826,0.002734629,0.0002482478,0.0002697516,0.0027033566,0.000054466935],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095781295,0.000042048137,0.0058197975,0.0002986008,0.00011032952,0.000003630611,0.081068024,0.0000027718854,6.5313907e-7,0.90531176,0.0017891899,0.0054573873],"study_design_scores_gemma":[0.0005827874,0.00069170643,0.005249308,0.0023701072,0.000024762981,0.0000031102877,0.008579207,0.00011143965,0.000051613635,0.03209417,0.9497448,0.00049693853],"about_ca_topic_score_codex":0.0008277077,"about_ca_topic_score_gemma":0.0052185603,"teacher_disagreement_score":0.94795567,"about_ca_system_score_codex":0.000037409005,"about_ca_system_score_gemma":0.00010709798,"threshold_uncertainty_score":0.9999794},"labels":[],"label_agreement":null},{"id":"W2767798291","doi":"10.1515/jcde-2017-0030","title":"Flying? Falling? – Conflicting Representations of Disability in Kevin Kerr’s Skydive (2007) and Brad Fraser’s Kill Me Now (2013)","year":2017,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Appropriation; Disability studies; Gender studies; Sociology; Representation (politics); Queer; Undoing; Narrative; Aesthetics; Art; Psychology; Psychoanalysis; Visual arts; Literature; Political science; Law; Politics; Philosophy","score_opus":0.03817574622537505,"score_gpt":0.29502913317724977,"score_spread":0.2568533869518747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2767798291","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9431662,0.0016571559,0.0000027439683,0.0010024012,0.0011767701,0.00018140399,0.000035083936,0.000011074451,0.05276717],"genre_scores_gemma":[0.9980987,0.00038736613,0.000048306523,0.00007876814,0.00092374266,0.000005166007,0.0000029127239,0.000013167524,0.00044190674],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9983807,0.000095503645,0.0009247035,0.00016885955,0.00023244743,0.00019775644],"domain_scores_gemma":[0.99803734,0.00032370488,0.0008686402,0.0003096405,0.0003891805,0.00007149528],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009711943,0.00016399781,0.0005438152,0.00014025379,0.00040729254,0.00021706063,0.0002955257,0.000063328494,0.0001279464],"category_scores_gemma":[0.0005893936,0.00013763765,0.000113826645,0.000030236537,0.00063385896,0.0014607239,0.00010410799,0.00041107243,0.0000016558139],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001913219,0.00019723778,0.8855449,0.00010663932,0.00008179817,0.000033849155,0.106096454,0.00002462084,0.000015164763,0.0017527161,0.004240323,0.0017149519],"study_design_scores_gemma":[0.006598272,0.0006775566,0.49496824,0.0015389883,0.00007772027,0.000010085493,0.14148596,0.00031813968,0.00024877558,0.0039608856,0.34947136,0.0006440123],"about_ca_topic_score_codex":0.0020409767,"about_ca_topic_score_gemma":0.007456871,"teacher_disagreement_score":0.3905767,"about_ca_system_score_codex":0.000040416922,"about_ca_system_score_gemma":0.000077428114,"threshold_uncertainty_score":0.56127006},"labels":[],"label_agreement":null},{"id":"W2769381255","doi":"10.5040/9781474292030","title":"The Art of Rehearsal","year":2017,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Visual arts; Performance art; Art; Work (physics); Art history; Sociology; Media studies; Engineering","score_opus":0.0349235894295205,"score_gpt":0.22766990640448395,"score_spread":0.19274631697496344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2769381255","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000080252925,0.0026347802,3.4086915e-7,0.0008233854,0.0029000302,0.00026385864,0.0001852711,0.00010756468,0.9930045],"genre_scores_gemma":[0.001552023,0.00024562984,0.000009187421,0.00018950824,0.004490487,0.00002995909,0.00007543612,0.00007165402,0.99333614],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980941,0.00004150555,0.000535935,0.00032547212,0.00055102154,0.00045199736],"domain_scores_gemma":[0.99748856,0.0003216444,0.0006769341,0.0011055049,0.00033344803,0.000073892414],"candidate_categories":["metaepi_narrow","sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0007892119,0.00038275105,0.0005573961,0.00013426082,0.0021518595,0.003827041,0.0013361926,0.00015989912,0.00032659192],"category_scores_gemma":[0.00013811165,0.00025287105,0.0003213011,0.000004658628,0.001491958,0.000751075,0.00038744396,0.00089379225,0.00015506225],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022596787,0.000007941757,0.0000073819665,0.00009287684,0.00020906504,0.000007348173,0.0041236905,9.793794e-8,7.39086e-7,0.21218914,0.7648773,0.018461818],"study_design_scores_gemma":[0.00021619465,0.00008247125,0.0000112902835,0.00036491884,0.00012555529,0.000005861918,0.0003406564,0.0000012247723,0.000011687753,0.018104667,0.9804417,0.00029377444],"about_ca_topic_score_codex":0.00014143997,"about_ca_topic_score_gemma":0.0026441754,"teacher_disagreement_score":0.21556439,"about_ca_system_score_codex":0.000051045063,"about_ca_system_score_gemma":0.00043057083,"threshold_uncertainty_score":0.9999924},"labels":[],"label_agreement":null},{"id":"W2769609546","doi":"10.1007/978-3-319-63242-1_6","title":"Risking Intimacy: Strategies of Vulnerability in Vertical City’s All Good Things and Trace","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"TRACE (psycholinguistics); Dramaturgy; Articulation (sociology); Embodied cognition; Vulnerability (computing); Aesthetics; Context (archaeology); Perception; Sociology; Psychology; Communication; Art; History; Computer science; Political science; Linguistics; Computer security; Philosophy; Artificial intelligence; Law; Archaeology","score_opus":0.05553845724832661,"score_gpt":0.2761618094015858,"score_spread":0.22062335215325918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2769609546","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016484633,0.0009900099,0.0000024760905,0.0002506349,0.00016868125,0.00012851314,0.000022574157,0.000028506163,0.981924],"genre_scores_gemma":[0.8248334,0.0007266635,0.000022939104,0.000046966477,0.00021973616,0.000003591916,0.0000050711756,0.000017107157,0.17412452],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991273,0.000010074914,0.00031580144,0.00023536253,0.0001401292,0.00017128346],"domain_scores_gemma":[0.99945474,0.000113174014,0.00009259295,0.00025657826,0.00005284611,0.000030047197],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022792192,0.00023408273,0.00047158837,0.00007684465,0.00021190105,0.00016637666,0.00014593577,0.00011365845,0.0015261337],"category_scores_gemma":[0.000012954342,0.00017672023,0.00008260653,0.0000012588188,0.0007136605,0.0004438698,0.00011295822,0.00037926537,0.000010879886],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003196013,0.00002069459,0.00027714286,0.00016426462,0.00009294092,0.0000036632978,0.02836355,5.0632093e-7,0.000003034408,0.96276075,0.00043615737,0.00784532],"study_design_scores_gemma":[0.0004587662,0.00020875644,0.0011864991,0.0004075209,0.00011098889,0.0000026316982,0.0054314444,0.00004123222,0.000038870916,0.20250964,0.78914046,0.00046318368],"about_ca_topic_score_codex":0.001396995,"about_ca_topic_score_gemma":0.012191482,"teacher_disagreement_score":0.8083488,"about_ca_system_score_codex":0.000017651848,"about_ca_system_score_gemma":0.000038237657,"threshold_uncertainty_score":0.9993866},"labels":[],"label_agreement":null},{"id":"W2770216960","doi":"10.16995/cg.96","title":"Illusion, Kayfabe, and Identity Performance in Box Brown and Brandon Easton’s Andre the Giant Graphic Biographies","year":2017,"lang":"en","type":"article","venue":"The Comics Grid Journal of Comics Scholarship","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Narrative; Storytelling; Illusion; Portrait; Subject (documents); Identity (music); Art; Sociology; Art history; Literature; Aesthetics; Psychology; Computer science","score_opus":0.03143414802311288,"score_gpt":0.2512966647567322,"score_spread":0.21986251673361928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2770216960","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98585474,0.007295615,0.000004193245,0.002535597,0.00076662784,0.00011046634,0.000016904894,0.000014879183,0.0034009642],"genre_scores_gemma":[0.972175,0.026717769,0.000023904504,0.00020510293,0.00049212493,0.0000022200531,7.0029427e-7,0.000030811505,0.00035235536],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9990032,0.0000816753,0.00035817243,0.00011275905,0.00021566478,0.00022857837],"domain_scores_gemma":[0.9988593,0.000107929714,0.0005023987,0.00037124287,0.00009521293,0.0000639374],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0014578234,0.0001834652,0.0003167452,0.00026455594,0.0018842429,0.00082485704,0.0006715142,0.000048464717,0.000015358884],"category_scores_gemma":[0.000051832787,0.00010185462,0.00009123569,0.00005254514,0.0012991849,0.0010541575,0.00026992374,0.0005985228,0.000001090418],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010058173,0.00016846959,0.86532253,0.00022613395,0.00041793552,0.000024004636,0.033651523,0.000015718964,0.0003545339,0.0837256,0.004043869,0.0110438345],"study_design_scores_gemma":[0.0056955446,0.00043512587,0.876554,0.0010113436,0.00029604617,0.00048856495,0.008809595,0.00028140683,0.00020770272,0.028807398,0.07672073,0.0006925179],"about_ca_topic_score_codex":0.00016490866,"about_ca_topic_score_gemma":0.006043978,"teacher_disagreement_score":0.07267686,"about_ca_system_score_codex":0.000010251614,"about_ca_system_score_gemma":0.000017398059,"threshold_uncertainty_score":0.99941516},"labels":[],"label_agreement":null},{"id":"W2770706987","doi":"","title":"The drama of the dispossessed the treatment of indigene in Canadian drama a study of selected plays of George Ryga Tomson Highway and Linda Griffiths and Maria Campbell","year":2001,"lang":"en","type":"dissertation","venue":"Shodhganga","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Drama; Drama therapy; Art; Art history; History; Literature","score_opus":0.009929924729103772,"score_gpt":0.22737836545199328,"score_spread":0.2174484407228895,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2770706987","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9923595,0.0020860569,1.6329446e-8,0.000062860396,0.00026822317,0.0010244729,0.00028268725,0.0000046083037,0.003911572],"genre_scores_gemma":[0.99407125,0.0013552614,9.3722764e-7,0.0000054598313,0.00008911447,0.00005414317,0.00007208473,0.000020868301,0.0043308605],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9987694,0.00009620933,0.0004888132,0.00018219693,0.00020170315,0.00026169786],"domain_scores_gemma":[0.9988171,0.00023392313,0.00039639478,0.0003095651,0.00020487908,0.000038163365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019403824,0.00024740375,0.0005107085,0.00014046433,0.00044078287,0.000033569344,0.00020511536,0.00009739728,0.000046589732],"category_scores_gemma":[0.0000208433,0.00011893405,0.00006726655,0.00016725446,0.00026996757,0.00004324339,0.000020595715,0.00014820759,2.338585e-7],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00062618527,0.0008492449,0.15527289,0.00038893957,0.0009024917,0.0000038948324,0.8269571,0.000008388656,0.00034495874,0.004457759,0.0001830463,0.010005093],"study_design_scores_gemma":[0.0023965526,0.0024495267,0.745915,0.00035474653,0.00066098286,0.0000018637932,0.22505271,0.000022693614,0.0055718347,0.00037775442,0.016835501,0.00036085164],"about_ca_topic_score_codex":0.35164985,"about_ca_topic_score_gemma":0.9762222,"teacher_disagreement_score":0.6245724,"about_ca_system_score_codex":0.00005178258,"about_ca_system_score_gemma":0.00026703672,"threshold_uncertainty_score":0.6526676},"labels":[],"label_agreement":null},{"id":"W2771603310","doi":"10.3138/md.60.4.541","title":"David Ian Rabey, <i>Theatre, Time and Temporality: Melting Clocks and Snapped Elastics</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Temporality; Subject (documents); Field (mathematics); Aesthetics; Art; Sociology; Visual arts; Literature; Epistemology; Philosophy; Computer science; Mathematics","score_opus":0.023023621791144887,"score_gpt":0.23617895921523735,"score_spread":0.21315533742409246,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2771603310","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80755126,0.0008863478,0.000024408133,0.002075151,0.00025740528,0.00016417094,0.00007643018,0.00008937149,0.18887548],"genre_scores_gemma":[0.98890287,0.00009641876,0.00005412603,0.00021221444,0.0006421281,0.000007464124,0.000010220663,0.000022336262,0.010052222],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915713,0.000019472127,0.00017892953,0.00025238586,0.00012070182,0.0002713695],"domain_scores_gemma":[0.9994032,0.000039107977,0.00010710355,0.00033288336,0.00004148488,0.00007627068],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00016409699,0.00018724031,0.0002620387,0.00003796035,0.001843993,0.00066180615,0.00014738408,0.000047500806,0.00015249693],"category_scores_gemma":[0.000014676323,0.00015102145,0.000039474366,0.0000054319007,0.00046030057,0.00034312747,0.00021036156,0.00013065767,0.00004477044],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003412721,0.00027098143,0.10964839,0.0005974402,0.00073816464,0.000075580036,0.3117914,0.000018323257,0.0018361808,0.03308818,0.020181226,0.5214129],"study_design_scores_gemma":[0.0030644448,0.0004493796,0.011077019,0.00037019464,0.00032562917,0.00003461989,0.0047222204,0.013371453,0.0005204127,0.03512214,0.9295115,0.0014309945],"about_ca_topic_score_codex":0.00043115375,"about_ca_topic_score_gemma":0.0009606788,"teacher_disagreement_score":0.90933025,"about_ca_system_score_codex":0.000008375219,"about_ca_system_score_gemma":0.000012767981,"threshold_uncertainty_score":0.99945545},"labels":[],"label_agreement":null},{"id":"W2773691772","doi":"10.3138/md.0848","title":"Annawadi on the South Bank: Global Neoliberalism and Spatial Contingency in <i>Behind the Beautiful Forevers</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Contingency; Precarity; Shadow (psychology); Plot (graphics); Tourism; Neoliberalism (international relations); Language change; History; Sociology; Geography; Political science; Art; Gender studies; Political economy; Literature; Archaeology","score_opus":0.030167842699820754,"score_gpt":0.23539621464233382,"score_spread":0.20522837194251306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2773691772","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82983154,0.0003322695,0.000015738815,0.011276245,0.00045098484,0.00023077145,0.00007812674,0.000022895594,0.15776144],"genre_scores_gemma":[0.99492,0.000039624294,0.0000022896318,0.0015320133,0.000579785,0.000017263043,0.0000023447913,0.00000917249,0.0028974977],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992678,0.000031174724,0.00013695924,0.00016967482,0.00013710704,0.00025728866],"domain_scores_gemma":[0.9994273,0.000040628856,0.000090706126,0.00038708857,0.000029266377,0.000025011488],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00017800143,0.00014898452,0.00014988895,0.000013520481,0.0016083382,0.00046834772,0.00030916955,0.000034448985,0.0001253742],"category_scores_gemma":[0.000016174,0.00007671376,0.00005410561,0.000005884234,0.00045049624,0.00018317625,0.00013046531,0.00015718125,0.00003057679],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020879977,0.00008600262,0.037709657,0.000033211996,0.00013571024,0.000017806806,0.51580274,0.000024337207,0.00000818511,0.27000123,0.011523559,0.16444875],"study_design_scores_gemma":[0.0030794009,0.00042198133,0.16848683,0.00024793224,0.00014616687,0.000010773177,0.015626263,0.009657533,0.000105515755,0.17728311,0.6239366,0.000997937],"about_ca_topic_score_codex":0.0045491257,"about_ca_topic_score_gemma":0.028057551,"teacher_disagreement_score":0.612413,"about_ca_system_score_codex":0.000014788606,"about_ca_system_score_gemma":0.0000143661155,"threshold_uncertainty_score":0.9996914},"labels":[],"label_agreement":null},{"id":"W2773750490","doi":"10.3138/md.60.4.526","title":"Leo Cabranes-Grant, <i>From Scenarios to Networks: Performing the Intercultural in Colonial Mexico</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hybridity; Colonialism; Sociology; Gender studies; History; Anthropology; Archaeology","score_opus":0.028882731147244163,"score_gpt":0.24580606315177778,"score_spread":0.21692333200453362,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2773750490","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9721163,0.00041838127,0.00005880847,0.005878153,0.001073455,0.0002646513,0.000034129844,0.00004359333,0.020112513],"genre_scores_gemma":[0.99426943,0.000049827086,0.000013294004,0.0011905087,0.001515071,0.000040672796,0.000009788295,0.0000176455,0.0028937543],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990395,0.000026216632,0.00020531511,0.00022171362,0.00014272764,0.00036453403],"domain_scores_gemma":[0.99935824,0.000048885777,0.000075426804,0.00042424773,0.0000462059,0.000047009886],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00014749618,0.00018743692,0.00023376291,0.000033624656,0.0017802702,0.00066413597,0.0005203172,0.000042988642,0.00019908618],"category_scores_gemma":[0.000013338169,0.0001138593,0.00008405044,0.000014179265,0.0002410235,0.00038826404,0.00020572005,0.00023716097,0.00008891392],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047382904,0.000102465216,0.021591593,0.000027454933,0.00015286147,0.00003646513,0.85767215,0.0027755597,0.0001706335,0.0065746848,0.016199382,0.094222896],"study_design_scores_gemma":[0.0016031925,0.00026461153,0.02074155,0.00036149123,0.00008008431,0.000009036149,0.014725432,0.04590936,0.00020963239,0.0025286374,0.91276103,0.00080596673],"about_ca_topic_score_codex":0.008525006,"about_ca_topic_score_gemma":0.11754432,"teacher_disagreement_score":0.8965616,"about_ca_system_score_codex":0.000037511178,"about_ca_system_score_gemma":0.000015649712,"threshold_uncertainty_score":0.9995193},"labels":[],"label_agreement":null},{"id":"W2774628580","doi":"10.1080/02759527.2005.11932381","title":"<i>The Enigma of Arrival</i>: Inverse Authorship, Textualizing Reterritorialization","year":2005,"lang":"en","type":"article","venue":"South Asian Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Seneca Polytechnic","funders":"","keywords":"Inverse; History; Linguistics; Philosophy","score_opus":0.03203226634540173,"score_gpt":0.25818964413004,"score_spread":0.22615737778463824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2774628580","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0046956036,0.30735117,0.00006177003,0.01583939,0.006641065,0.0015960794,0.00013386724,0.0002786204,0.66340244],"genre_scores_gemma":[0.92542106,0.05182419,0.0002030547,0.0020040716,0.009207089,0.00007117667,0.000035527504,0.00004985031,0.011183957],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990417,0.00009370449,0.00038957648,0.00011898833,0.00016891552,0.00018715538],"domain_scores_gemma":[0.9994106,0.00003144739,0.00018595738,0.0002484423,0.00008112549,0.00004240045],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046963678,0.00012257119,0.00024965024,0.000028001792,0.00042936997,0.00005153528,0.00016366683,0.000026544414,0.00044290692],"category_scores_gemma":[0.00007509244,0.00007817067,0.00012768526,0.000051644467,0.0001730838,0.00013976713,0.00003254437,0.00009781431,0.00016843488],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036664936,0.000039233142,0.0006715557,0.0036841645,0.00015950628,0.0000014722768,0.25890967,0.0000019304039,0.000017471259,0.29876924,0.15116923,0.28653988],"study_design_scores_gemma":[0.0000904634,0.000027488722,0.0000151111235,0.0011042422,0.00006832217,6.9113827e-7,0.0024994512,0.000004833515,0.000026234686,0.00042109482,0.9956416,0.000100485726],"about_ca_topic_score_codex":0.000016439399,"about_ca_topic_score_gemma":0.0005486016,"teacher_disagreement_score":0.92072546,"about_ca_system_score_codex":0.00001535404,"about_ca_system_score_gemma":0.000023921177,"threshold_uncertainty_score":0.48495203},"labels":[],"label_agreement":null},{"id":"W2775223653","doi":"10.3138/md.0866","title":"Envisioning Queer Liberation: The Performance of Communal Visibility in Doric Wilson’s <i>Street Theater</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Purchase College, State University of New York","keywords":"Queer; Ethos; Performative utterance; Silence; Comedy; Art; Sociology; Communitas; Aesthetics; Visual arts; Gender studies; Art history; Liminality; Law; Political science","score_opus":0.026669989780775047,"score_gpt":0.24620514052543405,"score_spread":0.219535150744659,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2775223653","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9694591,0.0002953752,0.000009268449,0.0008176116,0.00025102257,0.00012455038,0.000012802181,0.000018166296,0.029012116],"genre_scores_gemma":[0.9978431,0.00011022955,0.000020543654,0.00012398456,0.00027780753,0.00001684417,0.000003943606,0.000009704653,0.001593862],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.999213,0.000040396964,0.00024885996,0.00014188392,0.00016385897,0.00019203826],"domain_scores_gemma":[0.9990768,0.000056349305,0.0001248427,0.00066731375,0.000056762932,0.000017954013],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003263158,0.0001270491,0.00019318017,0.000031957185,0.0012673395,0.0002115457,0.00041520648,0.000031072013,0.0001421967],"category_scores_gemma":[0.000009885143,0.00007749924,0.00005980476,0.000011712852,0.00038947887,0.00048252568,0.00016013155,0.00018497073,0.000015941734],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026037873,0.00025700784,0.5937104,0.00019338509,0.00010308076,0.0000041437365,0.307738,0.0008098541,0.0003443906,0.016344303,0.0017867178,0.0784483],"study_design_scores_gemma":[0.0028313482,0.0007885096,0.7943373,0.0007171964,0.00009527875,0.00000649925,0.009572256,0.058264986,0.0043916632,0.010160892,0.11781358,0.0010205085],"about_ca_topic_score_codex":0.0009698667,"about_ca_topic_score_gemma":0.005455819,"teacher_disagreement_score":0.29816574,"about_ca_system_score_codex":0.000020524152,"about_ca_system_score_gemma":0.00001919114,"threshold_uncertainty_score":0.9747479},"labels":[],"label_agreement":null},{"id":"W2775843478","doi":"10.3138/tric.38.2.236","title":"<i>“In Sundry Languages”</i> Pleasure and Disorientation through Multilingual Melange","year":2017,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mandarin Chinese; Portuguese; Studio; Immigration; Neuroscience of multilingualism; History; Pleasure; Linguistics; Visual arts; Art; Psychology","score_opus":0.10933630592644877,"score_gpt":0.37539959681377666,"score_spread":0.2660632908873279,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2775843478","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7020058,0.0013910166,4.697979e-8,0.002317064,0.00022687991,0.00015620713,0.000056877456,0.0000057835823,0.29384032],"genre_scores_gemma":[0.9983766,0.00048668197,0.0000060808743,0.00009152191,0.0003628767,0.000020958578,0.000006117338,0.000010667232,0.00063847954],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889684,0.00007885083,0.00013185192,0.00017308563,0.0003355135,0.0003838736],"domain_scores_gemma":[0.99948764,0.0001481721,0.00002821718,0.00025546717,0.000036807276,0.00004367666],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042065952,0.0000908921,0.00014700976,0.000065305925,0.0006031687,0.00012083422,0.00019126141,0.00002073971,0.00017211742],"category_scores_gemma":[0.000011071505,0.000073722396,0.000013121743,0.000027671966,0.00027031067,0.00033864653,0.00009499746,0.00028360408,0.00000766048],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038323613,0.000136345,0.36495557,0.00046586985,0.00007796897,0.00081626454,0.18682979,0.000019283141,0.000094466865,0.018682845,0.026534358,0.401004],"study_design_scores_gemma":[0.0017032359,0.00012544444,0.035709538,0.00024512582,0.000008330786,0.0000061970554,0.16659968,0.00010021795,0.0003352243,0.0043247575,0.790464,0.00037825163],"about_ca_topic_score_codex":0.9899086,"about_ca_topic_score_gemma":0.99954563,"teacher_disagreement_score":0.76392967,"about_ca_system_score_codex":0.00019671497,"about_ca_system_score_gemma":0.0003370839,"threshold_uncertainty_score":0.4639147},"labels":[],"label_agreement":null},{"id":"W2776763871","doi":"","title":"Uptown Theatre (Toronto)","year":2011,"lang":"en","type":"book","venue":"Betascript Publishing eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.048701505990393655,"score_gpt":0.21157976802302406,"score_spread":0.1628782620326304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2776763871","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00001557606,0.004828099,0.0000012492569,0.00017073506,0.005535548,0.0003552951,0.00045207568,0.0005200846,0.98812133],"genre_scores_gemma":[0.002904065,0.00010976375,0.000034071447,0.0010982604,0.008488648,0.00006910431,0.00034765812,0.00016641055,0.986782],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974891,0.00005068353,0.00059295556,0.00061661884,0.0005332716,0.0007174022],"domain_scores_gemma":[0.99831533,0.00006138822,0.0003403551,0.00084471394,0.0002687753,0.00016945534],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042853376,0.00071817765,0.00078548875,0.00016746415,0.0008626725,0.0028899303,0.0010228361,0.00039267258,0.011979735],"category_scores_gemma":[0.000017638464,0.0005767237,0.00045114776,0.0000073454466,0.00052707404,0.0021171982,0.0003512932,0.0009205385,0.00046677882],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015249224,0.000014048724,0.000003153527,0.000093595045,0.00025003767,0.000008134478,0.032188162,1.652647e-8,6.1839125e-7,0.2989669,0.62319815,0.045261923],"study_design_scores_gemma":[0.00026653594,0.00010706298,0.0000045645625,0.0002526287,0.00023405932,0.0000054349202,0.0016731026,6.903933e-7,0.00000870924,0.025832072,0.97092277,0.00069239154],"about_ca_topic_score_codex":0.0037591266,"about_ca_topic_score_gemma":0.028147133,"teacher_disagreement_score":0.3477246,"about_ca_system_score_codex":0.00028521597,"about_ca_system_score_gemma":0.0003707173,"threshold_uncertainty_score":0.9996684},"labels":[],"label_agreement":null},{"id":"W2776909118","doi":"10.3138/tric.38.2.219","title":"Indigenous Languages on Stage: A Roundtable Conversation with Five Indigenous Theatre Artists","year":2017,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Colonialism; Conversation; Land rights; Resistance (ecology); Indigenous language; Linguistics; Political science; History; Ethnology; Law","score_opus":0.06558798357291631,"score_gpt":0.32499781602841776,"score_spread":0.2594098324555014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2776909118","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69280976,0.00045171657,3.3348496e-7,0.000997926,0.00015893436,0.00047395128,0.00017561132,0.000020851468,0.30491093],"genre_scores_gemma":[0.9898635,0.00022111904,0.0000047354392,0.00010617636,0.00039182982,0.00007152224,0.000022532673,0.000029006382,0.009289592],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99776727,0.00014079288,0.00018433656,0.00029828772,0.00076622353,0.0008430629],"domain_scores_gemma":[0.99881357,0.00021203025,0.000087361484,0.0006584713,0.00010995254,0.000118590775],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0005721758,0.00019949143,0.00026870373,0.00019257977,0.0019816603,0.00056294526,0.00047737517,0.000037997263,0.00030910948],"category_scores_gemma":[0.0000047736644,0.00014357828,0.0000277632,0.0000602172,0.00030256447,0.00049672177,0.00009511652,0.00050563394,0.000049317132],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014465436,0.00031143424,0.15233262,0.00046250992,0.00041692902,0.0018907612,0.32179213,0.0004399246,0.000029186427,0.0034807574,0.008679836,0.50871736],"study_design_scores_gemma":[0.0027691617,0.0018920274,0.017737482,0.0006792263,0.000029148563,0.00002226126,0.27271354,0.00007594914,0.0008879393,0.0011807072,0.7010217,0.0009908678],"about_ca_topic_score_codex":0.9922452,"about_ca_topic_score_gemma":0.9990076,"teacher_disagreement_score":0.69234186,"about_ca_system_score_codex":0.0013283377,"about_ca_system_score_gemma":0.002179643,"threshold_uncertainty_score":0.99931765},"labels":[],"label_agreement":null},{"id":"W2776929536","doi":"","title":"JESSICA RILEY, ed. A Man of Letters: The Selected Dramaturgical Correspondence of Urjo Kareda Playwrights Canada Press, 2017. 568 pp.","year":2017,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology; Psychoanalysis; Art","score_opus":0.0633317540825291,"score_gpt":0.29717060202588047,"score_spread":0.23383884794335136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2776929536","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8240342,0.003838941,2.4800565e-7,0.006996054,0.00081771467,0.0005909288,0.00064102944,0.000012475004,0.16306837],"genre_scores_gemma":[0.9980193,0.0005720364,0.0000034250002,0.00007294922,0.00036406424,0.000035342495,0.000010370023,0.00001624201,0.0009062633],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99716103,0.000271623,0.00038905817,0.000261184,0.0011998529,0.0007172594],"domain_scores_gemma":[0.9977537,0.0007798657,0.00018160499,0.00088345667,0.00028270326,0.00011867143],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006151703,0.00019682973,0.000404981,0.00006657258,0.001133597,0.00011926784,0.001256694,0.00003761069,0.00050990185],"category_scores_gemma":[0.000035152134,0.00012230125,0.000045756882,0.00008530061,0.0010590204,0.00019210699,0.00027950638,0.0005939757,0.0000034142156],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007090104,0.000076881595,0.0069427355,0.00032793338,0.00019534638,0.00025634837,0.0062916256,0.000059973772,0.00027834275,0.00477129,0.972716,0.007374554],"study_design_scores_gemma":[0.0006163062,0.00011655891,0.006265808,0.0004547106,0.000022301056,0.000009847299,0.0041827643,0.00020056606,0.0014889039,0.00032650796,0.9860435,0.0002722099],"about_ca_topic_score_codex":0.99950844,"about_ca_topic_score_gemma":0.9999305,"teacher_disagreement_score":0.17398506,"about_ca_system_score_codex":0.0004073425,"about_ca_system_score_gemma":0.0043161516,"threshold_uncertainty_score":0.87188256},"labels":[],"label_agreement":null},{"id":"W2777357988","doi":"10.3138/tric.38.2.186","title":"The Alt Stage and the Po-mo Page: Canadian Spaces for an Anglo-Portuguese Dramaturgy","year":2017,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portuguese; Drama; Dramaturgy; Linguistics; White (mutation); Space (punctuation); Sociology; Art; History; Literature; Philosophy","score_opus":0.0920503887462285,"score_gpt":0.33143431772562615,"score_spread":0.23938392897939764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2777357988","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31382927,0.008319718,1.8195826e-7,0.06309234,0.0012034846,0.0017505117,0.0008149105,0.000021523636,0.61096805],"genre_scores_gemma":[0.99332964,0.0014987609,0.0000023159666,0.00021171439,0.00074649724,0.00012067201,0.0000066199204,0.00001854592,0.0040652137],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99825287,0.00017558539,0.00016673794,0.00020590183,0.0003779182,0.0008209783],"domain_scores_gemma":[0.99830514,0.000704391,0.00005378802,0.000600504,0.00011605296,0.0002200943],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0020551381,0.00013808894,0.00019558282,0.000078338606,0.005429493,0.00081521686,0.0006815712,0.000026833979,0.000072297844],"category_scores_gemma":[0.0000347455,0.00007024678,0.000032486925,0.000030903302,0.0013706272,0.00024724586,0.000116392344,0.0003448907,0.000003084508],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00072858704,0.000023879602,0.0076961317,0.00015710956,0.00018255363,0.00007289153,0.025408885,0.000010861793,0.0000033562965,0.1630261,0.13311517,0.6695745],"study_design_scores_gemma":[0.0006025917,0.00007178518,0.0010682209,0.000030606087,0.0000063017733,0.0000016154386,0.034600083,0.00027436734,0.000008013425,0.0046394304,0.9585777,0.00011927265],"about_ca_topic_score_codex":0.99942476,"about_ca_topic_score_gemma":0.99999356,"teacher_disagreement_score":0.8254625,"about_ca_system_score_codex":0.0002690191,"about_ca_system_score_gemma":0.0018174078,"threshold_uncertainty_score":0.9958653},"labels":[],"label_agreement":null},{"id":"W2777625530","doi":"","title":"Minority Theatre in Canada","year":2012,"lang":"fr","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Genealogy; Geography","score_opus":0.016601059767285053,"score_gpt":0.2034039683990318,"score_spread":0.18680290863174676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2777625530","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23115383,0.015375357,0.00015875307,0.017619133,0.0014334798,0.00038842703,0.00037669812,0.000061005852,0.7334333],"genre_scores_gemma":[0.9366295,0.003669079,0.00076799805,0.00014421696,0.0002682107,0.00006411246,0.0002575705,0.000036230365,0.058163084],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9947985,0.0028651443,0.0006550626,0.0005607432,0.00040512258,0.00071546336],"domain_scores_gemma":[0.9960874,0.0010965163,0.0003489032,0.0013795178,0.0008856091,0.00020205641],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0028012542,0.00046931146,0.0005554266,0.000119756885,0.00083994505,0.0002699326,0.00089072593,0.00017586791,0.0020525774],"category_scores_gemma":[0.000114149785,0.00047199847,0.00018530428,0.00012912217,0.00045440355,0.00022880698,0.0008903096,0.00086812366,0.0001303245],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023131173,0.0006308213,0.092982195,0.00056274387,0.0001812615,0.000011169873,0.09230662,0.000041793148,0.000035193723,0.6892192,0.010899863,0.11310601],"study_design_scores_gemma":[0.00044097492,2.5645434e-7,0.038833134,0.0017135477,0.00008841733,0.0000062878717,0.0034825997,0.000844392,0.0010805092,0.0017893967,0.95104283,0.0006776655],"about_ca_topic_score_codex":0.98238605,"about_ca_topic_score_gemma":0.99779594,"teacher_disagreement_score":0.9401429,"about_ca_system_score_codex":0.0007076043,"about_ca_system_score_gemma":0.0012320633,"threshold_uncertainty_score":0.99977314},"labels":[],"label_agreement":null},{"id":"W2780170436","doi":"10.1177/1077800417746424","title":"Frictions and Actions: The Actor’s Role in Ethnodrama","year":2017,"lang":"en","type":"article","venue":"Qualitative Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University; Humber Polytechnic","funders":"","keywords":"Autoethnography; Process (computing); Sociology; Production (economics); Knowledge production; Public relations; Epistemology; Political science; Knowledge management; Social science; Computer science; Economics","score_opus":0.2436191949190237,"score_gpt":0.42330411502740645,"score_spread":0.17968492010838275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2780170436","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84369755,0.00078648713,0.000009451775,0.0053231157,0.0008481939,0.00012945133,0.000030026995,0.000030654915,0.14914505],"genre_scores_gemma":[0.99505025,0.00015636097,0.000013849087,0.00018480413,0.00058638136,0.00004350526,0.0000019797699,0.0000062998024,0.003956596],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99947894,0.00009384586,0.00012162742,0.00010595794,0.00007176588,0.00012784416],"domain_scores_gemma":[0.99938834,0.00026428106,0.00007507615,0.00021076555,0.000044555014,0.000016955324],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0003206665,0.00008115544,0.00010279155,0.00004486137,0.0018089468,0.00020295814,0.0001228292,0.000021819458,0.00023986628],"category_scores_gemma":[0.00008196018,0.00005117804,0.000028318107,0.000012227277,0.0009789758,0.00042084107,0.000059670467,0.00014767579,0.00006168854],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009018449,0.000016901495,0.0005710606,0.0000057392026,0.000023679297,3.6104274e-7,0.80811745,3.3917703e-7,0.0000143413245,0.18428385,0.00252414,0.0044331052],"study_design_scores_gemma":[0.0001517978,0.000041734842,0.01175316,0.000021769605,0.0000087201515,4.4358347e-7,0.68200916,0.000008103322,0.000021093085,0.018261308,0.28763875,0.00008394541],"about_ca_topic_score_codex":0.00112775,"about_ca_topic_score_gemma":0.006399675,"teacher_disagreement_score":0.28511462,"about_ca_system_score_codex":0.000014709414,"about_ca_system_score_gemma":0.000010634834,"threshold_uncertainty_score":0.99949056},"labels":[],"label_agreement":null},{"id":"W2781074793","doi":"10.25071/ryr.v3i0.40458","title":"“They Kiss and the [Odd Body] Swells”: Fragmenting Queer Bodies in 1980s Canadian Drama","year":2016,"lang":"en","type":"article","venue":"Revue YOUR Review (York Online Undergraduate Research)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Queer theory; Aesthetics; Drama; Phallic stage; Transsexual; Gender studies; Sociology; Art; Transgender; Literature; Psychoanalysis; Psychology","score_opus":0.07804858932627828,"score_gpt":0.3222743420376008,"score_spread":0.24422575271132252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2781074793","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028649207,0.32429302,0.0000027415288,0.55698025,0.0005189586,0.0021564933,0.00029548915,0.00010542735,0.086998425],"genre_scores_gemma":[0.5812235,0.39873368,0.000026738164,0.0008875914,0.00085860374,0.00006855742,0.000021650523,0.0000471078,0.018132621],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970662,0.0005086062,0.0006101602,0.00042973092,0.00040513853,0.0009801624],"domain_scores_gemma":[0.9983328,0.00055966346,0.00012914703,0.00051516795,0.00023626919,0.00022693987],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026430995,0.00030153274,0.00066437223,0.000326919,0.0010638564,0.00022093904,0.00045080853,0.00005863886,0.00029494424],"category_scores_gemma":[0.00034746426,0.00015850998,0.00016730226,0.00015136469,0.000885992,0.00024904546,0.00023217079,0.0005489894,0.00029473208],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017502431,0.00020029576,0.003855099,0.0061482578,0.00043501894,0.00012429581,0.027567154,0.0000028527281,0.000016758666,0.6553942,0.07631978,0.22976127],"study_design_scores_gemma":[0.00084652106,0.000071930284,0.000345599,0.008684449,0.00005315632,0.000015077526,0.0018683418,0.000042424046,0.0000033074195,0.03360613,0.95417285,0.00029018434],"about_ca_topic_score_codex":0.06714672,"about_ca_topic_score_gemma":0.6193994,"teacher_disagreement_score":0.8778531,"about_ca_system_score_codex":0.00017598558,"about_ca_system_score_gemma":0.00017624542,"threshold_uncertainty_score":0.9390652},"labels":[],"label_agreement":null},{"id":"W2782544974","doi":"10.1017/s0307883317000736","title":"Theatre, Performance and Cognition: Languages, Bodies and Ecologies","year":2017,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Drama; Cognition; Art history; Sociology; Art; Visual arts; Psychology; Neuroscience","score_opus":0.10217770876236638,"score_gpt":0.37140137172675053,"score_spread":0.26922366296438416,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2782544974","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31883216,0.0007734069,2.7825791e-7,0.0035870075,0.0002547786,0.000096327545,0.00005781555,0.000034449477,0.67636377],"genre_scores_gemma":[0.9855018,0.004496037,0.000025999927,0.000060432907,0.0010893694,0.00003442207,0.000013809415,0.000009876367,0.0087682],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990839,0.000037718703,0.00011645804,0.00019189942,0.00030433506,0.00026570426],"domain_scores_gemma":[0.99937755,0.00016182206,0.00004328617,0.00020248989,0.0001647958,0.000050052087],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00047514407,0.00011099495,0.00012724435,0.00012722869,0.0019594668,0.0006403093,0.00028607942,0.000030330802,0.0007010245],"category_scores_gemma":[0.0000305678,0.00008127096,0.000024526316,0.000005566568,0.0014058569,0.00055798097,0.0003846298,0.00021451942,0.00009087239],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000360991,0.00012678225,0.079612985,0.00020236844,0.00046784146,0.00003850482,0.03635073,0.0000011049648,0.000115370225,0.07995869,0.027464,0.7753006],"study_design_scores_gemma":[0.0008781321,0.0003436447,0.052547004,0.00017720087,0.000025258132,0.00003354451,0.016290909,0.00023096942,0.00033167112,0.0091723185,0.919691,0.000278302],"about_ca_topic_score_codex":0.00031467288,"about_ca_topic_score_gemma":0.0015001049,"teacher_disagreement_score":0.89222705,"about_ca_system_score_codex":0.000019581408,"about_ca_system_score_gemma":0.000021025131,"threshold_uncertainty_score":0.9993398},"labels":[],"label_agreement":null},{"id":"W2783014270","doi":"10.1386/scene.3.1-2.15_1","title":"Canadian actor: Horror death and cooperation","year":2015,"lang":"en","type":"article","venue":"Scene","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Identity (music); Media studies; Reality tv; Life span; Transition (genetics); Reality television; Sociology; Aesthetics; Visual arts; History; Art; Literature; Gerontology; Medicine","score_opus":0.05876343950677547,"score_gpt":0.23747472122973773,"score_spread":0.17871128172296225,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783014270","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6479464,0.00078129314,0.000001041977,0.001356252,0.0005132746,0.00006437223,0.000029454424,0.000028614912,0.34927928],"genre_scores_gemma":[0.989441,0.00003988334,0.000015444986,0.0003085115,0.00042390038,0.0000028539741,0.000009088912,0.0000040785953,0.009755271],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999761,0.000005464863,0.000041537496,0.00005394103,0.000036360052,0.00010171728],"domain_scores_gemma":[0.99980843,0.0000032941662,0.000007121814,0.000046375924,0.000046237434,0.000088521214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000047076563,0.000044395914,0.000050542956,0.00002985282,0.00018479078,0.00005682487,0.000023221846,0.000011200865,0.00020493924],"category_scores_gemma":[0.000004321885,0.00003384599,0.000006704487,0.0000072460543,0.00003093654,0.0001063986,0.0000075816747,0.000027567763,0.00007628527],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006407303,0.000046108336,0.051373377,0.0000448772,0.0001075093,0.000016264612,0.2449944,0.000008078854,0.00008378512,0.25920063,0.37841845,0.06564243],"study_design_scores_gemma":[0.00015761598,0.000063577194,0.0013334095,0.0000063718794,0.000008150403,0.0000013791139,0.0021943774,0.00004243652,0.000060117833,0.00043375016,0.99561733,0.00008147298],"about_ca_topic_score_codex":0.07707944,"about_ca_topic_score_gemma":0.67049813,"teacher_disagreement_score":0.6171989,"about_ca_system_score_codex":0.00002872863,"about_ca_system_score_gemma":0.00005803216,"threshold_uncertainty_score":0.92906636},"labels":[],"label_agreement":null},{"id":"W2783337821","doi":"10.3138/ctr.173.016","title":"Why Theatre Now?","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Constructive; Space (punctuation); Aesthetics; Key (lock); Intervention (counseling); Visual arts; Reflection (computer programming); Sociology; Performance art; Affect (linguistics); Art; Media studies; Psychology; Art history; Computer science; Communication","score_opus":0.029705155924904258,"score_gpt":0.24075081264567139,"score_spread":0.21104565672076714,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783337821","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019108126,0.13536134,7.687649e-7,0.01647649,0.0007692717,0.00029295706,0.00009758921,0.000064328146,0.84674615],"genre_scores_gemma":[0.3279253,0.35467806,0.0000856448,0.25608304,0.018106995,0.00022440513,0.00014521267,0.0002078576,0.042543482],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887985,0.00004549717,0.00024050237,0.0002269054,0.00011716393,0.0004900558],"domain_scores_gemma":[0.9991201,0.00002528165,0.000047192545,0.0004109615,0.00011316005,0.00028330777],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018154841,0.00021821857,0.00035335857,0.000104391496,0.0006950072,0.00007756265,0.00025982017,0.00003467644,0.018241882],"category_scores_gemma":[0.000004452778,0.00015845269,0.00014997399,0.000085610045,0.00038020388,0.00016493042,0.000024582529,0.00011902373,0.0041932566],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000019032414,0.0000059691333,0.00012055792,0.00043659867,0.000046563524,0.0000067813453,0.0020112044,1.4861501e-8,5.223807e-7,0.009267873,0.844214,0.143888],"study_design_scores_gemma":[0.000067721536,0.0000759534,0.000016403344,0.0013634724,0.00008422435,0.0000101279475,0.0003132819,0.0000013685053,0.0000055315027,0.00043728616,0.9974058,0.0002188211],"about_ca_topic_score_codex":0.043967474,"about_ca_topic_score_gemma":0.82024896,"teacher_disagreement_score":0.8042027,"about_ca_system_score_codex":0.00007854821,"about_ca_system_score_gemma":0.0001718429,"threshold_uncertainty_score":0.9965821},"labels":[],"label_agreement":null},{"id":"W2783416098","doi":"10.3138/ctr.173.004","title":"Approaching Ambient Drama: Reflections on Two Immersive Experiments","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Event (particle physics); Visual arts; Aesthetics; Work (physics); Art; Engineering","score_opus":0.07854605924004918,"score_gpt":0.32193388134857653,"score_spread":0.24338782210852736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783416098","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017359679,0.044875048,0.0000024374274,0.0023490735,0.0010052967,0.0004096474,0.000044583427,0.000034223714,0.9495437],"genre_scores_gemma":[0.9715608,0.010751638,0.00002118598,0.01106073,0.002140499,0.00009896352,0.000022911569,0.00003305901,0.0043102135],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990292,0.000053622534,0.00019377249,0.00022664576,0.00010819777,0.0003885158],"domain_scores_gemma":[0.99936146,0.000014172463,0.0000510334,0.00029276413,0.000067292625,0.00021326229],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014072286,0.00018103639,0.00025595154,0.000117936106,0.0011130298,0.00006539024,0.00015178419,0.000020012585,0.002262496],"category_scores_gemma":[0.000006031564,0.00014001934,0.00011608573,0.00007223654,0.0002069434,0.00011344666,0.000019169249,0.00013243934,0.0012864526],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031888845,0.00014915864,0.00016637388,0.0013289825,0.0005551137,0.000032099862,0.1092343,0.0000018876332,0.000075325304,0.2923141,0.30231234,0.29379842],"study_design_scores_gemma":[0.00010771316,0.00013449063,0.000010202033,0.0012900052,0.000057961206,0.0000047634708,0.0022804157,0.000001919782,0.000074603646,0.00016649193,0.9956945,0.0001769196],"about_ca_topic_score_codex":0.039628617,"about_ca_topic_score_gemma":0.29045144,"teacher_disagreement_score":0.96982485,"about_ca_system_score_codex":0.00018396461,"about_ca_system_score_gemma":0.000114317474,"threshold_uncertainty_score":0.99949116},"labels":[],"label_agreement":null},{"id":"W2783562740","doi":"10.1017/s0040557417000618","title":"Theatre &amp; Feminism. By Kim Solga . Theatre And. New York: Palgrave Macmillan, 2016. pp. viii + 93. $12 paper, $11 e-book.","year":2018,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Feminism; History; Art history; Media studies; Sociology; Gender studies","score_opus":0.05118624688727962,"score_gpt":0.25137784936265817,"score_spread":0.20019160247537854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783562740","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05062803,0.051999554,0.00003172194,0.0025087257,0.002806162,0.0009153385,0.0020236354,0.0006884582,0.88839835],"genre_scores_gemma":[0.96487534,0.0065636137,0.000060371334,0.0019484906,0.0037532486,0.000030239044,0.0004559222,0.00014853457,0.02216425],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.996357,0.0004008073,0.00069731375,0.000850522,0.0004917254,0.0012025841],"domain_scores_gemma":[0.99771243,0.00048371745,0.00020731369,0.0010301623,0.00016558221,0.00040080928],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00096581713,0.0008542873,0.00090701156,0.00013849064,0.0014610349,0.00033619677,0.0005855525,0.00023656803,0.007815429],"category_scores_gemma":[0.000014390719,0.00062653195,0.0002546345,0.00013112293,0.0011899443,0.00017166953,0.00029250744,0.0003874906,0.0017375367],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00049741834,0.00007654295,0.016652074,0.00007302389,0.0004283688,0.0000062081695,0.039401267,9.0042005e-7,0.0002303298,0.0036903745,0.85239214,0.08655134],"study_design_scores_gemma":[0.0011991207,0.00045698098,0.0035993473,0.00013962241,0.00012538965,0.000017844943,0.003241622,0.000007945616,0.00020611529,0.003938794,0.9861291,0.00093809393],"about_ca_topic_score_codex":0.018575592,"about_ca_topic_score_gemma":0.10522643,"teacher_disagreement_score":0.9142473,"about_ca_system_score_codex":0.00005308139,"about_ca_system_score_gemma":0.0001482663,"threshold_uncertainty_score":0.99983895},"labels":[],"label_agreement":null},{"id":"W2783762765","doi":"10.3138/ctr.173.013","title":"Second Person, Singular","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Thread (computing); Citizen journalism; Visual arts; Aesthetics; History; Art; Computer science; Literature; Engineering; World Wide Web; Mechanical engineering","score_opus":0.03356714429483602,"score_gpt":0.23278362544982237,"score_spread":0.19921648115498636,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783762765","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010899785,0.15983854,2.976837e-7,0.003076151,0.0005179958,0.00017701545,0.000055457465,0.000033909655,0.8352106],"genre_scores_gemma":[0.80048364,0.05436392,0.00006384423,0.050178412,0.0094791865,0.0000696589,0.00006450742,0.00009709558,0.0851997],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992734,0.000026487023,0.00013654366,0.00015597817,0.000071079936,0.00033650483],"domain_scores_gemma":[0.999424,0.000012291198,0.00003288709,0.00024541846,0.00008874436,0.00019669662],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014524894,0.00014026977,0.00024337553,0.00006942708,0.00056796527,0.000057756664,0.00014547307,0.000022037479,0.0429104],"category_scores_gemma":[0.000005935059,0.00010757641,0.000097726916,0.000046700887,0.00027617134,0.00011145687,0.00000883952,0.00007866272,0.002459005],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017129863,0.000006060214,0.00012330011,0.0010630556,0.00007657408,0.000013177734,0.011086787,5.7029226e-9,0.0000018916008,0.026739972,0.7125883,0.24829914],"study_design_scores_gemma":[0.000044845576,0.00005104868,0.000028535309,0.0008788743,0.00004978431,0.000008359485,0.000548591,9.598972e-7,0.0000066551597,0.00015853067,0.9980711,0.00015274211],"about_ca_topic_score_codex":0.014228649,"about_ca_topic_score_gemma":0.6462034,"teacher_disagreement_score":0.7993937,"about_ca_system_score_codex":0.000061413026,"about_ca_system_score_gemma":0.00014872184,"threshold_uncertainty_score":0.9983177},"labels":[],"label_agreement":null},{"id":"W2783772175","doi":"10.3138/ctr.173.015","title":"Editorial: Radical Rehearsals","year":2018,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Art history","score_opus":0.017755122911067123,"score_gpt":0.2563562611285364,"score_spread":0.23860113821746926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783772175","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[1.0836108e-7,0.17516941,2.8514716e-8,0.0010004496,0.61928487,0.00035202736,0.0010712584,0.00006196208,0.20305991],"genre_scores_gemma":[0.0000014741878,0.2173177,0.0000042149954,0.00086828193,0.76934254,0.00007148111,0.0005532194,0.00008626481,0.011754836],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971204,0.00014566726,0.00062803406,0.00054809795,0.000718198,0.00083960703],"domain_scores_gemma":[0.9976419,0.000294992,0.0001994002,0.000796842,0.00047822137,0.00058861007],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007720347,0.00057957455,0.0012481528,0.00020827132,0.00072796614,0.00021473366,0.0006692144,0.00055326195,0.010875367],"category_scores_gemma":[0.00023253361,0.00045424554,0.0004132636,0.000083731495,0.0006599085,0.00016072733,0.000060624334,0.0009623918,0.004621037],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000039032316,0.000006326422,4.4598323e-7,0.0025705462,0.000118861135,0.000008292896,0.00062493363,3.693389e-9,1.6252336e-8,0.00050516817,0.98362994,0.01253155],"study_design_scores_gemma":[0.00012127497,0.00010856166,6.251984e-8,0.008597399,0.0003779272,0.00000141482,0.000049739294,6.850255e-8,1.3516504e-7,0.00021093359,0.99000055,0.0005319422],"about_ca_topic_score_codex":0.08460128,"about_ca_topic_score_gemma":0.5251894,"teacher_disagreement_score":0.4405881,"about_ca_system_score_codex":0.00036588416,"about_ca_system_score_gemma":0.0022688087,"threshold_uncertainty_score":0.9997909},"labels":[],"label_agreement":null},{"id":"W2783804365","doi":"10.3138/ctr.173.010","title":"The Making of <i>Nightmare Dream</i>","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nightmare; Dream; Art; Art history; Aesthetics; Psychoanalysis; Visual arts; Psychology; Psychotherapist","score_opus":0.028713838225334257,"score_gpt":0.2485130690014189,"score_spread":0.21979923077608465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783804365","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014527574,0.20618016,2.5873857e-7,0.005636852,0.0004359976,0.00019177912,0.00005253678,0.000014950755,0.7873422],"genre_scores_gemma":[0.9017693,0.07662796,0.000012077663,0.010838984,0.002117286,0.000034980032,0.000011648828,0.000033759483,0.008554004],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999305,0.000035578414,0.0002077593,0.000097197815,0.0000829821,0.0002714461],"domain_scores_gemma":[0.999449,0.000029203802,0.0000644489,0.00029613462,0.000111530244,0.000049666207],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021983258,0.00010653945,0.0002092775,0.00003471519,0.0007820533,0.000037430338,0.00022813707,0.000015469443,0.001846015],"category_scores_gemma":[0.00000767453,0.000059764705,0.00009682363,0.000050919516,0.00044025053,0.000060966922,0.00001888187,0.000063506246,0.0002895819],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000036960184,0.000004313637,0.0001593042,0.0005839372,0.000074007745,0.0000024755243,0.0062840804,1.9549695e-8,8.474175e-7,0.08896716,0.4869864,0.41693375],"study_design_scores_gemma":[0.000028482107,0.0000386713,0.00001604845,0.0012005738,0.000045362496,0.0000031003194,0.000603608,7.1836587e-7,0.0000060069638,0.00045881182,0.997517,0.00008163515],"about_ca_topic_score_codex":0.007804611,"about_ca_topic_score_gemma":0.6199906,"teacher_disagreement_score":0.901624,"about_ca_system_score_codex":0.0000333373,"about_ca_system_score_gemma":0.0001275385,"threshold_uncertainty_score":0.9990664},"labels":[],"label_agreement":null},{"id":"W2783977756","doi":"10.3138/ctr.173.017","title":"Sovereignty, Spirituality and Resurgence: A Proud Indigenous Theatre Community","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Indigenous; Spirituality; Sovereignty; Politics; Performance art; Political theatre; Media studies; History; Sociology; Gender studies; Art; Art history; Political science; Aesthetics; Law","score_opus":0.05217686178026385,"score_gpt":0.2731875700237571,"score_spread":0.22101070824349325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783977756","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023922212,0.14095573,4.0460694e-7,0.0024469506,0.00039622205,0.0008043238,0.00032034496,0.00007645099,0.83107734],"genre_scores_gemma":[0.95314926,0.03710332,0.000012544619,0.0073913434,0.001052111,0.000051772433,0.000037597823,0.000030889412,0.0011711539],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998535,0.0002635943,0.00032628578,0.00021284953,0.00013940623,0.00052288786],"domain_scores_gemma":[0.9988345,0.00006958458,0.00008027987,0.0005618114,0.00012874004,0.0003250979],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00079658395,0.00025329794,0.00046193152,0.0000938499,0.0020786026,0.00010987443,0.00028811378,0.000054598546,0.003305483],"category_scores_gemma":[0.00001700866,0.00019191825,0.00010267987,0.00009259722,0.00078167417,0.0001912614,0.00007154846,0.00032654995,0.00032380896],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022403037,0.000079991376,0.004259646,0.004878398,0.00023336004,0.000022777542,0.09357575,3.3108122e-8,0.0000021614255,0.04085273,0.11916425,0.7369085],"study_design_scores_gemma":[0.000102536935,0.00015796616,0.00039351534,0.0015313677,0.00009207629,0.000021537957,0.0025068475,6.0095454e-7,0.0000062629706,0.003969432,0.9909482,0.0002696324],"about_ca_topic_score_codex":0.15513918,"about_ca_topic_score_gemma":0.7625351,"teacher_disagreement_score":0.92922705,"about_ca_system_score_codex":0.00009458926,"about_ca_system_score_gemma":0.00032380145,"threshold_uncertainty_score":0.99922055},"labels":[],"label_agreement":null},{"id":"W2784045479","doi":"10.3138/ctr.173.002","title":"<i>BRANTWOOD:</i> Canada’s Largest Experiment in Immersive Theatre","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Performing arts; The Imaginary; Visual arts; Art; Character (mathematics); Performance art; Drama; Art history; Media studies; Sociology; Psychology; Psychoanalysis","score_opus":0.019685953576832924,"score_gpt":0.23028682692989808,"score_spread":0.21060087335306515,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2784045479","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002297791,0.21141765,1.3632128e-7,0.013689533,0.0010152125,0.0005400632,0.00020959442,0.0000187297,0.7708113],"genre_scores_gemma":[0.94156075,0.03750719,0.0000052918476,0.016601533,0.0013637943,0.000075195065,0.000043565444,0.00003928989,0.0028034116],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99853176,0.000063064086,0.000326851,0.0002734502,0.00017057468,0.0006343267],"domain_scores_gemma":[0.99918944,0.000032388394,0.00005805566,0.00035616418,0.00007799771,0.0002859431],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018586204,0.00025767766,0.00044206204,0.000104015344,0.00044846997,0.000040962525,0.00026121913,0.000033417033,0.0052455403],"category_scores_gemma":[0.000004995952,0.00020374857,0.000092160284,0.00009799107,0.0002232743,0.00012826374,0.000028938517,0.00014810644,0.00030136158],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001591632,0.000046008183,0.001833784,0.0012389075,0.0001513214,0.00014210708,0.017354533,3.9776003e-7,0.000011514545,0.02155342,0.83986086,0.11779123],"study_design_scores_gemma":[0.000156317,0.000056204655,0.00007677225,0.0014857528,0.00003840639,0.0000074437544,0.0023269255,0.0000013478909,0.000057795667,0.000046044683,0.9954802,0.00026679956],"about_ca_topic_score_codex":0.9774594,"about_ca_topic_score_gemma":0.99976754,"teacher_disagreement_score":0.9392629,"about_ca_system_score_codex":0.00040296695,"about_ca_system_score_gemma":0.0013541316,"threshold_uncertainty_score":0.9956638},"labels":[],"label_agreement":null},{"id":"W2789087891","doi":"","title":"Intermedial writing in contemporary theatre","year":2013,"lang":"es","type":"article","venue":"Diálogos Revista Electrónica de Historia","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Visual arts; Aesthetics; Art","score_opus":0.02103174775139953,"score_gpt":0.24280646386771543,"score_spread":0.22177471611631588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2789087891","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49352446,0.054424733,0.000008297082,0.0022502148,0.0024365576,0.0012606439,0.00008356381,0.00021580761,0.4457957],"genre_scores_gemma":[0.9891594,0.0019618697,0.000023075409,0.0005293855,0.0038150593,0.00018515624,0.000048753634,0.00007655248,0.0042007486],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99700624,0.0002605726,0.0010042788,0.0005321807,0.00027325796,0.0009234864],"domain_scores_gemma":[0.9986062,0.00028737626,0.00029544727,0.0004944495,0.00015126471,0.00016525442],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00052682945,0.00050826493,0.0008494417,0.00028255626,0.0005334932,0.0008603753,0.00047535222,0.00020328295,0.0019927493],"category_scores_gemma":[0.0000709846,0.00046609493,0.00027506438,0.00012352162,0.0003785846,0.00054148823,0.00013187334,0.00079734443,0.0007698348],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037141916,0.00059058453,0.060835168,0.0013500595,0.00039606477,0.00012121223,0.054188434,0.0000013448929,0.0015811953,0.3982582,0.44602132,0.03628499],"study_design_scores_gemma":[0.00080556655,0.0003593581,0.0028903922,0.000663481,0.000056004723,0.000009125079,0.0016113698,0.000093522474,0.00003436008,0.001039291,0.9918464,0.0005911662],"about_ca_topic_score_codex":0.0017497429,"about_ca_topic_score_gemma":0.00035005246,"teacher_disagreement_score":0.54582506,"about_ca_system_score_codex":0.00066778716,"about_ca_system_score_gemma":0.00034288559,"threshold_uncertainty_score":0.9997791},"labels":[],"label_agreement":null},{"id":"W2790052916","doi":"10.5539/ells.v8n1p45","title":"What Iago Knew","year":2018,"lang":"en","type":"article","venue":"English Language and Literature Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Verisimilitude; Antithesis; Philosophy; Literature; Art","score_opus":0.01300951319335273,"score_gpt":0.25678993975194925,"score_spread":0.24378042655859652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2790052916","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6062967,0.30631807,2.845946e-7,0.0006370913,0.005331892,0.000114489994,0.0000300362,0.00017633906,0.08109508],"genre_scores_gemma":[0.9544957,0.0074251713,0.000024392779,0.0006535957,0.012581846,0.000015962085,0.000012457435,0.000014700437,0.024776153],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999314,0.000023557694,0.0001328005,0.00020514787,0.00009833189,0.00022617295],"domain_scores_gemma":[0.9994438,0.000045232595,0.000034754252,0.00015258847,0.00028646944,0.000037133508],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010570409,0.0001815896,0.00022672075,0.00006727431,0.0005934069,0.0005540234,0.000071680435,0.00003472722,0.0002557203],"category_scores_gemma":[0.00005716965,0.000119739154,0.000049863153,0.000052838288,0.0004948065,0.0008409575,0.00009161652,0.00013298418,0.00003415227],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016130427,0.000010574204,0.00007025339,0.00004787215,0.00013578415,0.00001809604,0.940441,1.021893e-8,0.0000071625514,0.012726879,0.036435317,0.0100909015],"study_design_scores_gemma":[0.00014948427,0.00010776189,0.00002887823,0.0002573223,0.000024578076,0.0000023097093,0.46900225,4.1544294e-7,0.00008209033,0.0003358092,0.52987874,0.00013038705],"about_ca_topic_score_codex":0.000012133101,"about_ca_topic_score_gemma":0.00058500527,"teacher_disagreement_score":0.4934434,"about_ca_system_score_codex":0.0000068986187,"about_ca_system_score_gemma":0.000004630157,"threshold_uncertainty_score":0.534246},"labels":[],"label_agreement":null},{"id":"W2790722695","doi":"10.3138/md.61.1.118","title":"Hillary Miller, <i>Drop Dead: Performance in Crisis, 1970s New York</i>","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Miller; The arts; Performance art; Art; Art history; Visual arts; History; Center (category theory)","score_opus":0.03160427292287945,"score_gpt":0.22750914255015184,"score_spread":0.19590486962727238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2790722695","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6914971,0.003847923,0.00005121825,0.0014103091,0.001061048,0.00017250779,0.000017251325,0.00014737352,0.30179527],"genre_scores_gemma":[0.97850174,0.00062082615,0.00006675467,0.0013601546,0.0022560821,0.0000122191705,0.000009803425,0.00002959231,0.017142823],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988285,0.000019193798,0.00026074608,0.00026776196,0.00019070432,0.00043313645],"domain_scores_gemma":[0.9994956,0.000018937018,0.000053442636,0.00029521185,0.00006166203,0.00007514952],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010652738,0.00021512026,0.00024622033,0.00011106702,0.0004360891,0.00011763081,0.00022515436,0.000056277026,0.0011594141],"category_scores_gemma":[0.0000039065967,0.00017841998,0.00006892915,0.000058207537,0.00020863584,0.00037275057,0.00008563059,0.00016593545,0.000752304],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034151724,0.00024986026,0.018532675,0.00016759442,0.00015618019,0.00001862511,0.37526754,0.00006658925,0.00015982495,0.01823067,0.42868134,0.15812759],"study_design_scores_gemma":[0.00061380374,0.00021945586,0.0012802392,0.00006586814,0.00001852929,0.0000046393043,0.0022806653,0.0012676438,0.00034955228,0.0025750366,0.99098605,0.00033850974],"about_ca_topic_score_codex":0.0013500715,"about_ca_topic_score_gemma":0.0076505668,"teacher_disagreement_score":0.56230474,"about_ca_system_score_codex":0.000036201418,"about_ca_system_score_gemma":0.000048972564,"threshold_uncertainty_score":0.99975365},"labels":[],"label_agreement":null},{"id":"W2791274421","doi":"","title":"Theatre Communications Group: an internship report","year":2001,"lang":"en","type":"dissertation","venue":"ThinkTech (Texas Tech University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Pomona College; Yale University; University of Rochester; McKnight Foundation; University of Toronto; National Endowment for the Arts","keywords":"Internship; Group (periodic table); Communication in small groups; Telecommunications; Engineering; Computer science; Medicine; Computer network; Medical education; Physics","score_opus":0.03957322628807628,"score_gpt":0.2542001655795689,"score_spread":0.21462693929149265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791274421","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035999797,0.00043164153,0.000012408085,0.00022129781,0.00079362246,0.00034422905,0.00007812988,0.00069563236,0.9614232],"genre_scores_gemma":[0.38665316,0.0019386625,0.00020254833,0.00007661144,0.00059657835,0.000004544099,0.0038906941,0.0000762525,0.60656095],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99858356,0.00008450882,0.0003040256,0.0004301263,0.00025999016,0.0003378038],"domain_scores_gemma":[0.99781394,0.00005717597,0.00029938886,0.0015167865,0.00021841568,0.000094316994],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002104854,0.00039269455,0.00042371324,0.0006283863,0.00114261,0.00015803824,0.0014469852,0.0002730611,0.001062419],"category_scores_gemma":[0.00000809476,0.0003876072,0.0002069108,0.00018365351,0.00030906682,0.00060693943,0.00019599387,0.0007912406,0.00024752168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005374461,0.0009444581,0.0017089957,0.0004164052,0.0010162618,0.00119116,0.102777645,0.0000013296635,0.000072644485,0.8137747,0.015780209,0.061778758],"study_design_scores_gemma":[0.00023768314,0.00017920158,0.0001994634,0.00018781767,0.0002501388,0.000024022984,0.041090354,0.000007523472,0.000052177587,0.0038063903,0.953481,0.00048421675],"about_ca_topic_score_codex":0.0017815972,"about_ca_topic_score_gemma":0.054320626,"teacher_disagreement_score":0.9377008,"about_ca_system_score_codex":0.0001572116,"about_ca_system_score_gemma":0.00008168936,"threshold_uncertainty_score":0.9998576},"labels":[],"label_agreement":null},{"id":"W2792408216","doi":"10.5964/jspp.v6i1.700","title":"Investigating processes of internalisation of values through theatre for development","year":2018,"lang":"en","type":"article","venue":"Journal of Social and Political Psychology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Cognitive dissonance; Psychology; Social psychology; Value (mathematics); Ethnic group; Interview; Sociology; Aesthetics; Art; Anthropology","score_opus":0.12661927812383666,"score_gpt":0.39006206282533834,"score_spread":0.2634427847015017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792408216","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96101236,0.00019362701,0.0001419343,0.0019455338,0.0003503223,0.000042662672,0.000011935153,0.0000025697716,0.036299054],"genre_scores_gemma":[0.997349,0.00001953538,0.0005440598,0.0004479587,0.0015636252,0.0000011602799,6.477353e-7,0.0000036190236,0.00007037103],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9994214,0.000018539688,0.0003362501,0.000042145646,0.00006748802,0.00011414569],"domain_scores_gemma":[0.9993269,0.000090149806,0.00019711582,0.000018757662,0.0003444672,0.000022628223],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014359996,0.000051537612,0.00019204094,0.0000331569,0.00013075657,0.0000070669485,0.000052063973,0.000029757031,0.000060391383],"category_scores_gemma":[0.000039853505,0.000035296736,0.000038755396,0.000015565161,0.00078951323,0.00008952405,0.000011442267,0.000050023067,5.873296e-7],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013130372,0.00009288243,0.004520429,0.00036604426,0.00015950814,2.0056845e-7,0.2233852,3.817651e-8,0.00023788343,0.76049685,0.0030376757,0.007572006],"study_design_scores_gemma":[0.0015070593,0.0024937752,0.013829682,0.0003252802,0.00013876751,0.000021370954,0.03506079,0.0000025336728,0.007112637,0.5409331,0.3983823,0.0001927497],"about_ca_topic_score_codex":0.000024148198,"about_ca_topic_score_gemma":0.000039245482,"teacher_disagreement_score":0.39534461,"about_ca_system_score_codex":0.0000083542855,"about_ca_system_score_gemma":0.00004731886,"threshold_uncertainty_score":0.29089943},"labels":[],"label_agreement":null},{"id":"W2793134021","doi":"10.3138/md.61.1.120","title":"Magda Romanska and Alan Ackerman, eds., <i>Reader in Comedy: An Anthology of Theory and Criticism</i>","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Comedy; Criticism; Literature; Performance art; Art; Art history","score_opus":0.020277794064859824,"score_gpt":0.25739794894343765,"score_spread":0.23712015487857782,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793134021","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97626984,0.0012920108,0.000027357504,0.00042931526,0.00013935332,0.00008259039,0.000032044594,0.000025254645,0.021702256],"genre_scores_gemma":[0.9972144,0.00016217663,0.000030354879,0.0007004711,0.00027710557,0.0000064362357,0.00000628604,0.000013706042,0.0015890757],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99932563,0.000067857276,0.00016335495,0.00017390362,0.00006573724,0.00020350824],"domain_scores_gemma":[0.99966615,0.00006785617,0.000031308147,0.0001482006,0.000049155737,0.000037312366],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020534455,0.00011879219,0.00022192941,0.00008064855,0.00016540574,0.000041276315,0.00007298157,0.000042117295,0.00018853319],"category_scores_gemma":[0.000006310518,0.000096161595,0.000016387396,0.00001563001,0.0010995776,0.0002091395,0.00006271593,0.00008308405,0.0000099348745],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005227179,0.0003242714,0.041611373,0.00031773656,0.00010404534,0.000032065545,0.5827343,0.0000010841042,0.001574855,0.28212592,0.0026957882,0.08795585],"study_design_scores_gemma":[0.005463296,0.003725654,0.13410312,0.0003886558,0.00023848562,0.00013207886,0.061143003,0.00266069,0.00408487,0.44413298,0.34224984,0.0016773234],"about_ca_topic_score_codex":0.00011418419,"about_ca_topic_score_gemma":0.0033680983,"teacher_disagreement_score":0.5215913,"about_ca_system_score_codex":0.0000042666816,"about_ca_system_score_gemma":0.0000072500593,"threshold_uncertainty_score":0.40514398},"labels":[],"label_agreement":null},{"id":"W2793228803","doi":"","title":"Review of... Alan Filewod, Performing Canada: The Nation Enacted in the Imagined Theatre","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; History; Media studies; Visual arts; Art history; Art; Sociology","score_opus":0.019590348217479184,"score_gpt":0.2163679981003809,"score_spread":0.19677764988290172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793228803","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38047495,0.07338918,0.000038328722,0.0767553,0.00093748735,0.0015061252,0.00016192949,0.000079319805,0.46665737],"genre_scores_gemma":[0.9942685,0.0021770166,0.000005241021,0.002863243,0.00023375348,0.000027912634,0.000019717203,0.0000076166816,0.0003970385],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993352,0.00003446192,0.00019614503,0.00008941497,0.00018758157,0.000157167],"domain_scores_gemma":[0.99960226,0.000060935334,0.000062758394,0.00019961572,0.00006391652,0.000010527738],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022628625,0.00010098544,0.00014435952,0.000024859255,0.0002822493,0.000033363318,0.00020857372,0.000012417369,0.00016473027],"category_scores_gemma":[0.000013522371,0.000049015154,0.00004466137,0.000047067784,0.0000882706,0.00011514444,0.000023532779,0.0001360781,0.000005225312],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009075983,0.00029477724,0.002277041,0.004809281,0.00024826612,0.000026993457,0.564384,0.00053386326,0.00012451006,0.11175228,0.08694723,0.22851099],"study_design_scores_gemma":[0.0008107476,0.00009084664,0.0024478228,0.0033777568,0.000097904405,0.000015523345,0.014963747,0.0007534446,0.00012806118,0.009114994,0.96785563,0.00034350104],"about_ca_topic_score_codex":0.22848998,"about_ca_topic_score_gemma":0.6940316,"teacher_disagreement_score":0.8809084,"about_ca_system_score_codex":0.00005705255,"about_ca_system_score_gemma":0.0001362478,"threshold_uncertainty_score":0.77664757},"labels":[],"label_agreement":null},{"id":"W2793362681","doi":"10.3138/md.61.1.123","title":"David A. Shafter, <i>Antonin Artaud</i>","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Icon; Cruelty; Art; Art history; Literature; History; Sociology; Criminology; Computer science","score_opus":0.025120878346957202,"score_gpt":0.23819104560416057,"score_spread":0.21307016725720337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793362681","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43192846,0.0006060677,0.00011625238,0.0010123454,0.0009627896,0.00010161427,0.000034173714,0.00017706436,0.5650613],"genre_scores_gemma":[0.94652694,0.000032511693,0.00004287214,0.0010781965,0.0023766882,0.00001381813,0.000007002367,0.000018419347,0.04990357],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927413,0.0000119160995,0.00013787569,0.00017660222,0.0001268117,0.0002726614],"domain_scores_gemma":[0.9996086,0.00001578342,0.000033118497,0.00022427716,0.000075828924,0.000042397874],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000069490714,0.00013209764,0.0001424244,0.000041075662,0.00049543264,0.00014244068,0.00014310045,0.00002734334,0.0025589995],"category_scores_gemma":[0.000003666739,0.00010344076,0.000057177902,0.000018008184,0.00032226965,0.00020813217,0.00006569431,0.00007980804,0.0017432751],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017448765,0.00022806019,0.0033067442,0.00007205435,0.00020499213,0.000017208173,0.51046485,0.0000058865335,0.00076515775,0.11054588,0.22475268,0.14946198],"study_design_scores_gemma":[0.00023351802,0.00013845012,0.00024719723,0.000022487795,0.000017931561,0.0000021382473,0.0006953947,0.0004992742,0.00065166125,0.0065325843,0.99077684,0.00018251267],"about_ca_topic_score_codex":0.00013482761,"about_ca_topic_score_gemma":0.0017870124,"teacher_disagreement_score":0.7660242,"about_ca_system_score_codex":0.000012719382,"about_ca_system_score_gemma":0.000014357663,"threshold_uncertainty_score":0.999034},"labels":[],"label_agreement":null},{"id":"W2793762087","doi":"10.18432/ari29335","title":"In the Dark","year":2018,"lang":"en","type":"article","venue":"Art/Research International A Transdisciplinary Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Queer; Liminality; Art; Poetry; Politics; White (mutation); Resistance (ecology); Literature; Art history; Sociology; Aesthetics; Gender studies; Law","score_opus":0.11641712099928585,"score_gpt":0.3952389210773055,"score_spread":0.27882180007801965,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793762087","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29816547,0.00013314372,0.00002197199,0.05805265,0.0018330069,0.000121947174,0.000019687004,0.00001114402,0.64164096],"genre_scores_gemma":[0.98088026,0.00015439706,0.00002950782,0.0005359094,0.006495274,0.000019681427,0.0000045748507,0.000009358434,0.011871012],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982329,0.00017778517,0.00026131718,0.00013775367,0.0008070785,0.0003831616],"domain_scores_gemma":[0.9992168,0.00018998937,0.0000333538,0.00012611813,0.00037962524,0.00005410397],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0020638877,0.0000977356,0.00009665729,0.00031558637,0.0014191227,0.0004095114,0.0007446544,0.000020796026,0.007085581],"category_scores_gemma":[0.000022262742,0.000057687103,0.000084624466,0.00009832681,0.00088198367,0.0007009593,0.00007049823,0.0006703332,0.0010886765],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002603137,0.00026711833,0.000631282,0.000006766108,0.00008510255,0.00014641315,0.5113492,0.000004179615,0.00006129979,0.110504866,0.37401807,0.0026653886],"study_design_scores_gemma":[0.00047888167,0.00047023036,0.0021153188,0.000048213253,0.0000046480122,0.00020779992,0.045204304,0.00009741283,0.000026644508,0.06865634,0.8825905,0.00009971846],"about_ca_topic_score_codex":0.00001815964,"about_ca_topic_score_gemma":0.0021002153,"teacher_disagreement_score":0.6827148,"about_ca_system_score_codex":0.00005399859,"about_ca_system_score_gemma":0.00006265729,"threshold_uncertainty_score":0.9998809},"labels":[],"label_agreement":null},{"id":"W2793832266","doi":"10.3138/md.61.1.113","title":"Julia Jarcho, <i>Writing and the Modern Stage: Theater beyond Drama</i>","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Textuality; Literature; Art; Stage (stratigraphy); Visual arts; History","score_opus":0.019947306028144703,"score_gpt":0.23363248917562562,"score_spread":0.21368518314748092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793832266","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5466303,0.001597006,0.0002898945,0.003965325,0.00048832654,0.0003122854,0.00006279243,0.0001422282,0.44651183],"genre_scores_gemma":[0.9631777,0.000089386405,0.000041635496,0.001974595,0.0017290164,0.00003164231,0.00000548463,0.000031676074,0.032918856],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883026,0.00005866793,0.00023587816,0.00026971006,0.00020662144,0.00039888127],"domain_scores_gemma":[0.9993611,0.000100178564,0.00006200341,0.00031644263,0.0001085779,0.000051699208],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0003141569,0.00021521574,0.00025096806,0.00004483345,0.0013091699,0.00046449626,0.0002058377,0.000042538708,0.0005544168],"category_scores_gemma":[0.00000886533,0.0001268765,0.000078330064,0.00002252897,0.0014077852,0.00030410226,0.00017734585,0.00020101214,0.00015580321],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005122667,0.000074732045,0.0012979392,0.00011236362,0.00024907698,0.000008643268,0.6526397,0.00001746659,0.00024218568,0.19714916,0.012622762,0.13507369],"study_design_scores_gemma":[0.0038471916,0.0002948982,0.00046469644,0.000104018734,0.00014569717,0.000015116248,0.010387321,0.027960327,0.000603358,0.24264671,0.7127582,0.0007725074],"about_ca_topic_score_codex":0.00034451325,"about_ca_topic_score_gemma":0.0011270436,"teacher_disagreement_score":0.7001354,"about_ca_system_score_codex":0.000012963218,"about_ca_system_score_gemma":0.000016134896,"threshold_uncertainty_score":0.999991},"labels":[],"label_agreement":null},{"id":"W2794444217","doi":"","title":"A Conversation with Sara Lee Lewis: Celebrating Nova Scotia's Mermaid Theatre","year":2007,"lang":"fr","type":"article","venue":"Canadian Children's Literature / Littérature canadienne pour la jeunesse","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Nova scotia; Art history; Puppetry; Conversation; History; Visual arts; Sociology; Ethnology","score_opus":0.005355784312847671,"score_gpt":0.18361863804415995,"score_spread":0.1782628537313123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2794444217","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5527556,0.15110612,0.00006104467,0.14857645,0.0076164366,0.0022239678,0.009415629,0.0003287289,0.12791605],"genre_scores_gemma":[0.9706358,0.00060793187,0.00033088555,0.0035137783,0.009076506,0.000018516363,0.0016032803,0.00023561253,0.013977729],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99394035,0.00026116852,0.00088948023,0.0012734655,0.00043088105,0.0032046258],"domain_scores_gemma":[0.99518985,0.00029025125,0.0004186471,0.00096069707,0.00096013054,0.0021804513],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.0010358591,0.0014216958,0.0010213132,0.0010872473,0.0016862301,0.001930386,0.00067517813,0.0009956126,0.00096432253],"category_scores_gemma":[0.000068625726,0.0012435577,0.00034410413,0.0011781384,0.0010900192,0.0014028205,0.00006747227,0.002333529,0.00017920796],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004130256,0.0002018274,0.0328732,0.0009331538,0.0017558845,0.0029840816,0.18388942,0.000077620025,0.00008014024,0.71505666,0.038050972,0.023684045],"study_design_scores_gemma":[0.0019354754,0.0003321491,0.01436741,0.0029899245,0.00056514976,0.0013101936,0.016166035,0.000032971286,0.00019410854,0.00054374663,0.95957994,0.0019829199],"about_ca_topic_score_codex":0.4488767,"about_ca_topic_score_gemma":0.9885592,"teacher_disagreement_score":0.92152894,"about_ca_system_score_codex":0.001121599,"about_ca_system_score_gemma":0.001841364,"threshold_uncertainty_score":0.9999681},"labels":[],"label_agreement":null},{"id":"W2794782533","doi":"","title":"Canadian Young People's Theatre: Two Companies Elicit Audience Participation","year":2008,"lang":"fr","type":"article","venue":"Canadian Children's Literature / Littérature canadienne pour la jeunesse","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Globe; Humanities; Art; Political science; Media studies; Sociology; Psychology","score_opus":0.0076156835671930745,"score_gpt":0.1995495016361598,"score_spread":0.19193381806896673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2794782533","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6377819,0.10193624,0.000004913878,0.13182202,0.007478038,0.0013425132,0.014001817,0.0002156882,0.10541686],"genre_scores_gemma":[0.9492812,0.0040404364,0.000104669096,0.0026197624,0.007202921,0.00014192563,0.0016731533,0.00019974544,0.034736186],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9925797,0.00046035944,0.0009542457,0.0014003374,0.00043735313,0.0041679842],"domain_scores_gemma":[0.9926539,0.0002195012,0.000315986,0.0011942015,0.0010528871,0.0045635314],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.00054463936,0.001495364,0.0012398995,0.0013869801,0.005200652,0.0013211654,0.0010066499,0.0008366419,0.0011301056],"category_scores_gemma":[0.00013545371,0.0014732218,0.00047159713,0.0014411071,0.001160554,0.0013905014,0.0000848989,0.0021030374,0.00035564203],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000627071,0.000121449804,0.08815948,0.00026379837,0.00066484854,0.0014823492,0.20988631,0.00020064221,0.000008506707,0.6260574,0.06966228,0.0034302594],"study_design_scores_gemma":[0.0010723458,0.00014487824,0.10747493,0.00096160953,0.0003200559,0.0019402703,0.003418982,0.00014614749,0.000017847993,0.001533038,0.8810909,0.0018790169],"about_ca_topic_score_codex":0.9792869,"about_ca_topic_score_gemma":0.99988914,"teacher_disagreement_score":0.8114286,"about_ca_system_score_codex":0.0024994963,"about_ca_system_score_gemma":0.004845316,"threshold_uncertainty_score":0.999783},"labels":[],"label_agreement":null},{"id":"W2795279821","doi":"10.21083/csieci.v12i1.3913","title":"Safe To Play","year":2018,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Documentation; Queen (butterfly); Portfolio; Musical; Visual arts; Art; Sociology; Art history; Computer science","score_opus":0.09028143937240651,"score_gpt":0.38886557739699906,"score_spread":0.29858413802459255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2795279821","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7097436,0.0014164165,0.002295351,0.040878568,0.010566257,0.0029408135,0.00024100428,0.0011759539,0.230742],"genre_scores_gemma":[0.9897228,0.0001885176,0.0012537887,0.0038642953,0.0037394364,0.00034944943,0.000021832822,0.000044389686,0.0008155152],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972787,0.00016837778,0.000755633,0.0005877733,0.00040559075,0.0008039129],"domain_scores_gemma":[0.9978266,0.0007347012,0.00007097474,0.00031936355,0.00088357995,0.00016478254],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00092384376,0.00037912405,0.00047049834,0.00035149013,0.0008230107,0.00023723286,0.00025893332,0.000112103284,0.0005632847],"category_scores_gemma":[0.0021085574,0.00034064142,0.00009755027,0.00017358744,0.0014576226,0.0009915158,0.00022985051,0.0002662935,0.00030041693],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000166783,0.00020085809,0.0006601357,0.00035756978,0.00009175514,0.0000074812237,0.21128711,0.000003650389,0.001080281,0.7233427,0.008754675,0.054047],"study_design_scores_gemma":[0.0019935677,0.005270978,0.0069804643,0.00082058116,0.00023000086,0.00001834865,0.18014315,0.0008027234,0.010388927,0.054369967,0.73666507,0.0023162374],"about_ca_topic_score_codex":0.0004108652,"about_ca_topic_score_gemma":0.005867124,"teacher_disagreement_score":0.7279104,"about_ca_system_score_codex":0.0004750123,"about_ca_system_score_gemma":0.000083234656,"threshold_uncertainty_score":0.9999046},"labels":[],"label_agreement":null},{"id":"W2795387464","doi":"","title":"Playwright, Director, Educator, Mentor: Brian Way's Role in Canadian Children's Theatre","year":2008,"lang":"en","type":"article","venue":"Canadian Children's Literature / Littérature canadienne pour la jeunesse","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Globe; Art; Sociology; Political science; Psychology","score_opus":0.004711436587595251,"score_gpt":0.17397005749113173,"score_spread":0.16925862090353647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2795387464","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84640175,0.02444306,1.08407974e-7,0.01939183,0.0020303545,0.0010525403,0.0057656816,0.00018597058,0.10072871],"genre_scores_gemma":[0.9807767,0.00082223176,0.000033061067,0.0025567529,0.0045329025,0.00012248081,0.0020113352,0.0001864269,0.008958086],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9940542,0.00025617922,0.00071731844,0.0012584343,0.00034120397,0.003372677],"domain_scores_gemma":[0.9946396,0.00010215816,0.00017888146,0.0010685127,0.0003467553,0.0036640968],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042988142,0.0011793878,0.0009795661,0.0019470579,0.002014099,0.0008498371,0.0009992003,0.0006464581,0.001106656],"category_scores_gemma":[0.00006511072,0.001061925,0.00035369024,0.0009217929,0.00055501255,0.0008640258,0.000060487422,0.0016919445,0.0001645906],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000107856526,0.00023660764,0.35335198,0.000105570085,0.00081776484,0.001926394,0.1980422,0.000021789005,0.000027715601,0.3343168,0.10514674,0.005898595],"study_design_scores_gemma":[0.0009433824,0.00006666064,0.105122685,0.00035311404,0.00007781867,0.0006826042,0.0018148768,0.0000070568203,0.00003609648,0.00053418276,0.88902175,0.0013397797],"about_ca_topic_score_codex":0.96898496,"about_ca_topic_score_gemma":0.9996208,"teacher_disagreement_score":0.783875,"about_ca_system_score_codex":0.0016737118,"about_ca_system_score_gemma":0.0038690043,"threshold_uncertainty_score":0.99980646},"labels":[],"label_agreement":null},{"id":"W2795541806","doi":"","title":"\"Theatre for Young Audiences in Canada? I could rave for days!\" An Interview with Clem Martini","year":2008,"lang":"en","type":"article","venue":"Canadian Children's Literature / Littérature canadienne pour la jeunesse","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Sociology; Gender studies","score_opus":0.011975996897314519,"score_gpt":0.19110350181606225,"score_spread":0.17912750491874774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2795541806","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90897,0.014769816,0.000025636316,0.040601242,0.002043037,0.003612378,0.01509612,0.0001363087,0.014745457],"genre_scores_gemma":[0.9902873,0.00023822638,0.0002336497,0.002879047,0.0018196122,0.00043151237,0.0012147916,0.000104570805,0.0027913083],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967114,0.00011901661,0.0005233814,0.0008202104,0.0001935202,0.0016324942],"domain_scores_gemma":[0.9975837,0.00017312824,0.00017982235,0.00054048724,0.0005386091,0.000984243],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00040016396,0.0006750679,0.0007392624,0.00042511598,0.0011212989,0.00031948683,0.00056582724,0.00021991243,0.00008738773],"category_scores_gemma":[0.00004715909,0.0005327269,0.00016110456,0.0003646166,0.00030144703,0.000597601,0.000025474073,0.00059893786,0.0000028519892],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010124334,0.00023866749,0.09349371,0.0012393441,0.0009880256,0.0013610304,0.30677304,0.00018670589,0.000017773564,0.42417678,0.1502619,0.02025058],"study_design_scores_gemma":[0.0016597502,0.00033375667,0.016081113,0.0006942301,0.00010445,0.00038947762,0.009467802,0.00010278867,0.000028191627,0.0005701623,0.96948993,0.0010783456],"about_ca_topic_score_codex":0.9233658,"about_ca_topic_score_gemma":0.9999593,"teacher_disagreement_score":0.81922805,"about_ca_system_score_codex":0.0008246546,"about_ca_system_score_gemma":0.0038761855,"threshold_uncertainty_score":0.9997124},"labels":[],"label_agreement":null},{"id":"W2795645571","doi":"","title":"Frog Ponds and Peasant Revolt: Two Faces of Thriving Theatre for Children","year":2008,"lang":"fr","type":"article","venue":"Canadian Children's Literature / Littérature canadienne pour la jeunesse","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Peasant; Thriving; Humanities; Art; Ethnology; Geography; Sociology; Archaeology; Social science","score_opus":0.006913594878598638,"score_gpt":0.1920506255049457,"score_spread":0.18513703062634707,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2795645571","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6518344,0.28200984,0.0000053764024,0.032158505,0.0016745428,0.0012964971,0.021587398,0.0000738607,0.009359539],"genre_scores_gemma":[0.96629524,0.010531955,0.0002640142,0.00095063524,0.005442805,0.00008248653,0.0013280369,0.00017385882,0.014930975],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9956138,0.00022111334,0.0008083964,0.0010828591,0.0002540666,0.002019755],"domain_scores_gemma":[0.9963662,0.0003088807,0.00036915537,0.00079702906,0.0006913643,0.0014673874],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00048276558,0.0011217302,0.0012569448,0.0007762744,0.0021849873,0.0004767479,0.00060397194,0.00065980654,0.00022802634],"category_scores_gemma":[0.00011353784,0.0010124862,0.00045872785,0.00052674673,0.0013899119,0.00077806815,0.000097489006,0.0011689203,0.000010348035],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023022362,0.00021010693,0.08682186,0.0011417943,0.0020109515,0.00039720227,0.15035997,0.00003603564,0.000075493204,0.6740874,0.07073941,0.013889528],"study_design_scores_gemma":[0.002875138,0.00039021604,0.06936461,0.003038192,0.00068334746,0.0021317871,0.0036823864,0.000051263603,0.00012692242,0.0025378445,0.9131961,0.0019222127],"about_ca_topic_score_codex":0.18732394,"about_ca_topic_score_gemma":0.8319715,"teacher_disagreement_score":0.8424567,"about_ca_system_score_codex":0.00030134327,"about_ca_system_score_gemma":0.0011393485,"threshold_uncertainty_score":0.99923253},"labels":[],"label_agreement":null},{"id":"W2795960541","doi":"10.3138/ctr.125.001","title":"The State of the Nation","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"State (computer science); Political science; Art; Aesthetics; Sociology; Computer science","score_opus":0.01946198043600729,"score_gpt":0.2116613937422858,"score_spread":0.1921994133062785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2795960541","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002663865,0.35479203,1.9605791e-7,0.011921265,0.000575457,0.0003815952,0.000088804925,0.000012150973,0.62956464],"genre_scores_gemma":[0.86887246,0.0983446,0.0000021030685,0.0024409425,0.00069481664,0.000041215448,0.000010617512,0.000019006104,0.029574262],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995093,0.000036563775,0.00016546134,0.000054767916,0.00008047286,0.00015343657],"domain_scores_gemma":[0.9996246,0.00003538656,0.00005946463,0.00019698804,0.0000569737,0.00002657794],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017206318,0.00006673554,0.00011076615,0.000017840202,0.00055068324,0.000028455026,0.00016333294,0.000006463424,0.00018699294],"category_scores_gemma":[0.000004959687,0.000030119156,0.00008288124,0.000045939258,0.0001699637,0.000042971704,0.000010697329,0.000052922078,0.000044326072],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000018024657,0.000007211754,0.00041465097,0.00069788954,0.000045831508,8.843072e-7,0.0020398058,0.0000045497313,0.0000017896962,0.13447613,0.24222265,0.6200868],"study_design_scores_gemma":[0.000022219268,0.000005767851,0.0002624698,0.00040956563,0.000024189932,8.6180415e-7,0.00007244056,0.0000016556838,0.000008520668,0.0027946571,0.9963545,0.000043138924],"about_ca_topic_score_codex":0.08859522,"about_ca_topic_score_gemma":0.8491563,"teacher_disagreement_score":0.86620855,"about_ca_system_score_codex":0.000035371537,"about_ca_system_score_gemma":0.00010227634,"threshold_uncertainty_score":0.9174739},"labels":[],"label_agreement":null},{"id":"W2796215805","doi":"10.1353/tt.2018.0001","title":"2017 ATHE Presidential Address","year":2018,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Library science; Public relations; Computer science","score_opus":0.04031751066356336,"score_gpt":0.26297110775947746,"score_spread":0.2226535970959141,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796215805","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14254595,0.0002927458,0.0000052221812,0.0008562014,0.0016166721,0.00009430495,0.00002900252,0.00010675157,0.85445315],"genre_scores_gemma":[0.9125424,0.000068991576,0.000025257008,0.00028887222,0.012326981,0.000008492145,0.000006138296,0.000012988966,0.0747199],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942076,0.000017716153,0.000118805976,0.0001240587,0.0001109517,0.00020770961],"domain_scores_gemma":[0.9996223,0.000015017058,0.00003218184,0.00023863286,0.00006074522,0.000031153362],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006616685,0.00010677305,0.00012180505,0.00003272143,0.00049123465,0.00008716648,0.00016847711,0.000027461323,0.004265482],"category_scores_gemma":[0.0000025812228,0.00007763399,0.000056841647,0.000014008618,0.00032362403,0.00014723008,0.00006633599,0.000072359624,0.0008802484],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012329611,0.00011589773,0.0014047041,0.00007332623,0.00021582925,0.000012856766,0.20333716,0.0000012135744,0.00014779018,0.22980024,0.46294868,0.10181899],"study_design_scores_gemma":[0.0001586351,0.000118351876,0.00038421655,0.000016517206,0.000029071978,0.0000024740407,0.0015535905,0.000010488908,0.00052419904,0.002491869,0.9945887,0.00012191128],"about_ca_topic_score_codex":0.00026644053,"about_ca_topic_score_gemma":0.0022378655,"teacher_disagreement_score":0.77973324,"about_ca_system_score_codex":0.000008589373,"about_ca_system_score_gemma":0.000014021638,"threshold_uncertainty_score":0.99989766},"labels":[],"label_agreement":null},{"id":"W2796323969","doi":"10.21083/csieci.v12i1.4368","title":"Listening with Pauline in Belfast","year":2018,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Active listening; Queen (butterfly); The arts; Musical; Visual arts; Northern ireland; Media studies; Sociology; Art; Art history; Communication","score_opus":0.061040538642979696,"score_gpt":0.3540837131877488,"score_spread":0.2930431745447691,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796323969","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9337848,0.0012032242,0.00062033575,0.010921076,0.0019090222,0.0012474,0.00007110326,0.00045922317,0.04978383],"genre_scores_gemma":[0.99531573,0.000270685,0.00089903065,0.001019222,0.001857478,0.00026549073,0.000028456598,0.000042462187,0.00030143312],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9975156,0.00016477372,0.0007274173,0.0005257609,0.00035333837,0.0007131055],"domain_scores_gemma":[0.9983123,0.00061045156,0.000090997644,0.00024230691,0.0006609343,0.00008300025],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0008517182,0.00035881888,0.0004812281,0.00034677124,0.00052612706,0.00018404887,0.00018355729,0.000102410166,0.00017402836],"category_scores_gemma":[0.00089031464,0.00029363573,0.000059630802,0.00019318519,0.001853873,0.0011633284,0.00013588631,0.00034621998,0.000030595766],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005707958,0.00053031463,0.010357005,0.001080519,0.0001427166,0.000047454378,0.33726332,0.00001592567,0.00073707517,0.5835059,0.0009049617,0.06484398],"study_design_scores_gemma":[0.009923097,0.013902602,0.045170747,0.0041685575,0.0004940345,0.00008702077,0.68962365,0.0076460107,0.008203451,0.05446279,0.16137291,0.00494515],"about_ca_topic_score_codex":0.00075417233,"about_ca_topic_score_gemma":0.026536284,"teacher_disagreement_score":0.52904314,"about_ca_system_score_codex":0.00041158998,"about_ca_system_score_gemma":0.00008395419,"threshold_uncertainty_score":0.9999516},"labels":[],"label_agreement":null},{"id":"W2796395180","doi":"10.1353/tt.2018.0004","title":"Freedom Singer: Modeling Performative Witnessing in Documentary Theatre","year":2018,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Sympathy; Performing arts; Narrative; Aesthetics; Sociology; Personal narrative; Visual arts; Art; Literature; Psychology; Social psychology","score_opus":0.02832311015925135,"score_gpt":0.24711099341746315,"score_spread":0.2187878832582118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796395180","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48426682,0.0003953824,0.000057249403,0.001180858,0.0008642975,0.00014305509,0.000016728298,0.00009287588,0.5129827],"genre_scores_gemma":[0.9940384,0.000113326765,0.00018991291,0.0003333068,0.0037054582,0.0000108870145,0.000012470866,0.000020652154,0.001575578],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989296,0.00005265334,0.000292155,0.00019741921,0.00016182673,0.00036631007],"domain_scores_gemma":[0.99957806,0.000032435848,0.000048283513,0.00023664095,0.000063417465,0.000041147356],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000212269,0.00020903804,0.00025235018,0.00019262874,0.0007158265,0.0001218192,0.00017495686,0.000045563844,0.0011749852],"category_scores_gemma":[0.0000022742308,0.00015996146,0.000068561596,0.000063869986,0.00034949076,0.0005581917,0.00008696087,0.00024096163,0.00015109371],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023376277,0.00019010517,0.004557612,0.0001441421,0.00015018751,0.000014309798,0.75998557,0.00076841563,0.000065819055,0.032798473,0.0042208806,0.19687073],"study_design_scores_gemma":[0.0024697774,0.00090303726,0.00021968225,0.0008098588,0.00016750363,0.00002205201,0.1900817,0.084633194,0.0007127638,0.030563464,0.68792844,0.0014885245],"about_ca_topic_score_codex":0.0012458973,"about_ca_topic_score_gemma":0.0047140163,"teacher_disagreement_score":0.68370754,"about_ca_system_score_codex":0.00006171632,"about_ca_system_score_gemma":0.000037337843,"threshold_uncertainty_score":0.9997381},"labels":[],"label_agreement":null},{"id":"W2796948927","doi":"","title":"The Legerdemain (Play): Production, Vancouver, Canada, 2011","year":2011,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Production (economics); Business; Geography; Economics","score_opus":0.02408128406858003,"score_gpt":0.17595093293179878,"score_spread":0.15186964886321874,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796948927","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01348488,0.0004915303,0.0000020350087,0.0009784815,0.00788909,0.00011072961,0.000007298597,0.000054516295,0.97698146],"genre_scores_gemma":[0.5748393,0.000108307824,0.000012601369,0.0002790563,0.000825162,0.00001496592,7.206399e-7,0.000006859175,0.42391303],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994783,0.000011651395,0.000118728276,0.00009990095,0.00010301827,0.00018843323],"domain_scores_gemma":[0.999682,0.00002008392,0.000030504918,0.00016905525,0.000073961535,0.000024391944],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010954192,0.00008162239,0.00007034151,0.000012170562,0.0010342902,0.000023700912,0.000109741784,0.0000088490315,0.004118186],"category_scores_gemma":[0.0000054231487,0.00004291826,0.000023536208,0.000009570546,0.00015246766,0.00011762501,0.000024497946,0.000059511185,0.000116824616],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009561677,0.000008594912,0.00035904493,0.0000029760297,0.00002698514,7.186374e-7,0.011841135,1.7880441e-7,6.40534e-7,0.06670166,0.91888964,0.0021588448],"study_design_scores_gemma":[0.000039056078,0.00002203773,0.0004813834,0.0000024234278,0.000008280151,7.239765e-7,0.011427627,0.0000010680388,0.00020652755,0.0012549201,0.986474,0.00008199126],"about_ca_topic_score_codex":0.6440743,"about_ca_topic_score_gemma":0.9986009,"teacher_disagreement_score":0.5613544,"about_ca_system_score_codex":0.00001990247,"about_ca_system_score_gemma":0.00008401752,"threshold_uncertainty_score":0.9967922},"labels":[],"label_agreement":null},{"id":"W2799287584","doi":"10.24908/iqurcp.8052","title":"Educating the Heart: Fostering Hope Through Theatre in the AIDS Crisis in South Africa","year":2017,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Power (physics); Drama; Consciousness; Sociology; Gender studies; Public relations; Psychology; Political science; Visual arts; Art; Law","score_opus":0.24304488788502893,"score_gpt":0.3845292942059103,"score_spread":0.14148440632088138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2799287584","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48266974,0.0005052777,0.000007521106,0.15293637,0.00047262627,0.0010717487,0.000012211662,0.00006450847,0.36225998],"genre_scores_gemma":[0.99699575,0.0004655037,0.00003979799,0.00031581247,0.00091889827,0.00031815458,0.0000016510929,0.00002866839,0.00091575464],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9970742,0.00015687986,0.0004195308,0.0004917436,0.0008130962,0.0010445494],"domain_scores_gemma":[0.99846745,0.00033724986,0.00015024647,0.0005396699,0.00044757896,0.000057805137],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0029639683,0.00028367576,0.00035717373,0.00023636843,0.0031487867,0.0029005506,0.0016663972,0.00007041861,0.00007413804],"category_scores_gemma":[0.00024013939,0.00016079543,0.000093977374,0.00020113056,0.0016963484,0.0013518014,0.00084607163,0.001172655,0.00009175625],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055731372,0.00007320332,0.009043074,0.000106341824,0.000027219732,0.00000518404,0.8297334,0.0000010538699,0.000035947032,0.14500299,0.01065619,0.005259676],"study_design_scores_gemma":[0.00045248395,0.00028207432,0.0030135598,0.0004713616,0.0000142119625,0.000005724287,0.7366798,0.00009073007,0.000087839144,0.14205398,0.116519175,0.00032907166],"about_ca_topic_score_codex":0.0032775844,"about_ca_topic_score_gemma":0.001686562,"teacher_disagreement_score":0.51432604,"about_ca_system_score_codex":0.00010033818,"about_ca_system_score_gemma":0.00020936572,"threshold_uncertainty_score":0.998149},"labels":[],"label_agreement":null},{"id":"W2799552942","doi":"10.1162/pajj_r_00399","title":"Imagined Theatres: Writing for a Theoretical Stage","year":2018,"lang":"en","type":"article","venue":"PAJ A Journal of Performance and Art","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Council on International Law","funders":"","keywords":"Icon; Dramaturgy; Citation; Visual arts; The arts; Art; Performance studies; Performing arts; Art history; Library science; Computer science; Sociology","score_opus":0.0171163342008084,"score_gpt":0.2514832589665047,"score_spread":0.2343669247656963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2799552942","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9025839,0.0005327031,0.0002003048,0.0008414021,0.0005170017,0.000109422304,0.0000200683,0.000015894042,0.09517928],"genre_scores_gemma":[0.99402845,0.000491304,0.00022537376,0.00034969734,0.0029932884,0.000004493989,0.0000011730131,0.000011063497,0.001895164],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927276,0.000011598881,0.0002965645,0.00007888568,0.00011893525,0.00022126915],"domain_scores_gemma":[0.9994527,0.00007681228,0.00011849055,0.00007066563,0.00022652504,0.000054790933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038776468,0.0001106156,0.00020084671,0.00008084832,0.00045822503,0.00010482635,0.000093400435,0.000017568867,0.0007776636],"category_scores_gemma":[0.000014591118,0.00007176212,0.00007728211,0.000019714735,0.0006586815,0.00041347014,0.000026038842,0.00010618375,0.00003103374],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0021122557,0.0001960677,0.029701613,0.0006410399,0.00048102424,0.00001414894,0.1409456,0.0000044946246,0.0009151868,0.5921515,0.05455207,0.17828499],"study_design_scores_gemma":[0.0011350076,0.0018286059,0.0004885661,0.00024978392,0.00007080286,0.00004469634,0.007720319,0.0008171444,0.0009977716,0.0020220077,0.98441887,0.00020642106],"about_ca_topic_score_codex":0.0000012036451,"about_ca_topic_score_gemma":0.000015495943,"teacher_disagreement_score":0.9298668,"about_ca_system_score_codex":0.0000073239867,"about_ca_system_score_gemma":0.000025721585,"threshold_uncertainty_score":0.85148716},"labels":[],"label_agreement":null},{"id":"W2800318321","doi":"10.3138/ctr.174.015","title":"Navigating the Digital and the Real in Zuppa Theatre’s <i>The Archive of Missing Things</i>","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Front (military); Visual arts; Performance art; Art; Multimedia; Computer science; Art history; Geography","score_opus":0.017021751627129496,"score_gpt":0.240295225548915,"score_spread":0.2232734739217855,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800318321","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012941261,0.16260146,8.236513e-7,0.055040058,0.00035914095,0.0010937015,0.00018060973,0.000023970582,0.76775897],"genre_scores_gemma":[0.96130854,0.03260494,0.0000054874226,0.005164583,0.0006987723,0.000030356972,0.0000064017695,0.000018968898,0.00016196628],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897176,0.00014186125,0.00031988713,0.00014472999,0.000116858835,0.00030488725],"domain_scores_gemma":[0.9990763,0.00036872673,0.00010960528,0.00033371817,0.00004139869,0.00007026447],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071322796,0.0001609488,0.0003297311,0.00002003812,0.0009084398,0.00015027802,0.0003115805,0.00001845746,0.00010164804],"category_scores_gemma":[0.000026443737,0.000065543616,0.00010694791,0.00008086997,0.0017916237,0.00015677555,0.000055203924,0.0003047754,0.000020258607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020679068,0.0000065818726,0.0006333029,0.00048253228,0.00006936426,0.0000042454835,0.087745726,1.8100484e-7,0.0000012237426,0.03958797,0.0072111343,0.86423707],"study_design_scores_gemma":[0.00019554421,0.00004465506,0.00010231029,0.003882052,0.000084566505,0.000020548827,0.0059149293,0.00002689243,0.0000044750996,0.0046345415,0.98495674,0.00013273985],"about_ca_topic_score_codex":0.07933806,"about_ca_topic_score_gemma":0.29650772,"teacher_disagreement_score":0.9777456,"about_ca_system_score_codex":0.00002774137,"about_ca_system_score_gemma":0.00012278448,"threshold_uncertainty_score":0.92679274},"labels":[],"label_agreement":null},{"id":"W2800448683","doi":"10.3138/ctr.174.014","title":"Editorial: Remembering Performances","year":2018,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Aesthetics; History","score_opus":0.018524207219124806,"score_gpt":0.24892358105317705,"score_spread":0.23039937383405223,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800448683","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[4.5444975e-7,0.13926566,1.9624084e-8,0.00026521116,0.5765941,0.00025855546,0.00044531765,0.000058141897,0.2831125],"genre_scores_gemma":[0.000006273625,0.2636955,0.0000034329478,0.0003413018,0.72565866,0.00006952329,0.00033981743,0.00007074313,0.00981476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99746484,0.00006630803,0.00056907086,0.00048545786,0.00061625167,0.00079805776],"domain_scores_gemma":[0.9980584,0.00015021623,0.000225334,0.00067590544,0.00051355414,0.00037660523],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00064706174,0.00057283783,0.0010164678,0.00021289583,0.00095219613,0.0002406067,0.0006446958,0.00036338367,0.0070074783],"category_scores_gemma":[0.00010338872,0.00044971638,0.00031966457,0.00008524027,0.00037697755,0.0002873952,0.000068074245,0.00078541914,0.0028306516],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000031173713,0.0000035068815,0.0000012702608,0.004170747,0.00009884726,0.0000033743895,0.0009841827,2.765492e-8,1.7585826e-8,0.00016022078,0.977803,0.016771717],"study_design_scores_gemma":[0.00008848281,0.000087930326,9.504769e-8,0.010558837,0.00030838253,0.0000010456778,0.0001297437,4.233792e-7,2.9211608e-7,0.000061952516,0.98820716,0.00055564096],"about_ca_topic_score_codex":0.06778561,"about_ca_topic_score_gemma":0.6641101,"teacher_disagreement_score":0.5963245,"about_ca_system_score_codex":0.0003258856,"about_ca_system_score_gemma":0.00144577,"threshold_uncertainty_score":0.99979544},"labels":[],"label_agreement":null},{"id":"W2800894230","doi":"10.3138/ctr.174.012","title":"Braids of a River: Memory and Performance in the North","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Braid; Process (computing); Identity (music); Visual arts; History; Sociology; Aesthetics; Art; Computer science; Archaeology; Ecology","score_opus":0.023617535606711034,"score_gpt":0.2207497152500588,"score_spread":0.19713217964334775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800894230","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35251543,0.15526783,8.532883e-8,0.0022377882,0.00017433047,0.00041036142,0.000057360892,0.000009382526,0.4893274],"genre_scores_gemma":[0.93645954,0.06031681,0.0000059982985,0.0025060067,0.00027770453,0.0000144100595,0.000003839235,0.0000060620305,0.00040960682],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944746,0.000038715363,0.00016577278,0.00009360236,0.00006876271,0.00018565817],"domain_scores_gemma":[0.9996559,0.000027870125,0.000036865364,0.00018571822,0.00004086514,0.00005276927],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022298092,0.00009303418,0.00020938828,0.000070378606,0.00020515399,0.000014735253,0.00014978938,0.00001230188,0.0004329872],"category_scores_gemma":[0.000004850905,0.000055442197,0.000037300477,0.00007569871,0.00045687065,0.00009705912,0.0000132113055,0.000072065,0.000051744966],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000867583,0.000013264519,0.038845733,0.0029991409,0.000048685844,0.0000066501507,0.06709699,1.1392153e-7,2.0661379e-7,0.007712877,0.020300271,0.8629674],"study_design_scores_gemma":[0.00007223826,0.00011748821,0.015213345,0.0009579002,0.000037201462,0.0000071059158,0.00076986913,0.0000025923207,0.0000011657932,0.000063392305,0.9826696,0.00008812492],"about_ca_topic_score_codex":0.02182969,"about_ca_topic_score_gemma":0.6842392,"teacher_disagreement_score":0.9623693,"about_ca_system_score_codex":0.000016985812,"about_ca_system_score_gemma":0.000077434044,"threshold_uncertainty_score":0.98468405},"labels":[],"label_agreement":null},{"id":"W2802055665","doi":"10.3138/ctr.174.016","title":"“Because It’s Ritual, and We’re Living”: Living Ritual International Indigenous Performing Arts Festival","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aotearoa; Indigenous; Dance; Performing arts; The arts; Visual arts; Art; Media studies; Sociology; Anthropology; Gender studies; Ecology","score_opus":0.04472334065652122,"score_gpt":0.2660100041410483,"score_spread":0.22128666348452708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802055665","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06604347,0.24704525,0.000002726846,0.016154233,0.003242721,0.0009788563,0.00031281504,0.0001625372,0.6660574],"genre_scores_gemma":[0.86422044,0.11855418,0.000037976963,0.005749285,0.003973448,0.00004468796,0.000018602896,0.000048931262,0.007352473],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99861324,0.000051418643,0.0003294991,0.00029978872,0.00018162685,0.00052440213],"domain_scores_gemma":[0.99907327,0.00015096509,0.000088425455,0.0002523571,0.00013308092,0.00030189028],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00038623976,0.00027001317,0.00038324014,0.00017735544,0.0011750159,0.00020785727,0.00026380923,0.00005301404,0.0060919207],"category_scores_gemma":[0.000065928216,0.00022424078,0.00009646246,0.00005858026,0.0003728971,0.00037731533,0.00009309035,0.00020715763,0.00043346145],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006706106,0.00005993846,0.006566129,0.0018840827,0.00033011255,0.00005496561,0.19029139,2.074566e-7,0.0000025672373,0.005725621,0.1512185,0.6438598],"study_design_scores_gemma":[0.000060274637,0.000105266634,0.00036163325,0.007720069,0.00009387096,0.000051121388,0.004426899,0.000008678015,0.0000016488938,0.000060276067,0.98681515,0.00029513254],"about_ca_topic_score_codex":0.015782373,"about_ca_topic_score_gemma":0.5467164,"teacher_disagreement_score":0.8355966,"about_ca_system_score_codex":0.00013712008,"about_ca_system_score_gemma":0.00026735975,"threshold_uncertainty_score":0.99481666},"labels":[],"label_agreement":null},{"id":"W2802082766","doi":"10.24908/iqurcp.7449","title":"Audience Expectations of Autobiographical Performance","year":2017,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Presentation (obstetrics); Reflexivity; Aesthetics; Audience response; Psychology; Sociology; Social psychology; Visual arts; Art; Computer science; Social science","score_opus":0.15644122555419296,"score_gpt":0.36854203286686515,"score_spread":0.2121008073126722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802082766","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78117895,0.00010989847,0.000019968922,0.014008249,0.00041774783,0.00035664346,0.000016136819,0.00010233743,0.20379005],"genre_scores_gemma":[0.9948548,0.0014472244,0.00009021365,0.000016347523,0.00050083146,0.00010812934,0.0000034237528,0.000019646086,0.00295938],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99767715,0.000027441543,0.00038129333,0.00041732055,0.00080798735,0.00068879186],"domain_scores_gemma":[0.9971322,0.00010833148,0.00024391942,0.00038575238,0.0019950578,0.00013473231],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.0007830411,0.00021300754,0.00032762936,0.0004224385,0.0031718926,0.0008119981,0.0010391964,0.00006899741,0.00017030921],"category_scores_gemma":[0.000240171,0.00017565468,0.00010396498,0.00012835086,0.0052355314,0.0014965265,0.00040585033,0.00050466857,0.0001244949],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009745549,0.00012971909,0.029706886,0.00031158773,0.000104555926,0.0000026388605,0.0921469,4.14148e-7,0.0005554482,0.85677934,0.0070565036,0.013108553],"study_design_scores_gemma":[0.0032681455,0.0046123154,0.08307401,0.0031599056,0.00017495347,0.00002901811,0.31197393,0.003489567,0.01782562,0.32535926,0.24433357,0.0026997118],"about_ca_topic_score_codex":0.00048377816,"about_ca_topic_score_gemma":0.00021305682,"teacher_disagreement_score":0.53142005,"about_ca_system_score_codex":0.00004115203,"about_ca_system_score_gemma":0.00016965896,"threshold_uncertainty_score":0.99812585},"labels":[],"label_agreement":null},{"id":"W2802329740","doi":"","title":"Canadian drama and social reform a study of the selected plays of James Reaney and George Ryga","year":2000,"lang":"en","type":"dissertation","venue":"Shodhganga","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Drama; Social reform; Sociology; Political science; Art; Art history; Literature; Law; Politics","score_opus":0.010858157382965571,"score_gpt":0.21869850511560507,"score_spread":0.20784034773263949,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802329740","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9002748,0.00034337377,6.9680695e-10,0.0000869204,0.00020093922,0.00025632893,0.00020499955,0.000008917963,0.09862371],"genre_scores_gemma":[0.9799948,0.00011113462,6.7430483e-7,0.000032173815,0.00029845742,0.000013636998,0.00011481181,0.000018018987,0.019416312],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999294,0.000030781644,0.00022655661,0.000143839,0.00013379355,0.00017105324],"domain_scores_gemma":[0.9995958,0.00001815135,0.00012908681,0.00011286083,0.0001149688,0.00002912159],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007171276,0.00016628046,0.000319806,0.00011547214,0.00057263236,0.00003403586,0.00010135651,0.00008402794,0.00025692594],"category_scores_gemma":[0.000004872204,0.000111138084,0.00003871578,0.000050450144,0.00011473792,0.000057544265,0.000015201697,0.00016953667,0.0000011998676],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023537793,0.00010552516,0.0045266976,0.00041022137,0.00037039697,0.0000019000873,0.9762754,1.167564e-7,0.000031378302,0.0041038017,0.0062167076,0.0077225086],"study_design_scores_gemma":[0.0011039439,0.00069657457,0.1690023,0.00026207077,0.00056809565,0.000002868037,0.6739162,0.0000027966464,0.00035943158,0.00041688202,0.15313604,0.000532746],"about_ca_topic_score_codex":0.2531717,"about_ca_topic_score_gemma":0.93684417,"teacher_disagreement_score":0.6836725,"about_ca_system_score_codex":0.000041835967,"about_ca_system_score_gemma":0.0001541266,"threshold_uncertainty_score":0.7518015},"labels":[],"label_agreement":null},{"id":"W2803056767","doi":"10.24908/iqurcp.7962","title":"Theatre of the Inescapable and Single Thread Theater Company’s “Everyman”","year":2017,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Presentation (obstetrics); Aesthetics; Dream; Art; Perspective (graphical); Order (exchange); Psychology; Sociology; Visual arts","score_opus":0.16351221539319125,"score_gpt":0.3397354265102223,"score_spread":0.17622321111703107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803056767","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7307302,0.00018432939,0.0000038746666,0.027779834,0.00039832995,0.00046087918,0.000023310697,0.000051142124,0.24036811],"genre_scores_gemma":[0.9921839,0.00052360626,0.00001934105,0.000058904272,0.00049126137,0.00004159359,0.0000017280247,0.000024763629,0.0066549047],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9980415,0.000045451725,0.0003037985,0.0003626671,0.0006483373,0.00059825275],"domain_scores_gemma":[0.9981961,0.00010435212,0.00019989534,0.00044116552,0.0009665445,0.00009193854],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":["sts"],"category_scores_codex":[0.00077462324,0.00023415116,0.00035191324,0.00014029973,0.0026101612,0.0011580032,0.00093619735,0.000067805966,0.00012387744],"category_scores_gemma":[0.00008509387,0.00014118807,0.00008473549,0.00006128509,0.0045458255,0.0009604985,0.000806377,0.00044977854,0.00004300585],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020192818,0.00020106064,0.04960489,0.0004988304,0.0001888698,0.000002434965,0.08634902,3.862446e-7,0.00232873,0.82985586,0.019560242,0.011207751],"study_design_scores_gemma":[0.001803001,0.0012186941,0.023009317,0.001810807,0.00011262624,0.000022101185,0.06982494,0.00022434902,0.020875106,0.58626014,0.29385325,0.0009856542],"about_ca_topic_score_codex":0.0021777959,"about_ca_topic_score_gemma":0.0009496618,"teacher_disagreement_score":0.274293,"about_ca_system_score_codex":0.000042308136,"about_ca_system_score_gemma":0.00010137885,"threshold_uncertainty_score":0.9998789},"labels":[],"label_agreement":null},{"id":"W2803183534","doi":"10.3138/md.61.2.0894","title":"The Long Crisis of Irish Realism: A Phenomenological Reading","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Irish; Lifeworld; Transcendental number; Phenomenology (philosophy); Consciousness; Aesthetics; Postmodernism; Space (punctuation); Literature; History; Philosophy; Epistemology; Art","score_opus":0.04386276656361036,"score_gpt":0.2617161949284974,"score_spread":0.21785342836488705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803183534","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5063186,0.000714068,0.00016049256,0.002091133,0.00045235487,0.00010253031,0.000018518924,0.000077361015,0.4900649],"genre_scores_gemma":[0.99339086,0.000118336226,0.000020115698,0.00019785276,0.0009444829,0.000009068425,0.00000195747,0.000008812342,0.0053084907],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999374,0.000021456282,0.00016540015,0.00011826269,0.00011148795,0.00020945021],"domain_scores_gemma":[0.99955755,0.00005601805,0.00005907527,0.00020520849,0.000101049496,0.000021078149],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014239816,0.000087202156,0.00013581762,0.00002507943,0.00071618764,0.00008963434,0.00016438401,0.00002571306,0.00032186884],"category_scores_gemma":[0.000010503617,0.000049978727,0.00005162886,0.000020320078,0.00050092407,0.00009032149,0.000073362746,0.00007265654,0.00006404019],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027322554,0.00011937559,0.0014676489,0.000052953823,0.0002860696,0.0000068483146,0.47069976,0.0000057760917,0.00013270322,0.23458202,0.1850543,0.1073193],"study_design_scores_gemma":[0.00051712035,0.00084326585,0.0013330163,0.000061878105,0.00008870482,0.000005696567,0.04034491,0.0009872642,0.0007155653,0.07178676,0.88292444,0.00039139163],"about_ca_topic_score_codex":0.00026326178,"about_ca_topic_score_gemma":0.00079596305,"teacher_disagreement_score":0.69787014,"about_ca_system_score_codex":0.000011893555,"about_ca_system_score_gemma":0.000007895767,"threshold_uncertainty_score":0.55084085},"labels":[],"label_agreement":null},{"id":"W2803415738","doi":"10.7939/r3305p","title":"Intergenerational Theatre and the Role of Play","year":2009,"lang":"en","type":"article","venue":"University of Alberta Library","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aesthetics; Art","score_opus":0.004796197602233149,"score_gpt":0.14579577512348996,"score_spread":0.1409995775212568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803415738","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41749159,0.00041268804,5.475908e-7,0.002281597,0.000026501004,0.000031487245,0.0000054738566,0.0000050320195,0.5797451],"genre_scores_gemma":[0.9880107,0.00015430365,0.000026261885,0.00009967987,0.00006354016,1.8092324e-8,0.000006736041,0.0000013471724,0.011637385],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99983007,0.000012059635,0.000044155484,0.000040842282,0.000034276432,0.000038610142],"domain_scores_gemma":[0.99984455,0.00005849088,0.000028534507,0.000051342075,0.0000075096073,0.000009572654],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000013910169,0.0000360446,0.00007831936,0.000023594099,0.00012785477,0.000007648927,0.000073801355,0.000009671401,0.0010899953],"category_scores_gemma":[6.7551696e-7,0.000024551313,0.000034451492,0.000010152291,0.00025868905,0.0002647735,0.00003088822,0.000026160345,0.0000033785482],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022552653,0.00002534576,0.002402809,0.000005574975,0.000050427196,2.7098324e-7,0.15388478,0.000004112345,0.000021289707,0.8291964,0.008737073,0.0054463856],"study_design_scores_gemma":[0.0007930813,0.00012121814,0.0023590608,0.000026457446,0.000037040714,9.0142265e-7,0.027385302,0.00016541763,0.0005977021,0.013823148,0.954609,0.00008167845],"about_ca_topic_score_codex":0.00042777543,"about_ca_topic_score_gemma":0.0005208211,"teacher_disagreement_score":0.9458719,"about_ca_system_score_codex":7.372271e-7,"about_ca_system_score_gemma":0.0000087467315,"threshold_uncertainty_score":0.99982315},"labels":[],"label_agreement":null},{"id":"W2803962872","doi":"10.7551/mitpress/9780262036573.003.0010","title":"Eating in the City: Fidel Gastro, Street Performance, and the Right to the City","year":2017,"lang":"en","type":"book-chapter","venue":"The MIT Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Truck; Ambivalence; Performative utterance; Ethnography; Order (exchange); Right to the city; Politics; Sociology; Geography; Economy; Political science; Aesthetics; Engineering; Art; Business; Economics; Psychology; Law; Social psychology; Anthropology","score_opus":0.05173379309444505,"score_gpt":0.23570814732646414,"score_spread":0.18397435423201908,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803962872","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011122911,0.0012812598,0.0000010630143,0.0010550441,0.00033723182,0.0009706448,0.00011446706,0.000028773815,0.9850886],"genre_scores_gemma":[0.407414,0.00037077352,0.0000029727742,0.0009658082,0.0017018176,0.00013846836,0.000005332835,0.000029748055,0.5893711],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859273,0.00009092185,0.00033744695,0.00026506197,0.00034632406,0.0003674987],"domain_scores_gemma":[0.9981869,0.0003922826,0.00025558073,0.0010694248,0.0000656569,0.000030178835],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0010300807,0.0003988531,0.00041407303,0.0000455826,0.0030284375,0.0005591377,0.0012468942,0.00007694253,0.00016188383],"category_scores_gemma":[0.000014618713,0.0001414611,0.0001496337,0.0000023640657,0.0014158773,0.000092517796,0.00050495606,0.0007785707,0.000020550951],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003167002,0.00001203767,0.000318848,0.00012026488,0.0004075631,0.0000071061804,0.2323366,0.000009685273,4.5084573e-7,0.70110214,0.02369845,0.04167019],"study_design_scores_gemma":[0.00040638854,0.000069640315,0.00028210395,0.00035247227,0.00017566475,0.0000057784237,0.0012154526,0.00004680366,0.0000062592835,0.0054198415,0.9917959,0.000223718],"about_ca_topic_score_codex":0.0015892051,"about_ca_topic_score_gemma":0.019727906,"teacher_disagreement_score":0.96809745,"about_ca_system_score_codex":0.000015615582,"about_ca_system_score_gemma":0.000024918674,"threshold_uncertainty_score":0.9982695},"labels":[],"label_agreement":null},{"id":"W2803968131","doi":"10.3138/md.61.2.0860r","title":"The Banality of Addiction: Arthur Miller and Complicity","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Complicity; Miller; The Holocaust; Nazism; Spectacle; Literature; Psychoanalysis; Aesthetics; Art history; Art; Sociology; History; Philosophy; Law; Politics; Psychology; Theology; Political science","score_opus":0.03207458751770407,"score_gpt":0.23677263439739493,"score_spread":0.20469804687969087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803968131","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84600466,0.00082080544,0.000050598486,0.0006232751,0.000229242,0.000058726873,0.000030652405,0.000023943634,0.15215808],"genre_scores_gemma":[0.9950804,0.0000836054,0.0000059093954,0.00012368722,0.000495871,0.0000035551448,0.000001550288,0.0000037060347,0.004201716],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963945,0.00001429304,0.0001020379,0.00007403661,0.00007300462,0.00009717839],"domain_scores_gemma":[0.9997102,0.000033677392,0.000033694163,0.00012359592,0.00008276292,0.000016093069],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008681602,0.000056567813,0.00008502187,0.000010756396,0.0006755454,0.000044541444,0.00005492706,0.000012377212,0.00031432958],"category_scores_gemma":[0.0000032861506,0.000033642886,0.000026461345,0.000008968557,0.0006187019,0.000058437367,0.000038006692,0.000041385963,0.000022995511],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031884873,0.00014201415,0.012685913,0.0000722603,0.00052058697,8.881275e-7,0.19850856,0.000004901911,0.00033287867,0.41702893,0.091819435,0.27856478],"study_design_scores_gemma":[0.00024545225,0.00014423534,0.011899899,0.000015812746,0.000025470388,0.0000012223911,0.001598431,0.0012053202,0.00047987935,0.012285589,0.97198826,0.00011041299],"about_ca_topic_score_codex":0.00015423904,"about_ca_topic_score_gemma":0.003001005,"teacher_disagreement_score":0.88016886,"about_ca_system_score_codex":0.0000037120149,"about_ca_system_score_gemma":0.000004835082,"threshold_uncertainty_score":0.51958174},"labels":[],"label_agreement":null},{"id":"W2804793152","doi":"10.3138/md.61.2.251","title":"Irene Morra, <i>Verse Drama in England, 1900–2015: Art, Modernity and the National Stage</i>","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Modernity; Stage (stratigraphy); Art; Art history; History; Visual arts; Literature; Political science; Law; Geology","score_opus":0.027194602853823982,"score_gpt":0.24563903079417462,"score_spread":0.21844442794035063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2804793152","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7519638,0.00044349692,0.00009925995,0.0026491105,0.00037956456,0.00026092568,0.00011659574,0.00006778451,0.24401946],"genre_scores_gemma":[0.972923,0.000092951814,0.000023514449,0.0010638457,0.0011110745,0.00003249193,0.000013144141,0.000015517657,0.024724487],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989736,0.000062916886,0.00020992759,0.00021874637,0.0002683129,0.0002664627],"domain_scores_gemma":[0.9994982,0.00010817978,0.000060895938,0.00015279806,0.00013875622,0.00004116974],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038793997,0.00017076735,0.00021455152,0.00007123094,0.00056055223,0.00017906546,0.00014469793,0.00004286514,0.00068033434],"category_scores_gemma":[0.000027169059,0.000112016714,0.000052581632,0.000031090858,0.00085085625,0.00027853812,0.000101779886,0.00017628151,0.0001917195],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0019212158,0.00037380966,0.007124998,0.000120405406,0.00028574848,0.0000149921925,0.71310115,0.0004182233,0.00009810472,0.19587371,0.041011315,0.039656322],"study_design_scores_gemma":[0.0040880083,0.00010525163,0.0010932193,0.000030385916,0.000025721378,0.0000047524036,0.0020501628,0.029056624,0.00006445766,0.027937591,0.9352456,0.00029822573],"about_ca_topic_score_codex":0.0005100002,"about_ca_topic_score_gemma":0.014300704,"teacher_disagreement_score":0.8942343,"about_ca_system_score_codex":0.000029498757,"about_ca_system_score_gemma":0.00003201641,"threshold_uncertainty_score":0.79801285},"labels":[],"label_agreement":null},{"id":"W2805020679","doi":"10.3138/md.61.2.725r","title":"Reflecting on the Unknowns of History: Theatrical Ghosting, Transgenerational Remembrance, and Japanese Imperialism in the <i>Seoul Shimin</i> Play Series","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Television series; Ghosting; History; Peninsula; Annexation; Series (stratigraphy); Genealogy; Literature; Sociology; Art; Media studies; Political science; Law; Archaeology; Computer science","score_opus":0.07116269946875406,"score_gpt":0.27329948289718997,"score_spread":0.2021367834284359,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2805020679","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90261286,0.0005246941,0.0000034289274,0.0025070813,0.0003568482,0.0001493874,0.000016413349,0.000019019995,0.093810245],"genre_scores_gemma":[0.9959481,0.000055972392,0.000011637939,0.0007329457,0.0013667402,0.000024625098,0.0000036459917,0.000011818511,0.0018445381],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918884,0.00008727311,0.00020388636,0.00015667838,0.00018613233,0.00017719697],"domain_scores_gemma":[0.99951166,0.00017913427,0.000060709885,0.0001740761,0.000059734004,0.000014670391],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003450065,0.00013174521,0.00015875325,0.00004409677,0.00051386724,0.000060967475,0.00015577725,0.0000353637,0.0002164349],"category_scores_gemma":[0.000027000586,0.00006895196,0.00004418177,0.000033819484,0.00055458245,0.00013336544,0.00002229752,0.0001475207,0.0000057674524],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027972372,0.00007439982,0.0002454689,0.00003746046,0.00003838825,0.0000021898788,0.8796099,0.00002224591,0.0032638432,0.108214565,0.0062416987,0.0019701303],"study_design_scores_gemma":[0.001301088,0.0012297219,0.0017956576,0.00018101158,0.000093605464,0.000029692605,0.031015936,0.0016763484,0.004393075,0.009733297,0.94794995,0.0006006327],"about_ca_topic_score_codex":0.0002784063,"about_ca_topic_score_gemma":0.0035567626,"teacher_disagreement_score":0.9417082,"about_ca_system_score_codex":0.000026498474,"about_ca_system_score_gemma":0.000028988463,"threshold_uncertainty_score":0.39523032},"labels":[],"label_agreement":null},{"id":"W2806953938","doi":"10.7939/r38g8fp30","title":"Intracultural theatre in Canada: Rahul Varma's 'Counter Offence' and 'Bhopal'","year":2016,"lang":"en","type":"article","venue":"University of Alberta Library","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Law; History; Political science; Sociology","score_opus":0.006280221921622273,"score_gpt":0.13583611994468509,"score_spread":0.1295558980230628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2806953938","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8559218,0.00012648119,1.9947095e-7,0.0039662234,0.00009173482,0.000042363543,0.000019714478,0.0000073128544,0.13982415],"genre_scores_gemma":[0.97821313,0.0002656243,0.0000103029215,0.00014898952,0.000068371475,7.327602e-8,0.000004028958,0.0000040782425,0.021285411],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996357,0.000014131228,0.00006873839,0.00009952778,0.000057408943,0.00012446808],"domain_scores_gemma":[0.9997715,0.00008636117,0.000031004973,0.000069636495,0.000009277409,0.000032271942],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000127703315,0.00007667443,0.00012520468,0.000042101554,0.00010855024,0.00001164469,0.00011047828,0.000015351918,0.0028289522],"category_scores_gemma":[0.0000011591193,0.000051376155,0.000022368778,0.000019522862,0.00018846797,0.0007306697,0.00007677617,0.000042429092,0.000009272728],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046253763,0.00007010473,0.5219945,0.00011913097,0.0001882058,0.00006258956,0.23348476,0.0000018105995,0.000092334885,0.041021504,0.16455206,0.03795048],"study_design_scores_gemma":[0.000820221,0.00005635407,0.043753233,0.00015106329,0.000019376555,0.0000027629849,0.025852947,0.00001332079,0.00014754279,0.00030316444,0.9286734,0.0002066134],"about_ca_topic_score_codex":0.7214786,"about_ca_topic_score_gemma":0.96941435,"teacher_disagreement_score":0.76412135,"about_ca_system_score_codex":0.000023535216,"about_ca_system_score_gemma":0.00011703418,"threshold_uncertainty_score":0.9980826},"labels":[],"label_agreement":null},{"id":"W2807462986","doi":"10.12745/et.21.1.3261","title":"Putting On and Removing the Mask: Layers of Performance Pretence","year":2018,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Moment (physics); Aesthetics; Identity (music); Sequence (biology); Transformation (genetics); Action (physics); Subject (documents); Event (particle physics); Affect (linguistics); Visual arts; Psychology; Art; Communication; Computer science; Biology; Physics","score_opus":0.01841115456896614,"score_gpt":0.20508904749092707,"score_spread":0.18667789292196094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2807462986","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7677018,0.0001881948,0.0000011308048,0.00034757343,0.00019664393,0.00006833217,0.0000047176377,0.00002308784,0.23146854],"genre_scores_gemma":[0.99685127,0.00007627207,0.0000448803,0.00014114093,0.00078189303,0.0000037212446,3.8264744e-7,0.000009292692,0.0020911589],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999455,0.000019894484,0.0001230782,0.00011798228,0.00011578258,0.00016829187],"domain_scores_gemma":[0.99964094,0.00006816203,0.000055669552,0.00017468454,0.00004257958,0.000017973869],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016937352,0.00009591046,0.000107812135,0.000032576245,0.0005662753,0.00005330505,0.000119718556,0.000017387492,0.00017684502],"category_scores_gemma":[0.000005112955,0.000055062195,0.000029820312,0.000027304739,0.00049646647,0.00015740357,0.000049683353,0.00009284767,0.00004641468],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018336978,0.00004014943,0.06334996,0.000151103,0.00012801288,0.0000018405628,0.3960368,0.000008298295,0.00044553218,0.041239753,0.0019979961,0.49641716],"study_design_scores_gemma":[0.0012479825,0.0049132905,0.10231157,0.0013535706,0.00016539535,0.000020457284,0.03919037,0.0012354692,0.011176217,0.00460317,0.83288133,0.0009011745],"about_ca_topic_score_codex":0.00012955374,"about_ca_topic_score_gemma":0.00017057343,"teacher_disagreement_score":0.8308833,"about_ca_system_score_codex":0.000005408716,"about_ca_system_score_gemma":0.000008622075,"threshold_uncertainty_score":0.43553895},"labels":[],"label_agreement":null},{"id":"W2807760114","doi":"10.1386/jepc.9.1.43_1","title":"Entangled states: Putting affect theory into play with John Burnside’s A Summer of Drowning","year":2018,"lang":"en","type":"article","venue":"Journal of European Popular Culture","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Burman University","funders":"","keywords":"Affect (linguistics); Mathematics; Psychology; Communication","score_opus":0.019066784604316076,"score_gpt":0.24177441631358287,"score_spread":0.2227076317092668,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2807760114","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8940382,0.0029140783,0.00011543347,0.00020101269,0.0006236266,0.00011939885,0.0000132493005,0.00002993351,0.10194506],"genre_scores_gemma":[0.9933621,0.00014669716,0.0005171059,0.00023154162,0.0023391217,3.68225e-7,0.0000043512578,0.000032402233,0.0033663071],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988173,0.00021304277,0.000416543,0.000109072455,0.00024932966,0.0001946863],"domain_scores_gemma":[0.9989084,0.000021268615,0.00051140814,0.0001296905,0.000367996,0.00006123862],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007493348,0.0001776813,0.00031290323,0.0000999461,0.00034677616,0.0000922814,0.00019529308,0.000020128535,0.00026183922],"category_scores_gemma":[0.00003888518,0.0000966602,0.0001386345,0.000052111907,0.00026700232,0.00032413864,0.000052224757,0.00025688563,0.00002813081],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007758072,0.00017600763,0.007899951,0.00020707768,0.0011614753,0.00035560373,0.91237086,0.000042108088,0.003067834,0.022021398,0.043288846,0.008633058],"study_design_scores_gemma":[0.001523558,0.003079269,0.0009374644,0.0013808894,0.00035744387,0.0001983978,0.06730339,0.000008673001,0.0016790907,0.0016203797,0.92155087,0.00036060467],"about_ca_topic_score_codex":0.00001578479,"about_ca_topic_score_gemma":0.00019127168,"teacher_disagreement_score":0.878262,"about_ca_system_score_codex":0.000020078587,"about_ca_system_score_gemma":0.00001607204,"threshold_uncertainty_score":0.39416888},"labels":[],"label_agreement":null},{"id":"W2808472721","doi":"","title":"Library Guides: THEA 208/CMLIT 112N: US & Canada","year":2016,"lang":"en","type":"libguides","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Political science","score_opus":0.018367766492635686,"score_gpt":0.19679736399673065,"score_spread":0.17842959750409496,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2808472721","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002967892,0.0070931334,3.548859e-7,0.005928437,0.0064612697,0.0001960636,0.0020496023,0.0002407596,0.9777336],"genre_scores_gemma":[0.001606327,0.0047802744,0.000034204368,0.0076652598,0.0109971175,0.000037641887,0.00024116391,0.000097820586,0.9745402],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982118,0.00003218146,0.00048372397,0.0003695437,0.00035279733,0.0005499626],"domain_scores_gemma":[0.9990066,0.00016502988,0.00015495963,0.0004929463,0.00007847883,0.0001019731],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000055836746,0.00048564642,0.00057799165,0.00010796928,0.0005639331,0.0002657985,0.0005240506,0.00012895509,0.07031558],"category_scores_gemma":[0.000009456876,0.00027910806,0.00017234815,0.000024357045,0.00026253826,0.0004637904,0.00021269337,0.00026284906,0.00053306104],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010700803,0.000008690946,0.00023193086,0.00012897667,0.00018010939,0.000014950351,0.0012337896,1.1256165e-7,1.4514512e-7,0.021817472,0.96788234,0.008490765],"study_design_scores_gemma":[0.00014238435,0.000050257775,0.000057898276,0.00027143775,0.000054527336,0.0000025908048,0.0011905108,6.719815e-7,0.000018682917,0.0009963631,0.9967167,0.00049797783],"about_ca_topic_score_codex":0.6537196,"about_ca_topic_score_gemma":0.94410795,"teacher_disagreement_score":0.29038835,"about_ca_system_score_codex":0.00006461631,"about_ca_system_score_gemma":0.0009325508,"threshold_uncertainty_score":0.9999661},"labels":[],"label_agreement":null},{"id":"W2810345089","doi":"10.1080/23322551.2018.1467609","title":"Of human spatial architectonics: production maquettes by Michael Levine","year":2018,"lang":"en","type":"article","venue":"Theatre & Performance Design","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Performative utterance; Dramaturgy; Space (punctuation); Opera; Sociology; Conceptualization; Emphasis (telecommunications); Architecture; Aesthetics; Visual arts; Art; Computer science; Philosophy; Linguistics; Artificial intelligence","score_opus":0.028911961512152078,"score_gpt":0.23365673332440037,"score_spread":0.2047447718122483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810345089","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94301337,0.0004925311,0.00022000418,0.0005608701,0.0007725247,0.00041380883,0.000036241945,0.00015258028,0.054338094],"genre_scores_gemma":[0.9929891,0.00016021366,0.00015356221,0.000098847515,0.0020900087,0.000034747507,0.0000251146,0.00003572044,0.0044126767],"study_design_codex":"design_other","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.9986164,0.0000614082,0.00038839702,0.00029324018,0.0002438679,0.00039671778],"domain_scores_gemma":[0.9992221,0.00003449223,0.00015916469,0.00037327563,0.00016428997,0.00004667898],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003622657,0.0002656282,0.00033376494,0.00014044692,0.0007461424,0.000043001906,0.00025076492,0.000047236197,0.0009733653],"category_scores_gemma":[0.0000054905736,0.00020873865,0.00008075976,0.00007117548,0.000910456,0.00032716396,0.000056009896,0.00016500281,0.0001467165],"study_design_candidate":"bench_or_experimental","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017672323,0.0009058942,0.011025424,0.0009003263,0.0006573458,0.0000031818195,0.17649414,0.00013160388,0.14222534,0.007625323,0.17334312,0.48492107],"study_design_scores_gemma":[0.0018198517,0.008592294,0.0027217588,0.00058245356,0.00032177483,0.00003004592,0.004591184,0.0014399478,0.6341814,0.002598495,0.34150267,0.0016181438],"about_ca_topic_score_codex":0.00034904355,"about_ca_topic_score_gemma":0.0005646365,"teacher_disagreement_score":0.49195606,"about_ca_system_score_codex":0.000028962895,"about_ca_system_score_gemma":0.00003813251,"threshold_uncertainty_score":0.99993986},"labels":[],"label_agreement":null},{"id":"W2810374612","doi":"10.3138/ecf.30.4.611","title":"<i>Antitheatricality and the Body Public</i> by Lisa A. Freeman","year":2018,"lang":"en","type":"article","venue":"Eighteenth-Century Fiction","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.013290437257090549,"score_gpt":0.20972116373835478,"score_spread":0.19643072648126422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810374612","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19513614,0.018974682,0.00009185875,0.007561639,0.004680757,0.00062066247,0.0001756069,0.00031454058,0.7724441],"genre_scores_gemma":[0.9869268,0.0074000857,0.000007271351,0.000558146,0.0024943275,0.000023311026,0.000037844067,0.000012991623,0.002539253],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99903816,0.0000801479,0.0002131699,0.00022116305,0.0001911633,0.00025616854],"domain_scores_gemma":[0.9994776,0.000065803055,0.00007864356,0.00022618438,0.000098246375,0.00005350001],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00028247805,0.00015493987,0.0001732195,0.000046484172,0.0013589354,0.00027238872,0.00012476034,0.000042338896,0.001578636],"category_scores_gemma":[0.000012322813,0.000090114656,0.0000722986,0.000054988206,0.0009359749,0.00035882322,0.00007176015,0.00013715924,0.00013971401],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015136173,0.0001158328,0.001437275,0.00001822138,0.00009517498,3.6107147e-7,0.010580356,2.415491e-8,0.00003896689,0.21334334,0.76797175,0.006247348],"study_design_scores_gemma":[0.0008011192,0.00010605177,0.00039879524,0.000008422367,0.000046206915,0.000002079735,0.0011531666,0.000066845845,0.00010710518,0.00022906989,0.9969519,0.00012928096],"about_ca_topic_score_codex":0.0002804036,"about_ca_topic_score_gemma":0.0001912596,"teacher_disagreement_score":0.7917906,"about_ca_system_score_codex":0.000021610333,"about_ca_system_score_gemma":0.000009169718,"threshold_uncertainty_score":0.9999412},"labels":[],"label_agreement":null},{"id":"W2810433174","doi":"10.3138/ctr.175.007","title":"Violence, Speech, and Reality: The Case of <i>Cinq Visages pour Camille Brunelle</i>","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.029213540474973314,"score_gpt":0.25633324741993047,"score_spread":0.22711970694495714,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810433174","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03150706,0.53466505,7.8199065e-7,0.010993104,0.00037287112,0.0006455395,0.00035770188,0.000032653672,0.42142525],"genre_scores_gemma":[0.7335111,0.25950027,0.000011599849,0.0038035014,0.00092901435,0.000017000046,0.00000649937,0.000019999094,0.0022010289],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991466,0.000074717194,0.0002579016,0.00017285056,0.000065320266,0.00028262354],"domain_scores_gemma":[0.9992378,0.000070281705,0.000078624,0.00035764993,0.00011071417,0.00014498374],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034201305,0.00016408467,0.00034112594,0.00005490001,0.00060907233,0.00003601807,0.00015061646,0.00002740692,0.0012093561],"category_scores_gemma":[0.000013356918,0.00009801908,0.00008407961,0.00006900277,0.000633337,0.000076574644,0.000034884502,0.00009753019,0.00010016504],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000048274724,0.000011599214,0.00029096773,0.0015734994,0.00010165554,0.0001638719,0.0067257304,5.991118e-8,0.0000020807097,0.023877518,0.15954122,0.80770695],"study_design_scores_gemma":[0.00007988824,0.00006447598,0.000035192807,0.0025215824,0.00013556817,0.00031127495,0.002831367,0.0000042796164,0.000015409685,0.0010076925,0.99285054,0.00014272511],"about_ca_topic_score_codex":0.2116682,"about_ca_topic_score_gemma":0.7679631,"teacher_disagreement_score":0.83330935,"about_ca_system_score_codex":0.000027702466,"about_ca_system_score_gemma":0.0001463218,"threshold_uncertainty_score":0.99970365},"labels":[],"label_agreement":null},{"id":"W2810467021","doi":"10.3138/ctr.175.015","title":"In Search of an Ignorant Critic","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Wonder; Mainstream; Criticism; Aesthetics; Work (physics); Sociology; Epistemology; Art; Philosophy; Literature; Engineering","score_opus":0.045233834553135385,"score_gpt":0.2873827114408867,"score_spread":0.24214887688775127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810467021","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056524556,0.17284644,2.8560225e-7,0.005348505,0.00054735894,0.00053908274,0.00016014828,0.00002132126,0.76401234],"genre_scores_gemma":[0.9762401,0.018944489,0.000012232935,0.003131328,0.00067463977,0.000014156405,0.00000848318,0.000014138774,0.00096040627],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929464,0.00005282237,0.00019877378,0.00011413773,0.00007573495,0.00026386458],"domain_scores_gemma":[0.99953485,0.000016899075,0.000017731498,0.00021494082,0.000084951884,0.00013060667],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025068133,0.00008902708,0.00025570922,0.00012005229,0.00013437355,0.000016293474,0.00014249451,0.000016514483,0.005012691],"category_scores_gemma":[0.000005432307,0.00006912341,0.000047039837,0.00006906939,0.00027129738,0.00015770181,0.000009900906,0.00006930141,0.00023763558],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020868594,0.0001110971,0.001358646,0.009295903,0.000097302494,0.000097304386,0.058550276,5.0435e-7,0.000020451902,0.15506096,0.06867975,0.70670694],"study_design_scores_gemma":[0.000074556825,0.00012767976,0.00010379642,0.001665109,0.000022587896,0.000004617911,0.000953414,0.0000055186833,0.000030874282,0.00044902178,0.9964571,0.0001057533],"about_ca_topic_score_codex":0.1424758,"about_ca_topic_score_gemma":0.8417328,"teacher_disagreement_score":0.92777735,"about_ca_system_score_codex":0.000041413583,"about_ca_system_score_gemma":0.00016720816,"threshold_uncertainty_score":0.9958969},"labels":[],"label_agreement":null},{"id":"W2810674824","doi":"10.3138/ctr.175.008","title":"Mobilizing a Slow Theatre Movement through an <i>Atypique</i>. Artist Perspective","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Slowness; Dance; Value (mathematics); Visual arts; Movement (music); Aesthetics; Art; Perspective (graphical); Sociology","score_opus":0.03412767157870243,"score_gpt":0.27174452217020256,"score_spread":0.23761685059150012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810674824","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012698926,0.1473232,0.0000032020478,0.0064421715,0.00058707903,0.00072998006,0.00017940038,0.000104441555,0.8433606],"genre_scores_gemma":[0.7106416,0.20099093,0.00029178732,0.06815095,0.008942886,0.00042703928,0.00011352386,0.0001963518,0.010244902],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982887,0.00010492467,0.0003445198,0.00043481681,0.00017641379,0.0006506292],"domain_scores_gemma":[0.99871945,0.000028749015,0.00008600884,0.00059727614,0.00025335661,0.0003151479],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027588973,0.00033632133,0.00049349334,0.000084678606,0.0010508318,0.00013031418,0.00030642477,0.000049163824,0.0052977935],"category_scores_gemma":[0.00000859711,0.00025906527,0.00018549788,0.00011438207,0.00050777994,0.00056498434,0.000036314355,0.00018819496,0.0008310476],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025272067,0.000106877116,0.00031099815,0.0012065319,0.0003231164,0.000042103566,0.086224206,5.055324e-7,0.000016115444,0.57715327,0.16363835,0.17095265],"study_design_scores_gemma":[0.00012966442,0.0002759752,0.000022669306,0.0014575408,0.00012630747,0.000008675712,0.009373984,0.0000047503468,0.00003083097,0.007238486,0.9809791,0.0003520076],"about_ca_topic_score_codex":0.14017591,"about_ca_topic_score_gemma":0.7422799,"teacher_disagreement_score":0.8331157,"about_ca_system_score_codex":0.00035436868,"about_ca_system_score_gemma":0.00030636473,"threshold_uncertainty_score":0.9999862},"labels":[],"label_agreement":null},{"id":"W287181603","doi":"","title":"Post-WWII Theatre Recognized Or Yes Virginia, there was theatre in Canada before 1967","year":2013,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"World War II; Performance art; Visual arts; Art; History; Art history; Media studies; Sociology; Archaeology","score_opus":0.014657774158915926,"score_gpt":0.19083514264171675,"score_spread":0.17617736848280083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W287181603","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45903394,0.000009604896,3.4010597e-7,0.0006934721,0.00029138784,0.0005028664,0.00015211727,0.00007844145,0.5392378],"genre_scores_gemma":[0.984513,0.012296582,0.000037337857,0.0004290992,0.00035696186,0.0000143636735,0.000043471788,0.000044561475,0.0022646608],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99839944,0.00010649067,0.00025185925,0.00040102054,0.0002379419,0.0006032569],"domain_scores_gemma":[0.99915737,0.000117511554,0.00010696888,0.00036345696,0.00016522851,0.00008943975],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008168196,0.00037101007,0.00043401675,0.0025415644,0.0004894559,0.00011212918,0.00044469995,0.00007584555,0.0032048523],"category_scores_gemma":[0.0000084887815,0.00027196005,0.00012788473,0.00097590353,0.00016489692,0.00073887093,0.00017828136,0.0003135521,0.00016216916],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013735286,0.00048238,0.031044658,0.0004093855,0.0008187677,0.00077251066,0.39622226,0.000017022852,0.000010333056,0.0044630435,0.009373979,0.5550121],"study_design_scores_gemma":[0.0010858042,0.0002373681,0.00080331566,0.00009940739,0.00006031952,0.000005740045,0.058480866,0.000047006895,0.000036283538,0.0000075965636,0.9387641,0.00037220411],"about_ca_topic_score_codex":0.9934669,"about_ca_topic_score_gemma":0.99943113,"teacher_disagreement_score":0.92939013,"about_ca_system_score_codex":0.0005426645,"about_ca_system_score_gemma":0.0018561493,"threshold_uncertainty_score":0.99997324},"labels":[],"label_agreement":null},{"id":"W2879403578","doi":"10.16995/bst.58","title":"Robert Lepage’s Scenographic Dramaturgy: The Aesthetic Signature at Work","year":2013,"lang":"en","type":"article","venue":"Body Space & Technology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Scenography; Extant taxon; Scholarship; Aesthetics; Visual arts; History; Literature; Art; Law","score_opus":0.005935969646964585,"score_gpt":0.1873498592170994,"score_spread":0.18141388957013482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2879403578","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77136034,0.012219172,0.000006149433,0.10114265,0.0009769866,0.0007627365,0.000007787023,0.0010519596,0.11247219],"genre_scores_gemma":[0.9613012,0.00034599725,0.000031699932,0.0005814193,0.00024040512,0.00014690253,0.0000050547105,0.000030478877,0.03731683],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988965,0.000024846666,0.00017102472,0.00026241405,0.00014294487,0.0005023023],"domain_scores_gemma":[0.999192,0.00003301884,0.000087522705,0.0005561846,0.000094730465,0.00003655182],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000085603126,0.00024757095,0.0002505366,0.0002387765,0.00084287283,0.00012379895,0.00043880267,0.0002066571,0.0014260603],"category_scores_gemma":[0.000010277275,0.00014911062,0.00011250211,0.00023830342,0.0011871699,0.00014103678,0.00023649329,0.00050176564,0.0012660454],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045247187,0.00012236125,0.011070719,0.00003507298,0.00016469607,0.000017596625,0.017255843,0.000009216315,0.0004042545,0.43047783,0.5092832,0.031114003],"study_design_scores_gemma":[0.00018392134,0.00011483352,0.0006933888,0.000040244686,0.00003538034,0.000021085993,0.0034251448,0.000010548298,0.00015356977,0.00918868,0.98589486,0.0002383185],"about_ca_topic_score_codex":0.00021768908,"about_ca_topic_score_gemma":0.0015944587,"teacher_disagreement_score":0.47661173,"about_ca_system_score_codex":0.000031841406,"about_ca_system_score_gemma":0.000013900866,"threshold_uncertainty_score":0.9995116},"labels":[],"label_agreement":null},{"id":"W2883470419","doi":"10.1353/dtc.2018.0008","title":"Trembling Specters: Barrie Kosky's Women of Troy as Post-Tragedy","year":2018,"lang":"en","type":"article","venue":"Journal of dramatic theory and criticism","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Subjectivity; Relation (database); Intersection (aeronautics); Literature; Philosophy; Art; Aesthetics; Epistemology; Geography; Cartography; Computer science","score_opus":0.00968669615964796,"score_gpt":0.24191707692479283,"score_spread":0.23223038076514488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2883470419","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95011675,0.000595727,0.00004542918,0.00034867352,0.000507637,0.000050980285,0.000011033235,0.000008272248,0.048315514],"genre_scores_gemma":[0.99599665,0.0000727714,0.00005430896,0.00049436354,0.0011989421,0.0000015530348,3.1608445e-7,0.000011395252,0.0021697145],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9989617,0.00009349054,0.0004831566,0.00007341872,0.00017281744,0.00021544493],"domain_scores_gemma":[0.9989729,0.00033283932,0.0002034649,0.00010498729,0.00029974358,0.0000860961],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010029563,0.00012791285,0.0003612562,0.00013989136,0.00028852813,0.00009106446,0.00013052372,0.000029435134,0.003519806],"category_scores_gemma":[0.00016049118,0.0000889304,0.00009668456,0.000026948448,0.00060506514,0.0003577428,0.00002701115,0.00015421641,0.000023092827],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00062957505,0.0001203317,0.00004921898,0.0002550699,0.0002646494,0.00002407083,0.39794406,3.971134e-7,0.0014959369,0.59065956,0.00033526155,0.008221883],"study_design_scores_gemma":[0.0016082987,0.004250395,0.00039822268,0.00073264993,0.0002667046,0.00022882558,0.4021832,0.00000978904,0.0050588893,0.5631729,0.021766324,0.00032383247],"about_ca_topic_score_codex":0.000007206469,"about_ca_topic_score_gemma":0.000019019053,"teacher_disagreement_score":0.0461458,"about_ca_system_score_codex":0.000015566018,"about_ca_system_score_gemma":0.00003707632,"threshold_uncertainty_score":0.9973911},"labels":[],"label_agreement":null},{"id":"W2886130869","doi":"10.3138/md.61.3.s0922.4","title":"Multilingual Expression and Postnational Frames in <i>100% Brussels</i> and <i>Isabella’s Room</i>","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cosmopolitanism; Expression (computer science); Sensibility; Covert; Sociology; Aesthetics; Narrative; EPIC; Frame (networking); Art; Media studies; Linguistics; Literature; Political science; Law; Philosophy; Politics","score_opus":0.02019528630006061,"score_gpt":0.24863950921320907,"score_spread":0.22844422291314845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2886130869","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96969014,0.0012926141,0.000011017269,0.00042341443,0.00018340444,0.00008708332,0.00002181665,0.00003726272,0.02825323],"genre_scores_gemma":[0.99648726,0.00011351961,0.000104646526,0.00049771916,0.00057818834,0.000007043053,0.0000060343064,0.000012066995,0.0021935096],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935925,0.000016781269,0.00013917751,0.00019519046,0.000113476926,0.0001761501],"domain_scores_gemma":[0.9997386,0.00005166972,0.000031474116,0.00008695264,0.00005483742,0.000036496902],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000083960294,0.000119745,0.00013322446,0.00006201451,0.00032613077,0.000106801584,0.00005305302,0.000042603744,0.00016550353],"category_scores_gemma":[0.000010426022,0.00009582812,0.000016784692,0.000014825261,0.00026500004,0.00020669127,0.00008053639,0.00009711606,0.000018250252],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039523107,0.00036627674,0.035968494,0.0001797096,0.000081328995,0.000019402802,0.69487345,0.000018012459,0.009525638,0.02245203,0.009747157,0.22637327],"study_design_scores_gemma":[0.005659959,0.0010224663,0.03359466,0.00061936374,0.00007252969,0.000038334794,0.02022567,0.012076769,0.02362883,0.05329883,0.8481094,0.0016531702],"about_ca_topic_score_codex":0.0001839609,"about_ca_topic_score_gemma":0.0016904607,"teacher_disagreement_score":0.8383623,"about_ca_system_score_codex":0.000008257832,"about_ca_system_score_gemma":0.000012354943,"threshold_uncertainty_score":0.39077574},"labels":[],"label_agreement":null},{"id":"W2886529746","doi":"10.3138/md.61.3.471","title":"David Krasner, <i>A History of Modern Drama, Volume II: 1960–2000</i>","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Expansive; Postmodernism; Modernism (music); Art; Art history; Literature","score_opus":0.025299228560686178,"score_gpt":0.21568818432905648,"score_spread":0.1903889557683703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2886529746","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31914103,0.008831586,0.00041873008,0.0009535153,0.003055745,0.0002712976,0.00012241575,0.0002573266,0.6669483],"genre_scores_gemma":[0.7031634,0.000057661306,0.000055062013,0.00048080724,0.0013730935,0.000016021917,0.000013389272,0.000035445253,0.29480514],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985162,0.000030560244,0.00037517387,0.00033413933,0.00030486236,0.00043904377],"domain_scores_gemma":[0.99902385,0.000020151072,0.00014850656,0.0004977324,0.00023048902,0.00007929358],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014154367,0.00027282894,0.000392916,0.000112531365,0.00049896457,0.000048897808,0.0003215634,0.00008190656,0.0030283588],"category_scores_gemma":[0.0000090147305,0.00023905824,0.00016039681,0.000028593622,0.00093812763,0.0003485189,0.00017642563,0.00017715145,0.00038556478],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015689134,0.00033840397,0.00072633964,0.00012802964,0.0002026525,0.0000062852064,0.5671435,0.000034220626,0.0012100413,0.010762633,0.33674395,0.08254704],"study_design_scores_gemma":[0.00042550277,0.0002996623,0.00010156172,0.000046974485,0.00006108981,0.0000025013608,0.00053205754,0.004806012,0.0002328311,0.006860054,0.9863111,0.00032065637],"about_ca_topic_score_codex":0.0006529869,"about_ca_topic_score_gemma":0.0021870707,"teacher_disagreement_score":0.6495671,"about_ca_system_score_codex":0.00018949519,"about_ca_system_score_gemma":0.00016033112,"threshold_uncertainty_score":0.997883},"labels":[],"label_agreement":null},{"id":"W2886714619","doi":"10.7765/9781526101914.00022","title":"Yukio Ninagawa, Bill Alexander, Gale Edwards, Richard Rose, and Lucy Bailey","year":2015,"lang":"en","type":"book-chapter","venue":"Manchester University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Dream; Comics; Globe; Art history; Art; Courage; Politics; Gunpowder; History; Humanities; Literature; Theology; Philosophy; Law; Psychology; Archaeology; Political science","score_opus":0.0635586521856612,"score_gpt":0.201280961380964,"score_spread":0.1377223091953028,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2886714619","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024869383,0.0016547951,0.0000059254053,0.00007749967,0.0005755237,0.0003300881,0.00030849915,0.0001551007,0.9966439],"genre_scores_gemma":[0.0042601456,0.00072052644,0.000019487705,0.000119090146,0.00085563463,0.000001863802,0.000045426274,0.00005922433,0.9939186],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986181,0.000025357329,0.00020754222,0.00050373416,0.0002896888,0.0003555448],"domain_scores_gemma":[0.9989915,0.00003908456,0.00018055079,0.00043480066,0.00019237441,0.00016168857],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000108936976,0.0005043203,0.00056260976,0.00017886574,0.0004948653,0.00015986335,0.00031485857,0.00022399177,0.0005980662],"category_scores_gemma":[0.0000017151514,0.00043318185,0.00016042437,0.000003152597,0.0006204118,0.00024500175,0.0005236495,0.00040018684,0.00007578501],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027778803,0.00003310124,0.00008573953,0.0004588872,0.00070313155,0.00017709036,0.040162504,0.0000018289546,0.000002168395,0.47178477,0.47420767,0.01210532],"study_design_scores_gemma":[0.00069242145,0.00013345414,0.000023200952,0.00017533338,0.00026125033,0.0000073224583,0.0011710095,0.0000044398403,0.0000072740513,0.0010007152,0.9959229,0.00060064346],"about_ca_topic_score_codex":0.00033886224,"about_ca_topic_score_gemma":0.00058039755,"teacher_disagreement_score":0.5217153,"about_ca_system_score_codex":0.00008831773,"about_ca_system_score_gemma":0.000052431817,"threshold_uncertainty_score":0.999812},"labels":[],"label_agreement":null},{"id":"W2887397894","doi":"10.7765/9781526101914.00018","title":"Jeannette Lambermont, Daniel Mesguich, and Michael Maggio","year":2015,"lang":"it","type":"book-chapter","venue":"Manchester University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Freedman; Feudalism; Art; Byzantine architecture; Presentation (obstetrics); Character (mathematics); Performance art; Art history; History; Humanities; Visual arts; Classics; Law; Archaeology; Political science; Politics","score_opus":0.054263871980634065,"score_gpt":0.20414315364038177,"score_spread":0.1498792816597477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2887397894","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018294774,0.0018940497,0.000008916661,0.0002074748,0.0006448367,0.0005492937,0.00050455506,0.00014021885,0.99422115],"genre_scores_gemma":[0.011340907,0.0014445657,0.000037424754,0.00023397566,0.0010408241,0.0000019285794,0.000051580675,0.00009059989,0.9857582],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978084,0.00006085467,0.00036043054,0.0007851712,0.000385048,0.00060010445],"domain_scores_gemma":[0.9984263,0.00007646696,0.00031169353,0.00065554125,0.00025364035,0.00027632876],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00017573682,0.00085557497,0.00086611713,0.000222335,0.00088276534,0.00025260105,0.000489385,0.00039236175,0.00020412185],"category_scores_gemma":[0.000002560786,0.00088246824,0.00025775906,0.0000051463985,0.0011630185,0.00033068395,0.0009709211,0.00066063413,0.00007892376],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006908328,0.000038238948,0.00006631157,0.00061615097,0.0011898545,0.0004178595,0.052453823,0.0000023725752,0.000008105294,0.87212247,0.06654704,0.005846957],"study_design_scores_gemma":[0.0013929356,0.00024234208,0.000047252866,0.0003978186,0.0009176789,0.000021905636,0.0028083166,0.00002470417,0.0000163995,0.00087469746,0.99225295,0.0010030302],"about_ca_topic_score_codex":0.0006161864,"about_ca_topic_score_gemma":0.00055753917,"teacher_disagreement_score":0.92570585,"about_ca_system_score_codex":0.00011460081,"about_ca_system_score_gemma":0.00005601433,"threshold_uncertainty_score":0.9993626},"labels":[],"label_agreement":null},{"id":"W2887868935","doi":"","title":"The project Achilles heel: Misalignment","year":2000,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Heel; Achilles tendon; Medicine; Surgery; Anatomy","score_opus":0.023449047547389426,"score_gpt":0.23489358879047195,"score_spread":0.21144454124308254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2887868935","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06984069,0.0005192774,1.7337445e-7,0.0017171287,0.00015830634,0.00009714394,0.0000048357742,0.00006639166,0.92759603],"genre_scores_gemma":[0.6558097,0.0009265739,0.0000070320484,0.00046876547,0.00056644465,0.00002298115,0.0000017000108,0.000006189218,0.3421906],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996153,0.000011118285,0.00008283614,0.00006644865,0.00007958866,0.00014466861],"domain_scores_gemma":[0.9998301,0.000031751737,0.000009277438,0.00010741189,0.000011348288,0.000010062889],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006474281,0.00006496658,0.000054301327,0.000009097694,0.0008549814,0.000107757725,0.00008246718,0.0000070269,0.00608371],"category_scores_gemma":[9.1447146e-7,0.00002983268,0.00003768261,0.000008840546,0.00013436077,0.000059696085,0.000011695289,0.00003502635,0.0005315838],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000432831,0.000042497897,0.00017988836,0.0000075861517,0.000083171886,9.615702e-7,0.05877928,0.0000022553152,0.0000026958876,0.28745326,0.3737466,0.27965853],"study_design_scores_gemma":[0.000068054294,0.000042931984,0.00008422105,0.000003404125,0.0000054862053,6.282423e-7,0.0071134535,0.000007644414,0.0000321578,0.00048197428,0.9921025,0.000057537014],"about_ca_topic_score_codex":0.00033823116,"about_ca_topic_score_gemma":0.002238429,"teacher_disagreement_score":0.61835593,"about_ca_system_score_codex":0.0000055121545,"about_ca_system_score_gemma":0.000007828674,"threshold_uncertainty_score":0.9948249},"labels":[],"label_agreement":null},{"id":"W2889239039","doi":"10.7202/1049950ar","title":"The Politics of Intermediality in African Theatre Contexts","year":2018,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Ideology; Context (archaeology); Sociology; Media studies; Aesthetics; Political science; Art; History; Law; Archaeology","score_opus":0.031598666893942313,"score_gpt":0.28948533746029176,"score_spread":0.25788667056634945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2889239039","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21432702,0.0015188919,0.00013879276,0.0018092041,0.0008960056,0.0004937065,0.00017435315,0.0004026901,0.78023934],"genre_scores_gemma":[0.9862057,0.0004994046,0.00030065913,0.00073095533,0.00071564864,0.00012578348,0.000014797459,0.00005819158,0.0113488715],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975016,0.00031594178,0.0008403503,0.00037613753,0.00029375113,0.0006722125],"domain_scores_gemma":[0.99799067,0.00054765894,0.0002717543,0.0006101916,0.00048243185,0.000097281445],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":["sts"],"category_scores_codex":[0.00093045796,0.00042276148,0.00054898177,0.00024936252,0.0014081303,0.0002512537,0.00063910347,0.00010600224,0.00018508515],"category_scores_gemma":[0.000184998,0.0002970496,0.0002468232,0.0001247537,0.010537852,0.0005600485,0.00027351544,0.00036845257,0.000014662692],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002882589,0.0002192511,0.003389439,0.00020029761,0.00012401104,0.00002282631,0.1266263,1.6093492e-7,0.00042167873,0.5001709,0.0076782187,0.36085868],"study_design_scores_gemma":[0.00028333068,0.00092522724,0.0012963138,0.00079454493,0.00004752674,0.00001820575,0.008516865,0.000005917409,0.0080788005,0.08537923,0.89419484,0.0004591758],"about_ca_topic_score_codex":0.0034453133,"about_ca_topic_score_gemma":0.050112344,"teacher_disagreement_score":0.88651663,"about_ca_system_score_codex":0.00030858972,"about_ca_system_score_gemma":0.000089834255,"threshold_uncertainty_score":0.99994814},"labels":[],"label_agreement":null},{"id":"W2890613110","doi":"10.18432/ari29241","title":"Waiting for Me: Exploring Autoethnodrama","year":2018,"lang":"en","type":"article","venue":"Art/Research International A Transdisciplinary Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Performative utterance; Subconscious; Drama; Identity (music); Dream; Poetry; Sociology; Negotiation; Literature; Aesthetics; Art; Psychology","score_opus":0.332623952796353,"score_gpt":0.4123031223885535,"score_spread":0.0796791695922005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2890613110","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70134753,0.00021502176,0.0007380389,0.02263578,0.005362885,0.0003433791,0.00010548216,0.000095808144,0.26915607],"genre_scores_gemma":[0.9701759,0.0001519099,0.00037698817,0.0000961208,0.012898221,0.00010940063,0.000016436878,0.000030396799,0.016144633],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980047,0.00006933039,0.0003815488,0.00023161343,0.0007096187,0.0006032372],"domain_scores_gemma":[0.99827665,0.0002798572,0.00006754265,0.000120858385,0.0011175197,0.00013759095],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001601074,0.00015260126,0.00016571922,0.00038858736,0.0030075265,0.0005294512,0.000518331,0.000030274343,0.0042552277],"category_scores_gemma":[0.000061260485,0.000121444136,0.00017736353,0.00006979897,0.0007256624,0.001117604,0.00011234215,0.0005123621,0.00044945645],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010122656,0.0003647194,0.0005145813,0.00007009427,0.0006537303,0.00005436708,0.5467798,0.000041103354,0.000917895,0.28174928,0.12749754,0.040344585],"study_design_scores_gemma":[0.0010827085,0.0009751542,0.00033250026,0.00019219675,0.000019681602,0.000101417805,0.054945353,0.004240107,0.0007130766,0.037738826,0.8994033,0.00025569776],"about_ca_topic_score_codex":0.00000823386,"about_ca_topic_score_gemma":0.00033830185,"teacher_disagreement_score":0.7719057,"about_ca_system_score_codex":0.0000752624,"about_ca_system_score_gemma":0.000080926744,"threshold_uncertainty_score":0.9982904},"labels":[],"label_agreement":null},{"id":"W2891675187","doi":"10.18432/ari29361","title":"Not all Who Wander are Lost: A/r/tographic Walking as Contemplative Inquiry","year":2018,"lang":"en","type":"article","venue":"Art/Research International A Transdisciplinary Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Contemplation; Performative utterance; Aesthetics; Poetry; Mode (computer interface); Psychology; Art; Literature; Philosophy; Epistemology; Computer science; Human–computer interaction","score_opus":0.2000042103975249,"score_gpt":0.40768450562719727,"score_spread":0.20768029522967238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2891675187","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6645108,0.00040208764,0.00010788926,0.023740439,0.00313322,0.00026188223,0.000089582194,0.000051283758,0.30770284],"genre_scores_gemma":[0.96862924,0.00041069195,0.000036495465,0.00065225497,0.0075739995,0.00002189493,0.000017824374,0.000033607128,0.02262397],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969432,0.00021945409,0.00050041266,0.00034671303,0.0012883464,0.00070189155],"domain_scores_gemma":[0.9977419,0.00029688244,0.0001483642,0.0001848876,0.0013986733,0.00022931198],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0014966972,0.00025553379,0.00029531476,0.00070884795,0.0021698293,0.000636242,0.0006657313,0.00006719299,0.0112622725],"category_scores_gemma":[0.000050518327,0.00019594541,0.00024576834,0.00012613015,0.0018509161,0.0011638291,0.00019294924,0.001028561,0.0018110302],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016002777,0.00043116038,0.0032033387,0.00004149869,0.0013999545,0.00033820415,0.7702638,0.000010501205,0.0003711326,0.07030238,0.14796491,0.0040728794],"study_design_scores_gemma":[0.0023027053,0.0024091098,0.010738323,0.0006745855,0.000055381024,0.0004856135,0.13133183,0.0002781959,0.00056212617,0.056139622,0.79443467,0.00058785937],"about_ca_topic_score_codex":0.000025792131,"about_ca_topic_score_gemma":0.0018167142,"teacher_disagreement_score":0.6464697,"about_ca_system_score_codex":0.00010264242,"about_ca_system_score_gemma":0.00010320351,"threshold_uncertainty_score":0.99912924},"labels":[],"label_agreement":null},{"id":"W2891712789","doi":"10.4324/9780203083741-52","title":"Kinship, Intelligence, and Memory as Improvisation: Culture and Performance in New Orleans","year":2014,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":28,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Kinship; Cognitive science; Psychology; Sociology; Art; Anthropology; Visual arts","score_opus":0.03063964453051437,"score_gpt":0.21676616911036253,"score_spread":0.18612652457984816,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2891712789","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010953594,0.0022599413,0.000006681963,0.00025428325,0.0002561044,0.00018631876,0.0000075198022,0.000043975324,0.99588984],"genre_scores_gemma":[0.121101454,0.0052839457,0.000023426586,0.00047228253,0.0010740417,0.00000359043,0.000014068686,0.000022458522,0.87200475],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991906,0.0000049912273,0.00024202927,0.00026246044,0.00011865021,0.00018122143],"domain_scores_gemma":[0.9996486,0.000026900452,0.00007646232,0.00014214158,0.000037077134,0.00006882592],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000097112104,0.00028480293,0.00031428307,0.00012519084,0.000221813,0.000088129775,0.0000818539,0.00012720897,0.0025510099],"category_scores_gemma":[0.0000033372985,0.00020551757,0.00003787532,0.000006874232,0.00027837322,0.00016038722,0.00007607395,0.0002891326,0.00014927294],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028732808,0.0000031583388,0.00027702365,0.00017162604,0.00003395363,0.0000017459696,0.030413538,6.3305305e-7,1.812152e-7,0.84253705,0.0047377497,0.12179463],"study_design_scores_gemma":[0.0001325655,0.00027040407,0.00013756135,0.00017851732,0.00003423758,0.000007788714,0.0018650299,0.000027166443,0.000009804174,0.012274419,0.9847341,0.00032838414],"about_ca_topic_score_codex":0.0002575379,"about_ca_topic_score_gemma":0.007540536,"teacher_disagreement_score":0.9799964,"about_ca_system_score_codex":0.000017620925,"about_ca_system_score_gemma":0.000047865662,"threshold_uncertainty_score":0.9983608},"labels":[],"label_agreement":null},{"id":"W2894427911","doi":"10.1353/aq.2018.0048","title":"Run with Whatever You Can Carry\": Cross-Platform Materials and Methods in Performance Studies–Meets–Digital Humanities","year":2018,"lang":"en","type":"article","venue":"American Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Absurdity; Performing arts; Context (archaeology); Digital humanities; Laptop; Art; Performance art; Humanities; Art history; History; Visual arts; Aesthetics; Media studies; Literature; Sociology; Computer science","score_opus":0.033061738408500956,"score_gpt":0.31339730576660424,"score_spread":0.2803355673581033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894427911","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98282564,0.00032796687,0.00000308291,0.00017670929,0.00042313195,0.00018821354,0.000082537634,0.000080072205,0.015892636],"genre_scores_gemma":[0.9954082,0.0001533991,0.00028446873,0.00039289397,0.0007573154,0.000056644647,0.000012388779,0.000036191614,0.0028985294],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99857414,0.00003713867,0.000375162,0.00034064375,0.00017041688,0.0005024733],"domain_scores_gemma":[0.9992611,0.00007601084,0.0001778949,0.0002512311,0.00018086586,0.000052892756],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00024015599,0.0003246089,0.00056120957,0.00016209633,0.00061948586,0.00059477886,0.00015737605,0.000025403222,0.00024038478],"category_scores_gemma":[0.000005346131,0.0002317828,0.000034416185,0.000086313536,0.0036487828,0.0010949452,0.0000424286,0.00011556292,0.00004430141],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005199976,0.00007922339,0.021723678,0.00019740827,0.00042861837,0.000014946811,0.7083115,7.530137e-7,0.00031210514,0.006132463,0.00078955287,0.26148978],"study_design_scores_gemma":[0.002219961,0.016278975,0.05051783,0.00041584196,0.00014227013,0.000057236673,0.6164366,0.000026326428,0.0030517918,0.0010864219,0.3079331,0.0018336548],"about_ca_topic_score_codex":0.0018796452,"about_ca_topic_score_gemma":0.008018914,"teacher_disagreement_score":0.30714354,"about_ca_system_score_codex":0.00005531984,"about_ca_system_score_gemma":0.000034279215,"threshold_uncertainty_score":0.9990627},"labels":[],"label_agreement":null},{"id":"W2894745744","doi":"10.7202/1051074ar","title":"Comic Sounds in Contemporary Theatre Performances: Marthaler, Pollesch, Fritsch and Gotscheff","year":2018,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Exaggeration; Absurdity; Comics; Irony; Sarcasm; Context (archaeology); Aesthetics; Art; Sound (geography); Literature; History; Psychology; Acoustics; Psychoanalysis","score_opus":0.16856538733841941,"score_gpt":0.32126781007546634,"score_spread":0.15270242273704693,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894745744","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58739346,0.0046812026,0.0000028522618,0.00079274713,0.00022502505,0.00016849757,0.000017448992,0.00010819403,0.40661058],"genre_scores_gemma":[0.9884473,0.002011452,0.00023201604,0.0004262829,0.0010837233,0.000025147743,0.000011005578,0.000030563166,0.0077325087],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987045,0.00018677648,0.00033617788,0.0002963404,0.00012522037,0.00035098524],"domain_scores_gemma":[0.9993358,0.0002040478,0.00007737784,0.00022776841,0.000087348664,0.00006762815],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00077096163,0.0002629419,0.00037663867,0.00016416336,0.00035528047,0.00015157576,0.00016911245,0.00013641472,0.00033597814],"category_scores_gemma":[0.000025183172,0.00020695846,0.00008537972,0.00006968176,0.0007448942,0.0005258799,0.00010194081,0.00037731326,0.000096820186],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008687977,0.00044490327,0.32629392,0.00068817317,0.00044062408,0.000023643008,0.4626,9.868043e-7,0.0006196516,0.08629605,0.039273277,0.08245],"study_design_scores_gemma":[0.002168941,0.0015526462,0.03693367,0.0007974702,0.000061542625,0.000026174024,0.04654014,0.00040382807,0.0024505523,0.020302266,0.88747066,0.0012920981],"about_ca_topic_score_codex":0.0018474826,"about_ca_topic_score_gemma":0.00783065,"teacher_disagreement_score":0.8481974,"about_ca_system_score_codex":0.00006329365,"about_ca_system_score_gemma":0.000094719355,"threshold_uncertainty_score":0.84395206},"labels":[],"label_agreement":null},{"id":"W2895568112","doi":"10.32873/uno.dc.jrf.22.02.08","title":"La Disparition des Lucioles (The Fireflies Are Gone)","year":2018,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Humber Polytechnic","funders":"","keywords":"Geography","score_opus":0.02467849476360898,"score_gpt":0.24534985829650502,"score_spread":0.22067136353289604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2895568112","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94251114,0.0041639,0.00002566896,0.0017305395,0.0007786912,0.00004264759,0.000009293838,0.00001902354,0.05071911],"genre_scores_gemma":[0.9913138,0.0036998503,0.00003585386,0.00029742438,0.0022986534,0.0000015878618,8.7838794e-7,0.000007814263,0.002344118],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994166,0.000043391632,0.00022587297,0.000051165996,0.00014324019,0.000119729855],"domain_scores_gemma":[0.99935406,0.00007637698,0.00022070025,0.00008522224,0.00023573528,0.000027917657],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022742919,0.00008504763,0.0001442973,0.000055244564,0.0005515367,0.00011508838,0.0001214345,0.000027409471,0.00021857992],"category_scores_gemma":[0.000026333677,0.000046348476,0.00010811517,0.000025834202,0.0005629397,0.00024386634,0.000024839443,0.0001454424,0.00008158696],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027121344,0.00011789429,0.008023304,0.00009623641,0.00021651598,0.000022894177,0.08740406,0.000013240028,0.000120632896,0.02949262,0.8440389,0.030182483],"study_design_scores_gemma":[0.00019796928,0.00027131976,0.006383849,0.00025390973,0.000047435442,0.00005386353,0.006093077,0.000013272947,0.0002136584,0.0063977,0.9799935,0.00008042052],"about_ca_topic_score_codex":0.0000736753,"about_ca_topic_score_gemma":0.0008490243,"teacher_disagreement_score":0.13595462,"about_ca_system_score_codex":0.000016921145,"about_ca_system_score_gemma":0.000014218841,"threshold_uncertainty_score":0.424203},"labels":[],"label_agreement":null},{"id":"W2895621813","doi":"10.7202/1051185ar","title":"Towards a Poetics of Affect: Staging Sound in Wajdi Mouawad's Theatre of Compassion 1","year":2018,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Affect (linguistics); Aesthetics; Performative utterance; Poetics; Performance studies; Subjectivity; Sociology; Dramaturgy; Power (physics); Affect theory; Art; Poetry; Psychology; Literature; Cognition; Epistemology; Philosophy; Communication","score_opus":0.1418443351213729,"score_gpt":0.3499639051510557,"score_spread":0.2081195700296828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2895621813","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81395423,0.00072789064,0.000057616155,0.00039664656,0.00017349122,0.00014192569,0.00002183063,0.000044805198,0.18448153],"genre_scores_gemma":[0.9977656,0.00043580707,0.00066019,0.000041975687,0.0003289162,0.0000058645596,0.0000041276603,0.000017180673,0.0007403462],"study_design_codex":"qualitative","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.99900645,0.0001613042,0.0003265685,0.00014657594,0.00014625027,0.00021286549],"domain_scores_gemma":[0.99930775,0.00019055,0.00012126476,0.00019620085,0.0001568946,0.000027356451],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006314545,0.00015088618,0.00036923742,0.00013806649,0.0000848997,0.000022452195,0.00015484102,0.00007929153,0.00023536343],"category_scores_gemma":[0.000038529186,0.00011380417,0.0000843975,0.00006823925,0.00050565286,0.0001451463,0.00007622603,0.00017806259,0.0000080345235],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005271936,0.0006881177,0.069011874,0.0016631037,0.00026351342,0.0000053173267,0.70854086,0.000012343791,0.0040061087,0.12168335,0.004496545,0.08910164],"study_design_scores_gemma":[0.0034128104,0.0068682632,0.06376161,0.0050698007,0.0003249969,0.000010344494,0.14922254,0.0015125407,0.406585,0.22415355,0.13695434,0.0021242094],"about_ca_topic_score_codex":0.00223344,"about_ca_topic_score_gemma":0.0051901205,"teacher_disagreement_score":0.55931836,"about_ca_system_score_codex":0.0000703799,"about_ca_system_score_gemma":0.00005805348,"threshold_uncertainty_score":0.46407995},"labels":[],"label_agreement":null},{"id":"W2896188336","doi":"10.1386/dtr.4.2.233_1","title":"Political openings in Developmental Transformations: Performing an ambivalent love letter","year":2018,"lang":"en","type":"article","venue":"Drama Therapy Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Performative utterance; Politics; Sociology; Aesthetics; Drama; Status quo; Resistance (ecology); Power (physics); Economic Justice; Ambivalence; Gender studies; Social psychology; Psychology; Law; Political science; Literature; Art","score_opus":0.07404927410393117,"score_gpt":0.29579096771636254,"score_spread":0.22174169361243137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2896188336","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43515062,0.062278222,0.00001625291,0.015637772,0.0006365864,0.0013890538,0.00003050115,0.00009768614,0.4847633],"genre_scores_gemma":[0.9376915,0.02757956,0.00016005388,0.031465333,0.0012711955,0.00006261572,0.000028160466,0.00002738133,0.0017141964],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901134,0.000044859607,0.00033924825,0.0001448416,0.00013354469,0.00032619212],"domain_scores_gemma":[0.99972415,0.000016876013,0.000037540205,0.000113115755,0.000055994667,0.000052336436],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002725686,0.00015453578,0.00025881117,0.000055877987,0.00021519391,0.00008783531,0.000150148,0.000021726597,0.005453881],"category_scores_gemma":[0.0000036059885,0.00011137743,0.00006643819,0.000046391528,0.00019878043,0.00059855427,0.00001610521,0.00011345652,0.0007658152],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012812862,0.0002730512,0.0018378486,0.0015824304,0.00017543776,0.0000089830055,0.25470117,6.4923896e-8,0.00014870519,0.19455718,0.024931854,0.52165514],"study_design_scores_gemma":[0.00032665956,0.00018430082,0.00020053975,0.0009768591,0.000012070183,0.000008089826,0.0018130174,0.000008734567,0.00021264533,0.0004073228,0.9956549,0.000194903],"about_ca_topic_score_codex":0.00007576551,"about_ca_topic_score_gemma":0.0003310225,"teacher_disagreement_score":0.97072303,"about_ca_system_score_codex":0.000048409398,"about_ca_system_score_gemma":0.00003003761,"threshold_uncertainty_score":0.99545527},"labels":[],"label_agreement":null},{"id":"W2896278800","doi":"10.1017/9781108348447.004","title":"City Festivals and Festival Cities","year":2020,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Cityscape; Sociology; Politics; Inclusion (mineral); Space (punctuation); Urban space; Urban regeneration; Perspective (graphical); Representation (politics); Aesthetics; Media studies; Geography; Political science; Social science; Visual arts; Art; Regional science","score_opus":0.04558630208540641,"score_gpt":0.19227702097546706,"score_spread":0.14669071889006063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2896278800","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005407786,0.0004707523,0.0000048163174,0.00009806143,0.0003578052,0.0002178605,0.0006716945,0.00017412976,0.9974641],"genre_scores_gemma":[0.011640972,0.00037183415,0.000010261047,0.00014775658,0.0008324831,5.8212913e-7,0.000031419582,0.000035117264,0.9869296],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908346,0.000017594808,0.00014445404,0.0003677982,0.00017475292,0.00021192139],"domain_scores_gemma":[0.9993712,0.00006854803,0.0001261805,0.00020380509,0.00010264124,0.00012763326],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000041814088,0.00036617904,0.00045060745,0.00009342581,0.0006099984,0.00010794904,0.00021112138,0.00012690916,0.000056776687],"category_scores_gemma":[0.0000048012357,0.00037279725,0.00013848241,0.000001753349,0.0009132348,0.00012479298,0.00037236002,0.00037761655,0.000023821094],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007259885,0.000002681493,0.000006492359,0.00011664116,0.00017841732,0.00009195194,0.0022000682,7.829759e-8,0.0000016793326,0.9070898,0.08887553,0.0013640247],"study_design_scores_gemma":[0.00028782946,0.000091379676,0.000016616448,0.00014968023,0.0002304857,0.000006301494,0.0007251605,0.000004045537,0.000022746039,0.000085450745,0.99795663,0.0004236622],"about_ca_topic_score_codex":0.00024655007,"about_ca_topic_score_gemma":0.000029975883,"teacher_disagreement_score":0.9090811,"about_ca_system_score_codex":0.00004769416,"about_ca_system_score_gemma":0.000048015187,"threshold_uncertainty_score":0.9998724},"labels":[],"label_agreement":null},{"id":"W2896426591","doi":"10.3138/jsp.50.1.04","title":"Fondling the Lemur’s Tail: A Discussion of Book Reviewing in Which Lemurs Figure Only Metaphorically","year":2018,"lang":"en","type":"article","venue":"Journal of Scholarly Publishing","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lemur; Criticism; Neglect; Epistemology; Aesthetics; Philosophy; History; Sociology; Literature; Art; Psychology","score_opus":0.040620819874342136,"score_gpt":0.2611095774892178,"score_spread":0.22048875761487569,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2896426591","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6023255,0.06438154,0.00019059854,0.11845288,0.004934261,0.0005555398,0.00002794353,0.000052762756,0.209079],"genre_scores_gemma":[0.9918083,0.0012061847,0.00032663852,0.0012209199,0.0029621003,0.0000025638772,0.0000015541978,0.000020993824,0.0024507246],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977132,0.00018461056,0.00096862885,0.00014115167,0.0006979461,0.00029444348],"domain_scores_gemma":[0.9970207,0.00017434539,0.00076464494,0.00022163751,0.0017446076,0.000074032345],"candidate_categories":["scholarly_communication"],"consensus_categories":["scholarly_communication"],"category_scores_codex":[0.004384298,0.00016563277,0.00046022973,0.00033867516,0.0005765953,0.005743702,0.0007390754,0.00007718013,0.00044307348],"category_scores_gemma":[0.0016015635,0.000077185854,0.00019865207,0.00027461766,0.00015978949,0.03358403,0.00015660304,0.0014529671,0.000008576593],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000512909,0.00041222348,0.053250354,0.0005302318,0.00084273977,0.00004012064,0.44746658,0.00004350339,0.0016167605,0.06535596,0.23487426,0.19505437],"study_design_scores_gemma":[0.00047219606,0.00031595887,0.003415684,0.0012444212,0.00010031038,0.000022682714,0.016037842,0.000022113316,0.00007220172,0.0017670356,0.97637975,0.00014979688],"about_ca_topic_score_codex":0.00013204713,"about_ca_topic_score_gemma":0.0012274678,"teacher_disagreement_score":0.7415055,"about_ca_system_score_codex":0.00007439709,"about_ca_system_score_gemma":0.00019882525,"threshold_uncertainty_score":0.99528843},"labels":[],"label_agreement":null},{"id":"W2896611622","doi":"10.56105/cjsae.v30i2.5432","title":"The Transformative and Healing Power of Theatre of Witness","year":2018,"lang":"en","type":"article","venue":"Canadian Journal for the Study of Adult Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Transformative learning; Witness; Storytelling; Testimonial; Peacebuilding; Sociology; Empathy; Power (physics); Aesthetics; Pedagogy; Psychology; Art; Narrative; Political science; Social psychology; Law; Literature","score_opus":0.01769554331790152,"score_gpt":0.264307596284587,"score_spread":0.24661205296668548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2896611622","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99071556,0.0007875682,0.000007770123,0.0013489117,0.0011117795,0.0003188205,0.000029422692,9.674244e-7,0.0056791985],"genre_scores_gemma":[0.99930674,0.00008339543,0.0000047019,0.00003372275,0.00029158004,0.0000094426805,5.584618e-7,0.0000046437094,0.00026519268],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995443,0.000022748112,0.00022366934,0.00003685814,0.00006645166,0.00010597803],"domain_scores_gemma":[0.99908257,0.00010067126,0.00014336278,0.000081650345,0.00054742565,0.000044296874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000224649,0.00005640922,0.000106022526,0.000058573885,0.0012687405,0.000028561339,0.00011204533,0.000009223159,0.000036651905],"category_scores_gemma":[0.0000164534,0.000028955274,0.000036756046,0.000029087401,0.00049242686,0.000095006806,0.0000028577404,0.00005649881,2.798295e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000088497756,0.000054848693,0.0018594617,0.0000368455,0.00017457039,2.5487704e-8,0.9395422,0.0000025312524,0.0000055539463,0.016021969,0.0018217772,0.040391717],"study_design_scores_gemma":[0.00034374854,0.0012778364,0.004285787,0.000097313736,0.00008741947,0.000004301342,0.9611384,0.000011061849,0.00021996863,0.0028451695,0.029632311,0.000056650224],"about_ca_topic_score_codex":0.010596118,"about_ca_topic_score_gemma":0.2428096,"teacher_disagreement_score":0.23221348,"about_ca_system_score_codex":0.000013257782,"about_ca_system_score_gemma":0.00027127797,"threshold_uncertainty_score":0.9959924},"labels":[],"label_agreement":null},{"id":"W2897234737","doi":"","title":"Interrogating curricular experiences of circus education in Qu","year":2018,"lang":"en","type":"article","venue":"2018 Conference of the Canadian Society for the Study of Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Curriculum; Dance; Visual arts; The arts; Pedagogy; Sociology; Art","score_opus":0.044623999593651084,"score_gpt":0.2864761463602346,"score_spread":0.2418521467665835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897234737","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99025387,0.00024387942,0.0000018585937,0.0003916453,0.0015979776,0.00056779326,0.000010741753,0.0000021585888,0.0069300593],"genre_scores_gemma":[0.99881774,0.000013942617,0.000031189,0.00007381727,0.00027673677,0.00011794783,0.0000023207976,0.0000046050127,0.0006616926],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994108,0.000022948789,0.00024322198,0.000094574796,0.00010772614,0.000120692246],"domain_scores_gemma":[0.9990739,0.000046612393,0.00022254263,0.00022009113,0.00041300486,0.000023833632],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002257467,0.00007550011,0.00013531835,0.00004116007,0.00042750197,0.000023077173,0.000317679,0.000021762202,0.00014719226],"category_scores_gemma":[0.00003943048,0.000047356087,0.00010654344,0.00007396988,0.0005531652,0.00010287664,0.000024935234,0.000052556577,9.661061e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000041545463,0.00017311992,0.0040498814,0.000041537645,0.00005210362,1.2552351e-9,0.97106063,8.712831e-7,0.00002801508,0.006514672,0.005033139,0.013041848],"study_design_scores_gemma":[0.00010742901,0.00019860691,0.0045133764,0.00012895565,0.000043483607,1.2544245e-7,0.98746556,0.00005769338,0.00027527666,0.0007584699,0.0063909446,0.00006007589],"about_ca_topic_score_codex":0.13702607,"about_ca_topic_score_gemma":0.68997216,"teacher_disagreement_score":0.5529461,"about_ca_system_score_codex":0.00006768174,"about_ca_system_score_gemma":0.0012399923,"threshold_uncertainty_score":0.86872053},"labels":[],"label_agreement":null},{"id":"W2898399339","doi":"","title":"O PAPEL DO DIRETOR DE TEATRO NO PROCESSO DE CRIAÇÃO DE CENAS PLURAIS","year":2018,"lang":"pt","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Art; Humanities","score_opus":0.20833632467235927,"score_gpt":0.5142711680914093,"score_spread":0.30593484341905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2898399339","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7556952,0.05733234,0.00008400858,0.0008118333,0.0028732538,0.0008541101,0.0004521555,0.00013413977,0.18176295],"genre_scores_gemma":[0.9404575,0.034321543,0.000109401924,0.0013637122,0.006250576,0.000090788955,0.000013222757,0.0001588429,0.017234413],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949569,0.0004288177,0.0013523398,0.0007407732,0.0008592914,0.0016618556],"domain_scores_gemma":[0.9958066,0.00043775668,0.0011826033,0.00074370496,0.001202321,0.00062705803],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0022044515,0.0008608143,0.0014429636,0.00073892495,0.0024601407,0.0047888323,0.003505752,0.00027944948,0.056475624],"category_scores_gemma":[0.0004010118,0.00073826313,0.00050339015,0.00044866448,0.0010764503,0.003420343,0.0013007335,0.00091577566,0.000399131],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001354405,0.0007439349,0.4317062,0.0010805118,0.0014509944,0.00009333423,0.049386427,0.00001993962,0.009943373,0.0010057839,0.4823379,0.02087723],"study_design_scores_gemma":[0.0014476249,0.00019147206,0.21328062,0.0025603378,0.00076511374,0.0000573451,0.005133724,0.00018840477,0.010982927,0.005794834,0.75802964,0.0015679473],"about_ca_topic_score_codex":0.004118652,"about_ca_topic_score_gemma":0.0020176936,"teacher_disagreement_score":0.27569178,"about_ca_system_score_codex":0.0004152561,"about_ca_system_score_gemma":0.0008408195,"threshold_uncertainty_score":0.99950683},"labels":[],"label_agreement":null},{"id":"W2898626041","doi":"10.18357/scene02201718364","title":"Much Ado with Italian Va-Va-\"Vroom\"","year":2018,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nothing; Philosophy; Epistemology","score_opus":0.04513966324963094,"score_gpt":0.2625446969064035,"score_spread":0.21740503365677255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2898626041","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50215214,0.026722662,0.00012530209,0.0006141522,0.00059016625,0.0007970615,0.000054435382,0.0001097018,0.46883437],"genre_scores_gemma":[0.98389894,0.0028316814,0.00035828643,0.0002029343,0.0012349022,0.000030874413,0.000007130818,0.000033217486,0.011402033],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871457,0.00005097616,0.00041914172,0.0002633127,0.00021734447,0.0003346598],"domain_scores_gemma":[0.99902296,0.000022888891,0.00019761709,0.00045738075,0.00022771065,0.00007146158],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024395953,0.00024558516,0.00056970865,0.00007446314,0.00032220504,0.00009556802,0.00025676072,0.000040441028,0.0019771373],"category_scores_gemma":[0.000015410687,0.00015859015,0.00015315537,0.000059503695,0.00051538524,0.0003420528,0.00006434452,0.00011740267,0.00070466736],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040180702,0.000423615,0.012201221,0.0015125864,0.0005135656,0.000008792282,0.15301836,0.0000017453593,0.00035762897,0.044227198,0.044955563,0.74237794],"study_design_scores_gemma":[0.00039592458,0.001011799,0.0010497118,0.0006356374,0.00010288727,0.0000040240316,0.000681075,0.000042649415,0.00032934977,0.0017701263,0.9936319,0.00034492018],"about_ca_topic_score_codex":0.0003387347,"about_ca_topic_score_gemma":0.0017029096,"teacher_disagreement_score":0.94867635,"about_ca_system_score_codex":0.000014645351,"about_ca_system_score_gemma":0.000033785607,"threshold_uncertainty_score":0.99893516},"labels":[],"label_agreement":null},{"id":"W2898699425","doi":"10.18357/scene02201718358","title":"Nothing is Good without Respect","year":2018,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nothing; Production (economics); Aesthetics; Environmental ethics; Philosophy; Epistemology; Economics; Microeconomics","score_opus":0.06348337001005781,"score_gpt":0.29481006918535557,"score_spread":0.23132669917529775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2898699425","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39546296,0.02489133,0.00014700175,0.0010309527,0.0008502443,0.00065163727,0.00004449307,0.00011256505,0.5768088],"genre_scores_gemma":[0.98196024,0.0040196897,0.0004376908,0.0005152539,0.0017280382,0.00001589106,0.0000019578301,0.000028116623,0.0112931095],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998841,0.000046474026,0.00043274014,0.00022764779,0.00018768889,0.00026446776],"domain_scores_gemma":[0.9991608,0.000023259085,0.00020174056,0.0004066203,0.00016112349,0.00004642595],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034167038,0.00018740764,0.00050573284,0.00007003087,0.00032225274,0.00009420131,0.00023195636,0.000036294277,0.0020162512],"category_scores_gemma":[0.0000236426,0.00013486602,0.00018220334,0.000041381878,0.00033263152,0.0002980338,0.0000754964,0.00011874704,0.0009116541],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013595846,0.00013930873,0.008539067,0.00060880656,0.00021695309,0.0000016466627,0.45051724,3.8905816e-7,0.0005996774,0.027217563,0.018181792,0.4938416],"study_design_scores_gemma":[0.00020749128,0.0003127804,0.00044288256,0.00039517714,0.00005289308,0.00000127692,0.00031200066,0.0000661102,0.00065474893,0.0017553339,0.9956022,0.00019713835],"about_ca_topic_score_codex":0.00030916263,"about_ca_topic_score_gemma":0.00040211945,"teacher_disagreement_score":0.9774204,"about_ca_system_score_codex":0.000013828959,"about_ca_system_score_gemma":0.00002351329,"threshold_uncertainty_score":0.99986625},"labels":[],"label_agreement":null},{"id":"W2898835784","doi":"10.3138/ctr.176.010","title":"Montreal’s Maple Spring: The Afterlives of Movement Histories","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spring (device); Movement (music); Maple; Media studies; History; Sociology; Art; Ecology; Aesthetics; Engineering","score_opus":0.021813059422847163,"score_gpt":0.2177131137340664,"score_spread":0.19590005431121923,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2898835784","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025878788,0.3139354,6.217638e-7,0.006939749,0.0006992566,0.00040140003,0.00009579863,0.000023669105,0.6753162],"genre_scores_gemma":[0.91738784,0.061540097,0.000016052749,0.0069098314,0.0015643783,0.0000728201,0.000007033078,0.000027806227,0.012474167],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992908,0.00003163361,0.00022069027,0.00011776537,0.000097174605,0.00024193357],"domain_scores_gemma":[0.9993876,0.000024846406,0.000068850095,0.00033362044,0.000092897135,0.00009216971],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016657628,0.00012842588,0.00025365848,0.000046589354,0.00038459737,0.00002428804,0.00020900716,0.000014540024,0.0025713376],"category_scores_gemma":[0.000006209151,0.00007612678,0.000101888945,0.00004133712,0.00042972373,0.000072389106,0.000023708548,0.00005676895,0.00013050745],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014584745,0.000034031025,0.0022252076,0.0028053848,0.00030868407,0.000008243271,0.06856589,2.0700782e-7,0.000005837047,0.1868275,0.32139537,0.41780907],"study_design_scores_gemma":[0.000041136627,0.000066382134,0.00040357083,0.00064885634,0.0000700484,6.619424e-7,0.0011134661,7.126785e-7,0.00001471827,0.00052439846,0.99702024,0.000095786265],"about_ca_topic_score_codex":0.20563386,"about_ca_topic_score_gemma":0.8731781,"teacher_disagreement_score":0.9147999,"about_ca_system_score_codex":0.00007678523,"about_ca_system_score_gemma":0.00011492271,"threshold_uncertainty_score":0.9983404},"labels":[],"label_agreement":null},{"id":"W2898842970","doi":"10.18357/scene01201718447","title":"World Premiere of The Book of Will, by Lauren Gunderson","year":2018,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; Sociology","score_opus":0.033954242942720834,"score_gpt":0.2537855012743055,"score_spread":0.21983125833158465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2898842970","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3049805,0.26494303,0.000057890316,0.001295038,0.00086768105,0.0014662879,0.00021730665,0.000042397078,0.42612988],"genre_scores_gemma":[0.9680931,0.006425608,0.00005077499,0.00014549948,0.00034059575,0.000010889748,0.0000029994337,0.000017091252,0.024913464],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989517,0.000064839536,0.0004818328,0.0001389983,0.00019250506,0.00017014072],"domain_scores_gemma":[0.9989818,0.000030566862,0.0003919093,0.00041651184,0.00015462909,0.000024625728],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022320644,0.00014654436,0.0005064081,0.0000442836,0.00013362458,0.000016262962,0.00031063677,0.000028670383,0.0011043693],"category_scores_gemma":[0.00001712056,0.00008658646,0.00021527696,0.000057005567,0.00064045674,0.00022852051,0.00008291016,0.00008909631,0.000018858274],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023656918,0.00050538173,0.015809959,0.003455727,0.0006141041,2.5233763e-7,0.15524067,0.0000026017356,0.004569228,0.040204834,0.5022497,0.27711096],"study_design_scores_gemma":[0.00020980572,0.00023020488,0.00043834283,0.0008263943,0.00008802782,2.627215e-7,0.0002314797,0.000021219807,0.0034648986,0.0014204346,0.9929409,0.0001280207],"about_ca_topic_score_codex":0.00028356945,"about_ca_topic_score_gemma":0.0014675148,"teacher_disagreement_score":0.6631126,"about_ca_system_score_codex":0.00001023351,"about_ca_system_score_gemma":0.000025165962,"threshold_uncertainty_score":0.9998087},"labels":[],"label_agreement":null},{"id":"W2898886914","doi":"10.18357/scene02201718367","title":"The Two Nice Guys™ of Verona","year":2018,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nice; Computer science; Programming language","score_opus":0.0525078048001498,"score_gpt":0.28986883188919843,"score_spread":0.23736102708904863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2898886914","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46818793,0.116363615,0.000059646736,0.00070686283,0.0011146925,0.0006758979,0.000040138362,0.000042335767,0.4128089],"genre_scores_gemma":[0.9805483,0.013931193,0.00009024077,0.00006726956,0.0007940966,0.000013043877,0.0000014021342,0.00001312824,0.0045412807],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902284,0.0000594406,0.00043592107,0.000126052,0.00015693487,0.00019882534],"domain_scores_gemma":[0.99907804,0.0000658342,0.0002376294,0.00039637013,0.00019557856,0.000026555097],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042651768,0.00012677809,0.00036494803,0.000026683658,0.0003265724,0.000039282877,0.00028537854,0.000018357856,0.000385717],"category_scores_gemma":[0.00002967108,0.00007241801,0.0001566301,0.00003239918,0.0006388764,0.00014991805,0.00007577009,0.00007491822,0.0001770168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012279217,0.00009217305,0.0014589598,0.0003399791,0.0001646815,2.9823988e-7,0.04926765,0.0000010100548,0.00043422077,0.08360112,0.013022552,0.85149455],"study_design_scores_gemma":[0.00022420807,0.0003053427,0.00055451004,0.0002215624,0.000051502837,5.3235493e-7,0.0003206554,0.00005476133,0.0005348803,0.003936675,0.993679,0.00011638577],"about_ca_topic_score_codex":0.00035927637,"about_ca_topic_score_gemma":0.0013125432,"teacher_disagreement_score":0.98065645,"about_ca_system_score_codex":0.0000074389336,"about_ca_system_score_gemma":0.00002212362,"threshold_uncertainty_score":0.42233306},"labels":[],"label_agreement":null},{"id":"W2899020332","doi":"10.3138/ctr.176.001","title":"Moving Together in an Era of Assembly","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mainstream; Dance; Politics; Aesthetics; Resistance (ecology); Consumption (sociology); Sociology; Frame (networking); Media studies; Visual arts; Political science; Political economy; Art; Law; Engineering","score_opus":0.034425022191568955,"score_gpt":0.26438375606760095,"score_spread":0.229958733876032,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899020332","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.121706106,0.14569187,4.6135307e-7,0.002454546,0.0004345548,0.0003936363,0.00006530017,0.00002681053,0.7292267],"genre_scores_gemma":[0.9819198,0.014172911,0.000019747458,0.0025645783,0.0006038342,0.000014289448,0.0000069358985,0.000017257604,0.00068064686],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931777,0.00004492196,0.00021471223,0.000120345285,0.00006291721,0.00023936614],"domain_scores_gemma":[0.9995392,0.000015595215,0.000042987267,0.00022541771,0.00006901148,0.00010778044],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021157027,0.00010398324,0.00027006475,0.000072966,0.00012766162,0.000020791193,0.0001429752,0.000021563988,0.002856108],"category_scores_gemma":[0.000005850697,0.000080652266,0.00005424108,0.000060914354,0.00014760395,0.00016017878,0.000010899977,0.0000931631,0.00013934466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006893812,0.000033485652,0.006605264,0.0016749189,0.000048942864,0.000012180937,0.027002743,3.171502e-7,0.000018847977,0.028011726,0.017193276,0.9193914],"study_design_scores_gemma":[0.000065835164,0.00009787935,0.0005319773,0.002333132,0.000025702931,0.0000016929498,0.00073523686,0.0000054560046,0.00001877985,0.0002220833,0.99583167,0.00013055939],"about_ca_topic_score_codex":0.07602751,"about_ca_topic_score_gemma":0.8911117,"teacher_disagreement_score":0.9786384,"about_ca_system_score_codex":0.000045042856,"about_ca_system_score_gemma":0.00013665171,"threshold_uncertainty_score":0.9980554},"labels":[],"label_agreement":null},{"id":"W2899057478","doi":"10.3138/ctr.176.023","title":"“A Multi-modal and Durational Praxis of Decolonization”: <i>Performance Studies in Canada</i>","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Textuality; Praxis; Decolonization; Sociology; Modal; Epistemology; Aesthetics; Linguistics; Art; Political science; Law; Philosophy","score_opus":0.04197652951165975,"score_gpt":0.26389116898754866,"score_spread":0.2219146394758889,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899057478","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4066556,0.5346076,0.0000010087333,0.006201223,0.0012093958,0.0010354673,0.0003381559,0.000021482052,0.0499301],"genre_scores_gemma":[0.91988516,0.07774557,0.000036220194,0.0017498261,0.00017851216,0.000024522946,0.000009673476,0.000008351651,0.00036214993],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992831,0.000026921574,0.00027421358,0.00012504922,0.000085714426,0.00020504763],"domain_scores_gemma":[0.9995369,0.000038307822,0.00006296241,0.00011399356,0.00016667508,0.00008118154],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013739249,0.000113491384,0.000287809,0.00007105116,0.00022688488,0.000008910895,0.000079932004,0.000013411725,0.00033263522],"category_scores_gemma":[0.00002045992,0.00008979222,0.000020111045,0.000076237215,0.00029565772,0.00013155414,0.000018201617,0.000054235446,0.000012608948],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000472817,0.00008729932,0.32537743,0.02136925,0.00070687063,0.000045894198,0.06274508,0.000018345096,0.0000144719015,0.017685274,0.19393362,0.37796918],"study_design_scores_gemma":[0.00024923976,0.00008341846,0.010138517,0.002798452,0.00005168715,0.000009975459,0.0022576503,0.00010637764,0.000026244266,0.000035234516,0.98401403,0.00022914386],"about_ca_topic_score_codex":0.8560862,"about_ca_topic_score_gemma":0.9997624,"teacher_disagreement_score":0.7900804,"about_ca_system_score_codex":0.00021140071,"about_ca_system_score_gemma":0.0010582954,"threshold_uncertainty_score":0.36616206},"labels":[],"label_agreement":null},{"id":"W2899064664","doi":"10.3138/ctr.176.005","title":"Processions for Mother Earth: Scenes from a Flooded Summer","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Parade; National park; Procession; Geography; Indigenous; Ceremony; Visual arts; Media studies; History; Archaeology; Sociology; Art; Ecology","score_opus":0.055203488541906556,"score_gpt":0.27221205576374463,"score_spread":0.2170085672218381,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899064664","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035705364,0.37702632,0.000012089439,0.011887003,0.001366716,0.0015961538,0.0015266455,0.00011823843,0.6028963],"genre_scores_gemma":[0.73489106,0.12832904,0.00064371957,0.05594142,0.01891386,0.0010670982,0.00043936193,0.00025893326,0.05951548],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917334,0.000022232321,0.0001931187,0.00019840125,0.00006936228,0.00034357008],"domain_scores_gemma":[0.99935406,0.00004106852,0.000045623034,0.0002442966,0.00013048388,0.0001844378],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010473441,0.00016347002,0.00029924724,0.00005834313,0.0006150321,0.000056138426,0.00016036097,0.000031105472,0.007367714],"category_scores_gemma":[0.000013723904,0.000114382514,0.0001191643,0.000046908863,0.00018915549,0.00011911868,0.000012133937,0.000057959962,0.0007209275],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018441611,0.000033468717,0.00063639774,0.0017446132,0.00024537096,0.0000034252737,0.012130438,8.713781e-8,0.00001328276,0.016375944,0.48843896,0.48035955],"study_design_scores_gemma":[0.000117346965,0.000050463987,0.000034686207,0.0019207167,0.00010855786,7.5551935e-7,0.0003635486,0.0000066070875,0.00003154791,0.0007910933,0.9964048,0.00016982792],"about_ca_topic_score_codex":0.04224655,"about_ca_topic_score_gemma":0.7294474,"teacher_disagreement_score":0.73132056,"about_ca_system_score_codex":0.000023176515,"about_ca_system_score_gemma":0.0001984658,"threshold_uncertainty_score":0.9935397},"labels":[],"label_agreement":null},{"id":"W2899138476","doi":"10.3138/ctr.176.022","title":"The Strangers Within and Outside the Canadian Stage","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Intellect; Construct (python library); Sociology; Multiculturalism; Globalization; Nationalism; Power (physics); Modernity; Aesthetics; Media studies; Epistemology; Art; Political science; Law; Politics; Pedagogy; Philosophy","score_opus":0.032719243714564916,"score_gpt":0.23972865723090409,"score_spread":0.20700941351633917,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899138476","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017695336,0.22720966,8.198421e-8,0.043681346,0.00081284804,0.00060037675,0.00020226269,0.000023885988,0.7257],"genre_scores_gemma":[0.89754885,0.06643099,0.000004574077,0.018811662,0.0014702271,0.000056603607,0.000008940662,0.000033227207,0.015634911],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990456,0.00006508487,0.00019221018,0.00014614014,0.00009936239,0.00045160044],"domain_scores_gemma":[0.99913555,0.00006186964,0.000047270347,0.00034355297,0.000077668185,0.00033407556],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00050868356,0.00015609502,0.00018187081,0.000047149508,0.0034914943,0.00025631193,0.0002580428,0.000025719075,0.0010568254],"category_scores_gemma":[0.000015127928,0.00007589448,0.000059684673,0.000054769043,0.0009397192,0.00008731671,0.00001433098,0.00015859531,0.00024685942],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000056158633,0.0000030757012,0.0008034353,0.00057474425,0.00021223277,0.000020945454,0.03585437,2.5828203e-7,3.6184673e-7,0.22961645,0.30676132,0.4261472],"study_design_scores_gemma":[0.000037464677,0.000031473937,0.00017848944,0.0003588723,0.000053610274,0.000005622937,0.0023123308,0.000002869361,0.000001109637,0.00031621678,0.9965825,0.00011945678],"about_ca_topic_score_codex":0.8867008,"about_ca_topic_score_gemma":0.99985546,"teacher_disagreement_score":0.8957793,"about_ca_system_score_codex":0.00011200299,"about_ca_system_score_gemma":0.0006175036,"threshold_uncertainty_score":0.99985635},"labels":[],"label_agreement":null},{"id":"W2899297061","doi":"10.18357/scene01201718443","title":"Theater Emory's All-Male As You Like It","year":2018,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.06118801705271092,"score_gpt":0.28963802603569916,"score_spread":0.22845000898298823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899297061","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35367137,0.021957202,0.000022108683,0.0013916299,0.00097546575,0.0005827022,0.00002926992,0.000065923006,0.62130433],"genre_scores_gemma":[0.93207914,0.009603746,0.00014037576,0.0013180432,0.0017816998,0.00003426582,0.0000082660645,0.000036116537,0.054998342],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986596,0.000063588646,0.00047333768,0.00026193456,0.00019816426,0.00034338894],"domain_scores_gemma":[0.99909705,0.000021526657,0.00016907002,0.00047877282,0.00016603952,0.00006751794],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003295463,0.00023580564,0.00053693604,0.000068064735,0.00026414488,0.00009924782,0.00028533943,0.00004824813,0.00680243],"category_scores_gemma":[0.0000148932495,0.00016188224,0.00022611197,0.00003303321,0.00042453338,0.00031018033,0.00009936296,0.00011859837,0.0027645389],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030157212,0.00044052885,0.003056045,0.0009573255,0.00054933626,0.0000098652545,0.27015582,0.0000015354282,0.00092330144,0.0191776,0.1806398,0.52378726],"study_design_scores_gemma":[0.00021018396,0.00043185006,0.00014856768,0.0002449626,0.00007377816,0.000004932102,0.00041915875,0.0000286103,0.00028054212,0.0014612097,0.996475,0.00022123527],"about_ca_topic_score_codex":0.00043300886,"about_ca_topic_score_gemma":0.0006283782,"teacher_disagreement_score":0.8158352,"about_ca_system_score_codex":0.000013227791,"about_ca_system_score_gemma":0.000025195639,"threshold_uncertainty_score":0.99801195},"labels":[],"label_agreement":null},{"id":"W2899515497","doi":"10.3138/ctr.176.019","title":"Integrating Accessibility and Aesthetics Onstage in Neworld Theatre’s <i>King Arthur’s Night</i>","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Unification; Art; Narrative; Performance art; Aesthetics; Visual arts; Sociology; Art history; Literature; Computer science","score_opus":0.031527185832854535,"score_gpt":0.26285074515101065,"score_spread":0.23132355931815612,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899515497","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038481575,0.16496265,0.0000019791285,0.0050598877,0.0005355847,0.00066486554,0.000083499355,0.00006430235,0.79014564],"genre_scores_gemma":[0.9586497,0.034540527,0.00005017497,0.005149785,0.00068784226,0.00003315954,0.000012541506,0.000029984512,0.0008463186],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985392,0.00010440422,0.0004201078,0.00032529145,0.00011146833,0.0004995306],"domain_scores_gemma":[0.9991816,0.000062328836,0.00008366553,0.00037309236,0.00007301406,0.00022629945],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005197385,0.0002593783,0.0004691088,0.00015481705,0.00054666057,0.00014938401,0.00021754348,0.000044929187,0.0013881365],"category_scores_gemma":[0.000017031058,0.00018986927,0.00008815081,0.00013248192,0.00047967985,0.00026152786,0.00004899712,0.00025369966,0.000100210964],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000076938995,0.000022817698,0.015260712,0.0011750316,0.000033041764,0.000023456732,0.01429276,9.495331e-8,0.0000022011461,0.029861968,0.009606664,0.92971355],"study_design_scores_gemma":[0.00013162548,0.000067531044,0.00042778987,0.0036913624,0.000046672427,0.000010676131,0.0013286413,0.000013910433,0.0000064859732,0.0015860249,0.99242306,0.00026622022],"about_ca_topic_score_codex":0.041705996,"about_ca_topic_score_gemma":0.92224884,"teacher_disagreement_score":0.9828164,"about_ca_system_score_codex":0.000119448785,"about_ca_system_score_gemma":0.00020625058,"threshold_uncertainty_score":0.9995247},"labels":[],"label_agreement":null},{"id":"W2899654755","doi":"","title":"Brecht in Kannada: Translation and Performances","year":2016,"lang":"en","type":"article","venue":"TranscUlturAl A Journal of Translation and Cultural Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Kannada; Context (archaeology); Period (music); TRACE (psycholinguistics); Politics; History; Publication; Order (exchange); Drama; Literature; Marxist philosophy; Sociology; Linguistics; Art; Aesthetics; Political science; Law; Computer science; Philosophy; Archaeology; Artificial intelligence","score_opus":0.10462137023666547,"score_gpt":0.2859548544899418,"score_spread":0.18133348425327633,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899654755","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9110355,0.07718326,0.000013038642,0.009250871,0.0002946608,0.00013163855,0.000013255316,0.0000167176,0.0020610634],"genre_scores_gemma":[0.9670887,0.032142233,0.00009391798,0.00005494947,0.00025200078,0.0000042292754,0.0000010680347,0.000005058618,0.00035781373],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999064,0.00003864815,0.00043929793,0.00011435682,0.00017413606,0.00016952545],"domain_scores_gemma":[0.9995744,0.000073391464,0.000109011344,0.000028833756,0.00016958077,0.00004474388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019014791,0.00017669325,0.0003367474,0.00007680917,0.00028630413,0.000055125536,0.000054242442,0.000033310596,0.00006380957],"category_scores_gemma":[0.000005645079,0.00007847168,0.000093761104,0.000046833495,0.0003584436,0.0012291673,0.0000037537056,0.00010720358,0.0000018813414],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034364246,0.000031659703,0.0029401332,0.0001387658,0.00028121777,0.0000040272225,0.31900683,0.000003299425,0.0020833896,0.001388738,0.00034233183,0.673436],"study_design_scores_gemma":[0.022311587,0.0031110407,0.12692781,0.0035514317,0.0010857665,0.0005430795,0.29911202,0.000191357,0.002926289,0.005162139,0.5328571,0.0022203277],"about_ca_topic_score_codex":0.000032795982,"about_ca_topic_score_gemma":0.0029827384,"teacher_disagreement_score":0.67121565,"about_ca_system_score_codex":0.00001622709,"about_ca_system_score_gemma":0.000006907874,"threshold_uncertainty_score":0.31999823},"labels":[],"label_agreement":null},{"id":"W2900099843","doi":"","title":"Stay Gold: Ottawa University Literary Journal: Theater Resource Guide: Finding Theater books and videos","year":2014,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Resource (disambiguation); Visual arts; Media studies; History; Sociology; Computer science","score_opus":0.01648912656568237,"score_gpt":0.20518125579135546,"score_spread":0.18869212922567308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2900099843","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23348579,0.00025253595,0.000026269132,0.00106824,0.00019825196,0.000066043045,0.000008920544,0.000070126116,0.76482385],"genre_scores_gemma":[0.74879587,0.00007706039,0.000059976253,0.0010118686,0.0006802274,4.6944183e-7,0.0000023395128,0.0000138627975,0.24935836],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922216,0.00007526808,0.00017337417,0.00015428672,0.00012165818,0.0002532555],"domain_scores_gemma":[0.99959534,0.00008112934,0.00005185901,0.00015302814,0.000048110473,0.000070518094],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003370938,0.00015022219,0.0001749469,0.0001149334,0.0010654542,0.00024484738,0.00014529271,0.000032508742,0.0019661512],"category_scores_gemma":[0.0000039597544,0.00009890268,0.000064260974,0.000013541855,0.00016936258,0.00037364676,0.0001952276,0.00015771505,0.00006345496],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012883174,0.000045916542,0.018648822,0.00008005372,0.00026008484,0.000031582113,0.2263123,0.0000029231996,0.000076021905,0.10598235,0.5859209,0.06251025],"study_design_scores_gemma":[0.00032752813,0.00010601278,0.00063160073,0.000040290706,0.000028333672,0.000016187947,0.005214579,0.000029042969,0.000070623326,0.0017786617,0.9915942,0.00016295322],"about_ca_topic_score_codex":0.00015614292,"about_ca_topic_score_gemma":0.00041949618,"teacher_disagreement_score":0.5154655,"about_ca_system_score_codex":0.000020015315,"about_ca_system_score_gemma":0.00000719336,"threshold_uncertainty_score":0.9989462},"labels":[],"label_agreement":null},{"id":"W2900193781","doi":"","title":"Hyperréalisme des sentiments (Hyperrealist Sentiments)","year":2011,"lang":"fr","type":"article","venue":"SSRN Electronic Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université de Sherbrooke","funders":"","keywords":"Humanities; Pathos; Art history; Art; Philosophy; Cartography; Geography; Literature","score_opus":0.02998994006596319,"score_gpt":0.23641995277228833,"score_spread":0.20643001270632513,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2900193781","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4155903,0.15544143,0.0003125748,0.0018265569,0.0067560016,0.00033945922,0.00010427811,0.00010669428,0.4195227],"genre_scores_gemma":[0.6842139,0.06731574,0.00006592946,0.00019460694,0.0029068463,0.000008150458,0.0000125795195,0.00006535075,0.24521692],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99471635,0.00014673568,0.0005458961,0.00030657407,0.0003620825,0.003922363],"domain_scores_gemma":[0.9990986,0.000023023864,0.00025338464,0.00025406026,0.00019091078,0.00018000296],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010633979,0.0004392065,0.00040509124,0.00017349419,0.0022799075,0.00024590173,0.00039060626,0.00012256589,0.0041301385],"category_scores_gemma":[0.000008790994,0.00038972613,0.00034423816,0.00008933179,0.00089329755,0.00086560025,0.000112576425,0.001763927,0.0012061952],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017794989,0.00069754565,0.0046066293,0.00009009644,0.0024372668,0.00004914061,0.045364555,0.0000044121175,0.00001958814,0.875296,0.006590949,0.064665884],"study_design_scores_gemma":[0.00181673,0.0011555263,0.0010113454,0.000286052,0.00084900914,0.0014551855,0.05115256,0.000037665734,0.00014813332,0.37082088,0.5704217,0.00084524363],"about_ca_topic_score_codex":0.0057692803,"about_ca_topic_score_gemma":0.014226199,"teacher_disagreement_score":0.56383073,"about_ca_system_score_codex":0.00092765474,"about_ca_system_score_gemma":0.00077222503,"threshold_uncertainty_score":0.99985546},"labels":[],"label_agreement":null},{"id":"W2900600262","doi":"10.1080/14452294.2018.1537134","title":"How has drama education training strengthened our teaching skills? Perspectives from preservice teachers and a university professor","year":2018,"lang":"en","type":"article","venue":"NJ","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Drama; Creativity; Curriculum; Face (sociological concept); Psychology; Pedagogy; Literacy; Mathematics education; Sociology; Visual arts; Art; Social psychology; Social science","score_opus":0.03385764856423842,"score_gpt":0.25072938432943415,"score_spread":0.21687173576519572,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2900600262","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93507,0.00028884562,0.0000043496557,0.007818713,0.00027017976,0.000102741025,0.000025397985,0.00006292689,0.05635685],"genre_scores_gemma":[0.97493225,0.000018767145,0.0002080713,0.00007110972,0.0015947933,0.0000023449963,0.000008102917,0.000009028496,0.023155505],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995025,0.000057805468,0.00005003709,0.00017507239,0.00007312977,0.0001414827],"domain_scores_gemma":[0.99970955,0.000028191798,0.00004682425,0.00011109862,0.000069163376,0.000035189543],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000080823425,0.000100782585,0.000109565626,0.000050264138,0.0009995505,0.00021611011,0.00009467116,0.000030306539,0.00007654486],"category_scores_gemma":[0.000020044205,0.00008719523,0.000026975908,0.000014855886,0.0001486905,0.00045672467,0.00004792498,0.00014398224,0.000009280761],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020571602,0.000072594186,0.0011287895,0.000008788813,0.00006724043,3.657136e-7,0.95424616,5.357269e-8,0.000046033452,0.013546068,0.0038266694,0.02703668],"study_design_scores_gemma":[0.00019433822,0.00005966971,0.0031436833,0.000039756495,0.00003074948,2.8665207e-7,0.7237774,0.000014688691,0.000017201222,0.00047297135,0.27215117,0.00009806712],"about_ca_topic_score_codex":0.0012160983,"about_ca_topic_score_gemma":0.007859158,"teacher_disagreement_score":0.2683245,"about_ca_system_score_codex":0.000031724467,"about_ca_system_score_gemma":0.000056759312,"threshold_uncertainty_score":0.7687835},"labels":[],"label_agreement":null},{"id":"W2901003876","doi":"10.3138/md.0940","title":"Ratifying the Myth of Eden: The Open Theater’s Critique of Humanism","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanism; Mythology; Humanity; Aesthetics; Politics; Dismissal; Literature; Agency (philosophy); Art; Art history; Sociology; Philosophy; Law; Theology; Social science","score_opus":0.05993949183149334,"score_gpt":0.2969024223385827,"score_spread":0.2369629305070894,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901003876","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18486728,0.0006522601,0.00012833186,0.009109839,0.00054822845,0.00049144827,0.000041530442,0.00002737528,0.8041337],"genre_scores_gemma":[0.9903432,0.000039505907,0.000017091555,0.0014227082,0.0006367053,0.00002324293,0.0000015831112,0.000012195659,0.0075037736],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993572,0.000052795735,0.00020995745,0.000104993145,0.00012608785,0.00014895626],"domain_scores_gemma":[0.9993501,0.00007235336,0.00008782209,0.00034035515,0.0001383053,0.000011086969],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027593644,0.00009979015,0.00017588773,0.000020484298,0.0007132843,0.0001408789,0.0005680269,0.000020658943,0.0008036665],"category_scores_gemma":[0.0000069069974,0.000046691755,0.000060015736,0.000017571847,0.000755653,0.0001728514,0.00023432302,0.00008693168,0.000021010554],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006684597,0.00006409497,0.00010862246,0.00006120005,0.00013230488,6.502484e-7,0.5644244,0.0000057134,0.0007325224,0.40296793,0.01870543,0.012730281],"study_design_scores_gemma":[0.0007360336,0.000648557,0.0005740644,0.00021796864,0.00011922465,0.000005285327,0.06682396,0.0010261998,0.017973987,0.08515213,0.8263852,0.00033740164],"about_ca_topic_score_codex":0.0006342302,"about_ca_topic_score_gemma":0.0016972142,"teacher_disagreement_score":0.8076798,"about_ca_system_score_codex":0.000005857603,"about_ca_system_score_gemma":0.000022148954,"threshold_uncertainty_score":0.87995845},"labels":[],"label_agreement":null},{"id":"W2901230325","doi":"10.3138/md.61.4.br1","title":"Social and Political Theatre in 21st-Century Britain: Staging Crisis","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Performance art; Context (archaeology); History; Sociology; Economic history; Art history; Media studies; Art; Political economy; Political science; Law; Archaeology","score_opus":0.02715269618403045,"score_gpt":0.2622910257367621,"score_spread":0.23513832955273165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901230325","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73698103,0.00040345846,0.0000070907095,0.004485607,0.00017040133,0.00007137234,0.000020196409,0.00005090309,0.25780997],"genre_scores_gemma":[0.9969907,0.000034904642,0.000010131634,0.00084256986,0.0015717896,0.0000061991627,0.0000028202965,0.000013335408,0.00052757206],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992385,0.000021459682,0.0001255618,0.00015988867,0.00009940588,0.00035518757],"domain_scores_gemma":[0.9998066,0.00002001131,0.00001637045,0.000078264966,0.000038316317,0.000040478848],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007478928,0.000107864056,0.00014823544,0.00006221873,0.0004301368,0.00012567826,0.00006360039,0.000032669253,0.00015470099],"category_scores_gemma":[0.0000023955995,0.00009135061,0.000034085067,0.000018046167,0.00031797693,0.00015263667,0.00006676522,0.000102112106,0.000020147436],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055591416,0.000087026,0.010213211,0.000057456335,0.00004695513,0.000007844154,0.2993215,2.1960763e-7,0.000022710874,0.63789433,0.0052569415,0.047036204],"study_design_scores_gemma":[0.0016693857,0.00030960495,0.007072484,0.00008621962,0.00006709176,0.0000075267085,0.19166085,0.0010916416,0.00017141597,0.0894067,0.70767546,0.0007816368],"about_ca_topic_score_codex":0.0007232754,"about_ca_topic_score_gemma":0.0021273284,"teacher_disagreement_score":0.7024185,"about_ca_system_score_codex":0.000026601925,"about_ca_system_score_gemma":0.000013360759,"threshold_uncertainty_score":0.37251696},"labels":[],"label_agreement":null},{"id":"W2901317064","doi":"10.3138/md.0901r","title":"From Politics to Poetics: An Exploratory Study of Gao Xingjian’s Tragic Aesthetics in <i>Escape</i>","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Poetics; Literature; Philosophy; Dramatization; Art; Aesthetics; Poetry","score_opus":0.03849373093686397,"score_gpt":0.2580492073204158,"score_spread":0.21955547638355183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901317064","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9870748,0.00010348356,0.000027608527,0.00019569586,0.000341524,0.00022658017,0.00005238812,0.00004728073,0.011930627],"genre_scores_gemma":[0.9978044,0.000009328396,0.000049827526,0.00042936648,0.0009936469,0.000021233427,0.000006134643,0.00002932903,0.00065671274],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99887645,0.000057069723,0.0003152067,0.00024516144,0.00020428152,0.00030185308],"domain_scores_gemma":[0.9993262,0.000024265786,0.000056441688,0.00038132325,0.00012949077,0.00008224806],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011324103,0.00017080198,0.00027889907,0.00012530324,0.00019533964,0.00007550104,0.0002239656,0.000036790123,0.00021704329],"category_scores_gemma":[0.0000056686004,0.00015518101,0.00003633352,0.00004323094,0.00018355939,0.00019357556,0.000077073935,0.00010872454,0.000094548894],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051996914,0.0007790513,0.0026246144,0.000012653355,0.000030565556,0.000006757359,0.98826146,0.000036598893,0.000104023195,0.0032036756,0.00075053266,0.004138045],"study_design_scores_gemma":[0.004552659,0.008812423,0.0040776734,0.00024681905,0.00017709921,0.000002549551,0.7865873,0.002811597,0.00254979,0.045104902,0.14373797,0.0013392159],"about_ca_topic_score_codex":0.001153473,"about_ca_topic_score_gemma":0.026726067,"teacher_disagreement_score":0.20167418,"about_ca_system_score_codex":0.000029885052,"about_ca_system_score_gemma":0.000026847862,"threshold_uncertainty_score":0.9910337},"labels":[],"label_agreement":null},{"id":"W2901380124","doi":"10.15760/honors.586","title":"‘Do not mistrust my age or power’: Daughterly Agency in Three Elizabethan Family Drama Plays","year":2018,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Comedy; Power (physics); Agency (philosophy); Windsor; Literature; Romance; Gender studies; History; Period (music); Daughter; Sociology; Art; Political science; Aesthetics; Law; Social science","score_opus":0.03982175267523558,"score_gpt":0.27173108276126295,"score_spread":0.23190933008602738,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901380124","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45891428,0.0003473686,0.0000010219369,0.000029536572,0.0016891761,0.00023183448,0.00014570694,0.00007359805,0.5385675],"genre_scores_gemma":[0.711814,0.0003723212,0.00006602346,0.00029949035,0.0014324812,0.000066754925,0.0008297609,0.00007530892,0.28504387],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99809116,0.000023004357,0.0005619863,0.0004927623,0.0003324944,0.00049860036],"domain_scores_gemma":[0.99914515,0.000051252136,0.0001792547,0.00041283167,0.00014583327,0.00006565259],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014947068,0.00051813305,0.0005884942,0.00025331485,0.00045612262,0.00034779488,0.0004063404,0.00024196289,0.014965553],"category_scores_gemma":[0.000012850651,0.0003688532,0.00017426586,0.00006750081,0.00015015382,0.0002660799,0.000039764243,0.00036059928,0.00079215196],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0019092261,0.00039598535,0.00072259293,0.0012072283,0.0005774268,0.00029789226,0.73873836,5.293332e-7,0.0004541153,0.07956755,0.12665437,0.049474716],"study_design_scores_gemma":[0.0013764328,0.001553393,0.020876184,0.0009756374,0.00019194394,0.0000032500081,0.13071738,0.000012599389,0.00049230625,0.0044465465,0.8374735,0.0018808445],"about_ca_topic_score_codex":0.0017303876,"about_ca_topic_score_gemma":0.19211261,"teacher_disagreement_score":0.7108191,"about_ca_system_score_codex":0.000046874542,"about_ca_system_score_gemma":0.00010563493,"threshold_uncertainty_score":0.9999859},"labels":[],"label_agreement":null},{"id":"W2901513953","doi":"10.3138/md.61.4.br2","title":"10,000 Nights: Highlights from 50 Years of Theatre-Going","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Variety (cybernetics); History; Visual arts; Computer science; Art; Artificial intelligence","score_opus":0.020169095601208765,"score_gpt":0.21821743642829883,"score_spread":0.19804834082709005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901513953","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6498571,0.0006114882,0.000026297683,0.0002111897,0.00043844152,0.000072794515,0.000107049185,0.00007775625,0.34859788],"genre_scores_gemma":[0.9752579,0.000044079767,0.00007728491,0.00009333808,0.0017608907,0.0000054740403,0.0000135251885,0.000019116336,0.022728393],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992307,0.000019155697,0.00019856202,0.00018108,0.00016095402,0.00020958878],"domain_scores_gemma":[0.99951607,0.000053154617,0.00006515136,0.00026110065,0.00007037076,0.00003414762],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00005312181,0.00012636441,0.00021414651,0.00006044994,0.0002467014,0.00006668917,0.00016744617,0.000038623162,0.009000363],"category_scores_gemma":[0.0000026873313,0.00009905034,0.000075111355,0.000019454543,0.0003228756,0.00017844589,0.00006017194,0.00006180762,0.0013075424],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006299734,0.00035999183,0.0010162513,0.00009242234,0.0007256886,0.000016476555,0.61826956,0.0000107034675,0.0019922757,0.07182521,0.080614924,0.22444652],"study_design_scores_gemma":[0.00030428157,0.00019063427,0.00061379385,0.000060124352,0.00003882601,3.7994488e-7,0.0007964484,0.00025798526,0.0014392037,0.011233536,0.98488814,0.00017662224],"about_ca_topic_score_codex":0.0008888226,"about_ca_topic_score_gemma":0.001921229,"teacher_disagreement_score":0.9042733,"about_ca_system_score_codex":0.0000134812735,"about_ca_system_score_gemma":0.000013362926,"threshold_uncertainty_score":0.99947006},"labels":[],"label_agreement":null},{"id":"W2901648925","doi":"10.3138/md.61.4.br5","title":"Performing the Intercultural City","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Multiculturalism; Diversity (politics); Context (archaeology); Resistance (ecology); The arts; Sociology; Interculturalism; State (computer science); Intercultural relations; Performance studies; Performing arts; Media studies; Visual arts; Intercultural communication; Pedagogy; Art; Anthropology; History","score_opus":0.040061012812489444,"score_gpt":0.2449135862917889,"score_spread":0.20485257347929944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901648925","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6876762,0.00011173397,0.000023842002,0.001117053,0.00047588113,0.00004986487,0.0000042319357,0.000048122132,0.31049308],"genre_scores_gemma":[0.9797538,0.000009239912,0.0000074247205,0.00057834113,0.0021854888,0.0000074547934,0.0000017889233,0.000006514313,0.01744995],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995572,0.000009834343,0.000087399625,0.00009248614,0.000083818304,0.00016925199],"domain_scores_gemma":[0.9997364,0.000016284042,0.0000227803,0.00013871229,0.000069248745,0.000016560538],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000075769676,0.00008342982,0.000075713,0.000014708786,0.0009312508,0.00013844513,0.00014222477,0.000014150204,0.0014973407],"category_scores_gemma":[0.00000485241,0.00004239916,0.000048027967,0.000011396281,0.00038055243,0.00017572597,0.00006688833,0.00008856512,0.00031870094],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035144265,0.000023948667,0.00085564365,0.000011401962,0.00006417096,9.591736e-7,0.83118826,0.0000012612879,0.0000863754,0.053037323,0.014259517,0.10043599],"study_design_scores_gemma":[0.00013939608,0.00010984882,0.00059887924,0.000020071728,0.000019123067,0.000004405066,0.015922168,0.0018255073,0.00037721326,0.0056645717,0.9751732,0.00014565271],"about_ca_topic_score_codex":0.00018588862,"about_ca_topic_score_gemma":0.0022879448,"teacher_disagreement_score":0.96091366,"about_ca_system_score_codex":0.000011787734,"about_ca_system_score_gemma":0.000005776052,"threshold_uncertainty_score":0.9994154},"labels":[],"label_agreement":null},{"id":"W290179189","doi":"","title":"Dramatic Arenas for Ethical Stories","year":2002,"lang":"en","type":"article","venue":"Resources for feminist research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Sociology; Nothing; Ethnography; Aesthetics; Feminism; Clothing; Gender studies; Media studies; Law; Epistemology; Literature; Art; Philosophy; Anthropology; Political science","score_opus":0.20032876115312542,"score_gpt":0.38142187537572697,"score_spread":0.18109311422260155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W290179189","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20381811,0.003807726,0.00006103989,0.015162957,0.0009351125,0.0023529201,0.00058659224,0.00025796416,0.7730176],"genre_scores_gemma":[0.9095658,0.00008471311,0.00013467652,0.00024703858,0.002348237,0.00060324435,0.000013898858,0.0000356631,0.08696672],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983363,0.00006541459,0.00024686044,0.00025558367,0.00044582802,0.00065002346],"domain_scores_gemma":[0.99769735,0.0016104939,0.000041751293,0.0002530418,0.00030648228,0.00009087352],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011133099,0.0001430564,0.00024425294,0.00015527851,0.002220872,0.0003712052,0.0003127953,0.000113897186,0.0010212434],"category_scores_gemma":[0.00030187838,0.00010944439,0.000146641,0.00006883935,0.0009553784,0.00006543269,0.00008244589,0.00045288538,0.0001543519],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022637977,0.00012463676,0.00020287005,0.0007313665,0.00011119476,0.0000019770985,0.34433824,0.0000016947253,0.000023771418,0.24206547,0.39762875,0.014543653],"study_design_scores_gemma":[0.00039002532,0.0006192314,0.000014757797,0.000056602894,0.00001444005,0.0000014931196,0.026064137,0.00038916786,0.00007092187,0.004345792,0.9678869,0.0001465334],"about_ca_topic_score_codex":0.0000736426,"about_ca_topic_score_gemma":0.00046664316,"teacher_disagreement_score":0.7057477,"about_ca_system_score_codex":0.000044574248,"about_ca_system_score_gemma":0.000018857,"threshold_uncertainty_score":0.99989194},"labels":[],"label_agreement":null},{"id":"W2901806524","doi":"10.3138/md.61.4.br7","title":"The Nervous Stage: Nineteenth-Century Neuroscience and the Birth of Modern Theatre","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Naturalism; Romance; Art; Literature; Stage (stratigraphy); Theatre studies; History; Aesthetics; Philosophy; Epistemology; Drama; Biology","score_opus":0.01833245740428216,"score_gpt":0.2246299943723869,"score_spread":0.20629753696810474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901806524","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8424576,0.009237599,0.0002063061,0.003690714,0.0011852371,0.0004244739,0.000068469206,0.000088220084,0.14264141],"genre_scores_gemma":[0.99035424,0.00089171564,0.0000050794592,0.0004201423,0.0004574986,0.000012382266,6.5391947e-7,0.00001275854,0.007845542],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913746,0.000051649626,0.00017806164,0.00017482658,0.00020344397,0.00025455587],"domain_scores_gemma":[0.99937135,0.00011400701,0.00008265034,0.00032139735,0.00008116578,0.000029452181],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0002271853,0.00013249616,0.00015627107,0.000024895082,0.0013362358,0.00019882352,0.00029072154,0.000018825673,0.0000569925],"category_scores_gemma":[0.000012413269,0.00005971054,0.000057454337,0.000031815198,0.0026357202,0.00014475026,0.00015243082,0.00010893945,0.000010175452],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00065073505,0.00008723034,0.0018093947,0.00007623458,0.0000806606,0.0000030073047,0.27392915,0.00011111798,0.0003889965,0.30743206,0.003364018,0.41206738],"study_design_scores_gemma":[0.0013743835,0.00034431904,0.0013834347,0.00003367475,0.00005133147,0.000005772275,0.005902637,0.04350687,0.00021907483,0.03492932,0.9119746,0.00027457983],"about_ca_topic_score_codex":0.00019317919,"about_ca_topic_score_gemma":0.0009748325,"teacher_disagreement_score":0.9086106,"about_ca_system_score_codex":0.0000053518397,"about_ca_system_score_gemma":0.000019001693,"threshold_uncertainty_score":0.9999639},"labels":[],"label_agreement":null},{"id":"W2903611651","doi":"10.3138/tric.39.1.86","title":"Drama and the Liberal Arts at the University Level: Connecting Present, Past, and Future","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Drama; Commonwealth; Liberal arts education; The arts; Sociology; Higher education; Art; Visual arts; Political science; Law","score_opus":0.0744857566911677,"score_gpt":0.2757500431498187,"score_spread":0.20126428645865102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2903611651","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6067744,0.0020564965,1.1725914e-7,0.04054856,0.0002473905,0.00026488304,0.000058380854,0.0000096355825,0.35004017],"genre_scores_gemma":[0.9940356,0.00066875626,0.0000018705109,0.00015227872,0.002006365,0.00000268953,0.0000017338061,0.000007878628,0.0031228424],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99891645,0.00022587746,0.00008248785,0.00015344197,0.00026403548,0.00035771143],"domain_scores_gemma":[0.99907947,0.00059719634,0.000019906907,0.00018351772,0.00006387827,0.000056054974],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00067817734,0.0000889805,0.00012211183,0.000045251956,0.0020185825,0.000089286,0.0001648285,0.000017387856,0.00034041837],"category_scores_gemma":[0.000002507103,0.00004613199,0.000015766636,0.00007115315,0.0012981159,0.00007944678,0.00030050706,0.00027281322,0.000005675137],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010648433,0.000015850617,0.011749826,0.00009994907,0.00016825026,0.000067915615,0.10674559,0.0000034357618,0.000006206957,0.0415394,0.31280485,0.5257339],"study_design_scores_gemma":[0.0005257299,0.000035879813,0.0012852589,0.00002397725,0.000006172565,0.000008149667,0.0498953,0.00006918657,0.000014986482,0.0011514546,0.9469161,0.00006781452],"about_ca_topic_score_codex":0.8061974,"about_ca_topic_score_gemma":0.9934093,"teacher_disagreement_score":0.6341112,"about_ca_system_score_codex":0.00015913996,"about_ca_system_score_gemma":0.00018850707,"threshold_uncertainty_score":0.99928063},"labels":[],"label_agreement":null},{"id":"W2904547608","doi":"10.7202/1055471ar","title":"Dramaturgy For Digital Natives","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"Yale University","keywords":"Dramaturgy; Art; Aesthetics","score_opus":0.06822698756639442,"score_gpt":0.306701845974475,"score_spread":0.23847485840808055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904547608","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24258892,0.0004179355,2.438933e-7,0.0013184987,0.0003746314,0.00035710598,0.00017030069,0.000011234535,0.75476116],"genre_scores_gemma":[0.99498427,0.000039886952,0.000003567013,0.000058050384,0.00031676903,0.000045780198,0.000013594708,0.000012966904,0.0045251027],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889684,0.000028845412,0.00012396851,0.00015328714,0.00033327442,0.00046381584],"domain_scores_gemma":[0.9992318,0.00046861652,0.00001414995,0.000156147,0.00007865646,0.00005061062],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002621707,0.00008473187,0.0001488092,0.0001137346,0.00018952439,0.00011533895,0.00017962122,0.000013870571,0.0006168394],"category_scores_gemma":[0.0000038340904,0.000064040156,0.000030091684,0.00006156937,0.000117857686,0.00020986286,0.000056663266,0.00018169449,0.00006372225],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00054688996,0.000117533295,0.029059397,0.0006962159,0.00019020034,0.00003307594,0.030401407,0.00007132699,0.000043615917,0.11561746,0.13317882,0.69004405],"study_design_scores_gemma":[0.00029688163,0.00009229105,0.000117810305,0.000053669486,9.947285e-7,6.170493e-7,0.018560559,0.00008890973,0.000047370246,0.0046300394,0.9760085,0.000102384285],"about_ca_topic_score_codex":0.8036355,"about_ca_topic_score_gemma":0.984357,"teacher_disagreement_score":0.84282964,"about_ca_system_score_codex":0.00029605697,"about_ca_system_score_gemma":0.00078998203,"threshold_uncertainty_score":0.6753959},"labels":[],"label_agreement":null},{"id":"W2907121329","doi":"10.4000/sillagescritiques.6341","title":"Punchdrunk’s Immersive Theatre: From the End to the Edge","year":2018,"lang":"en","type":"article","venue":"Sillages critiques","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Future Earth","funders":"","keywords":"Narrative; Flourishing; Wish; Merge (version control); Teleology; Aesthetics; Expansive; Visual arts; History; Media studies; Sociology; Art; Epistemology; Literature; Psychology; Computer science; Philosophy; Social psychology","score_opus":0.024317770526821676,"score_gpt":0.2581978454718566,"score_spread":0.2338800749450349,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2907121329","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19070043,0.0055177724,0.0000211937,0.08353307,0.002505943,0.0004821934,0.00040126118,0.00014572057,0.7166924],"genre_scores_gemma":[0.9768703,0.00044709854,0.000020697227,0.009398032,0.008598576,0.00004201454,0.0000124671615,0.000019773173,0.0045910394],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990697,0.00008536019,0.00015897331,0.00021085411,0.00017115858,0.00030397563],"domain_scores_gemma":[0.9990748,0.00030029236,0.00003258105,0.00039352753,0.0001555569,0.000043223004],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019413908,0.00018099684,0.00016433933,0.000025378451,0.0013749825,0.0002572834,0.00040261593,0.000029433255,0.0032100528],"category_scores_gemma":[0.000025461724,0.00008431669,0.00009480757,0.000039904287,0.00080933893,0.00017053068,0.00014931736,0.00012461294,0.00091419223],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040120718,0.000020793375,0.00065326307,0.000006598951,0.000110608155,0.0000025605093,0.29239446,2.0388593e-7,0.00015204794,0.05952909,0.6209429,0.026147353],"study_design_scores_gemma":[0.00007327896,0.00015720117,0.000985927,0.000032477426,0.00003660146,9.982173e-7,0.050656833,0.0000024725664,0.0023888338,0.004853857,0.94066477,0.00014677842],"about_ca_topic_score_codex":0.002842855,"about_ca_topic_score_gemma":0.020627035,"teacher_disagreement_score":0.7861699,"about_ca_system_score_codex":0.000017137667,"about_ca_system_score_gemma":0.000019311248,"threshold_uncertainty_score":0.9999251},"labels":[],"label_agreement":null},{"id":"W2907953676","doi":"","title":"Mapping drama and theatre strategies with five Canadian drama education professors","year":2018,"lang":"en","type":"article","venue":"2018 Conference of the Canadian Society for the Study of Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta; University of British Columbia; McGill University","funders":"","keywords":"Drama; Presentation (obstetrics); Documentation; Theatre studies; Sociology; Pedagogy; Visual arts; Art; Computer science; Medicine","score_opus":0.038951742457024825,"score_gpt":0.26248890022851323,"score_spread":0.22353715777148842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2907953676","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95030683,0.0002454007,0.0000023958316,0.005618736,0.001104287,0.0013735867,0.00009681989,0.00000684965,0.041245114],"genre_scores_gemma":[0.9938197,0.000019386795,0.000046778565,0.00027139558,0.00045069176,0.00012332028,0.000008938876,0.000011086731,0.005248681],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993153,0.000026055588,0.00016915944,0.00014633621,0.00011563525,0.00022746304],"domain_scores_gemma":[0.99882996,0.000051076313,0.00015434335,0.00028274188,0.00059371133,0.0000881642],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00018602381,0.00013106722,0.00015004286,0.000063757994,0.0017555545,0.0001386148,0.0002799623,0.000039105915,0.00009137506],"category_scores_gemma":[0.0000105605295,0.00007668501,0.00006926047,0.000082415856,0.0008265115,0.00018200163,0.000020077045,0.00009221876,0.0000021509848],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018690898,0.0001248642,0.0053724647,0.000097742755,0.00033803948,1.1908534e-8,0.90099424,0.000002413012,0.000009381357,0.033061605,0.039101046,0.020879522],"study_design_scores_gemma":[0.00018745799,0.00030954464,0.012673696,0.00013200364,0.000110766276,7.1281875e-7,0.89721644,0.00004286591,0.000020229256,0.0019207689,0.0872572,0.00012830472],"about_ca_topic_score_codex":0.853085,"about_ca_topic_score_gemma":0.9946024,"teacher_disagreement_score":0.14151742,"about_ca_system_score_codex":0.0001272491,"about_ca_system_score_gemma":0.0051248064,"threshold_uncertainty_score":0.999544},"labels":[],"label_agreement":null},{"id":"W2909346626","doi":"10.16995/bst.52","title":"Dear Mama - An Artistic Statement","year":2014,"lang":"en","type":"article","venue":"Body Space & Technology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Art; Drama; Beauty; Art history; Power (physics); Visual arts; Statement (logic); Theatre director; George (robot); Dream; Aesthetics; Philosophy; Psychology","score_opus":0.012645059089457055,"score_gpt":0.23270958155037144,"score_spread":0.22006452246091437,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2909346626","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83019775,0.0003531819,0.0004660699,0.009232393,0.000670642,0.00023720547,0.000025302681,0.00092655193,0.1578909],"genre_scores_gemma":[0.99283624,0.00004774326,0.00017621025,0.00017194639,0.00033173707,0.000029940078,0.000007641517,0.000016135826,0.0063824384],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999267,0.000016981818,0.00014619587,0.00018739152,0.000084071675,0.00029834805],"domain_scores_gemma":[0.9995456,0.000015806461,0.000053449465,0.00030351587,0.000048164806,0.00003346599],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011478462,0.00012690281,0.00017023644,0.00015731997,0.00032296832,0.00004713012,0.0001599342,0.00005667911,0.000740042],"category_scores_gemma":[0.000016458513,0.00010462517,0.000025953685,0.000040138006,0.00034455163,0.000109371744,0.00007019777,0.00012412298,0.0005379123],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013296299,0.00008218828,0.0018745112,0.000014001531,0.000032226097,0.0000041382914,0.0030205178,0.0000035675077,0.00020598974,0.968229,0.010149837,0.016370725],"study_design_scores_gemma":[0.00020484325,0.0006181832,0.0003354508,0.000011460599,0.000020411897,0.0000030831336,0.003102173,0.00014253143,0.00053265353,0.015701156,0.97917205,0.00015599943],"about_ca_topic_score_codex":0.00013209089,"about_ca_topic_score_gemma":0.0023807387,"teacher_disagreement_score":0.9690222,"about_ca_system_score_codex":0.000021291366,"about_ca_system_score_gemma":0.000011276256,"threshold_uncertainty_score":0.8102941},"labels":[],"label_agreement":null},{"id":"W2910049580","doi":"10.4324/9781315421339-16","title":"A Marxist Methodology for Critical Collaborative Inquiry","year":2016,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Marxist philosophy; Epistemology; Sociology; Philosophy; Political science; Law","score_opus":0.21565406845092772,"score_gpt":0.35961756280661217,"score_spread":0.14396349435568445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2910049580","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000011758698,0.0010145842,0.0007263424,0.0022958387,0.002188935,0.0002870057,0.00062533154,0.00007039458,0.9927904],"genre_scores_gemma":[0.0003189107,0.0002940627,0.0014574052,0.0008352594,0.0055211755,0.00007575548,0.00002065424,0.000044922792,0.99143183],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991563,0.000021046315,0.00024376913,0.00025857752,0.000086175176,0.00023416239],"domain_scores_gemma":[0.9981511,0.001214328,0.00006264772,0.00016783808,0.0003622581,0.00004181217],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018560124,0.00026312942,0.00047824814,0.000087861656,0.00036026252,0.00005460507,0.00010715254,0.00014792304,0.015420424],"category_scores_gemma":[0.00005708849,0.00016327387,0.00014750975,0.000002785144,0.0010967416,0.0000920998,0.00006086239,0.00011212775,0.0004759353],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007412827,0.000004373281,2.6755058e-7,0.0000637239,0.00012758451,0.0000017481066,0.009382899,4.0052743e-9,0.0000010697704,0.86070794,0.12134666,0.008289622],"study_design_scores_gemma":[0.00014273825,0.00019431092,1.8689097e-7,0.000056593763,0.00007178961,0.0000010293616,0.0013297301,1.7249292e-7,0.000010671591,0.26864463,0.7293488,0.00019934229],"about_ca_topic_score_codex":0.0000051263637,"about_ca_topic_score_gemma":0.0005752556,"teacher_disagreement_score":0.6080021,"about_ca_system_score_codex":0.000025702735,"about_ca_system_score_gemma":0.000057539888,"threshold_uncertainty_score":0.9854796},"labels":[],"label_agreement":null},{"id":"W2910348925","doi":"10.1086/702148","title":": <i>Playwriting Playgoers in Shakespeare’s Theater</i>","year":2018,"lang":"en","type":"article","venue":"Renaissance Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Performance art; History; Art history; Media studies; Art; Sociology","score_opus":0.022257148857938364,"score_gpt":0.23742797582812963,"score_spread":0.21517082697019127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2910348925","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5693732,0.00039748894,0.000006903299,0.0006656057,0.00064254703,0.00012265146,0.000017980037,0.000110583234,0.42866307],"genre_scores_gemma":[0.99515736,0.00001451721,0.000028551458,0.00040402464,0.0018363118,0.000023061648,0.000004555298,0.000020131816,0.0025115032],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989341,0.00002984326,0.00025428104,0.0002403118,0.0001379935,0.00040345476],"domain_scores_gemma":[0.9995987,0.00003748168,0.000055294608,0.00020635863,0.000059039696,0.000043125925],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016204537,0.0001665363,0.00020535753,0.00009991655,0.00036219988,0.00012568914,0.0001643428,0.00003317416,0.0012809729],"category_scores_gemma":[0.000003783273,0.00013856885,0.000055718167,0.00006269413,0.0004110421,0.00035089575,0.00001197781,0.00013472255,0.00070567377],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027659442,0.00018905321,0.014509495,0.00014771683,0.000098360724,0.00006104524,0.6588068,0.0000027047006,0.0008656138,0.08304249,0.072841845,0.16915826],"study_design_scores_gemma":[0.0009679768,0.0014871083,0.004136692,0.00037525472,0.000017153754,0.000010462684,0.046154402,0.00013857361,0.0005785058,0.0025588032,0.94297886,0.00059623795],"about_ca_topic_score_codex":0.0003185091,"about_ca_topic_score_gemma":0.0068550254,"teacher_disagreement_score":0.870137,"about_ca_system_score_codex":0.000024709252,"about_ca_system_score_gemma":0.000015865786,"threshold_uncertainty_score":0.999632},"labels":[],"label_agreement":null},{"id":"W2910461134","doi":"10.1111/1469-8676.12593","title":"The Communist hero and the April Fool's joke: the cultural politics of authentication and fakery","year":2019,"lang":"en","type":"article","venue":"Social Anthropology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Politics; HERO; Joke; Legend; Communism; China; Law; Sociology; Population; Literature; Media studies; Political science; Art","score_opus":0.01997941348821256,"score_gpt":0.2724400460257983,"score_spread":0.2524606325375857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2910461134","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9145983,0.0032724529,6.969447e-7,0.04736876,0.00063153164,0.00017873282,0.00001945552,0.000011703501,0.033918366],"genre_scores_gemma":[0.9943726,0.0014478342,0.0000010174473,0.00029174087,0.0003642551,0.000006484533,0.000002589991,0.0000041992857,0.00350926],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9995146,0.000117359865,0.000119474455,0.00005523986,0.000056246383,0.000137085],"domain_scores_gemma":[0.9994775,0.00028069556,0.0000699025,0.000109967004,0.0000543527,0.00000755862],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.0001839214,0.0000667106,0.00013337011,0.000006614732,0.0028844748,0.000059240356,0.00011367952,0.000028026549,0.00011649926],"category_scores_gemma":[0.000010788912,0.000026503023,0.000037965186,0.000013523034,0.009235369,0.000043790184,0.0000971032,0.00011040187,0.0000082013585],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025147832,0.0000068544186,0.00066395296,0.000010570889,0.00005266743,3.2815727e-8,0.15558182,1.6808265e-8,0.0000068095346,0.84012514,0.0017562248,0.0017707354],"study_design_scores_gemma":[0.0006908646,0.000107264015,0.006149748,0.0000073607453,0.000078306155,0.000003875462,0.51305914,0.000027629294,0.000028583003,0.042901058,0.4368522,0.00009397218],"about_ca_topic_score_codex":0.001478197,"about_ca_topic_score_gemma":0.0031676516,"teacher_disagreement_score":0.7972241,"about_ca_system_score_codex":0.000005594991,"about_ca_system_score_gemma":0.000011225634,"threshold_uncertainty_score":0.9984136},"labels":[],"label_agreement":null},{"id":"W2910920511","doi":"10.3138/utq.87.3.101","title":"<i>Curatorial Dreams: Critics Imagine Exhibitions</i> edited by Shelley Ruth Butler and Erica Lehrer","year":2018,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Exhibition; Art history; Art","score_opus":0.006921166412586565,"score_gpt":0.18630121838274402,"score_spread":0.17938005197015747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2910920511","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4474285,0.0027770395,0.00039680995,0.0024124943,0.0045972345,0.0004048568,0.0016648558,0.00026037087,0.54005784],"genre_scores_gemma":[0.9907883,0.00016159541,0.0001252114,0.00011119174,0.002015604,2.5011434e-7,0.000033194283,0.000009585565,0.0067551043],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945253,0.000019377043,0.00009840123,0.00015061391,0.00011243421,0.00016665213],"domain_scores_gemma":[0.9995236,0.000026671634,0.000048294896,0.00012866114,0.00021529399,0.0000575074],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000043364053,0.00011440743,0.00016476469,0.000019646419,0.0004725191,0.000038007383,0.00009903217,0.00003324381,0.0029729425],"category_scores_gemma":[0.0000022057334,0.00011612841,0.000045946752,0.000010439539,0.0006826823,0.0005255903,0.000022856306,0.000049254486,0.000040258208],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019006018,0.00015233565,0.00013821307,0.00004184185,0.000118558644,0.000004331581,0.2153026,3.4740058e-8,0.0007672212,0.012998242,0.76275754,0.0075290226],"study_design_scores_gemma":[0.0007304765,0.00086792104,0.000086484084,0.000024266594,0.00006808591,0.0000010916499,0.051131357,0.000020887412,0.00007287834,0.00025546236,0.9465629,0.00017819199],"about_ca_topic_score_codex":0.011215173,"about_ca_topic_score_gemma":0.016510384,"teacher_disagreement_score":0.54335976,"about_ca_system_score_codex":0.000040961197,"about_ca_system_score_gemma":0.0000181942,"threshold_uncertainty_score":0.99793845},"labels":[],"label_agreement":null},{"id":"W2911187817","doi":"10.1080/13569783.2018.1535270","title":"Working within an aesthetic of relationality: theoretical considerations of embodiment, imagination and foolishness as part of theatre making about dementia","year":2019,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Holland Bloorview Kids Rehabilitation Hospital","funders":"Social Sciences and Humanities Research Council of Canada; Holland Bloorview Kids Rehabilitation Hospital Foundation","keywords":"Foolishness; Situated; Aesthetics; Sociology; Point (geometry); Vulnerability (computing); Dementia; Psychology; Epistemology; Art; Social psychology; Philosophy; Computer science","score_opus":0.04491911687867123,"score_gpt":0.32894673305945654,"score_spread":0.2840276161807853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911187817","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9455513,0.001619726,0.0000018471246,0.00062011933,0.00016822328,0.00026043985,0.000003099165,0.000002192572,0.05177305],"genre_scores_gemma":[0.9986871,0.0010106759,0.00008367129,0.00003698486,0.0001293805,0.00000861036,0.000002758198,0.000009154033,0.000031704792],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9985876,0.00016502905,0.0005889103,0.00010094989,0.00039974524,0.0001577665],"domain_scores_gemma":[0.9987043,0.00034594722,0.00036949845,0.00017901279,0.0003651248,0.00003611646],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024004425,0.00010041964,0.0002489564,0.00026377296,0.00023573733,0.00005311856,0.00013162424,0.000037821417,0.00026578113],"category_scores_gemma":[0.0000102742,0.000067252986,0.000031031796,0.000109334724,0.0008938274,0.00031690553,0.00004822202,0.00029323102,0.0000016386845],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048205885,0.00023702522,0.046118543,0.0002723063,0.00007809654,1.6348349e-7,0.08106493,0.0002524343,0.0003171851,0.8350785,0.000079370366,0.036019426],"study_design_scores_gemma":[0.002723995,0.0024623743,0.04342358,0.0041933395,0.00035683703,0.00014480195,0.1790646,0.0021218176,0.011093368,0.7470891,0.006787179,0.000539041],"about_ca_topic_score_codex":0.000047553734,"about_ca_topic_score_gemma":0.000038347094,"teacher_disagreement_score":0.09799967,"about_ca_system_score_codex":0.000020360234,"about_ca_system_score_gemma":0.00023270848,"threshold_uncertainty_score":0.32933444},"labels":[],"label_agreement":null},{"id":"W2911307869","doi":"10.3138/ctr.177.014","title":"<i>Mouthpiece:</i> The Female Body and the Dialectics of Being Seen and Heard","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dialectic; Mouthpiece; Aesthetics; Art; Sociology; Gender studies; Visual arts; Psychology; Philosophy; Acoustics; Epistemology","score_opus":0.01481341666774509,"score_gpt":0.2141071769120062,"score_spread":0.19929376024426113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911307869","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06266777,0.46736592,1.5851056e-7,0.021211103,0.00042985045,0.0010924718,0.00006760465,0.00001585454,0.44714928],"genre_scores_gemma":[0.8651413,0.12776808,0.0000018434155,0.0036423467,0.0002662109,0.000016482618,0.0000028070228,0.000012213245,0.0031487674],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937224,0.00007665933,0.00017580795,0.000110050045,0.00007398373,0.00019122877],"domain_scores_gemma":[0.9994454,0.00015996471,0.00005378051,0.00023534865,0.000035998684,0.000069533526],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040420756,0.00011346089,0.00031889963,0.000027274204,0.00036569973,0.0000523922,0.000111938105,0.000017352078,0.00023941274],"category_scores_gemma":[0.000011019609,0.00005423471,0.00006484956,0.00003932204,0.00041262803,0.00006406303,0.00003299679,0.00011148529,0.00003243026],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005641231,0.000019353874,0.022742977,0.009659433,0.0005901315,0.0000070992737,0.12731032,0.0000011343343,0.000008416509,0.5492516,0.041406695,0.24894641],"study_design_scores_gemma":[0.00020069526,0.000030316927,0.00023183796,0.0008194196,0.00014312015,0.000008516089,0.0015939786,0.0000041471153,0.0000024705319,0.0006833369,0.9961939,0.00008826362],"about_ca_topic_score_codex":0.021915691,"about_ca_topic_score_gemma":0.100525916,"teacher_disagreement_score":0.9547872,"about_ca_system_score_codex":0.000013426774,"about_ca_system_score_gemma":0.00006614733,"threshold_uncertainty_score":0.98459744},"labels":[],"label_agreement":null},{"id":"W2912785230","doi":"10.1007/978-3-030-01581-7_3","title":"Home as an Activist and Feminist Stage: Women’s Performative Agency in the Drama of Susan Glaspell","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Mary's University","funders":"","keywords":"Performative utterance; Drama; Citizenship; Agency (philosophy); Feminism; Gender studies; Architecture; Domestic work; Sociology; Art; Aesthetics; Political science; Visual arts; Politics; Law; Social science","score_opus":0.024136737141019694,"score_gpt":0.23709102495652096,"score_spread":0.21295428781550127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2912785230","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19220176,0.000167083,9.698245e-8,0.000066090266,0.00015721029,0.00025090956,0.00014723366,0.000013526453,0.8069961],"genre_scores_gemma":[0.52054894,0.00044088782,0.0000015855013,0.00014528426,0.00016052501,0.0000066865227,0.000017226406,0.000016425187,0.47866246],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898785,0.000028218437,0.00031003996,0.0002145836,0.00022184421,0.00023747035],"domain_scores_gemma":[0.99930316,0.000111093475,0.00018233841,0.0003108615,0.00005669483,0.000035857975],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002933081,0.00030806343,0.0004509603,0.00013551253,0.00025837673,0.00013978545,0.0002230955,0.000085340755,0.01116057],"category_scores_gemma":[0.000002237497,0.00018600917,0.00006717855,0.000008578688,0.00050528103,0.00027547183,0.00008099365,0.00039508706,0.00019294834],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007231725,0.00003302798,0.00016903451,0.0002034505,0.00007207661,0.0000039027736,0.40042004,2.0003374e-7,8.8852863e-7,0.5951409,0.0010379028,0.0028463006],"study_design_scores_gemma":[0.00034897905,0.00094546546,0.0003894609,0.000098501165,0.000031872594,0.000003854571,0.120447405,0.0000075160738,0.000007061137,0.0067739636,0.8705833,0.00036260104],"about_ca_topic_score_codex":0.0003059138,"about_ca_topic_score_gemma":0.0024132668,"teacher_disagreement_score":0.8695454,"about_ca_system_score_codex":0.00004462372,"about_ca_system_score_gemma":0.000066319626,"threshold_uncertainty_score":0.98974335},"labels":[],"label_agreement":null},{"id":"W2912963932","doi":"10.1002/9781118350508.ch14","title":"Sophocles<i>Didaskalos</i>","year":2012,"lang":"fa","type":"other","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Chorus; Reading (process); Visual arts; Art; Space (punctuation); Art history; Computer graphics (images); Literature; Computer science; Linguistics; Philosophy","score_opus":0.021515115002340143,"score_gpt":0.21650086239426822,"score_spread":0.1949857473919281,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2912963932","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018866759,0.018856788,0.0000031300306,0.0004572158,0.004187602,0.0002557747,0.00017994687,0.00018527861,0.9756856],"genre_scores_gemma":[0.020291567,0.0035893295,0.000040444113,0.001035283,0.014582542,0.000023498047,0.00004302866,0.00028175398,0.9601126],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983261,0.000034180615,0.00033829975,0.00032300476,0.00024193146,0.00073645747],"domain_scores_gemma":[0.9991675,0.000044239147,0.00016264447,0.00043950064,0.00005140051,0.0001347113],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011686954,0.00057855394,0.0006030613,0.0001593092,0.0005934611,0.00019292884,0.00026793758,0.00023988528,0.5441435],"category_scores_gemma":[0.000002367909,0.00042419689,0.00027482037,0.00003247791,0.00045989445,0.00016291866,0.00014851402,0.00032824502,0.066436045],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001486327,0.000114822986,0.00032579436,0.0002072626,0.0003642051,0.000003089976,0.011098144,8.235317e-8,0.000002943379,0.17967054,0.7910792,0.017118998],"study_design_scores_gemma":[0.00026479465,0.000076451,0.0000779828,0.00017313499,0.00020290611,0.0000032496225,0.0028157663,8.666714e-7,0.000023522432,0.00031798918,0.99541813,0.0006252023],"about_ca_topic_score_codex":0.0008174766,"about_ca_topic_score_gemma":0.0027829388,"teacher_disagreement_score":0.47770745,"about_ca_system_score_codex":0.000035269084,"about_ca_system_score_gemma":0.000041715433,"threshold_uncertainty_score":0.999821},"labels":[],"label_agreement":null},{"id":"W2913351047","doi":"10.3138/ctr.177.013","title":"Editorial: Transforming Form","year":2019,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.015763396436802104,"score_gpt":0.2408666042992677,"score_spread":0.2251032078624656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2913351047","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[1.04942934e-7,0.14388162,6.724265e-8,0.00045030972,0.5771565,0.0005264994,0.0010746367,0.000041638225,0.27686867],"genre_scores_gemma":[0.0000055114565,0.24245322,0.0000012791437,0.00048404603,0.741997,0.00007591,0.00062039203,0.000079894,0.014282728],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976298,0.000045521727,0.00054854306,0.00042362203,0.0005687431,0.00078374264],"domain_scores_gemma":[0.99837494,0.0002429925,0.00015924363,0.0005898642,0.00030034303,0.00033264357],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004762548,0.0005610213,0.0011782807,0.00020348793,0.00052067655,0.00017553534,0.00054899557,0.00042363058,0.0036118045],"category_scores_gemma":[0.000055532888,0.00043930026,0.00047487763,0.00006575002,0.00014095478,0.00028269118,0.000025766369,0.00092159235,0.0023481986],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000028293211,0.0000038171297,4.200519e-7,0.006288726,0.00010418458,0.0000032261923,0.0014486241,2.4617664e-8,2.0330907e-8,0.00072959636,0.9501631,0.04125542],"study_design_scores_gemma":[0.00014514488,0.000070596594,2.4809257e-8,0.009434747,0.00039915083,8.578004e-7,0.00016008937,1.4016251e-7,1.8420417e-7,0.00013540749,0.98910403,0.00054960436],"about_ca_topic_score_codex":0.08730368,"about_ca_topic_score_gemma":0.6431221,"teacher_disagreement_score":0.55581844,"about_ca_system_score_codex":0.0004305822,"about_ca_system_score_gemma":0.002069003,"threshold_uncertainty_score":0.99980587},"labels":[],"label_agreement":null},{"id":"W2915086660","doi":"","title":"Early Theatre Essay Prizes 2009","year":2009,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Performance art; Aesthetics; Art history","score_opus":0.01413372732296647,"score_gpt":0.2153503804107801,"score_spread":0.20121665308781364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2915086660","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4151961,0.0014565593,0.0000031421998,0.002064242,0.0005119319,0.00018669938,0.000054658907,0.00024936828,0.5802773],"genre_scores_gemma":[0.9692128,0.00012902182,0.000044021755,0.0007253076,0.0027056776,0.000012792346,0.000010968628,0.000030189336,0.027129235],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984687,0.000052373816,0.0002983098,0.00032844508,0.00029220452,0.00055999495],"domain_scores_gemma":[0.9992621,0.000053864984,0.000079121055,0.00042884733,0.00007464754,0.00010143368],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016114298,0.00033195087,0.00035521464,0.00012379081,0.00072177534,0.0003176589,0.00031665622,0.00007809373,0.001960887],"category_scores_gemma":[0.0000029508506,0.0002418727,0.00019925048,0.00007354419,0.0002166114,0.0005373986,0.000043214695,0.00027382636,0.0012253856],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039225677,0.000516538,0.012790107,0.000059639344,0.0003706028,0.00006348331,0.29291013,0.000011913174,0.00038198553,0.12497845,0.07546848,0.49205643],"study_design_scores_gemma":[0.00086269126,0.0011497581,0.02719976,0.000115625255,0.00009948304,0.0000075606144,0.0036305077,0.000008632504,0.0002865564,0.014468316,0.9514887,0.0006824408],"about_ca_topic_score_codex":0.0005284074,"about_ca_topic_score_gemma":0.0003826422,"teacher_disagreement_score":0.8760202,"about_ca_system_score_codex":0.000029961837,"about_ca_system_score_gemma":0.00004115926,"threshold_uncertainty_score":0.99955225},"labels":[],"label_agreement":null},{"id":"W2915370302","doi":"10.3138/utq.87.4.11","title":"Listening to the Lake","year":2018,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Opera; Active listening; Storytelling; Politics; Astrolabe; Visual arts; Art; History; Art history; Literature; Sociology; Law; Narrative; Political science; Communication","score_opus":0.012384633492151987,"score_gpt":0.19328257516359512,"score_spread":0.18089794167144313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2915370302","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17421678,0.00014584034,0.00007806653,0.001219338,0.00057876325,0.000100965066,0.000040220915,0.000043435502,0.82357657],"genre_scores_gemma":[0.96701866,0.0000061487694,0.00006455321,0.000116457486,0.0005532023,7.82388e-8,0.0000014669558,0.0000027558253,0.032236688],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997127,0.000011300323,0.000043315464,0.00006943266,0.00006547522,0.0000977976],"domain_scores_gemma":[0.9997375,0.000012929254,0.000025000665,0.00012307416,0.00007807173,0.000023408898],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004986672,0.00004848191,0.000071143666,0.0000089595715,0.00046455322,0.000017595092,0.00016065603,0.000009973368,0.005087384],"category_scores_gemma":[8.460504e-7,0.000036928956,0.00004045996,0.000005812073,0.00018063949,0.00017319455,0.000018175011,0.000021433683,0.00022687287],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060354123,0.000016158137,0.00014445245,0.0000064861906,0.00004471358,0.000001145153,0.862618,2.8923648e-7,0.000016215714,0.016404556,0.07437878,0.046308793],"study_design_scores_gemma":[0.00008825061,0.0005245671,0.0010503726,0.000009705713,0.000014026862,2.4840534e-7,0.082787365,0.000007999904,0.0000045224015,0.000032533382,0.9154299,0.00005049439],"about_ca_topic_score_codex":0.010836452,"about_ca_topic_score_gemma":0.7286003,"teacher_disagreement_score":0.84105116,"about_ca_system_score_codex":0.00001540079,"about_ca_system_score_gemma":0.0000071177574,"threshold_uncertainty_score":0.9958221},"labels":[],"label_agreement":null},{"id":"W2916045409","doi":"10.3138/md.0958","title":"Demythologizing Nationalist Narrative: Howard Brenton’s <i>The Romans in Britain</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Referendum; Nationalism; Narrative; Context (archaeology); Dramaturgy; Criticism; Brexit; Identity (music); History; State (computer science); Gender studies; Literature; Political science; Sociology; Aesthetics; Law; Art; Politics","score_opus":0.019886901659254053,"score_gpt":0.23735120485534922,"score_spread":0.21746430319609517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2916045409","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8679874,0.0005797609,0.00001982315,0.0044307504,0.0004137318,0.00018617243,0.000016709959,0.000052758758,0.1263129],"genre_scores_gemma":[0.9803028,0.000027489983,0.0000143081825,0.0009026359,0.00030169333,0.000028345865,0.000011862771,0.000012469095,0.0183984],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923754,0.000041352272,0.00016184228,0.00017270667,0.00016360682,0.00022294576],"domain_scores_gemma":[0.99966174,0.00006660937,0.000045181427,0.00015772245,0.000051794024,0.000016954245],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017726848,0.00012025331,0.00015005255,0.00005403617,0.0003340334,0.00013988063,0.0001705487,0.000029943158,0.00056632335],"category_scores_gemma":[0.000008734658,0.00008292297,0.000057772664,0.000032590786,0.00014741826,0.00023107257,0.00005922014,0.00015683449,0.00019784534],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056791014,0.0001116044,0.030860573,0.000060694336,0.00007649188,0.000010799996,0.78631777,0.00046383523,0.00020548911,0.15774399,0.012901464,0.011190489],"study_design_scores_gemma":[0.0013456008,0.00017070341,0.02319267,0.0001250847,0.00002699724,0.000015193426,0.06849477,0.0040524816,0.0001331799,0.035311785,0.86649996,0.00063155044],"about_ca_topic_score_codex":0.00036427387,"about_ca_topic_score_gemma":0.0054603214,"teacher_disagreement_score":0.85359854,"about_ca_system_score_codex":0.00003928568,"about_ca_system_score_gemma":0.000019774343,"threshold_uncertainty_score":0.62008435},"labels":[],"label_agreement":null},{"id":"W2916611703","doi":"10.3138/md.62.1.br3","title":"John H. Muse. <i>Microdramas: Crucibles for Theater and Time</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Phenomenology (philosophy); Art; Visual arts; Art history; Literature; Philosophy; Epistemology","score_opus":0.015990701915162248,"score_gpt":0.21034671226942617,"score_spread":0.19435601035426392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2916611703","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78855383,0.0009788215,0.000048917096,0.0009308657,0.00043331218,0.00041590867,0.0000934418,0.00010765983,0.20843725],"genre_scores_gemma":[0.9575028,0.00011813389,0.00008261724,0.0006761803,0.00048860576,0.000031456577,0.000013834462,0.000027199165,0.041059174],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933726,0.000009406898,0.00013090255,0.0002087221,0.000072619296,0.00024108861],"domain_scores_gemma":[0.9996553,0.00005165709,0.000032070697,0.0001816732,0.00004893407,0.000030370249],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008450929,0.00014285499,0.00019549881,0.000049090107,0.0002506354,0.00017635696,0.000087808585,0.000034093526,0.0008189333],"category_scores_gemma":[0.0000024002084,0.000104703904,0.000063135914,0.0000105788695,0.00010477789,0.00020655533,0.00005171336,0.00005783261,0.0004254478],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007843958,0.0004297877,0.008166206,0.0011594755,0.00080876803,0.000006395183,0.45008335,0.00008942468,0.013004923,0.1579665,0.16356452,0.20393628],"study_design_scores_gemma":[0.0006670899,0.00017751072,0.00012787106,0.000044879194,0.000034429908,0.0000027168078,0.0010361747,0.0014082673,0.00079985004,0.009585423,0.9858612,0.0002545942],"about_ca_topic_score_codex":0.000056653113,"about_ca_topic_score_gemma":0.00011378913,"teacher_disagreement_score":0.8222967,"about_ca_system_score_codex":0.000008101678,"about_ca_system_score_gemma":0.000009187873,"threshold_uncertainty_score":0.8966745},"labels":[],"label_agreement":null},{"id":"W2916662061","doi":"10.7202/1055469ar","title":"Roles of Theatre in Higher Education: Liberal Education and University Theatre Programs in Canada","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Liberal education; Liberal arts education; Higher education; Pedagogy; Sociology; Political science; Mathematics education; Psychology; Law","score_opus":0.05584221187070748,"score_gpt":0.2641640299267339,"score_spread":0.2083218180560264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2916662061","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70312095,0.0014128948,1.6775671e-9,0.0026785985,0.0003208368,0.00033548952,0.000023982666,0.000003465785,0.29210377],"genre_scores_gemma":[0.99632555,0.00027023233,0.0000049999962,0.000074709016,0.00015414515,0.00001607923,0.000018582035,0.000012597162,0.003123082],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99849343,0.00018062153,0.00022683309,0.00024357966,0.00040009263,0.00045546552],"domain_scores_gemma":[0.99942374,0.00012863676,0.000039311446,0.00024443542,0.00007606865,0.000087829474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002885868,0.00014143603,0.00026325593,0.00028071424,0.00010001545,0.000028162814,0.00023311513,0.000030993942,0.0005500599],"category_scores_gemma":[6.298173e-7,0.00012390812,0.000019045943,0.0002728728,0.00012952705,0.00019591239,0.00008736448,0.0003499167,0.0000030556414],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010137262,0.00014561017,0.6353775,0.00022075043,0.000017445966,0.000011347242,0.0061051757,0.000024479725,0.0000049698046,0.0031172158,0.003969135,0.350905],"study_design_scores_gemma":[0.0008213215,0.00013609554,0.079225995,0.0007973311,0.000008129753,0.000003689492,0.21092433,0.00004850788,0.000023993305,0.0018916859,0.70577013,0.00034881133],"about_ca_topic_score_codex":0.9997194,"about_ca_topic_score_gemma":0.99999154,"teacher_disagreement_score":0.70180094,"about_ca_system_score_codex":0.001882147,"about_ca_system_score_gemma":0.016090875,"threshold_uncertainty_score":0.989487},"labels":[],"label_agreement":null},{"id":"W291698820","doi":"","title":"Pecking at Your Head: The Flight and Fall of 'Magpie'","year":2005,"lang":"en","type":"article","venue":"Australasian drama studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Politics; Media studies; Quarter (Canadian coin); Nothing; Slogan; Pecking order; History; Sociology; Management; Visual arts; Law; Political science; Art","score_opus":0.06571353167323443,"score_gpt":0.2977401505690457,"score_spread":0.23202661889581125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W291698820","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9013625,0.00924842,3.3366402e-7,0.010463358,0.0003549594,0.00015950883,0.000023661018,0.00005006194,0.0783372],"genre_scores_gemma":[0.96734893,0.0013726779,0.000033199416,0.00019057032,0.00088299613,0.000015649723,0.0000015799326,0.00001264624,0.030141756],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911916,0.000022051589,0.00025933652,0.00017232785,0.00014781166,0.0002792963],"domain_scores_gemma":[0.99953914,0.00007637813,0.00009391487,0.00017653927,0.00008400249,0.000030020194],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011986264,0.00018771792,0.00029391632,0.000048506245,0.00087547547,0.00005324006,0.00012021409,0.000025554005,0.0001795408],"category_scores_gemma":[0.000013850345,0.00011075732,0.00007638653,0.000030950745,0.0008252795,0.00018329757,0.00016540123,0.00011159757,0.000059386468],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008747154,0.00011631055,0.039574366,0.00030592113,0.001334168,0.000009158608,0.7500664,0.000018945406,0.00015718698,0.07491046,0.097999334,0.035420258],"study_design_scores_gemma":[0.00036612237,0.00013812122,0.014244373,0.00009062523,0.00011023916,0.000010591043,0.066678524,0.000004971128,0.00040568336,0.00060633424,0.9171349,0.00020953533],"about_ca_topic_score_codex":0.000105757164,"about_ca_topic_score_gemma":0.007062075,"teacher_disagreement_score":0.81913555,"about_ca_system_score_codex":0.000028796532,"about_ca_system_score_gemma":0.0000073898545,"threshold_uncertainty_score":0.6733538},"labels":[],"label_agreement":null},{"id":"W2917465101","doi":"","title":"Autobiography on Cassandra","year":2018,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Biography; Art; History; Literature","score_opus":0.031933879398484674,"score_gpt":0.239701151509542,"score_spread":0.20776727211105733,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2917465101","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56395453,0.00051089906,5.597152e-8,0.0005915532,0.001591879,0.00009440523,0.00008220179,0.00007111116,0.43310338],"genre_scores_gemma":[0.9805718,0.00011674777,0.000004207566,0.003377856,0.0018891656,0.000063663014,0.0000029066287,0.000016446073,0.013957195],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989457,0.000015539636,0.00013824546,0.00020228753,0.00010550076,0.0005926952],"domain_scores_gemma":[0.99937946,0.000044045726,0.00003230345,0.00019108217,0.00017307569,0.00018002672],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010332092,0.00018723594,0.00023627296,0.00033290396,0.0015370692,0.000076007236,0.00012113451,0.000024702906,0.0017201373],"category_scores_gemma":[0.00001866219,0.0001452283,0.0000622847,0.00008689349,0.0009805457,0.00010375145,0.000028089476,0.00008786738,0.0009117112],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039485614,0.000027728596,0.0015987257,0.00005192937,0.00089549256,0.000029336295,0.50457305,4.570281e-7,0.000003483279,0.28196722,0.20706736,0.0037457333],"study_design_scores_gemma":[0.00015473567,0.00042077937,0.00022879073,0.00002941364,0.000014870471,9.593414e-7,0.13748413,7.845815e-7,0.000018205128,0.0046533174,0.8567816,0.0002123884],"about_ca_topic_score_codex":0.0015254602,"about_ca_topic_score_gemma":0.22901198,"teacher_disagreement_score":0.64971423,"about_ca_system_score_codex":0.00018307306,"about_ca_system_score_gemma":0.00007169737,"threshold_uncertainty_score":0.9998662},"labels":[],"label_agreement":null},{"id":"W2917594455","doi":"10.3138/md.62.1.br2","title":"James M. Harding. <i>Performance, Transparency, and the Cultures of Surveillance</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Transparency (behavior); Performance studies; History; Aesthetics; Sociology; Visual arts; Art; Computer science; Computer security; Anthropology","score_opus":0.012072805007871265,"score_gpt":0.20543605003701254,"score_spread":0.19336324502914126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2917594455","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85481244,0.0025382936,0.0000057771344,0.00059236935,0.00025501288,0.00015430506,0.000025065892,0.000027925684,0.14158884],"genre_scores_gemma":[0.99269986,0.0010828801,0.0000064099113,0.00022408072,0.00016704318,0.000010828352,0.000004187818,0.000009042714,0.0057956562],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994153,0.00002205165,0.00016453883,0.00012148925,0.00012568124,0.00015094133],"domain_scores_gemma":[0.99966353,0.000053147225,0.00005480681,0.00016384163,0.000048952596,0.000015728487],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015268444,0.00011310398,0.00024658666,0.00002204326,0.00020029624,0.000055359997,0.000117651594,0.000022578304,0.00022247562],"category_scores_gemma":[0.0000023875918,0.00006050156,0.000063347,0.000018101666,0.00039642633,0.00014841193,0.000028834565,0.0000814777,0.000026705333],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012081573,0.000112047484,0.24154116,0.0008979693,0.00055965554,0.0000011745933,0.5306377,0.0003637338,0.0003009003,0.13849068,0.022772936,0.063113876],"study_design_scores_gemma":[0.0054535144,0.00035039047,0.024069212,0.00019258607,0.00009591784,0.0000073045862,0.009939599,0.005637313,0.0011646472,0.006468971,0.94599456,0.00062596094],"about_ca_topic_score_codex":0.00014281178,"about_ca_topic_score_gemma":0.00025252267,"teacher_disagreement_score":0.92322165,"about_ca_system_score_codex":0.0000034505022,"about_ca_system_score_gemma":0.000007987591,"threshold_uncertainty_score":0.2467182},"labels":[],"label_agreement":null},{"id":"W2917598224","doi":"10.3138/md.0964","title":"Blackfaced at <i>The Blacks</i>: Audience Participation in Jean Genet’s Lessons on Race","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humiliation; Racism; Race (biology); Politics; Aesthetics; Gender studies; Sociology; Art; Political science; Psychology; Social psychology; Law","score_opus":0.03409334874423605,"score_gpt":0.2714462937459625,"score_spread":0.23735294500172646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2917598224","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9281758,0.0003053864,0.00001035034,0.0040642037,0.00032815765,0.00022446856,0.0000134908805,0.000038290797,0.06683982],"genre_scores_gemma":[0.94333774,0.00013915947,0.0000032566759,0.0006150113,0.00017704838,0.000034086916,0.000006889686,0.000013866288,0.055672918],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910897,0.000041020146,0.0001665284,0.00021874745,0.00017370147,0.00029103286],"domain_scores_gemma":[0.999486,0.00010750162,0.00005716958,0.00028899935,0.00003260034,0.000027723141],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015354634,0.00013436392,0.00015356354,0.00004258155,0.0003124756,0.00007560805,0.00014236965,0.00002903235,0.0013253926],"category_scores_gemma":[0.000011362415,0.000090771544,0.000049000584,0.00003275451,0.00014558512,0.00013186476,0.00007724057,0.00012187418,0.0022408105],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00068718154,0.00057179277,0.041858643,0.00015359388,0.00015303312,0.0000130846765,0.7113778,0.03587801,0.0025286577,0.06911165,0.05509373,0.08257284],"study_design_scores_gemma":[0.0014783345,0.00040824997,0.027313534,0.00013025162,0.000045569235,0.0000010613322,0.00450269,0.023568306,0.003019085,0.0030361721,0.93586075,0.000635996],"about_ca_topic_score_codex":0.00017267595,"about_ca_topic_score_gemma":0.010227679,"teacher_disagreement_score":0.88076705,"about_ca_system_score_codex":0.00005237661,"about_ca_system_score_gemma":0.000012853917,"threshold_uncertainty_score":0.99958754},"labels":[],"label_agreement":null},{"id":"W2917658186","doi":"10.3138/md.62.1.br7","title":"Patricia A. Ybarra. <i>Latinx Theater in the Times of Neoliberalism</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Neoliberalism (international relations); Politics; Mode (computer interface); Sociology; Humanities; Aesthetics; Political science; Art history; Art; Social science; Law","score_opus":0.015012231105800094,"score_gpt":0.21115306326318847,"score_spread":0.19614083215738837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2917658186","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63283914,0.00035480064,0.0000016578408,0.0014863758,0.00012574071,0.00013062498,0.000012114104,0.000015289359,0.36503425],"genre_scores_gemma":[0.9897404,0.000026204685,0.0000102535405,0.0015633682,0.0002071785,0.000009274785,0.000004387273,0.000010311757,0.008428657],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937755,0.00003760485,0.00017061137,0.000107460626,0.0001340266,0.00017272639],"domain_scores_gemma":[0.99965847,0.00008369364,0.00004346306,0.00018254749,0.000023720568,0.000008125752],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001383171,0.00010096699,0.00016467173,0.000050243034,0.000101185484,0.000047268477,0.00016803633,0.000024291485,0.0012673682],"category_scores_gemma":[0.0000020057175,0.00005728696,0.00006124939,0.000029205277,0.00009950741,0.000117732336,0.00003418295,0.0000933008,0.00018264707],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000099973826,0.00018459623,0.02363691,0.00013810383,0.00008879735,0.0000051285137,0.69359595,0.00043980617,0.00015842263,0.23761636,0.028625328,0.015410607],"study_design_scores_gemma":[0.0022647968,0.000665417,0.007094853,0.0001767457,0.00008428685,0.000007800433,0.022015465,0.0045399265,0.00074964424,0.14159125,0.82006866,0.000741154],"about_ca_topic_score_codex":0.0004025239,"about_ca_topic_score_gemma":0.0003493246,"teacher_disagreement_score":0.79144335,"about_ca_system_score_codex":0.000005398499,"about_ca_system_score_gemma":0.00000938708,"threshold_uncertainty_score":0.9996456},"labels":[],"label_agreement":null},{"id":"W2918101722","doi":"10.15353/cjds.v8i1.477","title":"Cripping The Stage","year":2019,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Series (stratigraphy); Art; Visual arts; Psychology; Psychoanalysis; Geology","score_opus":0.061019866497670563,"score_gpt":0.26707175854727266,"score_spread":0.20605189204960211,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2918101722","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93913263,0.0069479933,2.626026e-7,0.0081306705,0.0020951743,0.00010760087,0.000027204602,0.0000049754753,0.043553513],"genre_scores_gemma":[0.99491423,0.000087845205,0.0000035936148,0.00041031206,0.0006356406,0.000001783877,2.6038293e-7,0.000005842412,0.003940482],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992868,0.00004088943,0.00026834873,0.000073020325,0.00010991218,0.0002210628],"domain_scores_gemma":[0.9992383,0.00016786234,0.000105978244,0.00016734815,0.00023198468,0.000088503795],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004082317,0.00009818234,0.00023847849,0.000036164627,0.0005688618,0.000079397374,0.0001894582,0.0000120681125,0.0011241649],"category_scores_gemma":[0.000101998354,0.000053657404,0.0001198289,0.000029547331,0.0010351719,0.00020896971,0.00001865231,0.00015850976,0.0000623168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003255598,0.000032049385,0.43562376,0.0002483131,0.0009635356,0.000011359338,0.42503226,0.000060146787,0.000005793819,0.07609391,0.052438177,0.009458137],"study_design_scores_gemma":[0.00015049064,0.00012337786,0.0123501355,0.00005665689,0.00003771522,0.0000038521507,0.2106159,0.0000018035553,0.00000780452,0.0016001667,0.7749556,0.00009650571],"about_ca_topic_score_codex":0.0034136486,"about_ca_topic_score_gemma":0.3560546,"teacher_disagreement_score":0.72251743,"about_ca_system_score_codex":0.00014087644,"about_ca_system_score_gemma":0.0001290897,"threshold_uncertainty_score":0.99978894},"labels":[],"label_agreement":null},{"id":"W2918640489","doi":"10.7202/1058420ar","title":"ENSEIGNEMENT DU THÉÂTRE ET DE L’ART DRAMATIQUE AU CANADA : UN PORTRAIT","year":2019,"lang":"fr","type":"article","venue":"McGill Journal of Education / Revue des sciences de l éducation de McGill","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Portrait; Art; Humanities; Political science; Art history","score_opus":0.11888783510554654,"score_gpt":0.3345078971593865,"score_spread":0.21562006205383996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2918640489","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6102833,0.0016717601,0.0000568701,0.028289594,0.009246484,0.0002560539,0.00016644812,0.000013901052,0.35001558],"genre_scores_gemma":[0.93589735,0.001876633,0.002813544,0.005691642,0.0015022149,0.000019774594,0.000012649025,0.000026855942,0.05215933],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99751645,0.0003521436,0.00081041444,0.00026721484,0.00041102502,0.00064277626],"domain_scores_gemma":[0.9975645,0.00028904405,0.000860142,0.00022239963,0.0007697546,0.00029416376],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0023765452,0.00027770796,0.0003540984,0.0002781529,0.0023487036,0.00017606714,0.0004841807,0.00009237139,0.0026204945],"category_scores_gemma":[0.00022210434,0.00026068185,0.00016775893,0.00025795243,0.0005376465,0.0009111971,0.000048092963,0.00035268234,0.00005908542],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00005735947,0.0010066064,0.010018846,0.0008743338,0.0002295186,0.000018111145,0.088124104,0.0042599863,0.00016488919,0.698953,0.17776325,0.01853001],"study_design_scores_gemma":[0.00020530318,0.0003826622,0.009639373,0.00070373353,0.00011599745,0.00089852203,0.03733058,0.00022092779,0.0003417617,0.0056659644,0.94418913,0.00030602055],"about_ca_topic_score_codex":0.13078552,"about_ca_topic_score_gemma":0.38876083,"teacher_disagreement_score":0.7664259,"about_ca_system_score_codex":0.0051046587,"about_ca_system_score_gemma":0.009576672,"threshold_uncertainty_score":0.99998456},"labels":[],"label_agreement":null},{"id":"W2920540958","doi":"10.3138/md.0838r","title":"Sweating Tennessee Williams: Working Actors in <i>A Streetcar Named Desire and Portrait of a Madonna</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Portrait; Product (mathematics); Aesthetics; Sociology; Gender studies; Art; Art history","score_opus":0.020705398378399353,"score_gpt":0.20833911247776157,"score_spread":0.18763371409936222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920540958","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96117496,0.0007556564,0.0000070006677,0.00008214207,0.00015189707,0.00014375828,0.000009215708,0.000029626908,0.037645724],"genre_scores_gemma":[0.99827075,0.000061869905,0.00004257245,0.00007611096,0.00012521507,0.000007904598,0.0000044736894,0.000018079983,0.0013930417],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9992259,0.000016069394,0.00022886103,0.00017623126,0.00012635376,0.00022657536],"domain_scores_gemma":[0.9996761,0.000052849708,0.00008656114,0.00013113148,0.00003103929,0.000022317077],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011279805,0.00013729502,0.00025745173,0.000080347396,0.000100780744,0.000052189724,0.000085107225,0.00003866348,0.00013295592],"category_scores_gemma":[0.000006266773,0.000112660564,0.00004471087,0.00003408032,0.000107776425,0.00018175352,0.00005498211,0.00011479692,0.000007858235],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001331144,0.00014225312,0.6119609,0.00050446216,0.00014563496,0.000015278823,0.22113632,0.00013533291,0.0017710254,0.025790637,0.00016168864,0.13810337],"study_design_scores_gemma":[0.016000712,0.0025058112,0.3330562,0.011041552,0.0005495439,0.000053026186,0.32184392,0.037673503,0.010238463,0.06428216,0.19634394,0.0064111645],"about_ca_topic_score_codex":0.00026730596,"about_ca_topic_score_gemma":0.0017713966,"teacher_disagreement_score":0.27890468,"about_ca_system_score_codex":0.000015050376,"about_ca_system_score_gemma":0.000016582908,"threshold_uncertainty_score":0.45941645},"labels":[],"label_agreement":null},{"id":"W2920848853","doi":"10.3138/md.0979r3","title":"The Complex Racial Politics of <i>Smart People</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Politics; Ideology; Aesthetics; Race (biology); TRACE (psycholinguistics); Racial politics; Psychic; Sociology; Premise; Comedy; Gender studies; Political science; Art; Literature; Epistemology; Law","score_opus":0.02344964268221355,"score_gpt":0.23111730269944977,"score_spread":0.20766766001723622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920848853","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7052625,0.00020185133,0.000006077202,0.0006014312,0.00045273357,0.00009980823,0.000031074364,0.000027550195,0.29331702],"genre_scores_gemma":[0.9766488,0.00007169593,0.000005807098,0.0001628457,0.000410369,0.000004365441,0.000004571375,0.000010075899,0.022681441],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994212,0.000014210934,0.00014956576,0.00008131812,0.0001336412,0.00020008032],"domain_scores_gemma":[0.9995961,0.0000730593,0.00004965503,0.00019300025,0.00006886005,0.000019280269],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000068290035,0.000083550345,0.00014650727,0.000016871294,0.00043358206,0.00006337538,0.00013873244,0.000016846952,0.00051232846],"category_scores_gemma":[0.000002991779,0.00005265489,0.00006670423,0.000012742066,0.00015904698,0.000072730814,0.000054488646,0.0000621066,0.00020323566],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007206631,0.00006895074,0.012745252,0.000084008025,0.000108429485,4.9950364e-7,0.20509882,0.000023933919,0.00030128763,0.75941104,0.012758621,0.00932707],"study_design_scores_gemma":[0.00033289118,0.00012887405,0.0036553866,0.00001303703,0.000021445549,7.7142704e-7,0.0050290585,0.0011931073,0.00015755346,0.011929138,0.9773952,0.00014355032],"about_ca_topic_score_codex":0.00033246892,"about_ca_topic_score_gemma":0.0036247857,"teacher_disagreement_score":0.96463656,"about_ca_system_score_codex":0.000009072627,"about_ca_system_score_gemma":0.000017521152,"threshold_uncertainty_score":0.56096375},"labels":[],"label_agreement":null},{"id":"W2921351144","doi":"10.3138/ctr.178.017","title":"Exploding the Hourglass: Next-Level Intercultural Theatre Research","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hourglass; Visual arts; Art; Performance art; Aesthetics; History; Art history; Archaeology","score_opus":0.19350140984783706,"score_gpt":0.316954745849172,"score_spread":0.12345333600133493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2921351144","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0067505194,0.22546743,1.4250158e-7,0.0196853,0.00093154283,0.00097568904,0.00009939699,0.000050794428,0.74603915],"genre_scores_gemma":[0.89357704,0.08278857,0.0000064042115,0.0062959557,0.0015273335,0.0001343288,0.000043915286,0.000050593073,0.0155758755],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981125,0.00022938715,0.00030789254,0.00029305255,0.0002957837,0.00076137524],"domain_scores_gemma":[0.99877864,0.00018549881,0.00005245382,0.0005959901,0.00016350744,0.0002239173],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0009924006,0.00024288132,0.00040390398,0.00013809394,0.0010637376,0.00029825917,0.0005969186,0.000044160588,0.0059436746],"category_scores_gemma":[0.000013124495,0.00013169166,0.0002132042,0.0001644256,0.00031825827,0.00038846038,0.00007953384,0.00049304526,0.0034005756],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008795404,0.000015334077,0.0004951624,0.0016407366,0.00016654663,0.000015330932,0.028850125,7.6687127e-7,0.000009320604,0.044983882,0.38353732,0.54027665],"study_design_scores_gemma":[0.0000862673,0.000053523218,0.00003445802,0.002765317,0.000042621836,0.000014173696,0.013703423,0.0000047180456,0.0000043696905,0.00036807047,0.982724,0.00019903759],"about_ca_topic_score_codex":0.03829355,"about_ca_topic_score_gemma":0.33993584,"teacher_disagreement_score":0.8868265,"about_ca_system_score_codex":0.00020456244,"about_ca_system_score_gemma":0.00024079658,"threshold_uncertainty_score":0.99737537},"labels":[],"label_agreement":null},{"id":"W2921424435","doi":"10.3138/ctr.178.008","title":"Tilted Dramaturgy: Combined Spectatorship, Playwriting, and Role-Playing in Bully Pulpit’s <i>Fiasco</i>","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pulpit; Entertainment; Art; Visual arts; Aesthetics; Sociology; Media studies; Psychology","score_opus":0.011626033456155638,"score_gpt":0.20655098110021372,"score_spread":0.19492494764405807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2921424435","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16566552,0.23854439,5.1971316e-8,0.0034300224,0.0004849354,0.00095985277,0.000092517126,0.0000712764,0.5907514],"genre_scores_gemma":[0.9625385,0.03111703,0.00000882707,0.003712075,0.00026407625,0.000034326236,0.000037403002,0.0000370153,0.0022507913],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99867445,0.00006413671,0.00033953454,0.0002837928,0.00012029618,0.0005177915],"domain_scores_gemma":[0.99931335,0.00006574273,0.00007504151,0.0002744424,0.000041204225,0.00023022632],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002850461,0.0002503659,0.0005379996,0.00017481261,0.00025578617,0.000120539924,0.0001755298,0.00005036205,0.0023800482],"category_scores_gemma":[0.000011636139,0.0002115505,0.00008422829,0.00010056554,0.00010366115,0.00019680175,0.00003213389,0.00024998217,0.00044725012],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013051888,0.00015127454,0.1570291,0.021849051,0.00053682586,0.00033540805,0.06402448,0.0000038092953,0.0000904759,0.30828345,0.09161354,0.35595205],"study_design_scores_gemma":[0.00039309615,0.00007716191,0.00084955443,0.004335621,0.00005366143,0.000017711776,0.00211894,0.000015577283,0.0000068127583,0.00044937854,0.9913238,0.00035866682],"about_ca_topic_score_codex":0.037588727,"about_ca_topic_score_gemma":0.37040868,"teacher_disagreement_score":0.8997103,"about_ca_system_score_codex":0.000100531215,"about_ca_system_score_gemma":0.0001507831,"threshold_uncertainty_score":0.99853194},"labels":[],"label_agreement":null},{"id":"W2921506006","doi":"","title":"『피터 팬』: 카니발 판토마임으로의 진화 과정 연구(I) -판토 전통과 『피터 팬』 초고","year":2013,"lang":"ko","type":"article","venue":"영어영문학","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Subtitle; Literature; Carnivalesque; Art; History; Visual arts; Linguistics; Philosophy","score_opus":0.021191843377221582,"score_gpt":0.2151296178461799,"score_spread":0.19393777446895832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2921506006","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50994414,0.006138033,0.000005710697,0.004449057,0.0040458073,0.00063905044,0.00019482277,0.0002157231,0.47436762],"genre_scores_gemma":[0.8461201,0.0016656305,0.000028224425,0.0010646557,0.004298385,0.00008214025,0.00003419526,0.00006229096,0.14664435],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99759346,0.00007264436,0.00054903957,0.0004827826,0.00036864908,0.0009333991],"domain_scores_gemma":[0.99868554,0.0001221877,0.0001718018,0.00059752783,0.00023311186,0.0001898083],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019043965,0.0005286097,0.00059463724,0.00015179635,0.0013819261,0.00062420504,0.00039914015,0.00016910727,0.038043637],"category_scores_gemma":[0.000018118297,0.00042872943,0.0002880135,0.00008665652,0.00053605373,0.0006741043,0.00023543349,0.0004429469,0.019758549],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000081496946,0.00045962233,0.016721826,0.0006029631,0.0008007495,0.000039773207,0.087852426,0.000011458168,0.00022770005,0.117168255,0.72142404,0.054609712],"study_design_scores_gemma":[0.0006627387,0.00035444988,0.010240392,0.00018430017,0.00015626106,0.000008137146,0.011211463,0.00009657936,0.00025054396,0.0031294154,0.9729674,0.00073832064],"about_ca_topic_score_codex":0.004848885,"about_ca_topic_score_gemma":0.0025935583,"teacher_disagreement_score":0.33617595,"about_ca_system_score_codex":0.000067603185,"about_ca_system_score_gemma":0.00007446432,"threshold_uncertainty_score":0.99991816},"labels":[],"label_agreement":null},{"id":"W2922137618","doi":"10.3138/ctr.178.013","title":"Relinquishing Expertise: Notes on Feminist Indigenous Performance Methodology","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Hegemony; Colonialism; Narrative; Sociology; Gender studies; Political science; Law; Art; Ecology; Literature; Politics","score_opus":0.08687863915905704,"score_gpt":0.2907202092393236,"score_spread":0.2038415700802666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2922137618","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09540011,0.23793668,0.0000011803492,0.0034626122,0.0020501,0.0010647151,0.00010085065,0.00010994749,0.6598738],"genre_scores_gemma":[0.88945335,0.08708629,0.00006539196,0.018458966,0.0010015946,0.00007796889,0.000036593112,0.00005440664,0.0037654268],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859756,0.0001118537,0.00031912245,0.00029079072,0.00013423343,0.0005464621],"domain_scores_gemma":[0.99902415,0.00018844169,0.00008678326,0.00044718996,0.000051503215,0.00020190717],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00048084202,0.000256431,0.000545958,0.00013414907,0.0005314132,0.000071007154,0.00028524906,0.00005903716,0.0040852823],"category_scores_gemma":[0.00003036552,0.00018910143,0.00014080922,0.00006825663,0.00013594948,0.00013578282,0.000025624098,0.00024214505,0.0028641045],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021788474,0.000023882105,0.004282353,0.0030295157,0.0001229732,0.00002074562,0.04177335,0.000005686198,0.00000883899,0.010630504,0.018491149,0.9215892],"study_design_scores_gemma":[0.00010738729,0.00019395901,0.000104896644,0.0022454702,0.000048524147,0.000015972199,0.00069052,0.0000047946205,0.00003621569,0.000058526093,0.9962218,0.00027195326],"about_ca_topic_score_codex":0.020845003,"about_ca_topic_score_gemma":0.09156218,"teacher_disagreement_score":0.97773063,"about_ca_system_score_codex":0.00015443999,"about_ca_system_score_gemma":0.0002153622,"threshold_uncertainty_score":0.9979123},"labels":[],"label_agreement":null},{"id":"W2925224774","doi":"10.3138/ctr.177.010","title":"Emcee Etiquettes: Experts Weigh In on How to Host the Perfect Cabaret Night","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Queer; Framing (construction); Performance studies; Art; Performance art; Improvisation; Fandom; Art history; Media studies; Visual arts; Miami; Persona; Politics; Sociology; Media arts; Humanities; History; Gender studies; Anthropology; Political science; Law","score_opus":0.019944806660272412,"score_gpt":0.22767774025634235,"score_spread":0.20773293359606995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2925224774","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04613383,0.19871648,7.324399e-8,0.08768923,0.0011967187,0.0017723402,0.000103269755,0.00004447258,0.6643436],"genre_scores_gemma":[0.896607,0.04286991,0.0000022864313,0.04235972,0.0007448606,0.00019219106,0.000017248587,0.000044289485,0.017162485],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988323,0.00010241421,0.00018928418,0.0002649652,0.00014188273,0.0004691655],"domain_scores_gemma":[0.9991445,0.000092776674,0.000037355283,0.0004946294,0.00004193422,0.00018881106],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002752955,0.00024113596,0.00040542756,0.00013637904,0.00019639973,0.00007866449,0.00030885715,0.000036822512,0.006197789],"category_scores_gemma":[0.00001608265,0.00013927706,0.00013386265,0.000079686804,0.000072400624,0.00011286826,0.000025976056,0.00018185814,0.0012312352],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011883234,0.000021909973,0.002298946,0.0010756348,0.000070426606,0.000035265315,0.040138137,0.0000012502987,0.0000053900358,0.024565794,0.874517,0.05725834],"study_design_scores_gemma":[0.00008515786,0.00011690959,0.00025731645,0.0025670463,0.000020428115,0.0000040420373,0.0019947533,0.000001495214,0.0000059164036,0.000028333432,0.9946989,0.00021974723],"about_ca_topic_score_codex":0.028350255,"about_ca_topic_score_gemma":0.5699587,"teacher_disagreement_score":0.85047317,"about_ca_system_score_codex":0.00026779392,"about_ca_system_score_gemma":0.00017887431,"threshold_uncertainty_score":0.9995464},"labels":[],"label_agreement":null},{"id":"W292569136","doi":"10.1080/10486800903491459","title":"Soyinka UK/Soyinka USA: Death and the King’s Horseman at the RNT and OSF","year":2010,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; History","score_opus":0.016726151906708356,"score_gpt":0.19934278289013826,"score_spread":0.1826166309834299,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W292569136","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92939466,0.00062771345,0.000014485892,0.002310753,0.00038328857,0.00019485,0.000039468006,0.00002682747,0.067007974],"genre_scores_gemma":[0.972256,0.0003975555,0.000026763666,0.0001893674,0.00028864376,9.246488e-7,0.000006481894,0.000010189978,0.026824053],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99913096,0.00005559915,0.0001185762,0.00023806578,0.00019653003,0.00026027975],"domain_scores_gemma":[0.999182,0.00021304711,0.00012472513,0.00032984538,0.00008677714,0.00006359048],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00043487785,0.0001789169,0.0002660141,0.00006366331,0.0028903994,0.00014809288,0.0002757279,0.000062951505,0.0019965698],"category_scores_gemma":[0.000019838566,0.000116511656,0.00011645282,0.000039596103,0.0025571282,0.0002494215,0.00036865353,0.00028445182,0.000105548934],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010578259,0.000014853861,0.011914049,0.000029725777,0.00013365115,0.0000030183483,0.065183565,7.8345585e-7,0.000007652376,0.9195678,0.002853198,0.0001858775],"study_design_scores_gemma":[0.0010996611,0.000053565316,0.009423535,0.000013704295,0.00019125499,0.00001706928,0.030874675,0.000036414298,0.0000011622235,0.84552693,0.112559885,0.00020212201],"about_ca_topic_score_codex":0.0034850568,"about_ca_topic_score_gemma":0.1071245,"teacher_disagreement_score":0.10970669,"about_ca_system_score_codex":0.00002015965,"about_ca_system_score_gemma":0.000020678906,"threshold_uncertainty_score":0.99891573},"labels":[],"label_agreement":null},{"id":"W2927067164","doi":"10.3138/tric.39.1.93","title":"Master of All Domains? Constructively Aligning Theatre and Learning","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Feeling; Psychology; Cognition; Scholarship; Perception; Domain (mathematical analysis); Cognitive science; Cognitive psychology; Aesthetics; Pedagogy; Social psychology; Visual arts; Art","score_opus":0.08577985775566525,"score_gpt":0.3015237325021721,"score_spread":0.21574387474650686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2927067164","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5797155,0.00042690785,4.6074828e-7,0.0005650316,0.000113103124,0.0001121833,0.000020813399,0.000007946711,0.41903806],"genre_scores_gemma":[0.99901587,0.00011382368,0.000034496672,0.00006134197,0.00036834908,0.0000092422515,0.0000024078201,0.000014335947,0.00038015327],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984906,0.00022423637,0.00021088247,0.00019256906,0.0003961311,0.0004856023],"domain_scores_gemma":[0.99926853,0.0003601617,0.000039511437,0.00014159596,0.00011429438,0.00007591697],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073372165,0.000117587886,0.00022230436,0.00016831467,0.00040822756,0.000044783803,0.00014296199,0.000023225095,0.00045696818],"category_scores_gemma":[0.0000044635044,0.00009142821,0.0000205476,0.00008354413,0.000991874,0.00012848552,0.00012786151,0.00036737014,0.000008226102],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00051914004,0.000052958796,0.25135085,0.00041973186,0.000343296,0.00010158905,0.104101464,0.000016549835,0.00063684135,0.020799277,0.010940843,0.6107175],"study_design_scores_gemma":[0.00092249666,0.0005388953,0.002183618,0.000349783,0.000017488383,0.000018608782,0.13140659,0.00017021125,0.00089765835,0.0044787554,0.8586955,0.0003203781],"about_ca_topic_score_codex":0.89736825,"about_ca_topic_score_gemma":0.98325956,"teacher_disagreement_score":0.84775466,"about_ca_system_score_codex":0.00015432863,"about_ca_system_score_gemma":0.00045692612,"threshold_uncertainty_score":0.5003481},"labels":[],"label_agreement":null},{"id":"W2927396580","doi":"10.3138/tric.39.2.156","title":"What Zombie Feminist Bouffons Can Offer Applied Theatre: Seduction and Provocation in <i>Death Married My Daughter</i>","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scholarship; Ideology; Zombie; Art; Sociology; Intervention (counseling); Media studies; Theatre studies; Aesthetics; Assertion; Political theatre; Gender studies; Politics; Visual arts; Psychology; Political science; Law","score_opus":0.06406607646272226,"score_gpt":0.29771443779699414,"score_spread":0.23364836133427186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2927396580","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6526431,0.0006894665,1.586389e-7,0.0070994943,0.0007976338,0.0006993931,0.00007045482,0.000025616962,0.3379747],"genre_scores_gemma":[0.9974119,0.0007189778,0.000006671618,0.00024897422,0.0008823606,0.00013290529,0.000030613166,0.000026382264,0.00054118404],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979973,0.00013999357,0.0002919935,0.00037497203,0.00050429493,0.00069149106],"domain_scores_gemma":[0.99927783,0.00015630442,0.000039205635,0.00032309734,0.00008163284,0.000121954974],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078582246,0.00019538007,0.00025843814,0.00026081092,0.00059781474,0.00027625062,0.0002009501,0.000046127578,0.0002417456],"category_scores_gemma":[0.0000027294896,0.00016196335,0.000019724135,0.00020579854,0.0005696612,0.00027342016,0.00010846474,0.00039736385,0.000013568363],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009827984,0.00027260522,0.032291982,0.00049042236,0.00013427925,0.000059565624,0.1261844,0.000009828563,0.0006865284,0.027843079,0.03587111,0.7751734],"study_design_scores_gemma":[0.0015086831,0.00037569023,0.003155049,0.00044187007,0.000020239147,0.000014880103,0.1474697,0.0001388397,0.0015850454,0.010551676,0.83413076,0.0006075464],"about_ca_topic_score_codex":0.8777462,"about_ca_topic_score_gemma":0.99639297,"teacher_disagreement_score":0.7982597,"about_ca_system_score_codex":0.0006699382,"about_ca_system_score_gemma":0.0011615622,"threshold_uncertainty_score":0.6604674},"labels":[],"label_agreement":null},{"id":"W2929254883","doi":"10.7202/1055467ar","title":"Through the Fictive to the Real(ish): Affective Time and the Representation of “Real Newfoundland” in Rising Tide Theatre’s Trinity Pageant","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Representation (politics); Sociology; Aesthetics; Narrative; History; Art; Literature; Law; Politics; Political science","score_opus":0.049688820055290246,"score_gpt":0.31686132810581386,"score_spread":0.2671725080505236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2929254883","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6292526,0.00027922224,3.505829e-7,0.007472572,0.0001352829,0.0010789571,0.00007256348,0.0000063497873,0.36170208],"genre_scores_gemma":[0.9980676,0.0009772772,0.0000023870334,0.00013621354,0.00023708859,0.00007496428,0.000006576229,0.000014007281,0.00048385383],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9973055,0.001093771,0.00029125248,0.000255699,0.0005898975,0.0004638627],"domain_scores_gemma":[0.9959566,0.0033958526,0.00006687045,0.00044998026,0.0000955439,0.000035147943],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020367529,0.00015153254,0.00033223451,0.000093396135,0.0005161374,0.00009575052,0.00036551643,0.000026203048,0.00014494148],"category_scores_gemma":[0.000021138943,0.00006835871,0.000050377515,0.000297833,0.0005353107,0.00018215671,0.00021234085,0.0005128372,0.000018093457],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.005299202,0.00016226013,0.13925388,0.00019687566,0.0004891954,0.000047371843,0.6215648,0.002436242,0.00011309363,0.03546709,0.023397936,0.17157204],"study_design_scores_gemma":[0.008594258,0.0011994792,0.15330498,0.00097437104,0.00011627756,0.000018763507,0.5901944,0.0039729234,0.0005610584,0.035265528,0.20486581,0.0009321382],"about_ca_topic_score_codex":0.9931294,"about_ca_topic_score_gemma":0.99740887,"teacher_disagreement_score":0.368815,"about_ca_system_score_codex":0.00044146448,"about_ca_system_score_gemma":0.00051355705,"threshold_uncertainty_score":0.39697638},"labels":[],"label_agreement":null},{"id":"W2930621534","doi":"10.1353/esc.2002.0073","title":"Narrative in the Feminine: Daphne Marlatt and Nicole Brossard by Susan Knutson","year":2002,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetics; Narrative; Liminality; Meaning (existential); Narratology; Poetry; Sociology; Literature; Art; Art history; Aesthetics; Philosophy; Epistemology","score_opus":0.03524066144689539,"score_gpt":0.23223024142739368,"score_spread":0.1969895799804983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2930621534","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8135514,0.01978087,1.641613e-8,0.0014972273,0.00104109,0.00018860203,0.000064600186,0.000013108887,0.16386308],"genre_scores_gemma":[0.99150026,0.0036134417,0.0000018810998,0.0006781969,0.0004178527,0.000057916724,0.0000038944713,0.000008490157,0.0037180926],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999071,0.00005514056,0.00021465996,0.00018091974,0.00018653362,0.0002917147],"domain_scores_gemma":[0.9994644,0.00027283898,0.000044289576,0.00013315023,0.00006267363,0.000022682692],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017082624,0.00016290304,0.000261861,0.000042643853,0.00040205073,0.000047310295,0.00013863468,0.00001776408,0.0004463798],"category_scores_gemma":[0.000055599194,0.00011116584,0.000018164235,0.00008035375,0.00029638852,0.00013313336,0.00007149826,0.00021092752,0.0000015252082],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006321367,0.000013323234,0.007582214,0.000019363431,0.000032738026,0.000011716013,0.44790772,0.0000025531244,2.4415232e-7,0.0002573938,0.54313165,0.0010347498],"study_design_scores_gemma":[0.00026763225,0.000040315317,0.0009007203,0.000033268265,0.0000057718967,6.5013273e-7,0.48343226,0.000007911358,0.000004021395,0.0000347819,0.5151617,0.000110951645],"about_ca_topic_score_codex":0.47844416,"about_ca_topic_score_gemma":0.9911818,"teacher_disagreement_score":0.5127376,"about_ca_system_score_codex":0.00018678948,"about_ca_system_score_gemma":0.000036878708,"threshold_uncertainty_score":0.52502894},"labels":[],"label_agreement":null},{"id":"W2931546356","doi":"","title":"Conflict as symptom Of identity crisis in Canadian Theatre A reading of Sharon Pollok and James Reneay","year":2016,"lang":"en","type":"dissertation","venue":"University","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Identity (music); Identity crisis; Psychoanalysis; Psychology; Sociology; Media studies; Political science; Art; Aesthetics; Law","score_opus":0.009801109345200955,"score_gpt":0.21582213310859114,"score_spread":0.20602102376339018,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2931546356","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7055557,0.00031843808,4.0867345e-8,0.0000632733,0.00012369704,0.000061432715,0.0002450408,0.0000051204183,0.29362726],"genre_scores_gemma":[0.9774731,0.00097019685,0.0000013354787,0.0000131078,0.000044350745,1.6567525e-7,0.000055360888,0.0000058115743,0.02143658],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953,0.00001922469,0.00010856963,0.00012412138,0.00008017798,0.00013786019],"domain_scores_gemma":[0.9996518,0.00002640671,0.000103557795,0.0000967176,0.00007471603,0.00004683736],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000070175534,0.00010343302,0.00024448303,0.0003417099,0.00016497802,0.000011954782,0.00010638125,0.00007104646,0.00054257107],"category_scores_gemma":[0.0000042827246,0.000092200695,0.000053770953,0.00003339461,0.00008714467,0.00022293985,0.000018117602,0.00006885592,0.000005416628],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000583649,0.00006613474,0.10699476,0.0012419688,0.0005972837,0.00004563005,0.6805665,7.45507e-7,0.00022734619,0.19242422,0.010174407,0.0070773396],"study_design_scores_gemma":[0.0010725633,0.00022311098,0.05074402,0.0015329221,0.00035802065,0.000001310459,0.42604274,0.0000028422007,0.0010268213,0.0012138331,0.51721835,0.0005634613],"about_ca_topic_score_codex":0.7575933,"about_ca_topic_score_gemma":0.93463284,"teacher_disagreement_score":0.50704396,"about_ca_system_score_codex":0.000075523676,"about_ca_system_score_gemma":0.00012464951,"threshold_uncertainty_score":0.5940772},"labels":[],"label_agreement":null},{"id":"W2933125045","doi":"10.3138/tric.39.2.252","title":"Review of <i>revues</i>","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.10977254579198038,"score_gpt":0.3399778267876141,"score_spread":0.23020528099563375,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2933125045","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008495299,0.034070693,6.595914e-8,0.0028026733,0.00027109587,0.00017507336,0.00004710765,0.000006508538,0.9541315],"genre_scores_gemma":[0.97598886,0.021979606,0.000004684826,0.00082349125,0.00068122626,0.000016930768,0.0000033957554,0.000009290915,0.0004925335],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988824,0.00010047377,0.00020562015,0.00011184916,0.00035579575,0.00034383824],"domain_scores_gemma":[0.99938077,0.00013853867,0.000024938106,0.00023505327,0.00017238678,0.000048333426],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007436893,0.000068720954,0.00019429628,0.00008198929,0.00015601976,0.000009556423,0.00020447031,0.000008881959,0.002357641],"category_scores_gemma":[0.000005123327,0.00005141147,0.00002416911,0.00012693158,0.00039163872,0.00006368351,0.000068486646,0.00016652056,0.00004331966],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043265805,0.000035317633,0.0021267366,0.0055922945,0.00003800241,0.000016883709,0.0039150445,2.2813113e-7,0.000020972753,0.0069304276,0.67857033,0.3027105],"study_design_scores_gemma":[0.00007769528,0.00007875132,0.000034566292,0.0031690074,0.000002808282,0.0000010346668,0.0018173528,0.0000034441146,0.00018897833,0.00063807715,0.9939274,0.00006087128],"about_ca_topic_score_codex":0.9662411,"about_ca_topic_score_gemma":0.99724305,"teacher_disagreement_score":0.96749353,"about_ca_system_score_codex":0.00018136762,"about_ca_system_score_gemma":0.0009623554,"threshold_uncertainty_score":0.99855435},"labels":[],"label_agreement":null},{"id":"W2934585690","doi":"10.7202/1055475ar","title":"Cultural Diversity as Theatrical Practice","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph; Brock University","funders":"","keywords":"Diversity (politics); Cultural practice; Aesthetics; Sociology; Communication; Art; Visual arts; Anthropology; Ecology; Biology","score_opus":0.09116748353167559,"score_gpt":0.3348545236582946,"score_spread":0.24368704012661901,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2934585690","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34038034,0.00040338075,1.8492127e-8,0.003737871,0.00030866478,0.00017203984,0.000016810325,0.000011512764,0.6549694],"genre_scores_gemma":[0.9962548,0.00029061464,0.0000045881484,0.00035494368,0.0003591406,0.000007791667,0.000004561516,0.000008796326,0.002714764],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980655,0.00020582303,0.00013891704,0.00021088967,0.00081366085,0.0005652325],"domain_scores_gemma":[0.9988893,0.00060668465,0.000022376598,0.00023539798,0.00014562858,0.000100556594],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00064395095,0.00011058695,0.0001743758,0.00010741027,0.0006055943,0.00007500768,0.00031249368,0.000023435727,0.0023810517],"category_scores_gemma":[0.000011272827,0.00007980011,0.00003461061,0.00013145119,0.00015793614,0.00037410995,0.0004002028,0.00050075405,0.00055983546],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017213734,0.0003685972,0.18070826,0.00037217658,0.00040054647,0.00082314725,0.1133047,0.0001363539,0.000046667687,0.09887003,0.32015505,0.2830931],"study_design_scores_gemma":[0.00031237278,0.00011747334,0.00041842618,0.000029985167,0.0000059441018,0.000007934132,0.068142585,0.000028726652,0.000018788396,0.0010203099,0.9297649,0.00013252562],"about_ca_topic_score_codex":0.99169564,"about_ca_topic_score_gemma":0.9881009,"teacher_disagreement_score":0.6558745,"about_ca_system_score_codex":0.00070402265,"about_ca_system_score_gemma":0.0008969223,"threshold_uncertainty_score":0.9985309},"labels":[],"label_agreement":null},{"id":"W2936093421","doi":"","title":"Performance, feminism and affect in Neoliberal Times [Book Review]","year":2018,"lang":"en","type":"article","venue":"Figshare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feminism; Sociology; Performance studies; Affect (linguistics); Publishing; Gender studies; Project commissioning; Media studies; Political science; Anthropology; Law","score_opus":0.03564656195027701,"score_gpt":0.2567260108439962,"score_spread":0.2210794488937192,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2936093421","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008504534,0.059685633,3.218014e-9,0.00028350338,0.00016410898,0.00033145834,0.011005911,0.000085673935,0.91993916],"genre_scores_gemma":[0.8337628,0.008896171,0.000009703931,0.018377496,0.004052624,0.00036548375,0.014545976,0.00005575665,0.119933955],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949163,0.000011956253,0.000116436946,0.00012557126,0.00006950939,0.00018489292],"domain_scores_gemma":[0.99976534,0.00002669339,0.000033183045,0.00010568223,0.000041403604,0.00002767958],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000036067824,0.000111734,0.00016029069,0.000046393692,0.00018481267,0.000038645685,0.00007525254,0.00002187319,0.3480167],"category_scores_gemma":[0.00001536945,0.000085441665,0.000028365743,0.000025809537,0.00004535712,0.00024470658,0.000066422304,0.000080240694,0.003171223],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000048942757,0.000006220872,0.00011568599,0.00051186886,0.0000066475495,0.000001486231,0.005511994,2.390133e-8,4.294408e-7,0.000066295135,0.9882123,0.0055621527],"study_design_scores_gemma":[0.00012734275,0.0001304116,0.0013959266,0.0067496225,0.0000062149807,0.0000032719763,0.00008806635,0.000033756118,0.000033989178,0.000016578018,0.9912864,0.00012844767],"about_ca_topic_score_codex":0.000010170352,"about_ca_topic_score_gemma":0.00010294977,"teacher_disagreement_score":0.8252583,"about_ca_system_score_codex":0.00000779867,"about_ca_system_score_gemma":0.000013027015,"threshold_uncertainty_score":0.9976049},"labels":[],"label_agreement":null},{"id":"W2936169446","doi":"10.1177/1077800419843947","title":"The Bridge: The Political Possibilities of Intergenerational Verbatim Theater","year":2019,"lang":"en","type":"article","venue":"Qualitative Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Bridge (graph theory); Politics; Sociology; Haven; Aesthetics; Visual arts; Media studies; History; Art; Law; Political science","score_opus":0.10054956846729173,"score_gpt":0.36372715137838013,"score_spread":0.2631775829110884,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2936169446","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9316802,0.00042424622,0.000014982937,0.005775916,0.0014369254,0.0001742652,0.0000690377,0.00001752299,0.06040691],"genre_scores_gemma":[0.98708093,0.000014729623,0.000007972884,0.00066955225,0.00082834566,0.00002356469,0.0000093278295,0.000008502759,0.011357067],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9989248,0.00025854085,0.00027970487,0.00011297121,0.00019966076,0.00022432882],"domain_scores_gemma":[0.9983516,0.0011784609,0.00006459688,0.00021382717,0.00017149781,0.000020064443],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005148338,0.00010678272,0.00014238454,0.000022465183,0.00040825154,0.00007471293,0.00017917018,0.000017996255,0.0008750011],"category_scores_gemma":[0.00004497652,0.000047877016,0.00009170873,0.00002073378,0.0015493298,0.00014932282,0.000059819416,0.000106016996,0.00021580239],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003088438,0.000010833303,0.00023711943,0.000012764026,0.000051000537,5.3934162e-8,0.37780523,9.842595e-7,0.00002060149,0.61599255,0.005614497,0.00022348377],"study_design_scores_gemma":[0.00020845815,0.00025568035,0.0015327588,0.000031586293,0.000016057525,8.520909e-7,0.8325003,0.000032258762,0.00055693917,0.084661886,0.08007453,0.00012874839],"about_ca_topic_score_codex":0.00022760958,"about_ca_topic_score_gemma":0.0002993692,"teacher_disagreement_score":0.53133065,"about_ca_system_score_codex":0.000020255342,"about_ca_system_score_gemma":0.000035397472,"threshold_uncertainty_score":0.95806485},"labels":[],"label_agreement":null},{"id":"W2936725952","doi":"10.1386/jafp.11.3.271_1","title":"Beyond Othello: Performing stages of resistance to racial surveillance in Djanet Sears’ Harlem Duet","year":2018,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Oppression; Performative utterance; Emancipation; Resistance (ecology); Sociology; Gender studies; White (mutation); Power (physics); Racism; Performativity; Politics; Privilege (computing); Carnivalesque; Covert; Aesthetics; Law; Art; Political science","score_opus":0.024322547146306793,"score_gpt":0.24807061431456587,"score_spread":0.22374806716825907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2936725952","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9846021,0.0004860038,0.000021815697,0.0002988107,0.0007650344,0.0001343267,0.000031789798,0.000007637857,0.013652501],"genre_scores_gemma":[0.9956968,0.00045322537,0.00057763996,0.00013189248,0.0008484063,0.000005715491,0.0000030614128,0.000016239466,0.002267061],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99823916,0.00005553698,0.0008744187,0.00014369389,0.00038871358,0.0002984807],"domain_scores_gemma":[0.998801,0.00009430981,0.00046586056,0.00014484246,0.00043929165,0.000054707725],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00092263427,0.00016812405,0.0004015352,0.00045623534,0.00018531767,0.000052337746,0.00023516695,0.00004451897,0.00041157063],"category_scores_gemma":[0.000054624732,0.0001443321,0.00006562918,0.00021157948,0.00021182252,0.00083992525,0.000036388174,0.0002533942,0.000030106457],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0034610883,0.00030110992,0.33722693,0.00057999557,0.0001092907,0.000027905176,0.6052174,0.008509076,0.001053327,0.00441385,0.010931963,0.028168062],"study_design_scores_gemma":[0.005008981,0.0039682807,0.4972656,0.0024054279,0.000044654404,0.000022702492,0.07129336,0.0067511024,0.009041499,0.0008276554,0.4021412,0.0012295222],"about_ca_topic_score_codex":0.00008454347,"about_ca_topic_score_gemma":0.01594578,"teacher_disagreement_score":0.53392404,"about_ca_system_score_codex":0.00007902053,"about_ca_system_score_gemma":0.000109214765,"threshold_uncertainty_score":0.8898119},"labels":[],"label_agreement":null},{"id":"W2936898012","doi":"10.1386/jafp.11.3.315_1","title":"Rubies in the crown: A conversation on racial representation in Canadian theatre with Karen Robinson","year":2018,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Conversation; Art; Power (physics); Gender studies; Resistance (ecology); Black feminism; Art history; Sociology; Performance art; Black women; History; Visual arts; Communication","score_opus":0.030567316707179788,"score_gpt":0.2447939671467615,"score_spread":0.2142266504395817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2936898012","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9791922,0.000069243164,0.0000032367348,0.0012077834,0.0003145069,0.00014896272,0.000004362961,0.0000033891913,0.019056305],"genre_scores_gemma":[0.99884766,0.00014020696,0.000032171338,0.00030339952,0.00051661587,0.000010760579,0.000005658263,0.0000067249325,0.00013679362],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9990457,0.000066982575,0.0003639955,0.00008765786,0.00023617395,0.00019947957],"domain_scores_gemma":[0.9994855,0.00006351781,0.00019450522,0.0000873686,0.00014124539,0.00002785476],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049313187,0.00010095044,0.00015196866,0.00047488956,0.00017655476,0.00007624752,0.00012655136,0.000030585532,0.00014592016],"category_scores_gemma":[0.000016160717,0.00006418176,0.000026532516,0.00017200396,0.0001359683,0.0007427823,0.00000491364,0.00022668825,0.00001768339],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013361692,0.00008528812,0.13705923,0.000033226577,0.000022281094,0.000021659378,0.8316161,0.009421276,0.000012785084,0.0022312484,0.0014923991,0.016668357],"study_design_scores_gemma":[0.0033633362,0.002742385,0.7066694,0.00080631237,0.000028576129,0.000032586264,0.19279455,0.016828598,0.000332241,0.0003415636,0.075705394,0.00035507692],"about_ca_topic_score_codex":0.03107061,"about_ca_topic_score_gemma":0.7558801,"teacher_disagreement_score":0.72480947,"about_ca_system_score_codex":0.00014726595,"about_ca_system_score_gemma":0.00017133383,"threshold_uncertainty_score":0.97538155},"labels":[],"label_agreement":null},{"id":"W2939130585","doi":"10.18357/sremd01201818877","title":"Intimate Without Intimacy: A Dramatic Reading of Galatea at the BMO Theatre Centre","year":2019,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Politics; Production (economics); Art; Sociology; Visual arts; Political science; Law; Economics","score_opus":0.025036632798072795,"score_gpt":0.25376673680316447,"score_spread":0.22873010400509167,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2939130585","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85710716,0.01341228,0.0000110227775,0.00042700474,0.0003209152,0.0009537604,0.00003175412,0.00003646566,0.12769964],"genre_scores_gemma":[0.9831046,0.004349962,0.00010895522,0.00006734114,0.00014833131,0.000015457066,0.000008369818,0.000032783326,0.012164211],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983531,0.00012117944,0.00071184715,0.00024181949,0.00025166365,0.00032037788],"domain_scores_gemma":[0.9986287,0.00008463724,0.0004760783,0.0006419873,0.0001260873,0.000042560758],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00052580837,0.00026179448,0.00084486156,0.00007313403,0.00020936712,0.00006516755,0.00034335177,0.00004358426,0.002010392],"category_scores_gemma":[0.000019528281,0.00014896072,0.00030222881,0.00006399471,0.00029587725,0.00026087672,0.00019119936,0.00016268462,0.00055555213],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044452903,0.0003637086,0.1649665,0.008598096,0.00091571244,0.0000024933563,0.34839863,0.00010967775,0.0040740687,0.025651226,0.010420062,0.4360553],"study_design_scores_gemma":[0.0026347113,0.00094748096,0.006001082,0.010156273,0.0010679482,0.000017873632,0.007536026,0.0048938026,0.0038103387,0.01019379,0.9511204,0.0016202906],"about_ca_topic_score_codex":0.00023754459,"about_ca_topic_score_gemma":0.00030851434,"teacher_disagreement_score":0.9407003,"about_ca_system_score_codex":0.000029682467,"about_ca_system_score_gemma":0.000026767457,"threshold_uncertainty_score":0.9989019},"labels":[],"label_agreement":null},{"id":"W2939882807","doi":"10.1017/alj.2019.6","title":"Eros in the library: Considering the aesthetics of knowledge organization","year":2019,"lang":"en","type":"article","venue":"Art Libraries Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Pleasure; Beauty; Space (punctuation); Hospitality; Weaving; Aesthetics; Sociology; History; Media studies; Art; Engineering; Psychology; Archaeology; Philosophy; Linguistics","score_opus":0.018174090905786335,"score_gpt":0.1956185278817009,"score_spread":0.17744443697591455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2939882807","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7765794,0.0011984955,0.0000045602897,0.0073526353,0.00076965627,0.0001375851,0.0000047167846,0.000024150502,0.2139288],"genre_scores_gemma":[0.9946553,0.0002888607,0.000022934893,0.0005651865,0.00038560916,0.0000011641118,0.0000029448784,0.000012553021,0.004065455],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994634,0.00006428372,0.00020316747,0.000050632356,0.00009374682,0.00012480745],"domain_scores_gemma":[0.99959767,0.00013914536,0.00008649883,0.00012957312,0.00003376794,0.000013316595],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014165197,0.00007507508,0.00011198128,0.00004904224,0.00036122056,0.00033416154,0.00023087196,0.000016541155,0.0018823863],"category_scores_gemma":[0.000012187545,0.00003669884,0.000035884204,0.000083422536,0.00022240942,0.0008912052,0.00006649333,0.00019089475,0.00015754047],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019641413,0.000056743494,0.09543691,0.000029517718,0.000039084887,0.0000037034522,0.28116053,0.0000285275,0.000023496532,0.53357893,0.088184826,0.0014380466],"study_design_scores_gemma":[0.00023216614,0.000084693056,0.0067824167,0.000054383137,0.000012639679,0.000048785492,0.022400841,0.000021231757,0.00025992162,0.007405736,0.9626189,0.00007829802],"about_ca_topic_score_codex":0.0000024531564,"about_ca_topic_score_gemma":0.000041075626,"teacher_disagreement_score":0.87443405,"about_ca_system_score_codex":0.0000027905687,"about_ca_system_score_gemma":0.000059173955,"threshold_uncertainty_score":0.99903005},"labels":[],"label_agreement":null},{"id":"W2940933403","doi":"10.33675/angl/2019/1/9","title":"Queering the Stage/Queer Stages – LGBTQ Plays from Canada","year":2019,"lang":"en","type":"article","venue":"Anglistik","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Stage (stratigraphy); Gender studies; Lesbian; Sociology; Art; Biology","score_opus":0.014717529153363643,"score_gpt":0.19524350872989388,"score_spread":0.18052597957653024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2940933403","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.782691,0.00068290735,0.0000010246533,0.0007132363,0.0012562262,0.00010398132,0.0003388533,0.000043776028,0.214169],"genre_scores_gemma":[0.95251536,0.000039205326,0.0000051874094,0.0007478591,0.00088590494,0.000008399173,0.000023204753,0.000013171185,0.045761693],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993849,0.000014079819,0.00011193755,0.00013030661,0.00015679626,0.00020202022],"domain_scores_gemma":[0.9995592,0.0001074502,0.00003786191,0.00022684483,0.000042618096,0.000025973084],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000054345714,0.0001157961,0.00012798455,0.000014311423,0.00030485154,0.00009244925,0.00016052621,0.000015886579,0.005388038],"category_scores_gemma":[0.0000067542787,0.00007195146,0.000034673856,0.00001556609,0.0000681368,0.00011530857,0.00005326403,0.00011195737,0.0001560389],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000081291975,0.000040476796,0.11981694,0.00012079391,0.0004816837,0.000050206665,0.12798968,0.00029471726,0.00015160782,0.2462045,0.4995347,0.0052334103],"study_design_scores_gemma":[0.00012520647,0.000021788974,0.007044638,0.0000166391,0.000013782734,1.8531966e-7,0.011961914,0.000025047064,0.000129649,0.0002282839,0.98029304,0.00013983271],"about_ca_topic_score_codex":0.7669643,"about_ca_topic_score_gemma":0.9259538,"teacher_disagreement_score":0.48075834,"about_ca_system_score_codex":0.000034570065,"about_ca_system_score_gemma":0.0000722315,"threshold_uncertainty_score":0.9955212},"labels":[],"label_agreement":null},{"id":"W2942162474","doi":"","title":"Review: The Journal of Dramaturgy, volume 20, 2009/2010","year":2010,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Volume (thermodynamics); History; Art; Aesthetics","score_opus":0.01446989244003165,"score_gpt":0.20518284634320014,"score_spread":0.19071295390316848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2942162474","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93275446,0.01600621,0.00007933825,0.004301361,0.0025336314,0.00020379073,0.00008853014,0.000033718356,0.043998957],"genre_scores_gemma":[0.9535673,0.0074304207,0.00010265555,0.00066029746,0.0010033626,1.6861568e-7,0.0000124951075,0.000015709347,0.037207592],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991959,0.000055034696,0.00020649993,0.000094960575,0.00023863038,0.00020901534],"domain_scores_gemma":[0.99883646,0.00007983693,0.00034454057,0.00028502688,0.00039164757,0.0000624846],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00056616723,0.00013482496,0.0003166599,0.0000916464,0.0007819184,0.00004618797,0.0004961695,0.000054386543,0.003239247],"category_scores_gemma":[0.000034760345,0.000102567916,0.00022583373,0.00006770502,0.0008715718,0.00045670732,0.00010181636,0.00043199252,0.00013553696],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007858957,0.00008132863,0.0016109335,0.00031109646,0.00023756135,0.000006586956,0.036211506,0.0000034776276,0.000023476945,0.25747207,0.70352453,0.00043883373],"study_design_scores_gemma":[0.00023539418,0.00008569306,0.00037835556,0.000101330814,0.00016765794,0.000017904431,0.010630552,0.000006768439,4.1806786e-7,0.31760544,0.6706627,0.00010779081],"about_ca_topic_score_codex":0.00047121514,"about_ca_topic_score_gemma":0.009171372,"teacher_disagreement_score":0.060133383,"about_ca_system_score_codex":0.00001525624,"about_ca_system_score_gemma":0.00005522113,"threshold_uncertainty_score":0.9976719},"labels":[],"label_agreement":null},{"id":"W2942569089","doi":"10.1017/s0021911807001738","title":"Poetics, Plays and Performances: The Politics of Modern Indian Theatre. By Vasudha Dalmia. New Delhi: Oxford University Press, 2006. xiii, 366 pp. $39.95/Rs1080 (cloth). - Theatres of Independence: Drama, Theory, and Urban Performance in India since 1947. By Aparna Bhargava Dharwadker. Iowa City: University of Iowa Press, 2005. xix, 456 pp. $49.95 (cloth).","year":2007,"lang":"en","type":"article","venue":"The Journal of Asian Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Poetics; Drama; Independence (probability theory); New delhi; Politics; Art; Media studies; Humanities; History; Sociology; Political science; Literature; Law; Poetry; Mathematics","score_opus":0.014417851982794693,"score_gpt":0.21421003126879556,"score_spread":0.19979217928600088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2942569089","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7992062,0.18327735,0.000033020744,0.00062447775,0.00022078583,0.00047893525,0.00073019526,0.000019909872,0.0154091045],"genre_scores_gemma":[0.8258852,0.17218982,0.00003543918,0.00005833218,0.00019467935,3.387518e-7,0.000005220592,0.000024789804,0.0016061981],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9973414,0.0002700558,0.0008148502,0.00026495502,0.0006561403,0.00065259426],"domain_scores_gemma":[0.9974213,0.0005947704,0.0010880613,0.00039845138,0.00033493308,0.00016243459],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0017555755,0.00046040156,0.00094880204,0.00013130977,0.0009843858,0.000048948692,0.0008221088,0.00015171207,0.000039140483],"category_scores_gemma":[0.000033149387,0.00030618277,0.00015091493,0.00014427683,0.002829247,0.0007410042,0.0004169311,0.00073324813,7.667106e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.006155798,0.00078817224,0.1357279,0.0015502946,0.0038767909,0.000050063423,0.6307016,0.00018657594,0.00040183953,0.011604209,0.19337276,0.015584027],"study_design_scores_gemma":[0.005111719,0.0018033795,0.020954495,0.0016152242,0.0015511701,0.000098510325,0.48798555,0.0001752857,0.0025898581,0.0022253487,0.4748315,0.0010579645],"about_ca_topic_score_codex":0.0018058019,"about_ca_topic_score_gemma":0.0014549949,"teacher_disagreement_score":0.28145874,"about_ca_system_score_codex":0.000102893755,"about_ca_system_score_gemma":0.00018786867,"threshold_uncertainty_score":0.999939},"labels":[],"label_agreement":null},{"id":"W2943501058","doi":"10.24908/iqurcp.11750","title":"The Magic Circle: An Exploration in Immersive Theatre","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"MAGIC (telescope); Metaphor; Curiosity; Visual arts; Aesthetics; Space (punctuation); Art; Sociology; Media studies; Computer science; Psychology","score_opus":0.17487048108016082,"score_gpt":0.372445817145403,"score_spread":0.19757533606524216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2943501058","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49707326,0.0003274021,0.0001196598,0.09553486,0.0012868787,0.001429845,0.000016168975,0.00019230734,0.40401962],"genre_scores_gemma":[0.9936739,0.0013759952,0.000012350976,0.000112243775,0.0017920383,0.000120171826,0.000008137587,0.0000273584,0.002877789],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9975325,0.000107510816,0.0003410154,0.00044908078,0.00070340256,0.00086651667],"domain_scores_gemma":[0.9977621,0.00017319332,0.00008509376,0.00022561397,0.0016302243,0.00012376717],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":["sts"],"category_scores_codex":[0.0015950927,0.00020835246,0.00021186254,0.00030899752,0.0018758641,0.0011274297,0.0005880475,0.00006538734,0.0001446946],"category_scores_gemma":[0.000076280674,0.00014970009,0.000047799564,0.00029063152,0.003121056,0.0024710516,0.00019739283,0.0005626832,0.0004544779],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024243914,0.000099583995,0.0013913697,0.000055071447,0.000048301667,0.0000044323806,0.26195103,3.276428e-7,0.0003835387,0.6773914,0.011215653,0.047216836],"study_design_scores_gemma":[0.00057856645,0.0012974994,0.0007093937,0.00020311179,0.0000125399165,0.0000035718633,0.35028043,0.0004933911,0.0012843879,0.4441567,0.20056349,0.00041689264],"about_ca_topic_score_codex":0.0012185941,"about_ca_topic_score_gemma":0.0047346284,"teacher_disagreement_score":0.49660066,"about_ca_system_score_codex":0.00011832598,"about_ca_system_score_gemma":0.00019091777,"threshold_uncertainty_score":0.9999095},"labels":[],"label_agreement":null},{"id":"W2943891040","doi":"","title":"LMDA Canada Newsletter, September 2001","year":2001,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.022103350446435816,"score_gpt":0.19114667838487934,"score_spread":0.1690433279384435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2943891040","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74993527,0.00020527068,0.000056111545,0.00085341476,0.00050515454,0.00007566975,0.000059534133,0.000044614135,0.24826498],"genre_scores_gemma":[0.90960234,0.00009609546,0.000040576244,0.0004939445,0.0004105326,2.4958868e-7,0.00002423447,0.000012154928,0.089319885],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902916,0.000028697475,0.00012527654,0.0001985954,0.0002492086,0.0003690483],"domain_scores_gemma":[0.9994015,0.00004739665,0.0001012099,0.00023364645,0.00012138248,0.00009482785],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000091470196,0.00016519193,0.00025529752,0.000082188766,0.00080589874,0.00004562819,0.00025205495,0.000040570387,0.009145759],"category_scores_gemma":[0.0000050678955,0.00017764526,0.00011492334,0.00007107052,0.00033832662,0.00036081672,0.00008946878,0.00013451175,0.00021693789],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008583354,0.00007156826,0.02161091,0.000057605605,0.00027001658,0.0000872199,0.019794043,0.00003923462,0.0000025924824,0.27453128,0.6832054,0.00024426117],"study_design_scores_gemma":[0.0003954851,0.000040487597,0.0012265949,0.000013492439,0.000052329953,0.0000064689925,0.020995032,0.000022477741,2.3422673e-7,0.28196988,0.69507146,0.00020603415],"about_ca_topic_score_codex":0.47402626,"about_ca_topic_score_gemma":0.9690267,"teacher_disagreement_score":0.49500045,"about_ca_system_score_codex":0.00011187399,"about_ca_system_score_gemma":0.00012679411,"threshold_uncertainty_score":0.99176},"labels":[],"label_agreement":null},{"id":"W2944804720","doi":"","title":"LibGuides: Contemporary and Devised Drama: Robert Wilson","year":2018,"lang":"en","type":"libguides","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Focus (optics); Art history; Art; Sociology; Aesthetics; Literature","score_opus":0.03961648533460561,"score_gpt":0.24734026521178906,"score_spread":0.20772377987718346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2944804720","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013398781,0.017649168,0.0000022364354,0.00094197376,0.0026237604,0.00030898547,0.00020215572,0.00026507964,0.97666675],"genre_scores_gemma":[0.044112384,0.0053031533,0.00009420485,0.0026614303,0.012555955,0.00003972042,0.00033505616,0.00011012946,0.934788],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998531,0.000035065237,0.00045794406,0.00041693207,0.00021647761,0.00034260182],"domain_scores_gemma":[0.99913275,0.00011830179,0.0001690918,0.00032237277,0.00017215281,0.00008531729],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017045591,0.00046682407,0.00065332797,0.0001618284,0.0007229373,0.00041513125,0.0002273041,0.00018904438,0.0056027253],"category_scores_gemma":[0.000014764141,0.00032882093,0.0001370602,0.000024741317,0.0007847512,0.00036723586,0.00012982,0.0002666806,0.00039992481],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026363683,0.000020321557,0.00010559241,0.0002558699,0.00019230957,0.000005921025,0.014555134,1.6294402e-8,4.9311893e-7,0.013246849,0.9685584,0.0030327484],"study_design_scores_gemma":[0.0003107715,0.00023233074,0.000020765077,0.00033815132,0.00006839721,0.0000036582755,0.0029819724,0.000006110694,0.000015968599,0.0007697473,0.9947821,0.0004700511],"about_ca_topic_score_codex":0.002207253,"about_ca_topic_score_gemma":0.0056253825,"teacher_disagreement_score":0.042772505,"about_ca_system_score_codex":0.000020531377,"about_ca_system_score_gemma":0.00015432695,"threshold_uncertainty_score":0.9999164},"labels":[],"label_agreement":null},{"id":"W2945276106","doi":"","title":"Air Play: The Evolution of Canadian Drama for radio/Canli Yayinda Tiyatro: Kanada Radyo Tiyatrosunun Evrimi","year":2011,"lang":"en","type":"article","venue":"interactions","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Political science; Art; Literature","score_opus":0.04496976945994923,"score_gpt":0.2339428454314387,"score_spread":0.18897307597148946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2945276106","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24815631,0.0007391698,0.00014855142,0.004894984,0.007292749,0.00086650584,0.001414709,0.00010621707,0.7363808],"genre_scores_gemma":[0.9896736,0.000017926272,0.000074901924,0.00019983792,0.00074157235,0.00008426539,0.000021717997,0.000016264787,0.0091698775],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928,0.00001995838,0.00022565399,0.00012820342,0.0000874103,0.00025881294],"domain_scores_gemma":[0.9993682,0.00009836463,0.00009386392,0.00021748607,0.00015510312,0.0000670145],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000084178224,0.00012460852,0.00014843313,0.00028027833,0.0008882801,0.000031952,0.00016826343,0.000027078564,0.0016031486],"category_scores_gemma":[0.00001716594,0.000089267975,0.00013401065,0.000077056786,0.00020103331,0.00027198816,0.000017552766,0.00014016632,0.000065493776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021981023,0.00016869784,0.0037907765,0.000077351266,0.0007351656,0.000003843998,0.2096182,0.00004585739,0.000286972,0.42758662,0.3456806,0.011786141],"study_design_scores_gemma":[0.0002043722,0.000121972334,0.0036362992,0.000028894603,0.000084701125,0.0000062874637,0.018060207,0.00008266308,0.00025279014,0.0009382937,0.97645354,0.00012994604],"about_ca_topic_score_codex":0.48886022,"about_ca_topic_score_gemma":0.9093184,"teacher_disagreement_score":0.7415173,"about_ca_system_score_codex":0.0001891436,"about_ca_system_score_gemma":0.00018943228,"threshold_uncertainty_score":0.99930954},"labels":[],"label_agreement":null},{"id":"W2945461849","doi":"10.3968/11034","title":"The Theatre of the Indigenous Tradition in Chinua Achebe’s Things Fall Apart","year":2019,"lang":"en","type":"article","venue":"Cross-cultural communication","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Theatre studies; Political theatre; Context (archaeology); Theatre director; Fall of man; Art; Aesthetics; Sociology; Literature; History; Drama; Politics; Political science; Law; Archaeology","score_opus":0.02284418965551769,"score_gpt":0.2669983053069924,"score_spread":0.24415411565147474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2945461849","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9084993,0.0011654259,6.3055815e-8,0.0009196838,0.00020595564,0.00028565002,0.000012824842,0.000024913068,0.08888621],"genre_scores_gemma":[0.9968142,0.00046689756,0.0000038494936,0.0001749322,0.00007188588,0.00002483098,0.000029545155,0.000007325341,0.0024065615],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929774,0.00008490136,0.00024675208,0.000087439126,0.00013419942,0.00014895256],"domain_scores_gemma":[0.9990499,0.000106879525,0.00014588791,0.0005725947,0.000114160444,0.000010563801],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002880529,0.00010404174,0.00012442059,0.000017609022,0.0012086923,0.00025469775,0.00062278146,0.000037331432,0.000043913675],"category_scores_gemma":[0.000010953365,0.00004901685,0.00008592614,0.00005116954,0.0006168254,0.0006776142,0.00011429297,0.00025599275,0.000044860346],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012124487,0.00011813399,0.054058995,0.00007728685,0.00007678622,9.9078655e-8,0.7508168,0.000057265344,0.00068048015,0.17262802,0.0013075722,0.020057328],"study_design_scores_gemma":[0.0009732324,0.00018347429,0.17853051,0.0002516945,0.000038214803,0.0000050512504,0.086610205,0.00019786162,0.0013706164,0.011776664,0.7196842,0.00037827957],"about_ca_topic_score_codex":0.0011770442,"about_ca_topic_score_gemma":0.0043056603,"teacher_disagreement_score":0.71837664,"about_ca_system_score_codex":0.000043713117,"about_ca_system_score_gemma":0.000019263129,"threshold_uncertainty_score":0.92964065},"labels":[],"label_agreement":null},{"id":"W2946588358","doi":"","title":"Workers' Playtime: Theatre and the Labour Movement since 1970. By Alan Filewod and David Watt. Sydney: Currency Press, 2001","year":2003,"lang":"en","type":"article","venue":"Creative Industries Faculty","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Currency; Solidarity; Capitalism; Battle; Watt; Capital (architecture); Politics; Irony; Sociology; Resistance (ecology); Political economy; Political science; Economics; Law; History; Art; Power (physics); Visual arts","score_opus":0.03502378591973822,"score_gpt":0.25323932920415,"score_spread":0.21821554328441178,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2946588358","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5349258,0.014806148,0.000011243435,0.0066018,0.0004889609,0.0013421174,0.005937333,0.0001484452,0.43573815],"genre_scores_gemma":[0.87943375,0.0028951378,0.000034464952,0.0007502749,0.00037252618,0.0001849388,0.00021427989,0.00003346976,0.11608115],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987416,0.000121287885,0.00024634288,0.00030665353,0.00019581613,0.00038830223],"domain_scores_gemma":[0.99930376,0.00020230042,0.00011248749,0.00019017921,0.00009782932,0.0000934579],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023198748,0.00031432023,0.00034564405,0.000027156439,0.0011063078,0.0002732999,0.00011599875,0.000089144705,0.0011083839],"category_scores_gemma":[0.00006743005,0.00018114566,0.000042614658,0.00005674292,0.001482596,0.00030620105,0.00009437711,0.00035239884,0.000013707861],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022699166,0.0001254617,0.028977113,0.000054179516,0.0004284621,0.0000044358158,0.07338283,0.0000037018453,0.000008863802,0.086058244,0.80252045,0.008209263],"study_design_scores_gemma":[0.0014266449,0.00012849888,0.0012482672,0.000094821,0.00008736544,0.0000028260358,0.031446114,0.0000092225355,0.00041450458,0.0012394375,0.9636278,0.0002745003],"about_ca_topic_score_codex":0.0019070359,"about_ca_topic_score_gemma":0.00038645172,"teacher_disagreement_score":0.34450796,"about_ca_system_score_codex":0.000029305253,"about_ca_system_score_gemma":0.000050389794,"threshold_uncertainty_score":0.99980474},"labels":[],"label_agreement":null},{"id":"W2946856523","doi":"10.5325/shaw.39.1.0007","title":"A Tribute to Christopher Innes","year":2019,"lang":"en","type":"article","venue":"Shaw","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tribute; Art; Art history","score_opus":0.014457184272841326,"score_gpt":0.2128000009704904,"score_spread":0.19834281669764908,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2946856523","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49747103,0.00015037993,8.740758e-7,0.0020110817,0.0008122143,0.00009386859,0.000022271712,0.000046914804,0.49939138],"genre_scores_gemma":[0.7710384,0.000008223001,0.000014351288,0.00084897655,0.00086510635,0.000008082265,0.0000035391563,0.000006449333,0.22720686],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999656,0.000004317153,0.00006574737,0.00008695703,0.000058036425,0.00012892885],"domain_scores_gemma":[0.9998148,0.0000096964595,0.000011673216,0.00010716024,0.000034662524,0.000022001434],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000040497052,0.000059361097,0.000085698266,0.000027542339,0.00010988869,0.00003947987,0.00006555735,0.000010303225,0.009874474],"category_scores_gemma":[0.0000024454266,0.000043866465,0.00002981433,0.0000198086,0.00003491849,0.00007353822,0.00003333971,0.000030771258,0.008865696],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051610565,0.00002586163,0.004996644,0.00003102627,0.000040935523,0.000001344021,0.061777804,0.0000013747713,0.00009139276,0.049448065,0.8771887,0.006345282],"study_design_scores_gemma":[0.00010421479,0.000106225656,0.0006910444,0.000013255441,0.0000038513917,2.706939e-7,0.0016878052,0.0000022513925,0.00008805463,0.000580569,0.996646,0.00007646914],"about_ca_topic_score_codex":0.00011609888,"about_ca_topic_score_gemma":0.0010438077,"teacher_disagreement_score":0.2735674,"about_ca_system_score_codex":0.000006463969,"about_ca_system_score_gemma":0.000005992426,"threshold_uncertainty_score":0.991906},"labels":[],"label_agreement":null},{"id":"W2947029345","doi":"10.4324/9781315002767","title":"World Encyclopedia of Contemporary Theatre","year":2014,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Encyclopedia; History; Visual arts; Art; Computer science; Library science","score_opus":0.026404495053262873,"score_gpt":0.21526173635936344,"score_spread":0.18885724130610057,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2947029345","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000013260567,0.0021504618,6.447281e-7,0.00012292976,0.00086931913,0.00014382889,0.00009246177,0.00006681486,0.9965403],"genre_scores_gemma":[0.005363121,0.00032080978,0.000007066591,0.000279283,0.0030003705,0.000008252544,0.00007742031,0.00003234768,0.9909113],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992099,0.000013513521,0.00032563746,0.00016034568,0.00015282596,0.00013780472],"domain_scores_gemma":[0.9993891,0.000094997806,0.00015900588,0.00025329835,0.00007363024,0.000029970599],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000084601306,0.0002378896,0.0004944379,0.00015531198,0.000118231954,0.00002257523,0.00016447499,0.000059090424,0.009534543],"category_scores_gemma":[0.0000011371285,0.00016233415,0.00017565467,0.000008712575,0.000314353,0.00007808418,0.000060726405,0.0001774039,0.0004317725],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009994226,0.000008940992,0.000031306005,0.00013290605,0.000084079016,8.4230686e-7,0.0044887033,5.001744e-8,4.3904507e-8,0.2331975,0.75738686,0.0046587796],"study_design_scores_gemma":[0.000117137315,0.000071668175,0.0000039506094,0.00015944225,0.000039982333,2.372945e-7,0.0003672719,6.026808e-7,0.0000022217048,0.007437526,0.99159616,0.00020379885],"about_ca_topic_score_codex":0.000108810156,"about_ca_topic_score_gemma":0.005636513,"teacher_disagreement_score":0.2342093,"about_ca_system_score_codex":0.000014816367,"about_ca_system_score_gemma":0.00012668571,"threshold_uncertainty_score":0.99137086},"labels":[],"label_agreement":null},{"id":"W2947371511","doi":"","title":"Upstream Downtown: Theatre Creation Through a Feminist and Multispecies Lens","year":2019,"lang":"en","type":"article","venue":"Scholars Commons (Wilfrid Laurier University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Lens (geology); Upstream (networking); Sociology; Media studies; Aesthetics; Geography; Art; Geology; Computer science; Archaeology; Telecommunications","score_opus":0.018720353441667524,"score_gpt":0.20860257795904233,"score_spread":0.1898822245173748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2947371511","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43193343,0.00022456553,0.000002160398,0.0006265103,0.00022947065,0.0001545207,0.00011394386,0.00008586969,0.5666295],"genre_scores_gemma":[0.95418006,0.00035189517,0.000075282696,0.00023082091,0.00016358236,0.0000011935325,0.00002942456,0.000018166145,0.04494956],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904704,0.00006631509,0.00013904412,0.0002953524,0.00016154263,0.00029069383],"domain_scores_gemma":[0.99935687,0.000088354616,0.00007517994,0.00034412267,0.000077802906,0.000057676974],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000093661634,0.00022465317,0.0002644498,0.0001745325,0.0009951465,0.00022983117,0.000232011,0.00006653179,0.0017538647],"category_scores_gemma":[0.000005425022,0.00020345367,0.00009880657,0.00011275071,0.00045259405,0.0012271716,0.0001770457,0.00028738752,0.00023290681],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033194647,0.0002374472,0.21971567,0.00010418094,0.0004193217,0.000050796312,0.08901406,0.000012711995,0.00014480624,0.6695869,0.01162452,0.008757624],"study_design_scores_gemma":[0.0007416242,0.00013759582,0.0029882947,0.0000580255,0.00007913614,0.00000546129,0.021336189,0.0000088006545,0.0001198952,0.00036254662,0.9738917,0.00027078012],"about_ca_topic_score_codex":0.0005117705,"about_ca_topic_score_gemma":0.0044198134,"teacher_disagreement_score":0.96226716,"about_ca_system_score_codex":0.00005575252,"about_ca_system_score_gemma":0.000034206314,"threshold_uncertainty_score":0.9991587},"labels":[],"label_agreement":null},{"id":"W2947485535","doi":"10.15402/esj.v5i2.68351","title":"Audience Engagement in Theatre for Social Change","year":2019,"lang":"en","type":"article","venue":"Engaged Scholar Journal Community-Engaged Research Teaching and Learning","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Deliverable; Public engagement; Experiential learning; Community engagement; Sociology; Audience response; Field (mathematics); Media studies; Action (physics); Audience participation; Public relations; Social engagement; Political science; Pedagogy; Social science; Engineering","score_opus":0.2819921772655862,"score_gpt":0.39194581625278735,"score_spread":0.10995363898720117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2947485535","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97271854,0.0010724933,0.000015790893,0.0008995721,0.00039331373,0.0005198166,0.0000062436343,0.00007358202,0.024300667],"genre_scores_gemma":[0.99472755,0.00038188748,0.0002488279,0.00016055234,0.001258185,0.00007155594,0.000011291872,0.00004711469,0.0030930606],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.5316422,0.46695462,0.00027214838,0.00015828088,0.0003791895,0.00059356814],"domain_scores_gemma":[0.9070302,0.09231232,0.00011977898,0.00022500938,0.0001935703,0.00011910665],"candidate_categories":["metaresearch","sts","scholarly_communication","research_integrity"],"consensus_categories":["metaresearch"],"category_scores_codex":[0.66534364,0.00024864907,0.00038886737,0.0006274481,0.43242577,0.0011028757,0.0005214142,0.00009183326,0.00026166468],"category_scores_gemma":[0.063998714,0.00020735503,0.0001324543,0.00011450317,0.00028137007,0.0011723712,0.00035074944,0.51169384,0.00004640279],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001057517,0.000107443426,0.0027640413,0.00012356884,0.000057420497,0.0000050000194,0.94350743,0.000020326694,0.00046304206,0.0005873035,0.00047384537,0.051784836],"study_design_scores_gemma":[0.0009204597,0.0005016126,0.003934771,0.00022032954,0.000010019056,0.000009815494,0.71564704,0.00013629059,0.000009092267,0.00030037345,0.27811646,0.00019374854],"about_ca_topic_score_codex":0.00072050415,"about_ca_topic_score_gemma":0.00058172585,"teacher_disagreement_score":0.60134494,"about_ca_system_score_codex":0.00014103182,"about_ca_system_score_gemma":0.00005426795,"threshold_uncertainty_score":0.9999341},"labels":[],"label_agreement":null},{"id":"W2947920164","doi":"10.15402/esj.v5i2.68349","title":"Confronting Sexual Violence Through Dance and Theatre Pedagogy","year":2019,"lang":"en","type":"article","venue":"Engaged Scholar Journal Community-Engaged Research Teaching and Learning","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Oppression; Storytelling; Sociology; Gender studies; Indigenous; Sexual violence; The arts; Aesthetics; Narrative; Media studies; Visual arts; Political science; Art; Criminology; Literature","score_opus":0.11882966011784865,"score_gpt":0.3697995858724801,"score_spread":0.2509699257546314,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2947920164","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9594195,0.0061430996,0.000031930766,0.0003902514,0.00032168333,0.00018902663,0.000004057185,0.00011076102,0.03338971],"genre_scores_gemma":[0.99158406,0.0017116774,0.00046993562,0.00011472879,0.0007594545,0.0000069822577,0.0000072685953,0.000051696115,0.0052941996],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.57515454,0.42342663,0.0002727774,0.00019403761,0.0004055683,0.000546488],"domain_scores_gemma":[0.91440886,0.08468223,0.0001530922,0.0003592038,0.00022507756,0.00017150275],"candidate_categories":["metaresearch","sts","scholarly_communication","research_integrity"],"consensus_categories":["metaresearch"],"category_scores_codex":[0.47421032,0.00029872826,0.00043206126,0.00027249058,0.41026995,0.0017792273,0.00047504788,0.0001020884,0.000282997],"category_scores_gemma":[0.059903182,0.00024280444,0.00006800872,0.00007480291,0.0005924851,0.0016260111,0.00050541793,0.5284352,0.00006040384],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071771094,0.00005629882,0.009348038,0.00012875017,0.000098076634,0.000011573103,0.90832037,0.000047299964,0.0015326253,0.00051978434,0.00026885673,0.07959658],"study_design_scores_gemma":[0.00065892877,0.00055872207,0.0021966542,0.00050969596,0.000017685814,0.00010754426,0.83601743,0.00016478756,0.000022094888,0.00042856325,0.15906174,0.00025611802],"about_ca_topic_score_codex":0.0018449915,"about_ca_topic_score_gemma":0.00044647892,"teacher_disagreement_score":0.5283331,"about_ca_system_score_codex":0.000048833605,"about_ca_system_score_gemma":0.00007805899,"threshold_uncertainty_score":0.999257},"labels":[],"label_agreement":null},{"id":"W2948119157","doi":"","title":"LMDA Canada Newsletter, May 2004","year":2004,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.015444674678509159,"score_gpt":0.18206151085972447,"score_spread":0.1666168361812153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2948119157","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9261055,0.00040273764,0.000148534,0.0023868831,0.00067383464,0.000100888996,0.00011246404,0.0000567463,0.07001239],"genre_scores_gemma":[0.98451203,0.000044436743,0.00007929844,0.00047031345,0.0003334118,2.2571882e-7,0.00002266142,0.000011611796,0.014526034],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99911505,0.000017339213,0.00011871306,0.00019403246,0.0002473525,0.0003074951],"domain_scores_gemma":[0.9994656,0.000028044167,0.00009718127,0.00022419209,0.00010355267,0.000081466285],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000722676,0.00016064485,0.00024112196,0.00008284633,0.0008463862,0.000045391007,0.0002648587,0.000039015365,0.0016681413],"category_scores_gemma":[0.0000054082643,0.00017326656,0.000109864675,0.000059196333,0.0004100006,0.00033830217,0.00008165133,0.00013738002,0.00011988823],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004356079,0.000051322386,0.0021268455,0.00005826147,0.0001622119,0.000038214228,0.027373984,0.00017723776,0.000002428401,0.9239214,0.04594138,0.00010315341],"study_design_scores_gemma":[0.0007153356,0.00006215973,0.0006915901,0.000023306915,0.0000532765,0.0000035718292,0.02844268,0.0000024843002,0.0000013471637,0.71885824,0.25092107,0.00022497104],"about_ca_topic_score_codex":0.658982,"about_ca_topic_score_gemma":0.96076924,"teacher_disagreement_score":0.3017873,"about_ca_system_score_codex":0.00019610312,"about_ca_system_score_gemma":0.00023801764,"threshold_uncertainty_score":0.99924445},"labels":[],"label_agreement":null},{"id":"W2948445610","doi":"10.26512/vis.v17i1.20633","title":"Um tango em clave e Ensaios para Chantal","year":2018,"lang":"pt","type":"article","venue":"Revista VIS Revista do Programa de Pós-Graduação em Arte","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Douglas Mental Health University Institute; Université du Québec à Montréal","funders":"","keywords":"Humanities; Philosophy; Psychology","score_opus":0.036878837276132365,"score_gpt":0.28984737788747617,"score_spread":0.2529685406113438,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2948445610","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.880054,0.08430365,0.00042519037,0.0029175258,0.002541826,0.006398397,0.0017402814,0.0015235414,0.020095602],"genre_scores_gemma":[0.9662622,0.0037101726,0.00040854703,0.0011894073,0.008445003,0.00039282747,0.0002695103,0.00035046574,0.018971866],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99129623,0.00067720405,0.0021126675,0.0018218112,0.0011586888,0.0029333842],"domain_scores_gemma":[0.9949696,0.00020402824,0.0010892757,0.0020248683,0.0008942299,0.00081799005],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0016700986,0.0018260437,0.0023420646,0.00049143063,0.003836027,0.020773653,0.0012365519,0.00046906446,0.003529275],"category_scores_gemma":[0.00013383102,0.0016223986,0.0013651534,0.00069046085,0.0019972054,0.00080318516,0.0006051306,0.0012323891,0.0050087003],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010150118,0.0017158762,0.006336612,0.0054621953,0.0024688756,0.00043111492,0.17927781,7.7078147e-7,0.00021999265,0.25971228,0.1349044,0.40845507],"study_design_scores_gemma":[0.0013442516,0.0024229565,0.00058802654,0.002391779,0.00088950264,0.0001780167,0.016906464,0.0003836246,0.00007093567,0.00026821246,0.97259235,0.0019638578],"about_ca_topic_score_codex":0.0001265583,"about_ca_topic_score_gemma":0.00020231347,"teacher_disagreement_score":0.83768797,"about_ca_system_score_codex":0.00041123948,"about_ca_system_score_gemma":0.0002991249,"threshold_uncertainty_score":0.9994484},"labels":[],"label_agreement":null},{"id":"W2949735209","doi":"10.22329/csw.v7i2.5735","title":"Overcoming social oppression","year":2019,"lang":"en","type":"article","venue":"Critical Social Work","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Oppression; Feeling; Politics; Sociology; Social psychology; Vulnerability (computing); Gender studies; Interpersonal communication; Multinational corporation; Psychology; Political science; Law","score_opus":0.035249405579690446,"score_gpt":0.28818567339829204,"score_spread":0.25293626781860157,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2949735209","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29264024,0.00018458471,0.00000687997,0.008023637,0.0019544065,0.00009439262,0.000015125542,0.00010683931,0.6969739],"genre_scores_gemma":[0.98796874,0.0000027252943,0.000011778554,0.0005468827,0.004003558,0.0000068877202,0.000003688612,0.000012500011,0.007443217],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993137,0.000026461692,0.000118664684,0.00012498804,0.00014482974,0.00027133175],"domain_scores_gemma":[0.99975556,0.00010702967,0.000014781396,0.000047829595,0.000045089208,0.00002971437],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00007283379,0.0000948698,0.00016791606,0.000017447064,0.0014494882,0.000112623304,0.00008328575,0.000054880013,0.0073897634],"category_scores_gemma":[0.00001899374,0.00007949103,0.00010034576,0.000037761427,0.00027530352,0.00014179171,0.00006256871,0.0001548969,0.0010333403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050634426,0.00004819893,0.0010191147,0.00004773945,0.000021854392,0.0000021994565,0.04969032,9.511327e-8,0.000018681174,0.8898224,0.040697135,0.018581625],"study_design_scores_gemma":[0.00021797068,0.000030464167,0.0030425005,0.000036343426,0.000025090929,2.0534232e-7,0.006113547,0.000002439066,0.000019455789,0.009763569,0.9805515,0.00019694849],"about_ca_topic_score_codex":0.000014271291,"about_ca_topic_score_gemma":0.000012566075,"teacher_disagreement_score":0.9398543,"about_ca_system_score_codex":0.00002055172,"about_ca_system_score_gemma":0.00000849441,"threshold_uncertainty_score":0.9998505},"labels":[],"label_agreement":null},{"id":"W2951391539","doi":"10.4324/9780203876800-20","title":"Peter Pan’s gender and feminist theatre studies","year":2009,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gender studies; Sociology; Art; Art history","score_opus":0.07595022805842146,"score_gpt":0.2589629971079882,"score_spread":0.18301276904956676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2951391539","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000041665553,0.018862894,9.402094e-8,0.00023072153,0.0004097008,0.00013955696,0.00005913378,0.00009838168,0.98015785],"genre_scores_gemma":[0.032706793,0.006845229,0.00001722976,0.00140298,0.0018440607,0.000006980985,0.000012738024,0.000036759466,0.9571272],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999087,0.0000048575102,0.000244302,0.00029303096,0.00015347806,0.00021734899],"domain_scores_gemma":[0.9995475,0.000053874774,0.00007604946,0.00021272991,0.00007100127,0.00003887683],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006562102,0.00039134323,0.00048654503,0.00008489857,0.00046775662,0.00011302326,0.00008750116,0.000088394125,0.0029160243],"category_scores_gemma":[0.0000011403712,0.00025546076,0.0001274298,0.0000023275688,0.00049628544,0.00008011257,0.000092659684,0.0002037424,0.00029612397],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015720965,0.000008316315,0.000012629431,0.00011277257,0.0005019405,0.000012232625,0.030703278,2.460184e-8,2.424074e-7,0.819244,0.11246596,0.03692284],"study_design_scores_gemma":[0.0001246303,0.00012491489,0.00001893479,0.000089439854,0.00015784094,0.000008058064,0.004323681,2.0070132e-7,0.0000015799918,0.030594219,0.9642031,0.0003533983],"about_ca_topic_score_codex":0.000009501859,"about_ca_topic_score_gemma":0.000518841,"teacher_disagreement_score":0.85173714,"about_ca_system_score_codex":0.000020063302,"about_ca_system_score_gemma":0.0000140038655,"threshold_uncertainty_score":0.99998975},"labels":[],"label_agreement":null},{"id":"W2951695453","doi":"10.12745/et.22.1.3691","title":"‘[A]dore my topless villainy’: Metatheatrical Rivalry in John Marston’s Antonio’s Revenge","year":2019,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Tragedy (event); Rivalry; Rhetorical question; Performance art; Literature; Art history","score_opus":0.01476189667491111,"score_gpt":0.2175113913807852,"score_spread":0.2027494947058741,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2951695453","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67023385,0.0013766366,5.889416e-7,0.0007679394,0.0006999086,0.0002963633,0.000043766377,0.00008449641,0.32649642],"genre_scores_gemma":[0.97951716,0.00029508196,0.000061843726,0.00027605888,0.0009559091,0.000030962776,0.000013170706,0.00004421655,0.01880561],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982679,0.00009935547,0.00037647324,0.0003977137,0.0003017541,0.0005568008],"domain_scores_gemma":[0.99921775,0.00010983382,0.00007676398,0.00046014204,0.000053903655,0.00008162729],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032971436,0.00030941342,0.00053340493,0.00022004664,0.00024363575,0.00013576077,0.00031493278,0.00009243015,0.0029121104],"category_scores_gemma":[0.0000042885463,0.00023645903,0.00020352354,0.000120797915,0.00016778626,0.0003768241,0.000121273755,0.00035805732,0.0014908178],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010385503,0.0008531207,0.27561837,0.00055836444,0.0006206413,0.00019478305,0.38945302,0.00008231374,0.00042427343,0.14844072,0.024974316,0.15774152],"study_design_scores_gemma":[0.0015135293,0.0004802137,0.038305815,0.00016542622,0.000081681894,0.000012666771,0.009912253,0.000038185655,0.00013241256,0.004119825,0.9444857,0.000752243],"about_ca_topic_score_codex":0.0010418099,"about_ca_topic_score_gemma":0.0017223638,"teacher_disagreement_score":0.91951144,"about_ca_system_score_codex":0.00007501038,"about_ca_system_score_gemma":0.0000429251,"threshold_uncertainty_score":0.99928665},"labels":[],"label_agreement":null},{"id":"W2952336625","doi":"10.12745/et.22.1.3940","title":"Matteo A. Pangallo. Playwriting Playgoers in Shakespeare’s Theater. Philadelphia: University of Pennsylvania Press, 2017. Pp 248. Hardback USD $59.95. ISBN: 97808122494415.","year":2019,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Performance art; Media studies; Art history; Sociology","score_opus":0.02086576420608938,"score_gpt":0.19540184411817946,"score_spread":0.17453607991209008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2952336625","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7926389,0.0024491218,8.90441e-7,0.0010114028,0.00049062213,0.00045089624,0.00027403247,0.000103075814,0.20258108],"genre_scores_gemma":[0.98812014,0.00083609985,0.000029050727,0.00010488178,0.00044318335,0.0000033871984,0.000027219152,0.000042536278,0.0103934845],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982501,0.00009336713,0.00035179663,0.00043159202,0.0003152791,0.0005578275],"domain_scores_gemma":[0.99910647,0.00008830534,0.00016864859,0.0004670806,0.00008962158,0.00007985189],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024571267,0.00033764628,0.00054062984,0.000096961034,0.0003217448,0.00011205977,0.0004773144,0.0001210183,0.0036964284],"category_scores_gemma":[0.0000037343364,0.0003064319,0.00019293332,0.00007615073,0.00029802212,0.0006628429,0.00019728731,0.0004028956,0.001005507],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018894302,0.00077278324,0.34194908,0.0014169296,0.0010441684,0.00023648502,0.4018868,0.00043651764,0.0019556952,0.01997524,0.22185844,0.0065784454],"study_design_scores_gemma":[0.0036992806,0.0007011293,0.05542521,0.001044242,0.00016965326,0.00001629062,0.062251475,0.00022917085,0.00033163733,0.00057949964,0.8743478,0.00120462],"about_ca_topic_score_codex":0.0056199245,"about_ca_topic_score_gemma":0.004842242,"teacher_disagreement_score":0.65248936,"about_ca_system_score_codex":0.000057583566,"about_ca_system_score_gemma":0.000048175498,"threshold_uncertainty_score":0.9999388},"labels":[],"label_agreement":null},{"id":"W2952508860","doi":"","title":"Theatre Elsewhere: The Dialogues of Alterity","year":2018,"lang":"en","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Alterity; Art; Philosophy; Epistemology","score_opus":0.029428286284705344,"score_gpt":0.22687729885365754,"score_spread":0.1974490125689522,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2952508860","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23560368,0.003113073,0.0006796742,0.011835892,0.0010447988,0.00047774476,0.0003594936,0.00017806113,0.7467076],"genre_scores_gemma":[0.9848813,0.0013711667,0.0006186,0.000107171996,0.00029086295,0.000050252078,0.0001851009,0.000029232282,0.012466355],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969213,0.001799802,0.0004090084,0.00035635094,0.0002672486,0.0002462656],"domain_scores_gemma":[0.99598664,0.0007240544,0.00038379265,0.0014994635,0.0013562177,0.00004985491],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025676813,0.00025785711,0.0003492891,0.00007287414,0.0007048433,0.0002693778,0.0010148756,0.000108358494,0.00076220033],"category_scores_gemma":[0.00014284755,0.00018067112,0.00022419357,0.00005618547,0.0012233942,0.000098451426,0.0010908513,0.00039517772,0.000080619066],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004331324,0.00061324256,0.0033394578,0.0005988954,0.00046629747,0.0000016060039,0.48801804,0.000007734236,0.00022661635,0.36942676,0.028509893,0.10874812],"study_design_scores_gemma":[0.00047155932,0.0000022304007,0.002853788,0.0024605151,0.00019927631,0.000003487934,0.00491046,0.0007687894,0.015767865,0.03920242,0.932654,0.0007055592],"about_ca_topic_score_codex":0.003881187,"about_ca_topic_score_gemma":0.022865847,"teacher_disagreement_score":0.90414417,"about_ca_system_score_codex":0.000028249324,"about_ca_system_score_gemma":0.000106425454,"threshold_uncertainty_score":0.9949643},"labels":[],"label_agreement":null},{"id":"W2952858371","doi":"","title":"Offstage and Onstage Drama: New Approaches to Richard Brome. Introduction","year":2007,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Art; Visual arts; Art history","score_opus":0.056049630393068,"score_gpt":0.2138725422999576,"score_spread":0.15782291190688963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2952858371","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7837673,0.00078849046,0.00012636892,0.0061751707,0.0008183461,0.00025498716,0.000020759824,0.00013870276,0.2079099],"genre_scores_gemma":[0.953963,0.00003092839,0.00020191769,0.00018654218,0.005547934,0.0000045216784,0.00000692884,0.000020106127,0.040038135],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912983,0.000014143792,0.00017050933,0.00024316098,0.00013612569,0.00030623248],"domain_scores_gemma":[0.99960756,0.000031345604,0.000034458863,0.00019276024,0.000015792097,0.000118088625],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022884646,0.0001612865,0.0001802766,0.00012648698,0.00036041206,0.00015266935,0.00008706826,0.000035532394,0.000651459],"category_scores_gemma":[0.000003924945,0.00012753118,0.000046528774,0.000058655296,0.00011849449,0.00025513733,0.000059900256,0.00013330078,0.00022572628],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003525315,0.00013080098,0.010972458,0.000087840905,0.00020803954,0.000014326308,0.3379634,0.000008890056,0.0002221687,0.20359156,0.117703944,0.32874402],"study_design_scores_gemma":[0.00027781285,0.0002505488,0.008989512,0.00001550404,0.000030608942,0.000004668336,0.008356165,0.0000020962534,0.0002512137,0.0013522146,0.9802373,0.0002323218],"about_ca_topic_score_codex":0.0005879604,"about_ca_topic_score_gemma":0.0018693729,"teacher_disagreement_score":0.8625334,"about_ca_system_score_codex":0.000020516081,"about_ca_system_score_gemma":0.000013970687,"threshold_uncertainty_score":0.7133019},"labels":[],"label_agreement":null},{"id":"W2953199218","doi":"10.12745/et.22.1.3950","title":"Sarah Dustagheer and Gillian Woods, eds. Stage Directions and Shakespearean Theatre. London: Bloomsbury, 2018. Pp. xvi, 350. Hardback £80.00. ISBN: 9781474257473.","year":2019,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Art; Performance art; Stage (stratigraphy); Art history; Biology","score_opus":0.013725813401894023,"score_gpt":0.20820165594237888,"score_spread":0.19447584254048486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2953199218","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68197656,0.04913007,0.0000012511805,0.0018049873,0.001358866,0.00067277957,0.00045524022,0.00027388346,0.2643264],"genre_scores_gemma":[0.80221045,0.017328292,0.000059467588,0.00042168668,0.0020085494,0.000044174452,0.000049718714,0.0001168031,0.17776085],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977937,0.00008911886,0.00039102786,0.000646512,0.0003311297,0.00074850844],"domain_scores_gemma":[0.99886346,0.000116491385,0.00012239057,0.0006018169,0.000084991836,0.00021086606],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002722905,0.0005228081,0.00058744877,0.0001484303,0.0010359999,0.00054694864,0.00023096817,0.0001457789,0.0046086092],"category_scores_gemma":[0.0000045758093,0.00040787735,0.00016658624,0.00010989746,0.00053592265,0.00085477077,0.00021298305,0.00040489275,0.00060932885],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008251864,0.00069819303,0.21315657,0.0008011286,0.0019395895,0.00011117145,0.11836646,0.000019487874,0.0005792117,0.03145787,0.3329445,0.29910064],"study_design_scores_gemma":[0.0010160595,0.00046050898,0.0077757165,0.00011855593,0.00009207029,0.000020066975,0.0047466294,0.000022857022,0.000080769685,0.00038813773,0.98471195,0.00056670164],"about_ca_topic_score_codex":0.0020354593,"about_ca_topic_score_gemma":0.0022234097,"teacher_disagreement_score":0.65176743,"about_ca_system_score_codex":0.000035391302,"about_ca_system_score_gemma":0.00003740661,"threshold_uncertainty_score":0.9998373},"labels":[],"label_agreement":null},{"id":"W2953221942","doi":"10.7202/1067403ar","title":"De la disparition scénique entre le postmoderne et le posthumain","year":2019,"lang":"fr","type":"article","venue":"Sens public","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art; Spectacle; Political science","score_opus":0.01136413376752818,"score_gpt":0.2255422365088165,"score_spread":0.21417810274128832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2953221942","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38455042,0.005660848,0.000023546818,0.058459595,0.00070868916,0.00020392265,0.00019211876,0.00008842681,0.5501124],"genre_scores_gemma":[0.9069532,0.0008997772,0.000047862897,0.0013105875,0.00079345267,0.000008882209,0.00009220344,0.000035318986,0.089858696],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99862844,0.0002694595,0.00020255649,0.00023987982,0.00014049016,0.00051918125],"domain_scores_gemma":[0.99933445,0.00014506883,0.00007400625,0.00024166904,0.00011345492,0.000091363334],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00046170238,0.00021493471,0.00024593907,0.00010255082,0.0005448347,0.0006983991,0.00013248251,0.00013713876,0.0020518634],"category_scores_gemma":[0.000019702951,0.0002100731,0.00012426266,0.000046357014,0.00039320264,0.0007290668,0.00008742872,0.0003188896,0.00062586245],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022634895,0.0002881098,0.002555573,0.00014228642,0.000101157864,0.000009593071,0.015485186,0.000013993247,0.00024915775,0.9491989,0.026652938,0.005280454],"study_design_scores_gemma":[0.00061478233,0.00013259782,0.0034370506,0.00012493883,0.000024906147,0.000045162647,0.008653575,0.00031071348,0.00016585305,0.009590138,0.9766079,0.0002923938],"about_ca_topic_score_codex":0.00411042,"about_ca_topic_score_gemma":0.0030458292,"teacher_disagreement_score":0.9499549,"about_ca_system_score_codex":0.00006408942,"about_ca_system_score_gemma":0.00029945036,"threshold_uncertainty_score":0.9988604},"labels":[],"label_agreement":null},{"id":"W2955112606","doi":"10.1590/2237-266088137","title":"Iben Nagel Rasmussen: a transparência na maturidade","year":2019,"lang":"pt","type":"article","venue":"Revista Brasileira de Estudos da Presença","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Universidade Federal do Estado do Rio de Janeiro; Universidade Federal de Minas Gerais; Fundação de Amparo à Pesquisa do Estado de Minas Gerais","keywords":"Philosophy; Humanities; Mathematics; Art","score_opus":0.027733531686003954,"score_gpt":0.2623164774976808,"score_spread":0.23458294581167682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2955112606","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8814738,0.017595,0.00003046353,0.0005558639,0.0015610025,0.0020874145,0.000766762,0.00033445616,0.09559527],"genre_scores_gemma":[0.92925906,0.0009504812,0.000043778284,0.00066800736,0.0019955265,0.00010003278,0.00008238819,0.00017115372,0.06672957],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9952618,0.0003636961,0.0010438743,0.0010416638,0.0007859495,0.0015030487],"domain_scores_gemma":[0.9972654,0.00041361336,0.0003830476,0.001385408,0.0002011494,0.00035136918],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007146853,0.0010064107,0.0014270102,0.00029921182,0.0010008905,0.0016426238,0.0010365954,0.0003227724,0.0075830976],"category_scores_gemma":[0.00005615512,0.0009006171,0.00065897993,0.00027425445,0.0004477788,0.0007747863,0.00032508397,0.0010584128,0.004458228],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009774731,0.0011124742,0.6428815,0.009110696,0.0022744413,0.00028480432,0.109074794,0.000120940334,0.00096419,0.10985687,0.11777443,0.005567387],"study_design_scores_gemma":[0.0033249753,0.0010381647,0.24808088,0.0026532805,0.0010813705,0.00008846313,0.01410593,0.00094976835,0.00023240384,0.000114706105,0.72577137,0.0025586968],"about_ca_topic_score_codex":0.00043406992,"about_ca_topic_score_gemma":0.00022901688,"teacher_disagreement_score":0.60799694,"about_ca_system_score_codex":0.00018025574,"about_ca_system_score_gemma":0.00027223033,"threshold_uncertainty_score":0.99939376},"labels":[],"label_agreement":null},{"id":"W2955494960","doi":"10.11575/prism/36664","title":"The Life Machine: Twenty-First Century Explorations into Machinal","year":2019,"lang":"en","type":"dissertation","venue":"Open MIND","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art history; Data science; Computer science","score_opus":0.033348770410995696,"score_gpt":0.2848135552677796,"score_spread":0.25146478485678386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2955494960","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042708967,0.006244002,5.2467e-7,0.0010913111,0.005474612,0.00081594224,0.00020769899,0.000005500907,0.94345146],"genre_scores_gemma":[0.5664521,0.0036199023,0.000059235525,0.00014182522,0.0017404908,0.00018877882,0.0033870498,0.00006545055,0.4243452],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989943,0.00003344365,0.0002965986,0.0002558768,0.00019758132,0.00022217963],"domain_scores_gemma":[0.9992578,0.00008209123,0.0001871659,0.00032632137,0.00009593346,0.000050662456],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017110034,0.00024957414,0.00025844274,0.000056913384,0.0022575457,0.0011566887,0.0006155903,0.00006847463,0.008204296],"category_scores_gemma":[0.000017486245,0.00015891151,0.000104355226,0.000028035398,0.00008441568,0.0003853308,0.00010894045,0.00029898863,0.0033870218],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047512428,0.0001464227,0.00023446491,0.00016080406,0.0006173049,0.000004176932,0.5721687,0.000011828676,0.000006066476,0.01607065,0.0495759,0.36052856],"study_design_scores_gemma":[0.0001777201,0.00006007235,0.00014665713,0.00008786003,0.00010189764,3.0835147e-7,0.061989408,0.000023629353,0.0000144801,0.0001505317,0.93702567,0.00022179553],"about_ca_topic_score_codex":0.0008713761,"about_ca_topic_score_gemma":0.09637131,"teacher_disagreement_score":0.88744974,"about_ca_system_score_codex":0.00002413601,"about_ca_system_score_gemma":0.00013451661,"threshold_uncertainty_score":0.9998802},"labels":[],"label_agreement":null},{"id":"W2956839267","doi":"10.26522/brocked.v28i1.781","title":"Pig Girl: An Indigenous Woman’s Perspective Through “Scriptive Things”","year":2018,"lang":"en","type":"article","venue":"Brock Education Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Girl; Indigenous; Ideology; Sociology; Narrative; Dehumanization; Perspective (graphical); Gender studies; Representation (politics); Aesthetics; Psychology; Anthropology; Art; Visual arts; Literature; Law; Political science; Developmental psychology; Politics","score_opus":0.02889670270008978,"score_gpt":0.2999572288986919,"score_spread":0.27106052619860216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2956839267","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6381337,0.0017148943,0.000079243546,0.0017112069,0.006805134,0.00019852458,0.000010854494,0.00008826344,0.3512582],"genre_scores_gemma":[0.9617838,0.00016691149,0.00028346266,0.0030785732,0.013056243,0.000014005844,0.0000049227374,0.000022418077,0.021589642],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911606,0.000053739666,0.00021015151,0.0001629634,0.00018564671,0.00027143874],"domain_scores_gemma":[0.99870396,0.000019061945,0.00015907074,0.00014098201,0.0008629144,0.0001139859],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000079866615,0.00014872674,0.00014170648,0.000101464284,0.0021546227,0.00036271475,0.00018767524,0.00003262339,0.003108304],"category_scores_gemma":[0.000036620426,0.00011813629,0.000067274465,0.000043846485,0.0002201624,0.0015502041,0.000024592886,0.0002550797,0.00034804724],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039671344,0.00022874783,0.0004764473,0.0000051963907,0.00007165604,7.5845554e-7,0.8810783,3.5323868e-7,0.000031581607,0.033296328,0.07998695,0.004783998],"study_design_scores_gemma":[0.000146216,0.0004517023,0.0018177837,0.00003277354,0.000029983366,0.00008865562,0.41825593,0.0000012008613,0.0000893228,0.01665742,0.5622641,0.00016492233],"about_ca_topic_score_codex":0.0006780216,"about_ca_topic_score_gemma":0.0010099042,"teacher_disagreement_score":0.48227715,"about_ca_system_score_codex":0.00018003515,"about_ca_system_score_gemma":0.00046940046,"threshold_uncertainty_score":0.99914443},"labels":[],"label_agreement":null},{"id":"W2960691500","doi":"10.1080/13569783.2019.1615874","title":"Living the interdiscipline: Natalie Alvarez speaks with Kim Solga about conceiving, developing, managing, and learning from a large-scale, multidisciplinary, scenario-based project supporting police de-escalation training in Ontario","year":2019,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Western University; Toronto Metropolitan University","funders":"","keywords":"The arts; Officer; Multidisciplinary approach; Scale (ratio); Power (physics); Training (meteorology); Sociology; Management; Psychology; Political science; Social science; Law; Geography; Cartography","score_opus":0.03610429826583889,"score_gpt":0.3146203230907374,"score_spread":0.2785160248248985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2960691500","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98356473,0.000328755,0.000032654338,0.00090482953,0.00012178102,0.0004608555,0.000001862032,0.000008861236,0.014575687],"genre_scores_gemma":[0.9985927,0.00030027455,0.00022089171,0.00009356676,0.00032868295,0.000031408676,0.000006978896,0.000021297647,0.00040422718],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99823874,0.00021143717,0.0004768058,0.0001997063,0.00036662578,0.00050667475],"domain_scores_gemma":[0.9986518,0.0006939618,0.0002921637,0.00016864289,0.00013989989,0.00005352592],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003993164,0.00018784503,0.00027232134,0.00035982224,0.00095796003,0.0002664603,0.000276466,0.000051351723,0.000081594226],"category_scores_gemma":[0.000010344132,0.000108745575,0.000031042764,0.00018304915,0.0002980383,0.00041350734,0.00016243319,0.0013478682,0.0000038195403],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003915158,0.0000558354,0.28329954,0.00012551306,0.000035509856,8.1605606e-7,0.69290805,0.0008966734,0.000026680571,0.00043344035,0.000043843345,0.021782583],"study_design_scores_gemma":[0.0012170788,0.00055934204,0.3057254,0.0032776117,0.000041513762,0.00003487118,0.6576091,0.017768644,0.00009397899,0.0008128745,0.012506981,0.00035261817],"about_ca_topic_score_codex":0.014951988,"about_ca_topic_score_gemma":0.13986334,"teacher_disagreement_score":0.124911346,"about_ca_system_score_codex":0.00023195197,"about_ca_system_score_gemma":0.0011174573,"threshold_uncertainty_score":0.99160755},"labels":[],"label_agreement":null},{"id":"W2960895866","doi":"10.1080/13569783.2019.1619451","title":"Theatre &amp; performance, crisis &amp; survival","year":2019,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Scope (computer science); Neoliberalism (international relations); Economic history; Sociology; History; Political economy; Computer science","score_opus":0.05647557578788448,"score_gpt":0.32149183658578667,"score_spread":0.2650162607979022,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2960895866","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7547386,0.0010487225,7.7777787e-7,0.0015498102,0.0007863355,0.00029793495,0.000004214961,0.000010055619,0.24156354],"genre_scores_gemma":[0.98668796,0.008164308,0.000042690142,0.00019623473,0.0014245276,0.000023984838,0.000007338582,0.000027547085,0.003425429],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977598,0.00016212896,0.0005855645,0.0001973821,0.00073844916,0.0005566731],"domain_scores_gemma":[0.99845856,0.00039481666,0.00020889785,0.00045428248,0.00036679526,0.00011662558],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034324804,0.00023390273,0.00038374207,0.0005476164,0.000735074,0.00020153943,0.0005367397,0.00007459998,0.0007806399],"category_scores_gemma":[0.0000053375384,0.0001422879,0.000075850025,0.00031365617,0.0003945004,0.00056819234,0.0001274983,0.0009935811,0.0005235133],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004589221,0.0010949941,0.099984266,0.0016569179,0.0003779708,0.0000012195023,0.2597623,0.0006540751,0.000539988,0.02644789,0.053352915,0.5515383],"study_design_scores_gemma":[0.00074080273,0.0004123184,0.0059442786,0.00031046575,0.00003784041,0.00003615908,0.04350934,0.00006379382,0.00022730374,0.002384877,0.9460415,0.00029127966],"about_ca_topic_score_codex":0.00018692002,"about_ca_topic_score_gemma":0.00043420686,"teacher_disagreement_score":0.89268863,"about_ca_system_score_codex":0.00009342479,"about_ca_system_score_gemma":0.00036493037,"threshold_uncertainty_score":0.8547459},"labels":[],"label_agreement":null},{"id":"W2962159466","doi":"10.7939/r3df6kk3f","title":"Bridging the Cultural Divide: Intercultural New Play Dramaturgy in Toronto","year":2018,"lang":"en","type":"article","venue":"University of Alberta Library","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Bridging (networking); Sociology; Aesthetics; Media studies; Visual arts; Art; Computer science","score_opus":0.01275436160818557,"score_gpt":0.1941969481652453,"score_spread":0.18144258655705972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2962159466","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.633562,0.0002227102,7.3074625e-7,0.003361591,0.00022912952,0.00005190518,0.0000028502698,0.000020364325,0.36254868],"genre_scores_gemma":[0.9187968,0.0000936303,0.000018479184,0.00023097028,0.0006154236,5.1360495e-8,0.000011201829,0.0000045860725,0.08022889],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995991,0.000019706838,0.0000779956,0.000099960715,0.000061399,0.00014184389],"domain_scores_gemma":[0.99975455,0.000049464452,0.000041486797,0.00010825764,0.000015453421,0.000030772087],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000018569353,0.0000871876,0.00011706006,0.000021194157,0.0002892656,0.000054914413,0.00025106213,0.000022344037,0.0062463097],"category_scores_gemma":[0.0000033863973,0.000058359168,0.00006152305,0.0000247281,0.0003351094,0.0015990911,0.00015789343,0.00006871658,0.00006289954],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095538235,0.000017935052,0.0031785083,0.000010282403,0.000053857217,0.0000023961127,0.6899163,5.948185e-7,0.00001365432,0.031272333,0.270661,0.0047775693],"study_design_scores_gemma":[0.00032216473,0.00007815233,0.0046943417,0.00006991945,0.000016479948,0.0000016692611,0.09071854,0.000030072013,0.00012782452,0.00016594677,0.90364766,0.00012723712],"about_ca_topic_score_codex":0.058736254,"about_ca_topic_score_gemma":0.20460626,"teacher_disagreement_score":0.63298666,"about_ca_system_score_codex":0.000021087964,"about_ca_system_score_gemma":0.000021200001,"threshold_uncertainty_score":0.9946621},"labels":[],"label_agreement":null},{"id":"W2965800347","doi":"10.29173/cais693","title":"All the World’s a Stage: The Representation of Performance in the Archive","year":2013,"lang":"fr","type":"article","venue":"Proceedings of the Annual Conference of CAIS / Actes du congrès annuel de l ACSI","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Humanities; Context (archaeology); Representation (politics); Archival science; Computer science; Art; History; Library science; Political science; Law; Archaeology; Politics","score_opus":0.036090428592576065,"score_gpt":0.2606376015141084,"score_spread":0.22454717292153237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2965800347","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87020797,0.001241095,0.0000010083909,0.030487504,0.00030744815,0.00086505344,0.000242054,0.000010267778,0.096637614],"genre_scores_gemma":[0.98399967,0.00179737,0.00002308784,0.0005929389,0.0003507294,0.00012762874,0.00000435016,0.000018877387,0.01308536],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99790937,0.00010184053,0.0007170572,0.00024478926,0.00054288574,0.00048403736],"domain_scores_gemma":[0.9865746,0.0006626081,0.0009289647,0.00034689094,0.011446374,0.000040553507],"candidate_categories":["scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0009777994,0.0003112706,0.00047122856,0.000133131,0.0005216528,0.0019141632,0.002126647,0.00007023865,0.0002559531],"category_scores_gemma":[0.0016040804,0.00014448716,0.00023362857,0.00033218536,0.0025794613,0.0055406997,0.0005034049,0.0005726144,0.000012030632],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019461052,0.00020957968,0.10134103,0.0007981409,0.00024833382,4.2374475e-7,0.67182887,0.000029167984,0.00048444924,0.19251819,0.020859905,0.011487311],"study_design_scores_gemma":[0.00044563305,0.0003382588,0.20883033,0.0006490122,0.0001911188,0.000010380123,0.10794651,0.0005964511,0.0029678615,0.0061718537,0.6716092,0.00024337378],"about_ca_topic_score_codex":0.0047150073,"about_ca_topic_score_gemma":0.0016515048,"teacher_disagreement_score":0.6507493,"about_ca_system_score_codex":0.000030338057,"about_ca_system_score_gemma":0.00012962194,"threshold_uncertainty_score":0.99912196},"labels":[],"label_agreement":null},{"id":"W2966884935","doi":"10.1386/jdsp.11.1.81_1","title":"Body inking: butoh: (a poetic narrative): ... artist pages","year":2019,"lang":"en","type":"article","venue":"Journal of Dance & Somatic Practices","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Choreography; Poetry; Context (archaeology); Studio; Art; Visual arts; Narrative; Performance art; Art history; History; Literature; Archaeology","score_opus":0.03215026166913207,"score_gpt":0.27956245936647933,"score_spread":0.24741219769734726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2966884935","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90128464,0.0028239887,0.00001215266,0.0032381169,0.0015086655,0.00013346413,0.0000039348815,0.00002339565,0.09097164],"genre_scores_gemma":[0.9909832,0.0007985841,0.00025965445,0.0002864277,0.0010779531,0.000003670601,9.697527e-7,0.000015593072,0.0065739457],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985724,0.00009955112,0.0005816341,0.000117019554,0.00039832565,0.0002310314],"domain_scores_gemma":[0.9969691,0.00039403478,0.0021477607,0.0001939944,0.00023789618,0.000057234636],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005676925,0.00017116159,0.0004020559,0.000085042586,0.00033263123,0.0003121137,0.000267827,0.00003083836,0.0016783541],"category_scores_gemma":[0.000235665,0.00011772547,0.000118655225,0.00004935545,0.0001499954,0.002211176,0.00004508852,0.0003228042,0.0002867926],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005921195,0.00095786236,0.0539605,0.0012404799,0.0015107184,0.00017323972,0.8257403,0.00007541147,0.005167119,0.045458302,0.053154074,0.011969881],"study_design_scores_gemma":[0.0011674624,0.0012270956,0.00931546,0.0008752337,0.00026832885,0.00021916747,0.13400087,0.00015172511,0.0007980633,0.0048571494,0.8466919,0.00042751493],"about_ca_topic_score_codex":0.00002300436,"about_ca_topic_score_gemma":0.00012834324,"teacher_disagreement_score":0.79353786,"about_ca_system_score_codex":0.000033058415,"about_ca_system_score_gemma":0.00008193299,"threshold_uncertainty_score":0.99923426},"labels":[],"label_agreement":null},{"id":"W2967014506","doi":"10.1108/qrj-02-2019-0020","title":"A dramatic collage: becoming pedagogical through collaborative playbuilding","year":2019,"lang":"en","type":"article","venue":"Qualitative Research Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Process (computing); Citizen journalism; Drama; The arts; Mathematics education; Pedagogy; Participatory action research; Sociology; Teacher education; Psychology; Computer science; Visual arts; Art","score_opus":0.44126978602197553,"score_gpt":0.5515976626117236,"score_spread":0.11032787658974808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2967014506","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75488424,0.0015313223,0.000077502,0.0029356866,0.00055435917,0.00043746954,0.000047593057,0.00003247531,0.23949936],"genre_scores_gemma":[0.9732324,0.0004002342,0.00068610895,0.00016153182,0.0011548232,0.000031204163,0.000004153383,0.000025755977,0.024303779],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99563104,0.0019224586,0.00045726058,0.00023508954,0.0010366404,0.0007175312],"domain_scores_gemma":[0.9957223,0.0025841722,0.00015614348,0.00015834409,0.0012498859,0.00012917447],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0052859536,0.0001898682,0.00039302665,0.0002490427,0.002043107,0.0007403843,0.00030916676,0.00004849899,0.006822498],"category_scores_gemma":[0.00044671356,0.00013413631,0.000115327006,0.00025427056,0.0007127757,0.0009435195,0.00012932452,0.0010524977,0.0011315129],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012536907,0.000060220744,0.00010699471,0.000060306196,0.00013578087,0.000017033957,0.7654943,0.0000073308183,0.00013931305,0.21909338,0.014111603,0.0006484029],"study_design_scores_gemma":[0.0006714274,0.00065251417,0.0000292888,0.00018758132,0.000008689115,0.00001574544,0.7275567,0.00003082776,0.00009878228,0.035336006,0.23524435,0.00016806506],"about_ca_topic_score_codex":0.00007666172,"about_ca_topic_score_gemma":0.00016615415,"teacher_disagreement_score":0.22113274,"about_ca_system_score_codex":0.00018166211,"about_ca_system_score_gemma":0.0002885346,"threshold_uncertainty_score":0.99964625},"labels":[],"label_agreement":null},{"id":"W2967400697","doi":"10.3138/ctr.179.018","title":"Alone Together: <i>Good Things to Do</i> at foldA","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Fandom; Aesthetics; Performance art; Sociology; Art; Art history; Visual arts; Media studies","score_opus":0.015116969228256278,"score_gpt":0.2191151625691993,"score_spread":0.20399819334094302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2967400697","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008556998,0.18197224,1.7303036e-7,0.009272508,0.0007296593,0.00078482897,0.000106605185,0.000052734416,0.79852426],"genre_scores_gemma":[0.58754236,0.11773745,0.00006350132,0.13031052,0.0019201708,0.0002000595,0.00008378631,0.00015383928,0.16198829],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879706,0.00003853729,0.0002488866,0.0002736325,0.00014918184,0.00049272296],"domain_scores_gemma":[0.9990348,0.000035664296,0.00004929813,0.00046266997,0.000060688657,0.0003568527],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024156152,0.00022686127,0.00046365883,0.000091573886,0.00035823399,0.000074342344,0.00026741135,0.00003591294,0.01443075],"category_scores_gemma":[0.0000055360238,0.00017212077,0.00016362416,0.000078656565,0.00005294102,0.00018905454,0.000054610147,0.0001174285,0.011205249],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014678556,0.000021638047,0.003366306,0.003058156,0.00020590561,0.000024448116,0.025809214,0.0000013103594,0.000013753267,0.04846584,0.66867214,0.25034663],"study_design_scores_gemma":[0.00010371039,0.000069508984,0.000032770608,0.0017011283,0.000060984275,0.000008408271,0.00040770325,4.1573853e-7,0.000009210905,0.00015082523,0.99719864,0.00025667113],"about_ca_topic_score_codex":0.033704944,"about_ca_topic_score_gemma":0.3315419,"teacher_disagreement_score":0.63653594,"about_ca_system_score_codex":0.00017516229,"about_ca_system_score_gemma":0.00011794271,"threshold_uncertainty_score":0.98956466},"labels":[],"label_agreement":null},{"id":"W2967453788","doi":"10.3138/ctr.179.019","title":"Not Just Counting Sheep: CanadaHub at the Edinburgh Fringe","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Visual arts; Performance art; Art history; History; Art; Media studies; Geography; Archaeology; Sociology","score_opus":0.0328236937771713,"score_gpt":0.22989865294000578,"score_spread":0.19707495916283446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2967453788","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012782001,0.17320876,4.0995666e-8,0.013785277,0.0013994161,0.00060968654,0.00017305498,0.000036376274,0.7980054],"genre_scores_gemma":[0.7627866,0.06817482,0.0000028099867,0.032971527,0.0022195487,0.00008398408,0.000057456647,0.000060384435,0.13364287],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998738,0.000032581716,0.00026691443,0.00023016047,0.00019258606,0.0005397455],"domain_scores_gemma":[0.99912316,0.00007196602,0.00007792138,0.00046281164,0.000072710296,0.00019142393],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00035868515,0.00021749873,0.0003661535,0.000057846628,0.00089701824,0.00008827451,0.00030260358,0.000031897176,0.025238149],"category_scores_gemma":[0.000009536428,0.00013567922,0.00014369117,0.000066976674,0.00014423285,0.00013422803,0.000053270862,0.00018195025,0.0013053545],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000042756624,0.0000049434902,0.0020532648,0.0012658766,0.000115475195,0.0000143259995,0.0052349023,0.000002386378,0.000003154761,0.009835023,0.906599,0.07486737],"study_design_scores_gemma":[0.000071346796,0.000017647782,0.000096098964,0.0011259991,0.000094476745,0.00000930911,0.00086705055,0.000005218734,0.000004561979,0.000024031038,0.9974796,0.00020463608],"about_ca_topic_score_codex":0.31725106,"about_ca_topic_score_gemma":0.9384407,"teacher_disagreement_score":0.7500046,"about_ca_system_score_codex":0.00028834125,"about_ca_system_score_gemma":0.00029425937,"threshold_uncertainty_score":0.99947226},"labels":[],"label_agreement":null},{"id":"W2967802982","doi":"10.3138/md.0989","title":"An Acquaintance with Religion: Pluralizing Knowledge in Gertrude Stein’s <i>Doctor Faustus Lights the Lights</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"FAUST; Embodied cognition; Narrative; Character (mathematics); Modernism (music); Epistemology; Philosophy; Aesthetics; Sociology; Psychoanalysis; Literature; Art; Psychology","score_opus":0.014712917981877838,"score_gpt":0.23136687571740622,"score_spread":0.21665395773552837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2967802982","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89395773,0.0016135985,0.000014799853,0.0008788073,0.0004625883,0.0004156582,0.000009340275,0.00010548274,0.10254202],"genre_scores_gemma":[0.98037416,0.00012903093,0.000020448122,0.0004780983,0.00069208397,0.00005896032,0.0000069543376,0.000033744887,0.018206544],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987774,0.000056402558,0.0002422,0.0003241675,0.00019785968,0.00040198222],"domain_scores_gemma":[0.99921805,0.000063683445,0.00007441061,0.00050501846,0.00008621873,0.00005261986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014821134,0.00024868955,0.0002806843,0.00007024292,0.00042003227,0.00023780472,0.00032239192,0.00004849077,0.00022273549],"category_scores_gemma":[0.0000015849852,0.00013610408,0.00005890903,0.00006349739,0.00016074367,0.00047249053,0.000058871225,0.00021559355,0.00042887256],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005362875,0.0003801315,0.009599578,0.00022503728,0.00016695801,0.000037172376,0.6150052,0.00037142762,0.0008298538,0.35912898,0.0062117595,0.0075075985],"study_design_scores_gemma":[0.0013898953,0.00067862903,0.0013287623,0.00040594567,0.000045839806,0.000011979651,0.009670249,0.0025768536,0.0010168264,0.007273979,0.974878,0.0007230157],"about_ca_topic_score_codex":0.00045312507,"about_ca_topic_score_gemma":0.018085102,"teacher_disagreement_score":0.96866626,"about_ca_system_score_codex":0.00005650644,"about_ca_system_score_gemma":0.000038089394,"threshold_uncertainty_score":0.9998323},"labels":[],"label_agreement":null},{"id":"W2967825706","doi":"10.11606/d.8.2019.tde-09082019-152830","title":"&gt;i&lt;Serjeant Musgrave\\'s Dance &gt;/i&lt;de John Arden e o teatro épico do pós-guerra britânico: um estudo comparativo com &gt;i&lt;Mãe Coragem e Seus Filhos &gt;/i&lt;de Bertolt Brecht","year":2019,"lang":"pt","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Hatch (Canada)","funders":"","keywords":"Dance; EPIC; Art; Performance art; Contextualization; Biography; Period (music); Art history; Humanities; Cartography; Visual arts; Literature; Geography; Philosophy; Aesthetics","score_opus":0.021766701138810886,"score_gpt":0.26248209972306474,"score_spread":0.24071539858425386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2967825706","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50309026,0.021296613,0.00053433387,0.002803036,0.012321144,0.0065656705,0.003855159,0.0015213643,0.4480124],"genre_scores_gemma":[0.68489873,0.008593941,0.000435031,0.0016142814,0.0035598765,0.000620746,0.0038523893,0.0006165974,0.29580837],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.98297757,0.0010725386,0.004178208,0.003886362,0.0029779437,0.004907403],"domain_scores_gemma":[0.98944515,0.0014745448,0.0026365765,0.0035388262,0.0017974476,0.0011074385],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"category_scores_codex":[0.0018448088,0.004723633,0.005904566,0.0013813733,0.0050876653,0.0031995443,0.003361863,0.0020922225,0.012516363],"category_scores_gemma":[0.00016992619,0.00443413,0.0024362241,0.000834778,0.0015966468,0.0016778525,0.0009494876,0.0035515183,0.005608863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0057210983,0.00439828,0.007945908,0.006347816,0.008437978,0.0008407839,0.23777716,0.001045755,0.010971178,0.090391226,0.6015358,0.024587018],"study_design_scores_gemma":[0.006199038,0.0026008454,0.012841785,0.00355338,0.0030649619,0.00027238793,0.030807983,0.005869834,0.0019009387,0.00069819443,0.9251961,0.0069945524],"about_ca_topic_score_codex":0.0034286291,"about_ca_topic_score_gemma":0.029958844,"teacher_disagreement_score":0.3236603,"about_ca_system_score_codex":0.0011808145,"about_ca_system_score_gemma":0.001510861,"threshold_uncertainty_score":0.99920326},"labels":[],"label_agreement":null},{"id":"W2967956311","doi":"10.24908/iqurcp.13297","title":"Setting Boundaries: Lessons on When to Not Make Theatre","year":2019,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Situated; Taboo; Indigenous; Negotiation; Sociology; Narrative; Aesthetics; Media studies; Gender studies; Political science; History; Art; Social science; Law; Literature","score_opus":0.1258408861501575,"score_gpt":0.35768491896330346,"score_spread":0.23184403281314594,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2967956311","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27032378,0.000045789267,0.000026364243,0.19675843,0.0010435308,0.0012875971,0.0000648702,0.00031908028,0.53013057],"genre_scores_gemma":[0.96012557,0.0001266428,0.000099248246,0.0011839232,0.0011709748,0.00016125236,0.0000117234595,0.00006046275,0.037060216],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960872,0.00006757982,0.00041979522,0.0007973784,0.0013247929,0.0013032634],"domain_scores_gemma":[0.99768645,0.00028803555,0.00009979617,0.0003444163,0.0013066462,0.0002746503],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0014527098,0.00039340582,0.00046085377,0.00057179446,0.0019029616,0.0027087254,0.00073678506,0.000104172184,0.0011006452],"category_scores_gemma":[0.00012857102,0.00031878668,0.00011829311,0.00021323112,0.0012441319,0.0006099481,0.00046265163,0.00093942106,0.004362662],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030127875,0.00007757076,0.0010339683,0.0002261226,0.00010139541,0.0000047145345,0.15120228,0.0000019131262,0.00047797852,0.7536505,0.06870114,0.024221165],"study_design_scores_gemma":[0.00047021333,0.00097001786,0.00020201238,0.0005615014,0.0000151285,0.0000031794305,0.05773684,0.00009849461,0.0011285647,0.06786978,0.87044084,0.0005034267],"about_ca_topic_score_codex":0.0009960731,"about_ca_topic_score_gemma":0.0007192389,"teacher_disagreement_score":0.8017397,"about_ca_system_score_codex":0.00019561547,"about_ca_system_score_gemma":0.00040586214,"threshold_uncertainty_score":0.99992645},"labels":[],"label_agreement":null},{"id":"W2968335206","doi":"10.3138/ctr.179.017","title":"The Doing That Can Undo: Decolonizing the Performer-Audience Relationship in Lisa Cooke Ravensbergen’s <i>Citation</i>","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Citation; Undo; Visual arts; Reciprocal; Nothing; Performance art; Ceremony; Active listening; Indigenous; Media studies; Sociology; Action (physics); Art; Aesthetics; History; Art history; Political science; Computer science; Epistemology; Law; Communication; Philosophy","score_opus":0.03693720542517506,"score_gpt":0.23878522516713768,"score_spread":0.20184801974196262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2968335206","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04494705,0.31158692,6.9212024e-7,0.033755947,0.0014932989,0.001694962,0.000053761552,0.00003644238,0.60643095],"genre_scores_gemma":[0.93416446,0.0549163,0.0000064430574,0.0028310039,0.00019642936,0.000101266145,0.000011206428,0.000018510736,0.007754359],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875885,0.00012881674,0.0002961809,0.00018952119,0.00015624719,0.00047036013],"domain_scores_gemma":[0.99883044,0.00052414014,0.00010143725,0.0003788701,0.00006219697,0.00010292743],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0007822056,0.00017664695,0.00024670045,0.000076103555,0.0015694161,0.00015076487,0.0003207643,0.000030087689,0.0008623209],"category_scores_gemma":[0.00003742564,0.00009795754,0.000105766914,0.00014360476,0.00019900713,0.00017399924,0.000027452732,0.00026881043,0.00041987593],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018785917,0.000022426575,0.35116157,0.00212786,0.00017665367,0.00001804918,0.07431192,0.00006876418,0.0000015125711,0.2846546,0.07442949,0.21300837],"study_design_scores_gemma":[0.0000984878,0.000021378879,0.007840658,0.0012304642,0.000041182415,0.0000056592935,0.0040193656,0.000016515794,0.0000011867126,0.00035964104,0.9862059,0.0001596088],"about_ca_topic_score_codex":0.028887965,"about_ca_topic_score_gemma":0.8772043,"teacher_disagreement_score":0.91177636,"about_ca_system_score_codex":0.00022522082,"about_ca_system_score_gemma":0.00031071325,"threshold_uncertainty_score":0.9997304},"labels":[],"label_agreement":null},{"id":"W2968708513","doi":"10.3138/md.62.3.0992r","title":"“Will Blackness Please Step Out and Take a Curtain Call?”: Ed Bullins’s Conceptual Theatre","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Closet; Drama; Contemplation; Spectacle; Political theatre; Theme (computing); Art; Politics; Visual arts; Reading (process); Performance art; Aesthetics; Theatre studies; Style (visual arts); Literature; History; Art history; Political science; Computer science; Philosophy","score_opus":0.018945653205630585,"score_gpt":0.2234106772336231,"score_spread":0.20446502402799252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2968708513","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8890656,0.0016447472,0.000092447626,0.0008163431,0.0007005098,0.00036874946,0.00013971192,0.00012573191,0.10704613],"genre_scores_gemma":[0.9631613,0.00010816267,0.000021429565,0.0005299411,0.0007310997,0.000021380065,0.000022825085,0.000030650983,0.035373237],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889255,0.000036791156,0.00021669615,0.00030745703,0.00019171668,0.00035476734],"domain_scores_gemma":[0.9994306,0.00006740347,0.00006214537,0.00027586595,0.00007819918,0.000085770036],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009867839,0.00023881426,0.0003144321,0.000051437142,0.00030696418,0.00016637353,0.00014397576,0.000062423445,0.0015912553],"category_scores_gemma":[0.000005098632,0.00018178449,0.000081195925,0.0000140877655,0.0003887592,0.00035151737,0.00009080748,0.00017606992,0.0005545803],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005422414,0.0003326129,0.013366124,0.00033423712,0.00044726927,0.00004039624,0.7012014,0.00014694533,0.00023202105,0.17084463,0.035416406,0.077095725],"study_design_scores_gemma":[0.0017094157,0.00028452018,0.00029263739,0.000079834106,0.000071674775,0.0000045101697,0.022510061,0.004628784,0.0000460399,0.0032083676,0.96662694,0.00053719914],"about_ca_topic_score_codex":0.00030988205,"about_ca_topic_score_gemma":0.0018760934,"teacher_disagreement_score":0.9312106,"about_ca_system_score_codex":0.00002154166,"about_ca_system_score_gemma":0.000033290053,"threshold_uncertainty_score":0.9993214},"labels":[],"label_agreement":null},{"id":"W2970802847","doi":"","title":"Review : Kirsty Johnston, Stage Turns: Canadian Disability Theatre. Montreal: McGill University Press, 2012. ISBN 978-0-7735-3994-2","year":2013,"lang":"en","type":"article","venue":"QUT ePrints (Queensland University of Technology)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Media studies; Sociology; Art history; Art; Biology","score_opus":0.012570582447791221,"score_gpt":0.18611389083171703,"score_spread":0.17354330838392582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970802847","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24646449,0.010993664,0.000011291202,0.036086056,0.0005085306,0.0021859647,0.003402871,0.0008384104,0.6995087],"genre_scores_gemma":[0.91687846,0.036292903,0.00018712731,0.0003292012,0.00008026573,0.0000020923774,0.000045624132,0.000028305705,0.046156023],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986855,0.00005981433,0.0002105574,0.00043305874,0.00013670945,0.00047439843],"domain_scores_gemma":[0.9986658,0.000033579276,0.00016948106,0.00070442626,0.00022814515,0.00019855468],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015102015,0.0002706554,0.0005029341,0.0002084569,0.00069465674,0.000013326051,0.0006531354,0.00018384792,0.0044344445],"category_scores_gemma":[0.00002008915,0.000257009,0.00017510039,0.00013699365,0.0011209429,0.00051571924,0.00029624888,0.00034678177,0.00022411607],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025201964,0.0007972997,0.0709522,0.0036918288,0.0013185368,0.00017266932,0.008887592,0.000014225052,0.000039069626,0.0987027,0.63899004,0.17618181],"study_design_scores_gemma":[0.0004301278,0.000067723464,0.009710067,0.00029284882,0.00011593074,0.0000023134833,0.004383232,0.000009538438,0.0000192541,0.0005729703,0.9841099,0.00028612447],"about_ca_topic_score_codex":0.450781,"about_ca_topic_score_gemma":0.6426946,"teacher_disagreement_score":0.670414,"about_ca_system_score_codex":0.00026393175,"about_ca_system_score_gemma":0.00009108506,"threshold_uncertainty_score":0.9999882},"labels":[],"label_agreement":null},{"id":"W2971103098","doi":"10.18192/jpp.v28i1.4354","title":"After the Prison Closes: Seeking Healing, Memory and Awareness at P4W","year":2019,"lang":"en","type":"article","venue":"Journal of Prisoners on Prisons","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Prison; Psychology; Criminology; Political science","score_opus":0.01962173564005802,"score_gpt":0.25177723763223947,"score_spread":0.23215550199218143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971103098","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97854847,0.0036409085,0.00001908394,0.0031786782,0.0012732787,0.00019513824,0.000010546896,0.000019614903,0.013114311],"genre_scores_gemma":[0.9912232,0.0005887922,0.000060235874,0.0008047852,0.0008634922,0.0000071749846,8.8871997e-7,0.000025640997,0.0064257635],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986641,0.000083659186,0.0004479428,0.00016348144,0.00035233723,0.00028850697],"domain_scores_gemma":[0.9989662,0.00018910342,0.00040107424,0.00024088901,0.00012460974,0.000078117504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005455561,0.00020575112,0.00037097814,0.00013544624,0.00050141424,0.0001408569,0.00022010153,0.0000459117,0.0005939963],"category_scores_gemma":[0.000019654664,0.00011924658,0.00016173474,0.000040561776,0.00019749903,0.00028422827,0.000116258394,0.00039568776,0.00009024969],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0049192347,0.0007154369,0.27037397,0.0007731734,0.0016329611,0.000124154,0.5289876,0.00052879076,0.0010797116,0.013270706,0.116178766,0.061415493],"study_design_scores_gemma":[0.0019876568,0.0011115622,0.0077709,0.00044357078,0.00020298845,0.0001066046,0.035929546,0.00022936819,0.00052329246,0.00040217993,0.9508361,0.00045621707],"about_ca_topic_score_codex":0.00006297039,"about_ca_topic_score_gemma":0.00040290374,"teacher_disagreement_score":0.8346574,"about_ca_system_score_codex":0.00007459414,"about_ca_system_score_gemma":0.00005985746,"threshold_uncertainty_score":0.6503843},"labels":[],"label_agreement":null},{"id":"W2973393778","doi":"","title":"PROVOCAÇÕES DAS NOVAS TECNOLOGIAS DE IMAGEM À CRIAÇÃO DO ATOR","year":2008,"lang":"pt","type":"article","venue":"Anais ABRACE","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.04155441835003739,"score_gpt":0.275658456965944,"score_spread":0.2341040386159066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2973393778","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8174724,0.020006724,0.000030467456,0.0034332618,0.0014929988,0.00048557328,0.00016325431,0.0003136702,0.15660167],"genre_scores_gemma":[0.9188182,0.004671876,0.000085136315,0.0007622717,0.0017310461,0.000038889615,0.000014192467,0.00005714509,0.0738213],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977638,0.000082965744,0.0004562268,0.00051262847,0.00030319756,0.0008811811],"domain_scores_gemma":[0.99877036,0.00012404576,0.0001882861,0.00058099726,0.00019713212,0.00013919883],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025646912,0.00047422096,0.0005408061,0.00016494862,0.0019936224,0.00024931628,0.00041726607,0.00016744701,0.003232294],"category_scores_gemma":[0.00006320902,0.00039419226,0.00025872161,0.00013591725,0.0008599279,0.0005631653,0.00022923075,0.00044549908,0.0018365177],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022861824,0.000534813,0.05322943,0.00038570803,0.0007494789,0.0004078829,0.208519,0.000014435043,0.0002053534,0.024171697,0.69464856,0.016905045],"study_design_scores_gemma":[0.00074980984,0.00055960077,0.027949585,0.00017423586,0.0001752859,0.00009594406,0.023055905,0.00007265912,0.0008749601,0.00040041388,0.9451005,0.0007911342],"about_ca_topic_score_codex":0.0011863236,"about_ca_topic_score_gemma":0.0017629281,"teacher_disagreement_score":0.25045192,"about_ca_system_score_codex":0.00008132787,"about_ca_system_score_gemma":0.00017536619,"threshold_uncertainty_score":0.999851},"labels":[],"label_agreement":null},{"id":"W2975280706","doi":"10.21083/surg.v3i2.1119","title":"Colonialist theatre education in Botswana","year":2010,"lang":"en","type":"article","venue":"SURG Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Politics; Welfare; Sociology; Political theatre; Political science; Aesthetics; Media studies; Art; Law","score_opus":0.01095413533935869,"score_gpt":0.24839107552169362,"score_spread":0.23743694018233494,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2975280706","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6729563,0.00027973845,2.718502e-7,0.0011859272,0.003211264,0.00003188341,0.000003524478,0.00000960634,0.3223215],"genre_scores_gemma":[0.9912198,0.00011984054,0.000021187034,0.0002069216,0.0036077187,0.0000027740148,0.0000019174686,0.0000065105764,0.004813289],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955964,0.00001780926,0.000143424,0.000053520132,0.000083452695,0.00014216716],"domain_scores_gemma":[0.99977344,0.000021402067,0.000047698453,0.00006714759,0.00005278045,0.000037556598],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002198326,0.00006330543,0.00008988492,0.00008938623,0.00033583533,0.00013964386,0.00007712414,0.000020505118,0.0025113772],"category_scores_gemma":[0.0000047333747,0.00004680835,0.000042514857,0.000019499445,0.00009114455,0.00019315371,0.000011124997,0.00032812884,0.00007054142],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000092074355,0.0003241393,0.12053491,0.000025799349,0.00005168725,0.000021427963,0.05494107,0.0000026656048,0.00037794706,0.084161,0.16619195,0.5732753],"study_design_scores_gemma":[0.00015133782,0.000026986081,0.004841567,0.000017606739,0.000005780086,0.000030317246,0.0031131434,0.0000025409295,0.00003043771,0.0033748474,0.9883319,0.00007351938],"about_ca_topic_score_codex":0.00032414898,"about_ca_topic_score_gemma":0.01819581,"teacher_disagreement_score":0.82214,"about_ca_system_score_codex":0.000014348635,"about_ca_system_score_gemma":0.0001742822,"threshold_uncertainty_score":0.99971956},"labels":[],"label_agreement":null},{"id":"W2976493937","doi":"10.1007/978-3-030-22223-9_2","title":"Staying the Course and ‘Here to Question’: Envisioning Education at Tarragon Theatre as an Integral Goal and a Reciprocal Practice","year":2019,"lang":"en","type":"book-chapter","venue":"Landscapes: the arts, aesthetics, and education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Reciprocal; Psychology; Linguistics; Philosophy","score_opus":0.013388531447946144,"score_gpt":0.26543840988489054,"score_spread":0.2520498784369444,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2976493937","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3888185,0.028133724,0.000008565639,0.034101136,0.00362149,0.0015591328,0.00005711728,0.00009585996,0.5436045],"genre_scores_gemma":[0.699301,0.011894499,0.0001296159,0.0038326613,0.0032286756,0.00008767985,0.00020081832,0.000095036485,0.28123],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988801,0.00006954633,0.00026176657,0.00037988776,0.00019600354,0.00021269625],"domain_scores_gemma":[0.9989684,0.0001670083,0.00019910878,0.00037072916,0.00018443391,0.000110283356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044424122,0.0003218074,0.00025485156,0.000078824894,0.0012633697,0.00043705458,0.00013874116,0.00011052499,0.00014609413],"category_scores_gemma":[0.000025578865,0.00018926196,0.000044597375,0.000012665187,0.00027409813,0.00035984203,0.00010234174,0.00033601918,0.00007515201],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025078608,0.00012567184,0.000740711,0.00011242202,0.00008958285,5.8005423e-7,0.28630888,0.000004789947,0.0000026960968,0.29044345,0.01621154,0.40570888],"study_design_scores_gemma":[0.00013075629,0.00036458115,0.00019284918,0.00039773015,0.00023294314,0.00011579638,0.08842059,0.000028190218,0.0000017159921,0.010746604,0.89908296,0.0002852917],"about_ca_topic_score_codex":0.0005171352,"about_ca_topic_score_gemma":0.002766584,"teacher_disagreement_score":0.8828714,"about_ca_system_score_codex":0.000050852475,"about_ca_system_score_gemma":0.00024634312,"threshold_uncertainty_score":0.9716946},"labels":[],"label_agreement":null},{"id":"W2978017571","doi":"10.1017/9781108381697.005","title":"Time and Theatre","year":2018,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Art; Computer science","score_opus":0.021273248223737405,"score_gpt":0.17543655464841731,"score_spread":0.1541633064246799,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2978017571","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000564743,0.00031581975,4.2012064e-7,0.000019182724,0.00022036837,0.0001530817,0.00046839038,0.000105238556,0.99815273],"genre_scores_gemma":[0.00066076976,0.00021790841,0.0000041912663,0.00006587866,0.000897587,2.1671895e-7,0.000029580522,0.00002930248,0.99809456],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935144,0.000009499393,0.00009278742,0.0002620423,0.00010729512,0.00017692632],"domain_scores_gemma":[0.9995029,0.000028366878,0.000078999685,0.00023686241,0.00008641839,0.00006646191],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000038655777,0.00025987078,0.00028220203,0.00008888453,0.00046814937,0.00006130408,0.00016747524,0.000111681,0.00030039978],"category_scores_gemma":[5.4350323e-7,0.00024784272,0.000098936514,8.4995906e-7,0.0010478357,0.00008395521,0.00022818438,0.00017979059,0.00020517694],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004741075,0.0000027305368,3.175434e-7,0.000043652653,0.00016053145,0.000029011675,0.0027951067,2.6800972e-8,0.0000017282786,0.7617412,0.23344631,0.0017319652],"study_design_scores_gemma":[0.00020196346,0.00008328822,9.816807e-7,0.00010343777,0.00017978932,0.0000044464355,0.00030402248,0.0000071713534,0.0000122483325,0.000025022902,0.99878424,0.00029341312],"about_ca_topic_score_codex":0.00010201332,"about_ca_topic_score_gemma":0.00003270979,"teacher_disagreement_score":0.7653379,"about_ca_system_score_codex":0.000030783296,"about_ca_system_score_gemma":0.000022191278,"threshold_uncertainty_score":0.9999974},"labels":[],"label_agreement":null},{"id":"W2978445672","doi":"10.22215/etd/2016-11589","title":"An Invitation Performing Architecture","year":2016,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ephemeral key; Performative utterance; Architecture; Narrative; Context (archaeology); Politics; Space (punctuation); Acre; Architectural engineering; Geography; Visual arts; History; Engineering; Archaeology; Aesthetics; Computer science; Art; Political science; Literature; Computer security","score_opus":0.014605830111979825,"score_gpt":0.25064306890166704,"score_spread":0.23603723878968721,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2978445672","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1671707,0.00022028091,0.0000061875157,0.00013435018,0.0013903814,0.00011497382,0.000030568266,0.00011031635,0.8308222],"genre_scores_gemma":[0.6741346,0.000107319676,0.0000405452,0.000224102,0.002770537,0.000034447996,0.0007677204,0.000036486887,0.3218842],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993856,0.000012254736,0.0001497732,0.00016585286,0.00012707805,0.00015945587],"domain_scores_gemma":[0.999651,0.000022124806,0.00007118398,0.00014181263,0.00008365276,0.000030225174],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000053391457,0.00017820392,0.00015984892,0.00012113461,0.00047279906,0.00009751505,0.00010279656,0.00006892518,0.00517955],"category_scores_gemma":[0.0000034427273,0.000106913685,0.000063478765,0.000009738206,0.000037640555,0.00024365427,0.000004262165,0.00012637535,0.00026039587],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011884807,0.000040943953,0.00011653635,0.00026599597,0.000106930864,0.00000150866,0.3266711,0.0000012884302,0.00046100607,0.07936373,0.009115865,0.58373624],"study_design_scores_gemma":[0.00023720173,0.00027906167,0.0004789714,0.00025725557,0.00007978593,0.0000010016852,0.052310698,0.0000072314806,0.0011652441,0.009219032,0.9354003,0.0005642105],"about_ca_topic_score_codex":0.000107495725,"about_ca_topic_score_gemma":0.011744332,"teacher_disagreement_score":0.92628443,"about_ca_system_score_codex":0.000013313111,"about_ca_system_score_gemma":0.000025071839,"threshold_uncertainty_score":0.99572986},"labels":[],"label_agreement":null},{"id":"W2979471588","doi":"10.3138/ctr.180.021","title":"James Tyson","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Art; Art history; Advice (programming); Visual arts; Aesthetics; History; Computer science","score_opus":0.02142969778356687,"score_gpt":0.2240355288125481,"score_spread":0.20260583102898122,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2979471588","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019764148,0.23725872,4.3412047e-8,0.0034294308,0.00049241155,0.0002650817,0.000040157476,0.000029321329,0.7565084],"genre_scores_gemma":[0.65973073,0.24010791,0.000014289414,0.020994006,0.001506447,0.000060318787,0.000058572696,0.000057996953,0.07746973],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934745,0.000021185073,0.0001426432,0.00013520576,0.00007196651,0.00028155133],"domain_scores_gemma":[0.9995248,0.000017742457,0.000029487608,0.00025078532,0.00003544735,0.00014177787],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010904183,0.00012280916,0.00025890575,0.000060230966,0.00016695017,0.000040867515,0.00013646064,0.000018407969,0.019210035],"category_scores_gemma":[0.000002250164,0.00008996633,0.00009965267,0.000036828875,0.00005531203,0.00011236028,0.0000113527385,0.00008301828,0.006851948],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000021207554,0.0000075757553,0.0012035961,0.0023100323,0.000074223506,0.000008007527,0.0038926825,2.506046e-7,7.4251034e-7,0.06603401,0.4412467,0.48522007],"study_design_scores_gemma":[0.000050729424,0.0000259977,0.00003338703,0.0012404765,0.000033173015,0.000005036805,0.00041762568,9.537459e-7,0.0000015108027,0.00017792167,0.99788,0.00013321203],"about_ca_topic_score_codex":0.03846476,"about_ca_topic_score_gemma":0.27544948,"teacher_disagreement_score":0.6790387,"about_ca_system_score_codex":0.000052781983,"about_ca_system_score_gemma":0.00011276664,"threshold_uncertainty_score":0.99392134},"labels":[],"label_agreement":null},{"id":"W2979610472","doi":"10.3138/ctr.180.010","title":"Sex Education for Theatremakers: How One Provocative Theatre Company Learned about Staging the Birds and the Bees","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Human sexuality; Visual arts; Performance art; Psychology; Sociology; Art; Gender studies; Art history","score_opus":0.034415520246157835,"score_gpt":0.25743808670184903,"score_spread":0.22302256645569118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2979610472","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00503829,0.49147555,0.000004940481,0.16628781,0.0008455618,0.0064288867,0.00021867029,0.00008351846,0.32961676],"genre_scores_gemma":[0.8753787,0.094717905,0.000030329336,0.011819715,0.0013382162,0.0008001121,0.00006010336,0.000073170406,0.01578174],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99857074,0.00021483503,0.00026822955,0.0003161043,0.00016539589,0.00046467572],"domain_scores_gemma":[0.9986493,0.00038517587,0.0001444033,0.0005387146,0.00014401868,0.0001383977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084938074,0.00029463923,0.00058752636,0.000082793005,0.0011320775,0.00031458592,0.00033619098,0.000039494727,0.00036852603],"category_scores_gemma":[0.00001976309,0.00014829301,0.00019453323,0.00009393395,0.00062413944,0.0002262206,0.00004075731,0.00022530752,0.000075070944],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004672028,0.000035281264,0.0008035839,0.00329566,0.00039617796,3.9610913e-7,0.050829615,0.0000011399619,0.000002974911,0.14515835,0.03474268,0.7646874],"study_design_scores_gemma":[0.00044571568,0.000067881934,0.00009320844,0.0022211142,0.0002882741,0.000004892528,0.022247374,0.000034121684,0.0000058689498,0.0026494397,0.9717022,0.00023988132],"about_ca_topic_score_codex":0.016126063,"about_ca_topic_score_gemma":0.10523874,"teacher_disagreement_score":0.93695956,"about_ca_system_score_codex":0.00009773831,"about_ca_system_score_gemma":0.00051488396,"threshold_uncertainty_score":0.99042565},"labels":[],"label_agreement":null},{"id":"W2979849166","doi":"10.3138/ctr.180.022","title":"Sarah Thom","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Advice (programming); Performance art; Visual arts; Art history; Art; Computer science","score_opus":0.023910894128149902,"score_gpt":0.22681369365835072,"score_spread":0.20290279953020082,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2979849166","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013827442,0.20646827,6.4067905e-8,0.0029487384,0.00054422,0.00028807108,0.000048769725,0.000029810371,0.7882893],"genre_scores_gemma":[0.64305496,0.215907,0.00001932909,0.030935187,0.0018811492,0.00006787575,0.00007392631,0.00006951728,0.107991055],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993019,0.000024055018,0.00015449499,0.00014399116,0.00007635706,0.00029921683],"domain_scores_gemma":[0.99947584,0.000019257095,0.000030561187,0.00028380295,0.00003661508,0.00015391735],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012645722,0.00012984172,0.00027480134,0.00006028257,0.00019303526,0.000044162614,0.00015224236,0.00001951893,0.018740915],"category_scores_gemma":[0.0000027738615,0.000094837604,0.00010887381,0.00003975139,0.00006046015,0.00011410594,0.000012745953,0.00009081804,0.0076157637],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000029575087,0.000011333628,0.0022863946,0.0031567567,0.00010851192,0.000013776344,0.004703534,4.1293694e-7,0.0000017214152,0.13192493,0.4239187,0.43387097],"study_design_scores_gemma":[0.000052854608,0.000024704992,0.00006605821,0.0011627997,0.000035063367,0.0000041386443,0.00026194743,9.877747e-7,0.0000012177074,0.00021990083,0.9980292,0.00014117177],"about_ca_topic_score_codex":0.027993048,"about_ca_topic_score_gemma":0.31131455,"teacher_disagreement_score":0.68029827,"about_ca_system_score_codex":0.000054387732,"about_ca_system_score_gemma":0.00013420067,"threshold_uncertainty_score":0.9931569},"labels":[],"label_agreement":null},{"id":"W2979850126","doi":"10.3138/ctr.180.003","title":"Consent on the Fringe: Restorative Justice and Accountable Communities","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Restorative justice; Accountability; Sexual misconduct; Economic Justice; Sexual assault; Storytelling; Misconduct; Sociology; Political science; Criminology; Media studies; Law; Poison control; Art; Narrative; Suicide prevention","score_opus":0.07079949887469571,"score_gpt":0.2657013865590184,"score_spread":0.1949018876843227,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2979850126","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019099502,0.14418676,3.8347757e-8,0.011608544,0.00040872776,0.0005245889,0.000102993,0.000020973883,0.82404786],"genre_scores_gemma":[0.8228035,0.14227545,0.000002274665,0.02219038,0.00032489214,0.000052691652,0.0000151090635,0.000020531352,0.01231518],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993845,0.00008979392,0.00013104353,0.0000891936,0.00008046096,0.00022500871],"domain_scores_gemma":[0.9992224,0.0002911324,0.000042138192,0.00031145668,0.00005230217,0.00008056303],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024061106,0.00013817163,0.00023085256,0.00004428714,0.00069347536,0.000095116884,0.00015275962,0.000017493223,0.0029333348],"category_scores_gemma":[0.000009005461,0.00008097069,0.000041786294,0.000031856584,0.00021556058,0.00010066313,0.000026050575,0.00017017219,0.00067725417],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012253319,0.000014736403,0.00080138986,0.004298093,0.00014555307,0.000005893736,0.042809125,0.0000014895326,7.466719e-7,0.5055211,0.42630905,0.02008053],"study_design_scores_gemma":[0.000053889587,0.0000521709,0.000052045056,0.0021491947,0.00010936452,0.0000037441052,0.016706407,0.0000028943396,0.0000010820064,0.00022641923,0.980526,0.00011680205],"about_ca_topic_score_codex":0.062350582,"about_ca_topic_score_gemma":0.51321244,"teacher_disagreement_score":0.8117327,"about_ca_system_score_codex":0.00005797881,"about_ca_system_score_gemma":0.00014053626,"threshold_uncertainty_score":0.9979781},"labels":[],"label_agreement":null},{"id":"W2979948303","doi":"10.3138/ctr.180.005","title":"Performing <i>This is For You, Anna</i> as #MeToo: Sexual Harassment and Performance-Based Activism on a University Campus","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Harassment; Sexual violence; Sexual assault; Sociology; Media studies; Gender studies; Criminology; Political science; Law; Suicide prevention; Poison control","score_opus":0.02159459123559237,"score_gpt":0.2232794019235486,"score_spread":0.2016848106879562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2979948303","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.516826,0.038133264,0.0000015385601,0.011469971,0.000918566,0.0026135854,0.0006653091,0.00008813081,0.42928365],"genre_scores_gemma":[0.9322336,0.02144898,0.000023960596,0.011903804,0.0003732343,0.000033693676,0.00005995893,0.000043142554,0.033879656],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989427,0.000030186695,0.0001631689,0.00030895058,0.00012892121,0.00042612656],"domain_scores_gemma":[0.9992831,0.000061152576,0.0000760559,0.00028465135,0.000071767325,0.00022327136],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022003993,0.00024566762,0.0004014022,0.00014327366,0.0006439978,0.00005752212,0.00015017854,0.000047989637,0.002237907],"category_scores_gemma":[0.0000041835306,0.00020323516,0.00010618939,0.00005893458,0.00010303983,0.00023034502,0.000019434208,0.00015316707,0.0003608284],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015122804,0.00004923981,0.00474166,0.007462709,0.00023849383,0.000011955979,0.009541475,0.0000033413367,0.000006994231,0.0046545146,0.11318807,0.8599503],"study_design_scores_gemma":[0.0004008138,0.0006111039,0.00010651117,0.001355838,0.0001283555,0.0000037721559,0.0010213974,0.000102561,0.000026801543,0.000015221195,0.99594563,0.00028196853],"about_ca_topic_score_codex":0.011469084,"about_ca_topic_score_gemma":0.024285367,"teacher_disagreement_score":0.8827576,"about_ca_system_score_codex":0.0002059901,"about_ca_system_score_gemma":0.0003429732,"threshold_uncertainty_score":0.99867415},"labels":[],"label_agreement":null},{"id":"W2979963135","doi":"10.3138/ctr.180.013","title":"<i>Asking for It</i>","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Coercion (linguistics); Power (physics); Sexual coercion; Sociology; Set (abstract data type); Gender studies; Media studies; Aesthetics; Art; Philosophy","score_opus":0.03144365438998493,"score_gpt":0.24240169154245836,"score_spread":0.21095803715247344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2979963135","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003352669,0.14660999,0.0000010313778,0.008815018,0.0007892904,0.0007974809,0.00013475631,0.000030150279,0.84248704],"genre_scores_gemma":[0.55733734,0.19969337,0.000108541826,0.11850852,0.0042589013,0.00047597924,0.0002193964,0.00015215,0.11924581],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932253,0.000012891834,0.00016218144,0.00014100724,0.00005525038,0.00030613926],"domain_scores_gemma":[0.9995463,0.00004043324,0.000034944525,0.00021009619,0.000051305975,0.000116958916],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016047031,0.00011947909,0.000264956,0.000050282248,0.00023652558,0.00004252472,0.00013046658,0.000018394712,0.004742789],"category_scores_gemma":[0.000004728461,0.00009130995,0.00013098419,0.000029217785,0.000040796553,0.000103490864,0.000008903858,0.000057567,0.0011670543],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003598193,0.000006606349,0.00034984897,0.00436279,0.00007869248,0.0000021587975,0.0036447055,5.5191333e-7,0.0000017104162,0.0764536,0.67758244,0.23751327],"study_design_scores_gemma":[0.0000844334,0.000034679008,0.000004951265,0.0015859649,0.00004721514,0.0000022085685,0.00036470377,0.000003019528,0.0000020983834,0.00027738945,0.99745667,0.00013663933],"about_ca_topic_score_codex":0.0100844,"about_ca_topic_score_gemma":0.28575534,"teacher_disagreement_score":0.7232412,"about_ca_system_score_codex":0.000050173352,"about_ca_system_score_gemma":0.00012538713,"threshold_uncertainty_score":0.99961066},"labels":[],"label_agreement":null},{"id":"W2980084866","doi":"10.3138/ctr.180.020","title":"Chad Dembski","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.02256100530590981,"score_gpt":0.22321235495159322,"score_spread":0.2006513496456834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2980084866","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014014214,0.2030171,6.295655e-8,0.0037038398,0.00053816877,0.00030318522,0.000042070787,0.000031096923,0.79096305],"genre_scores_gemma":[0.657598,0.23804903,0.000013847446,0.029698025,0.0016622564,0.000075514676,0.000060264214,0.000063571344,0.07277946],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992912,0.000021350179,0.00015590503,0.00014457497,0.00007553377,0.00031142822],"domain_scores_gemma":[0.9994788,0.000017403025,0.000031212094,0.00026966305,0.00003743546,0.000165481],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012548147,0.00013087718,0.0002743391,0.00006354532,0.00019367396,0.000036554036,0.00015050072,0.00002029171,0.018937478],"category_scores_gemma":[0.0000028050595,0.00009715613,0.00010595587,0.000040195046,0.00005719996,0.00011207861,0.000012880251,0.00008990944,0.008094253],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000028743264,0.000012278432,0.0021905066,0.003467432,0.000120595345,0.000014019497,0.004601347,3.7316389e-7,0.0000015841207,0.15882075,0.3568644,0.47390383],"study_design_scores_gemma":[0.00005464152,0.000026138945,0.000055963894,0.0011665908,0.000035580102,0.0000043339683,0.000231371,0.0000011329031,0.00000128865,0.00020086649,0.99808025,0.00014184124],"about_ca_topic_score_codex":0.02642952,"about_ca_topic_score_gemma":0.33568043,"teacher_disagreement_score":0.7181836,"about_ca_system_score_codex":0.00005532248,"about_ca_system_score_gemma":0.00012591016,"threshold_uncertainty_score":0.99267805},"labels":[],"label_agreement":null},{"id":"W2980145876","doi":"10.3138/ctr.180.006","title":"The Theatre Feminist: A Manifesto","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Patriarchy; Feminism; Power (physics); Communism; Sociology; Gender studies; Feminist theory; Aesthetics; Media studies; Art; Political science; Law","score_opus":0.020389412100135163,"score_gpt":0.22753887729611508,"score_spread":0.2071494651959799,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2980145876","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00067939906,0.21542409,3.5262552e-8,0.0074023376,0.0007664718,0.0004926251,0.000057412697,0.00003697524,0.77514064],"genre_scores_gemma":[0.6566532,0.23399806,0.000007256783,0.021457534,0.0020464316,0.00017209716,0.000037557795,0.000090544774,0.08553728],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881643,0.00005609552,0.00026464014,0.00021001912,0.00014196231,0.000510859],"domain_scores_gemma":[0.999034,0.00009811432,0.000062180145,0.0005555614,0.00004746035,0.0002026666],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032505082,0.00021242467,0.00031838956,0.000049316608,0.00089510967,0.00014249898,0.0003769316,0.000030837276,0.0046173446],"category_scores_gemma":[0.000004895969,0.00012154089,0.0001804889,0.00006252617,0.00017715723,0.00009491355,0.000030655046,0.00017108738,0.005074808],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008193845,0.0000119380475,0.0016256582,0.0015371633,0.00015510208,0.000022254766,0.0054374225,3.032878e-7,7.291952e-7,0.1864922,0.33892876,0.46578026],"study_design_scores_gemma":[0.00007235764,0.00004528886,0.00004237627,0.0010600375,0.000059634593,0.000019484803,0.0013247535,0.0000016309552,8.079661e-7,0.00043414504,0.996754,0.00018546291],"about_ca_topic_score_codex":0.019202482,"about_ca_topic_score_gemma":0.4074435,"teacher_disagreement_score":0.6896034,"about_ca_system_score_codex":0.00009020336,"about_ca_system_score_gemma":0.00022577684,"threshold_uncertainty_score":0.9962926},"labels":[],"label_agreement":null},{"id":"W2980286807","doi":"10.3138/ctr.179.009","title":"“Listen, Imagine, and Provoke”: An Interview with Kris Nelson","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Performance art; The arts; Performing arts; Art; Work (physics); Media studies; Sociology; Art history; Engineering","score_opus":0.022126023879253234,"score_gpt":0.2238598711663427,"score_spread":0.20173384728708948,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2980286807","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01263387,0.4322736,6.213754e-7,0.009302804,0.00031342538,0.0011494866,0.00010472597,0.00006966265,0.5441518],"genre_scores_gemma":[0.7181625,0.23596585,0.00007870669,0.02343297,0.00096596766,0.0001506541,0.0001085582,0.000112879476,0.02102193],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915576,0.000052259562,0.0001773059,0.00023191843,0.00007979719,0.00030294823],"domain_scores_gemma":[0.9993163,0.000013024469,0.000048134996,0.0003201871,0.00006557746,0.00023680921],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018675861,0.00019580101,0.000383969,0.000070052745,0.00018706839,0.00009989,0.00013937824,0.000019243484,0.002592131],"category_scores_gemma":[0.0000017456299,0.00012583823,0.00005348788,0.000047985457,0.0001262307,0.00031581314,0.000017971803,0.00011619146,0.00031207467],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009537244,0.000023244169,0.003913002,0.0091715725,0.00013405709,0.000024034773,0.009106098,2.1520323e-7,0.0000017583086,0.018169183,0.03488133,0.924566],"study_design_scores_gemma":[0.000119695345,0.00017273768,0.00019803381,0.0031734724,0.00009062498,0.0000244821,0.00096301676,0.000004818975,9.542637e-7,0.00006781039,0.9949743,0.00021003523],"about_ca_topic_score_codex":0.025195725,"about_ca_topic_score_gemma":0.4149078,"teacher_disagreement_score":0.96009296,"about_ca_system_score_codex":0.000042303986,"about_ca_system_score_gemma":0.0001205172,"threshold_uncertainty_score":0.9983196},"labels":[],"label_agreement":null},{"id":"W2981081913","doi":"10.4000/miranda.20064","title":"Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016)","year":2019,"lang":"en","type":"article","venue":"Miranda","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Laughter; Literature","score_opus":0.032058399890809545,"score_gpt":0.23997819578789112,"score_spread":0.20791979589708157,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2981081913","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80845547,0.0010923352,0.000008835208,0.0005552736,0.0012469982,0.0005603888,0.0001298773,0.000053369786,0.18789746],"genre_scores_gemma":[0.94071645,0.000058233483,0.000027072714,0.0007015553,0.00032399382,0.000036698708,0.0000071615723,0.00002456754,0.058104284],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930614,0.000014471884,0.0001374329,0.00019005101,0.00008951613,0.00026237205],"domain_scores_gemma":[0.99971336,0.00007316425,0.000039459843,0.0001288922,0.000017631406,0.000027500566],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000177513,0.00014649905,0.00021808424,0.000077179146,0.00017303776,0.00011543479,0.00007735473,0.000039923372,0.00088414556],"category_scores_gemma":[0.000003045012,0.00010597064,0.000054762208,0.000011404106,0.00008172183,0.0002100887,0.000031538915,0.00008880207,0.00016771434],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011265189,0.00012996454,0.2731304,0.0006458132,0.00027477153,0.0000073200013,0.5476552,0.000014851333,0.00040015625,0.011864426,0.15637207,0.008378495],"study_design_scores_gemma":[0.0015793086,0.00008988106,0.0011252693,0.00009728147,0.000018616336,0.000001164295,0.004717403,0.000047415262,0.000108338056,0.00027358835,0.9917345,0.00020720634],"about_ca_topic_score_codex":0.00028374916,"about_ca_topic_score_gemma":0.0076890737,"teacher_disagreement_score":0.83536243,"about_ca_system_score_codex":0.000015891941,"about_ca_system_score_gemma":0.000010708566,"threshold_uncertainty_score":0.96807736},"labels":[],"label_agreement":null},{"id":"W2981341701","doi":"10.7202/017864ar","title":"Kirsten Pullen. Actresses and Whores: On Stage and in Society. Cambridge: Cambridge University Press, 2005. ISBN: 521 83341 8. Price: US$64.00 (£43.00).","year":2008,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Romanticism; Humanities; Media studies; Art; Art history; Economic history; Sociology; History","score_opus":0.019593046174381228,"score_gpt":0.20334777783293137,"score_spread":0.18375473165855014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2981341701","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93336797,0.0026127032,0.0000016732793,0.0012998673,0.00045740211,0.00035217078,0.00023502915,0.00006233891,0.061610866],"genre_scores_gemma":[0.9400739,0.023177152,0.0000082073675,0.0004485346,0.00070941256,0.0000058046653,0.000015289914,0.000027834702,0.03553385],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985897,0.00007912144,0.00021567686,0.00040995106,0.0002444056,0.00046114853],"domain_scores_gemma":[0.99921197,0.00025497514,0.0001043511,0.0002845482,0.00003839506,0.00010574358],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020195497,0.00033353738,0.00037544704,0.00007695036,0.001165884,0.00015610448,0.00018152894,0.00010379944,0.00009744438],"category_scores_gemma":[0.0000092906,0.00023770928,0.00006717082,0.00004880173,0.0005212329,0.00030372015,0.00016082448,0.00031413996,0.000013590629],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012783764,0.00053207896,0.0117010875,0.00055704085,0.0005586764,0.0002778798,0.076433845,0.000019306266,0.00036295375,0.34429875,0.56346357,0.0005164273],"study_design_scores_gemma":[0.0011324506,0.00037326652,0.031765465,0.00013905053,0.000055354805,0.000013074885,0.0050727087,0.00012947578,0.00022010838,0.000030626856,0.9606853,0.00038311232],"about_ca_topic_score_codex":0.0010129913,"about_ca_topic_score_gemma":0.00036002873,"teacher_disagreement_score":0.3972217,"about_ca_system_score_codex":0.000032112905,"about_ca_system_score_gemma":0.000036655747,"threshold_uncertainty_score":0.9693503},"labels":[],"label_agreement":null},{"id":"W2982350240","doi":"10.3138/md.1068r","title":"Battering Rams at the Bastille: Rewriting the Drama of the New in Gordon Bottomley’s <i>Gruach</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Literature; Narrative; Dramatization; Wife; Art; Praise; Realism; Poetry; Agency (philosophy); Beauty; Representation (politics); History; Aesthetics; Sociology; Politics; Philosophy; Law","score_opus":0.02693230615414927,"score_gpt":0.2136548132344518,"score_spread":0.18672250708030252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2982350240","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7870318,0.0031115396,0.000106089006,0.09680812,0.0006557883,0.0005991515,0.000040896262,0.00008601633,0.11156055],"genre_scores_gemma":[0.98946077,0.00007938662,0.000008344239,0.0045635886,0.0008917082,0.000016621918,0.0000021399962,0.000023635843,0.0049537797],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989009,0.00007333087,0.00030550294,0.00019749506,0.00023196313,0.00029080868],"domain_scores_gemma":[0.99933106,0.00015218071,0.00011512645,0.00033280018,0.000032946657,0.000035889778],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020203434,0.00017365484,0.00021049684,0.000016014454,0.0006988606,0.00012862284,0.00045664038,0.000032118955,0.0004484913],"category_scores_gemma":[0.000034208642,0.00008132601,0.0001232669,0.0000712623,0.0002944723,0.00012579489,0.0003978723,0.00028377332,0.00004443175],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022736045,0.00006912976,0.009843363,0.00022775971,0.00017016791,0.000008196073,0.72265387,0.0023386169,0.001864724,0.013402412,0.07795405,0.17124037],"study_design_scores_gemma":[0.0008272455,0.00009879778,0.0024755867,0.00022913008,0.00006570214,0.000006145642,0.018882176,0.009259336,0.0016463245,0.0020572047,0.9641136,0.00033873587],"about_ca_topic_score_codex":0.0007249039,"about_ca_topic_score_gemma":0.005395023,"teacher_disagreement_score":0.8861596,"about_ca_system_score_codex":0.000029311432,"about_ca_system_score_gemma":0.000030685052,"threshold_uncertainty_score":0.53751415},"labels":[],"label_agreement":null},{"id":"W2983449855","doi":"","title":"Prop Making: The process behind the scenes: Guys and Dolls Manhole Cover","year":2019,"lang":"en","type":"article","venue":"Student Research Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Carpentry; Visual arts; Painting; Presentation (obstetrics); Cover (algebra); Art; Process (computing); Engineering; Art history; Computer science; Civil engineering; Mechanical engineering","score_opus":0.10622547708980565,"score_gpt":0.3970316721663553,"score_spread":0.2908061950765497,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2983449855","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73345363,0.0006904508,7.8018346e-8,0.0033009693,0.00015344081,0.0011124882,0.0000052825803,0.000035206667,0.26124847],"genre_scores_gemma":[0.9531916,0.00022428532,0.0000017325583,0.0002903958,0.00083673076,0.00022156522,9.3794375e-7,0.000021523278,0.04521123],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978156,0.00002959904,0.00019634841,0.00032552794,0.0010440394,0.0005888679],"domain_scores_gemma":[0.99902743,0.00012430748,0.00006332773,0.00017490656,0.00056620804,0.000043838278],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0015598097,0.0001782654,0.00017952395,0.00008877168,0.0018582538,0.001067585,0.00066518533,0.000035285175,0.00075727294],"category_scores_gemma":[0.000037856105,0.00008152748,0.000047287864,0.00010323992,0.0008928317,0.0004250313,0.0004888787,0.00053715194,0.00044486678],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016572048,0.00017793788,0.104068235,0.00067595835,0.00022728932,0.0000028685015,0.7009064,0.0000024123933,0.00012240786,0.10709024,0.08383881,0.0027217283],"study_design_scores_gemma":[0.000544215,0.00046457673,0.0138216745,0.00023266282,0.000029316492,0.0000074309214,0.23258916,0.00004369073,0.00017328352,0.0038103447,0.74803454,0.0002491313],"about_ca_topic_score_codex":0.00007162188,"about_ca_topic_score_gemma":0.00009843541,"teacher_disagreement_score":0.6641957,"about_ca_system_score_codex":0.00003524884,"about_ca_system_score_gemma":0.000050410246,"threshold_uncertainty_score":0.9999694},"labels":[],"label_agreement":null},{"id":"W2985224819","doi":"10.1017/s0307883319000452","title":"Staging Modernist Lives: H.D., Mina Loy, Nancy Cunard, Three Plays and Criticism","year":2019,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Criticism; Art history; Art; History; Literature","score_opus":0.07725251556327782,"score_gpt":0.33759460042662776,"score_spread":0.2603420848633499,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2985224819","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32636815,0.0008118987,0.000020478035,0.0023128127,0.00074557593,0.00020753023,0.000117222655,0.000045611923,0.6693707],"genre_scores_gemma":[0.9756836,0.00035188254,0.000042068114,0.00009663916,0.0012222661,0.000027276232,0.000019892606,0.000021628612,0.022534734],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845296,0.000051795654,0.00018360611,0.0002732146,0.00063018216,0.00040825884],"domain_scores_gemma":[0.99920577,0.0002455989,0.000027091883,0.00019939424,0.00024962818,0.00007250172],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00049835147,0.00014041082,0.00016435022,0.00022680323,0.0004764283,0.00031014695,0.00030953262,0.000027396953,0.004275139],"category_scores_gemma":[0.000012883058,0.00011346892,0.000056144014,0.000030399082,0.0004383285,0.00038678662,0.00025199956,0.00033006544,0.0007235034],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005755681,0.00038355312,0.052624673,0.00047827672,0.0006615271,0.00007948314,0.111611955,0.000039926315,0.0005414332,0.7033766,0.031728093,0.09789889],"study_design_scores_gemma":[0.001296851,0.00047988558,0.0024335796,0.00046112557,0.000018938303,0.00002604089,0.023699656,0.0050160955,0.00027764207,0.06015004,0.90565044,0.0004897277],"about_ca_topic_score_codex":0.00062152237,"about_ca_topic_score_gemma":0.0010825775,"teacher_disagreement_score":0.87392235,"about_ca_system_score_codex":0.00006355555,"about_ca_system_score_gemma":0.000046215926,"threshold_uncertainty_score":0.9966351},"labels":[],"label_agreement":null},{"id":"W2987049970","doi":"10.3138/md.s1020r2","title":"Reconstruction, Fugitive Intimacy, and Holding History","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Reading (process); Aesthetics; Public history; Mode (computer interface); Autonomy; History; Sociology; Literature; Art; Law; Media studies; Political science; Computer science","score_opus":0.021091726565240103,"score_gpt":0.20069091602512432,"score_spread":0.1795991894598842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2987049970","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7328877,0.0010564803,0.000012625372,0.00012392184,0.00079180277,0.000061658524,0.0000049029577,0.000045695204,0.26501524],"genre_scores_gemma":[0.97489977,0.000076957534,0.000033088258,0.00018400501,0.00030666,0.0000050079298,0.0000019295626,0.000009390492,0.02448321],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995981,0.000008421533,0.00008687818,0.0001325617,0.000055743432,0.000118302334],"domain_scores_gemma":[0.99979997,0.000017854962,0.00003195441,0.000088728855,0.00004061974,0.000020894771],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000046440517,0.00007980927,0.00011130615,0.00004708455,0.00013507286,0.00004212361,0.00003878236,0.000018370436,0.0017836471],"category_scores_gemma":[0.0000024899873,0.000068616544,0.000026713513,0.000005749756,0.00015617449,0.00025136519,0.000033178014,0.000074509946,0.0001631912],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008810093,0.00004909107,0.028528376,0.00016152479,0.00018829707,0.000004366662,0.37923348,0.000015296777,0.00077374605,0.16111362,0.020015003,0.40982908],"study_design_scores_gemma":[0.0004931091,0.000099469034,0.0024350942,0.00006902815,0.000026912487,0.000016782795,0.0077288086,0.0013181673,0.000092026065,0.009611429,0.9778133,0.0002958899],"about_ca_topic_score_codex":0.0001009494,"about_ca_topic_score_gemma":0.00013644503,"teacher_disagreement_score":0.9577983,"about_ca_system_score_codex":0.00004597517,"about_ca_system_score_gemma":0.000013189514,"threshold_uncertainty_score":0.9991289},"labels":[],"label_agreement":null},{"id":"W2987854027","doi":"10.3138/md.62.4.br5","title":"Melissa Poll. <i>Robert Lepage’s Scenographic Dramaturgy: The Aesthetic Signature at Work.</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Scenography; Adaptation (eye); Performance art; Aesthetics; Visual arts; History; Art; Psychology; Art history","score_opus":0.01050062390072521,"score_gpt":0.1951144269681684,"score_spread":0.18461380306744318,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2987854027","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70373744,0.008868852,0.000008120964,0.007650801,0.0015836845,0.0005434096,0.000033431,0.00025821762,0.27731606],"genre_scores_gemma":[0.90006554,0.00019845118,0.000009496411,0.0020249807,0.0004546416,0.000029281931,0.000017441267,0.000045654968,0.09715452],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99852395,0.000058208247,0.00023687704,0.0003329741,0.0003333218,0.00051467825],"domain_scores_gemma":[0.9990959,0.00006219249,0.000094529016,0.00059708755,0.00008446669,0.00006579689],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017542556,0.00030999965,0.00030395616,0.000089577865,0.0007634282,0.00029943808,0.00041663626,0.00010031277,0.0017467331],"category_scores_gemma":[0.0000035661085,0.00018743235,0.00023047558,0.00010041465,0.00035067525,0.00023679275,0.00018421127,0.00041219126,0.0012093438],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008034749,0.00042878443,0.016285915,0.00026187242,0.0005838805,0.000043378226,0.36287364,0.00081088056,0.0005861565,0.11408382,0.38657314,0.11666505],"study_design_scores_gemma":[0.00047243998,0.00009098181,0.0004263274,0.000082043014,0.000058117235,0.000012331389,0.0013990578,0.00029593028,0.000060555798,0.0040018954,0.9927192,0.00038116632],"about_ca_topic_score_codex":0.00013830207,"about_ca_topic_score_gemma":0.0010042683,"teacher_disagreement_score":0.60614604,"about_ca_system_score_codex":0.00003571382,"about_ca_system_score_gemma":0.000020522866,"threshold_uncertainty_score":0.99956834},"labels":[],"label_agreement":null},{"id":"W2989074389","doi":"10.3138/md.s1035","title":"“Is That What We Wanted?”: Staging Slavery’s Affective Scripts","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Spectacle; Vision; Character (mathematics); Interpretation (philosophy); Aesthetics; Scripting language; Meaning (existential); Sociology; Literature; Art; Epistemology; Philosophy; Linguistics; Political science; Law; Computer science","score_opus":0.03319091870906189,"score_gpt":0.23401079994348503,"score_spread":0.20081988123442313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2989074389","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8686715,0.0030910922,0.00004173905,0.0019970662,0.002216822,0.00030739218,0.00003661219,0.0001622057,0.123475604],"genre_scores_gemma":[0.9647197,0.000808875,0.000009747446,0.00095039484,0.0004009338,0.000014790452,0.00000689884,0.000029602495,0.03305906],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989914,0.000024975207,0.00012214239,0.00028298466,0.00022426207,0.00035424266],"domain_scores_gemma":[0.9995121,0.00004343263,0.00005581328,0.000283637,0.000062060775,0.000042971944],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008909654,0.00020756874,0.00024743998,0.00008607821,0.00036467478,0.0005416167,0.00015122042,0.00003985903,0.0023684758],"category_scores_gemma":[0.000001931935,0.00016339845,0.00011409894,0.000022982082,0.00011501584,0.0012372191,0.00009522806,0.00016230707,0.0012750665],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012140077,0.00011451645,0.012937454,0.00023498906,0.00036763682,0.000013915629,0.7882239,0.000034372762,0.0005738842,0.016216261,0.019960485,0.1612012],"study_design_scores_gemma":[0.001269459,0.00028978894,0.0015155127,0.00065940863,0.00008647756,0.0000050036074,0.089103475,0.003656346,0.00427117,0.011540948,0.886765,0.0008374042],"about_ca_topic_score_codex":0.00018389575,"about_ca_topic_score_gemma":0.00039304848,"teacher_disagreement_score":0.86680454,"about_ca_system_score_codex":0.00004332807,"about_ca_system_score_gemma":0.000018422204,"threshold_uncertainty_score":0.99950254},"labels":[],"label_agreement":null},{"id":"W2990180196","doi":"10.1386/peet_00003_1","title":"From melancholic to happy immigrant: Staging simpleton in the comedies of migration","year":2019,"lang":"en","type":"article","venue":"Performing Ethos International Journal of Ethics in Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Ottawa","funders":"","keywords":"Comedy; Laughter; Immigration; Literature; Art; Representation (politics); History; Aesthetics; Sociology; Politics; Law; Political science","score_opus":0.03949109609373665,"score_gpt":0.3119514822893198,"score_spread":0.27246038619558316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2990180196","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9882684,0.0005696594,0.000009246233,0.0051187538,0.0009911825,0.00012283762,0.000026781396,0.000003734367,0.004889424],"genre_scores_gemma":[0.9958995,0.0023889702,0.00013021717,0.00071809674,0.00074351317,0.0000051144148,0.000006269637,0.000009023624,0.00009928537],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984648,0.00008152256,0.00060605945,0.00012242656,0.0005506983,0.00017446054],"domain_scores_gemma":[0.9985252,0.0008106141,0.00025203178,0.00012809983,0.00025746075,0.000026585612],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018583824,0.00014404369,0.00029303692,0.00037161313,0.00011277268,0.000078745026,0.00042117163,0.000068333735,0.00013658499],"category_scores_gemma":[0.00006391332,0.00009452076,0.00006709874,0.00007911143,0.00013138358,0.000529722,0.00006660562,0.00081843336,0.000006552482],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039572763,0.000061332874,0.2795592,0.000091166665,0.00007334572,0.000005544396,0.6851444,0.0003823978,0.00029329132,0.0021562804,0.0001330773,0.031704213],"study_design_scores_gemma":[0.0044906014,0.0024430284,0.2967345,0.0075136865,0.0001293427,0.00010684473,0.39670596,0.006999663,0.004384729,0.009691288,0.26969644,0.0011038911],"about_ca_topic_score_codex":0.0015284077,"about_ca_topic_score_gemma":0.004294238,"teacher_disagreement_score":0.28843847,"about_ca_system_score_codex":0.00004131024,"about_ca_system_score_gemma":0.000059117065,"threshold_uncertainty_score":0.38544446},"labels":[],"label_agreement":null},{"id":"W2990234230","doi":"10.22215/cjcr.v5i1.1344","title":"The Empty Playground","year":2018,"lang":"en","type":"article","venue":"Canadian Journal of Children s Rights / Revue canadienne des droits des enfants","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Alice (programming language); Art; Visual arts; Art history","score_opus":0.014293766930081076,"score_gpt":0.20483547887977036,"score_spread":0.19054171194968927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2990234230","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93862885,0.001921374,0.000004013427,0.00021635945,0.0019411696,0.00013302772,0.00012677108,0.000011982448,0.05701646],"genre_scores_gemma":[0.988167,0.0001215875,0.000035691526,0.00015070049,0.0039696693,0.0000028944235,0.000006572569,0.000031042182,0.0075148316],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980805,0.00006163441,0.0005370607,0.00019546524,0.00010956583,0.0010157888],"domain_scores_gemma":[0.99769354,0.000095413496,0.00027952009,0.00032203642,0.00064490637,0.0009645862],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.00045504156,0.00027041003,0.00035633097,0.00029747316,0.004360187,0.00045026114,0.00067337946,0.000065143766,0.0008566672],"category_scores_gemma":[0.000065718225,0.00017376753,0.00017712753,0.00012767709,0.0030483087,0.00053889427,0.000019775656,0.0003061559,0.000083331746],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020354537,0.000048937163,0.04783465,0.00007635237,0.0017790264,0.0005490882,0.400181,0.000011435293,0.000014865144,0.40305632,0.036740705,0.10950408],"study_design_scores_gemma":[0.0005896998,0.00066195754,0.034375474,0.0003361739,0.00014278754,0.0012855672,0.0017631964,0.000009444091,0.00011868348,0.0485522,0.91169435,0.0004704674],"about_ca_topic_score_codex":0.115105845,"about_ca_topic_score_gemma":0.9875132,"teacher_disagreement_score":0.8749536,"about_ca_system_score_codex":0.00040697193,"about_ca_system_score_gemma":0.000364488,"threshold_uncertainty_score":0.99966484},"labels":[],"label_agreement":null},{"id":"W2990585075","doi":"10.1162/dram_a_00877","title":"Performing the Digital and AI: In Conversation with Antje Budde David Rokeby","year":2019,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Dramaturgy; Context (archaeology); Aesthetics; Art history; Media studies; Sociology; Art; Visual arts; History; Communication","score_opus":0.011675170567159658,"score_gpt":0.2130659645696613,"score_spread":0.20139079400250162,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2990585075","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8025566,0.081346825,0.0000016269324,0.016783126,0.0003010678,0.0013430766,0.000022904289,0.000049160346,0.09759565],"genre_scores_gemma":[0.97610795,0.018941894,0.0000014185453,0.0019123966,0.0001362872,0.000022439113,0.0000071339177,0.000009449738,0.0028610497],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994371,0.000024987907,0.00016105307,0.00011585173,0.00011218324,0.00014881747],"domain_scores_gemma":[0.999632,0.00006552158,0.000060424405,0.00019574187,0.00003149534,0.000014801341],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023096439,0.00011521845,0.00020106311,0.000018645043,0.00021315369,0.00015668372,0.00011194658,0.000012324705,0.00040071885],"category_scores_gemma":[0.000007991113,0.000050058225,0.000035226156,0.00004057149,0.0001671001,0.00031824165,0.000043197088,0.00013617513,0.00019364174],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001491834,0.000098410295,0.04816453,0.0059037986,0.00023475497,0.000008116715,0.1753787,0.0000070719907,0.000016880025,0.07524933,0.015211904,0.67957735],"study_design_scores_gemma":[0.00021715795,0.00010427841,0.0015826094,0.0015021547,0.000047299058,0.0000097170805,0.0041722516,0.000060614984,0.000005639759,0.00013676069,0.99202883,0.00013266964],"about_ca_topic_score_codex":0.00008616173,"about_ca_topic_score_gemma":0.0002234121,"teacher_disagreement_score":0.97681695,"about_ca_system_score_codex":0.000010958626,"about_ca_system_score_gemma":0.000015760706,"threshold_uncertainty_score":0.43875903},"labels":[],"label_agreement":null},{"id":"W2990786680","doi":"10.7202/1065019ar","title":"Making Memories: Time and Responsibility in Intermedial Metatheatre","year":2019,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Performative utterance; Performing arts; Materiality (auditing); Scenography; Embodied cognition; Sociology; Liveness; Performativity; Aesthetics; Digital media; Presentation (obstetrics); Studio; Representation (politics); Visual arts; Computer science; Art; World Wide Web","score_opus":0.03728791472277355,"score_gpt":0.2976795155715988,"score_spread":0.26039160084882523,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2990786680","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6153913,0.000998855,0.000035554975,0.00056565256,0.00046203574,0.0005396118,0.00009932099,0.00052238134,0.38138527],"genre_scores_gemma":[0.9753994,0.0002794783,0.0011988116,0.0009363697,0.00030562712,0.00011579016,0.000029758003,0.00007933183,0.021655478],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99741805,0.00033950614,0.00070712244,0.0006506516,0.0002753668,0.00060928724],"domain_scores_gemma":[0.99848956,0.00048505602,0.00018085924,0.0005543558,0.0001993582,0.0000907823],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.001109506,0.0005249792,0.0007322153,0.00043916295,0.0005692315,0.0003763343,0.0003717123,0.00013763802,0.0008773559],"category_scores_gemma":[0.00017450463,0.00044914638,0.00021266214,0.00011834991,0.0027035556,0.0012390427,0.0003412458,0.00047915362,0.00006605718],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0021478094,0.00050063775,0.02452613,0.0011860178,0.0003392645,0.00022126356,0.2910243,0.000003999391,0.0048603406,0.15131742,0.0050804773,0.5187924],"study_design_scores_gemma":[0.0010263209,0.0017079457,0.004697752,0.0030007968,0.00012788828,0.00011889736,0.008676925,0.00007251265,0.0059722573,0.064774916,0.9081284,0.0016954199],"about_ca_topic_score_codex":0.00063101784,"about_ca_topic_score_gemma":0.009637954,"teacher_disagreement_score":0.9030479,"about_ca_system_score_codex":0.00034662362,"about_ca_system_score_gemma":0.00007074813,"threshold_uncertainty_score":0.99979603},"labels":[],"label_agreement":null},{"id":"W2992028504","doi":"10.33137/q.i..v32i2.16313","title":"The Short Play and Postmodernist Stage Directing: A Virtual Experiment with Pirandello’s &lt;i&gt;Cecè&lt;/i&gt;","year":2012,"lang":"en","type":"article","venue":"Quaderni d italianistica","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Comics; Variety (cybernetics); Evening; Art; Literature; Computer science; Artificial intelligence; Physics; Astronomy","score_opus":0.028628593244591063,"score_gpt":0.24838681460631135,"score_spread":0.2197582213617203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2992028504","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37336847,0.0065750023,0.00014508827,0.00060578674,0.001048658,0.00055494305,0.00018354488,0.0002430266,0.6172755],"genre_scores_gemma":[0.95789206,0.00020751811,0.000045675824,0.00017653195,0.0010459998,0.00007835862,0.000018120492,0.000054110107,0.040481634],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99815977,0.00006460199,0.00033264916,0.000319003,0.00040027543,0.00072372734],"domain_scores_gemma":[0.9990416,0.00024509366,0.000085834974,0.00034726583,0.0000804643,0.00019970511],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003198182,0.0003744952,0.00032901345,0.000044784007,0.0021367988,0.0004492108,0.00020539605,0.000059344646,0.001399612],"category_scores_gemma":[0.000026034379,0.00022932974,0.00007863719,0.000030121531,0.0008972672,0.0003206388,0.00010957216,0.00018473543,0.0002300638],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00069359055,0.0005196525,0.0029222213,0.00010396085,0.00074478745,0.000030001835,0.21080846,0.000007102648,0.0021289068,0.75274205,0.017524032,0.011775245],"study_design_scores_gemma":[0.00030437298,0.00057954056,0.00078449614,0.000043812815,0.00010293468,0.000017390996,0.01191739,0.00008576835,0.00043877712,0.00007572041,0.98519486,0.00045495326],"about_ca_topic_score_codex":0.000053266678,"about_ca_topic_score_gemma":0.0012849666,"teacher_disagreement_score":0.9676708,"about_ca_system_score_codex":0.000051164945,"about_ca_system_score_gemma":0.000037073336,"threshold_uncertainty_score":0.99951327},"labels":[],"label_agreement":null},{"id":"W2992226503","doi":"","title":"Soyinka’s Language Engineering in the Jero Plays and The Beatification of Area Boy","year":2013,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Diction; Style (visual arts); Linguistics; Situational ethics; Literature; Psychology; Philosophy; Epistemology; Art","score_opus":0.013385039334398932,"score_gpt":0.2359772933674224,"score_spread":0.22259225403302346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2992226503","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9158967,0.074068554,3.517447e-7,0.0009369192,0.00008550213,0.00023754804,0.000014096886,0.000009335618,0.008750979],"genre_scores_gemma":[0.99753934,0.0014187586,0.000011046629,0.00023832906,0.00018322164,0.000069539376,0.000007675404,0.0000045237616,0.0005275503],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995465,0.00003447474,0.00014705627,0.000093368406,0.00006529394,0.00011326559],"domain_scores_gemma":[0.9996228,0.00018876244,0.00003445456,0.000120950775,0.000026098367,0.000006882627],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002245087,0.000099556746,0.0001753534,0.000059557315,0.000105444175,0.0000750285,0.00007337054,0.000021674094,0.000019120169],"category_scores_gemma":[0.000038212842,0.00004593443,0.000021645834,0.000056104032,0.00021712155,0.00013624255,0.000042638705,0.00014458195,0.0000011207153],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014720718,0.000010291621,0.0005651702,0.00012069555,0.0000343397,0.000004035131,0.97779614,0.0000016672165,0.000052323558,0.01810098,0.0014967811,0.0018028411],"study_design_scores_gemma":[0.0016388544,0.0000938217,0.010699631,0.00055102434,0.000044447504,0.000010828551,0.9760683,0.00016470545,0.00011624543,0.0012046699,0.009177665,0.00022979773],"about_ca_topic_score_codex":0.00024781996,"about_ca_topic_score_gemma":0.00095516944,"teacher_disagreement_score":0.08164264,"about_ca_system_score_codex":0.000004484879,"about_ca_system_score_gemma":0.0000018416913,"threshold_uncertainty_score":0.18731517},"labels":[],"label_agreement":null},{"id":"W2992378929","doi":"","title":"Meng Jinghui, Pioneer of Experimental Theatre in China/L'AVANT-GARDE DU DRAME D'ESSAI DE LA CHINE - MENG ZHAOHUI","year":2006,"lang":"fr","type":"article","venue":"Canadian social science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"China; Art; Art history; Avant garde; Humanities; Mainstream; Drama; Literature; Political science; Law","score_opus":0.006222255677011531,"score_gpt":0.2273470663723878,"score_spread":0.22112481069537626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2992378929","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47283542,0.003509629,0.0000012066212,0.0014043648,0.00068348274,0.00011705973,0.00013907223,0.000013241943,0.5212965],"genre_scores_gemma":[0.9929918,0.00012912681,0.000026349564,0.00016786266,0.0013993867,0.000011591518,0.000007727177,0.000017137889,0.005249028],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981996,0.00009837666,0.0002893636,0.00027967492,0.00029131531,0.0008417153],"domain_scores_gemma":[0.9995051,0.00003731633,0.00008649936,0.00012212423,0.000052773063,0.0001961689],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.00077022694,0.00021475369,0.00028423796,0.00026646006,0.0018981583,0.00020798799,0.00033762268,0.00010015414,0.001042032],"category_scores_gemma":[0.000011582951,0.00021252518,0.0000929299,0.00013926935,0.0033089614,0.00042399578,0.00006263755,0.00024241247,0.00001743352],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002970274,0.00031580313,0.06461739,0.00007932442,0.000042795415,0.00009172741,0.4685907,0.000063958665,0.0023698774,0.43094337,0.013972906,0.018882431],"study_design_scores_gemma":[0.0011175023,0.00017062019,0.086200476,0.00022092028,0.000046942045,0.000014667034,0.0739761,0.0003356338,0.0019476743,0.0035098665,0.8316422,0.0008173594],"about_ca_topic_score_codex":0.34902695,"about_ca_topic_score_gemma":0.4508307,"teacher_disagreement_score":0.81766933,"about_ca_system_score_codex":0.00079864846,"about_ca_system_score_gemma":0.00053844013,"threshold_uncertainty_score":0.99987113},"labels":[],"label_agreement":null},{"id":"W2992867552","doi":"","title":"Introducing Suzy Lake","year":2015,"lang":"en","type":"article","venue":"Comparative technology transfer and society","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Art history; Face (sociological concept); Art; Sociology; Visual arts; Social science","score_opus":0.06113169213000809,"score_gpt":0.27002301407892404,"score_spread":0.20889132194891596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2992867552","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91221476,0.0020336497,0.00058191636,0.0025000663,0.00032742985,0.00014196764,0.000030283294,0.00031883307,0.081851125],"genre_scores_gemma":[0.99814373,0.00015422009,0.00014340274,0.00018043283,0.00022004583,0.000018024144,0.000006040349,0.000005605148,0.0011284914],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946415,0.000011486471,0.0001135272,0.00017020862,0.00006282774,0.00017779668],"domain_scores_gemma":[0.99974155,0.00001803903,0.000007657964,0.000105803185,0.00009095062,0.000035982106],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000102736274,0.00012036034,0.00022411217,0.00003718752,0.00033736488,0.00003364199,0.00008277387,0.000060208506,0.00012080612],"category_scores_gemma":[0.0000018536963,0.00009298882,0.000055722205,0.000052908465,0.00089137297,0.00011827358,0.000025616357,0.00019205382,0.000030768115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000243549,0.00006248655,0.0042652315,0.00002508013,0.00021111821,0.0000011391912,0.52254754,0.0000059232593,0.00010976084,0.42781717,0.042521488,0.002408701],"study_design_scores_gemma":[0.0009690398,0.0003030401,0.0004405142,0.000018874449,0.000052750776,0.000005778463,0.16434474,0.00012754058,0.0010063542,0.010718523,0.82172734,0.00028549464],"about_ca_topic_score_codex":0.000013050404,"about_ca_topic_score_gemma":0.0009389969,"teacher_disagreement_score":0.77920586,"about_ca_system_score_codex":0.000009649585,"about_ca_system_score_gemma":0.000017769078,"threshold_uncertainty_score":0.3791974},"labels":[],"label_agreement":null},{"id":"W2994730577","doi":"10.12745/et.21.1.3522","title":"Review: Alexandra Johnston, &lt;i&gt;The City and the Parish: Drama in York and Beyond&lt;/i&gt;.","year":2018,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Art; Performance art; Art history; Visual arts","score_opus":0.015912254785444776,"score_gpt":0.22072486355761015,"score_spread":0.20481260877216537,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2994730577","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37008145,0.20156601,0.0000010672768,0.010935444,0.0005529984,0.00064946135,0.000039820075,0.00006479997,0.41610894],"genre_scores_gemma":[0.96383333,0.025252916,0.000010565252,0.0028099844,0.0013444999,0.000052089894,0.000003987974,0.0000209813,0.0066716406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987814,0.000145417,0.00030134365,0.00025887607,0.0001761745,0.00033679037],"domain_scores_gemma":[0.99919945,0.00021432216,0.00009092432,0.0003760208,0.00006857245,0.000050684095],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007218951,0.00023472287,0.0003798674,0.000051276424,0.001075182,0.00023490156,0.0002290784,0.00005117012,0.0006308746],"category_scores_gemma":[0.000020461748,0.00011869654,0.00007929982,0.00008310038,0.0021053415,0.00022161052,0.00014654867,0.00022491431,0.00008347641],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041509175,0.000097829135,0.009264686,0.00038658554,0.00027574095,0.0000072091607,0.2948697,2.831832e-7,0.000037993945,0.13115177,0.4743512,0.08914194],"study_design_scores_gemma":[0.0007710026,0.00014977314,0.0059365467,0.00031070272,0.000085544365,0.000008384515,0.0012752749,0.000008263236,0.000009301487,0.0027930574,0.98846006,0.00019208447],"about_ca_topic_score_codex":0.00041311243,"about_ca_topic_score_gemma":0.008010361,"teacher_disagreement_score":0.59375185,"about_ca_system_score_codex":0.000012575691,"about_ca_system_score_gemma":0.000021249338,"threshold_uncertainty_score":0.82695395},"labels":[],"label_agreement":null},{"id":"W2994826601","doi":"10.1177/1532708619884961","title":"Improvisational Drama as Inquiry: The Role of the Simulated-Actual in Meaning Making","year":2019,"lang":"en","type":"article","venue":"Culture Studies &#x2194 Critical Methodologies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Performative utterance; Improvisation; Dialogic; Drama; Psychology; Sociology; Variety (cybernetics); Aesthetics; Power (physics); Reading (process); Social psychology; Epistemology; Pedagogy; Visual arts; Art; Linguistics; Computer science","score_opus":0.1493265619730334,"score_gpt":0.4053865584241851,"score_spread":0.2560599964511517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2994826601","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6679266,0.026291955,0.000033127006,0.0113837505,0.0069092736,0.0012653813,0.00006119739,0.00025793808,0.2858708],"genre_scores_gemma":[0.9971048,0.0001771852,0.0007493184,0.00077664485,0.00058832986,0.000025022679,0.0000013133701,0.0000145148115,0.0005628689],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9981838,0.00045431947,0.00040232448,0.0002749197,0.00029776993,0.0003868869],"domain_scores_gemma":[0.995959,0.0033259257,0.00010111569,0.00029780008,0.00029948587,0.000016712083],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008532151,0.0002476912,0.00049092626,0.000047664027,0.0006524488,0.00007788349,0.00039496494,0.00008291955,0.00020962361],"category_scores_gemma":[0.0038405582,0.00011425635,0.00017044364,0.00010538073,0.0019029722,0.00021922113,0.00048769978,0.00042558712,0.000035076213],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007639718,0.000025958436,0.0021072375,0.00011044097,0.00018453138,0.0000010322456,0.3007353,0.00014418316,0.00047720864,0.6905878,0.0006099106,0.0049399724],"study_design_scores_gemma":[0.00024410007,0.00019790538,0.0013285974,0.00019977728,0.00008674616,0.0000030820636,0.6335068,0.000056171404,0.0011020245,0.2995646,0.063475244,0.00023496596],"about_ca_topic_score_codex":0.00005435067,"about_ca_topic_score_gemma":0.00019168742,"teacher_disagreement_score":0.39102322,"about_ca_system_score_codex":0.00004236576,"about_ca_system_score_gemma":0.000030555115,"threshold_uncertainty_score":0.70115805},"labels":[],"label_agreement":null},{"id":"W2995395021","doi":"10.1080/14452294.2019.1703207","title":"Generosity in performance","year":2019,"lang":"en","type":"article","venue":"NJ","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Generosity; Psychology; Political science; Law","score_opus":0.018897005135917636,"score_gpt":0.19281260895020375,"score_spread":0.1739156038142861,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2995395021","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6960957,0.000099890174,7.1593895e-8,0.000055839013,0.0002871839,0.000033920514,0.0000017585245,0.000014306169,0.3034113],"genre_scores_gemma":[0.981209,0.00008109775,0.000005302119,0.00016590083,0.0002204947,0.0000035121116,0.0000016816094,0.0000036100405,0.018309446],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971354,0.000004029795,0.00006073375,0.000064813044,0.00004869161,0.0001082124],"domain_scores_gemma":[0.9998825,0.000006328391,0.000011291002,0.00008027671,0.000010839198,0.000008727079],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000045982622,0.000045401852,0.000068926034,0.000027863021,0.000065144544,0.0000181669,0.000050372695,0.000010586006,0.0019053803],"category_scores_gemma":[5.574623e-7,0.00003518777,0.000016380092,0.000012098636,0.000030136922,0.000121703735,0.000019115969,0.000052510775,0.0013169535],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041003284,0.000063436484,0.86233896,0.000098742414,0.000018055416,0.000001513796,0.05805875,0.000051106832,0.00021604753,0.045535795,0.009458709,0.024117855],"study_design_scores_gemma":[0.0003341684,0.00009367255,0.124380626,0.000030027952,0.0000032774747,5.6674935e-7,0.00135144,0.00022850501,0.00042050926,0.00016299545,0.8728472,0.00014704379],"about_ca_topic_score_codex":0.00008763288,"about_ca_topic_score_gemma":0.0010149203,"teacher_disagreement_score":0.8633885,"about_ca_system_score_codex":0.00000904505,"about_ca_system_score_gemma":0.000005118728,"threshold_uncertainty_score":0.99946064},"labels":[],"label_agreement":null},{"id":"W299571403","doi":"10.1353/mdr.2000.0067","title":"South African Theatre As/And Intervention ed. by Marcia Blumberg and Dennis Walder (review)","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.010008601902801074,"score_gpt":0.21866937867023556,"score_spread":0.2086607767674345,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W299571403","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68993235,0.102842525,0.000011144815,0.0014247708,0.00010515521,0.0002534998,0.00008302663,0.00008298123,0.20526455],"genre_scores_gemma":[0.94705045,0.019860484,0.0000069951657,0.00054343086,0.00017740382,0.000024409486,0.000015540643,0.000017113141,0.03230414],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930763,0.00002937976,0.00016727012,0.00019805212,0.000102083955,0.00019558078],"domain_scores_gemma":[0.99974537,0.00001551867,0.000036248814,0.00012911328,0.000022477408,0.000051279952],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008901209,0.00014979915,0.00020058728,0.0000237425,0.0002984663,0.0000908939,0.00006609279,0.000027565471,0.0049071517],"category_scores_gemma":[0.0000019204797,0.00011615107,0.00006372337,0.000013838969,0.00017183565,0.00015337064,0.000040652405,0.00009040243,0.00014020658],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052353975,0.00007602658,0.0010518078,0.00038969875,0.00011051074,0.0000036700446,0.05385581,6.5886167e-7,0.000009766246,0.00093339785,0.077478655,0.86603767],"study_design_scores_gemma":[0.00047049718,0.00015777706,0.00052887126,0.00042483248,0.00011889572,0.000010012788,0.0028470543,0.00018172362,0.000017414905,0.0021625846,0.9927968,0.0002835636],"about_ca_topic_score_codex":0.00048610143,"about_ca_topic_score_gemma":0.0004999576,"teacher_disagreement_score":0.91531813,"about_ca_system_score_codex":0.000009147829,"about_ca_system_score_gemma":0.0000045378997,"threshold_uncertainty_score":0.9960025},"labels":[],"label_agreement":null},{"id":"W2996621516","doi":"10.18357/tar101201918930","title":"Big Daddy Lives or Don’t Say the F Word: Intersectional Feminist Directing in Theory and in Practice","year":2019,"lang":"en","type":"article","venue":"The Arbutus Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Oppression; Feminism; Intersectionality; Sociology; Gender studies; Feminist theory; Identity (music); Representation (politics); White (mutation); Black feminism; Feminist philosophy; Feminist pedagogy; Aesthetics; Art; Political science; Law; Politics","score_opus":0.03183016862880107,"score_gpt":0.295373382204649,"score_spread":0.2635432135758479,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2996621516","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18930899,0.3103989,7.076583e-7,0.008338714,0.0012063085,0.0011248041,0.000012112535,0.000043449123,0.489566],"genre_scores_gemma":[0.8786659,0.10841021,0.000006325541,0.005137565,0.00040876534,0.00006463497,0.0000015445313,0.000012393699,0.007292666],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990241,0.0003460854,0.00023852293,0.00013581551,0.00009245544,0.00016299933],"domain_scores_gemma":[0.99826825,0.0014004299,0.000100372774,0.0001958392,0.000022745802,0.000012376269],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017536787,0.00011732236,0.00022629014,0.000034678764,0.00023467818,0.00006772756,0.0001507814,0.000011659603,0.0007357897],"category_scores_gemma":[0.00019515624,0.000050678453,0.00004138159,0.000076974786,0.00016932725,0.00014103562,0.0001014922,0.00024290172,0.000095882315],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010523334,0.00021677681,0.0075932005,0.0026923926,0.00030629837,0.000020037678,0.32459208,0.0000072949842,0.00001128707,0.1374347,0.0053376243,0.520736],"study_design_scores_gemma":[0.00016581973,0.000055605895,0.00096903724,0.002237242,0.00005641986,0.000030010175,0.04084218,0.000005771731,0.000002124941,0.000660339,0.95486045,0.0001150202],"about_ca_topic_score_codex":0.00026947242,"about_ca_topic_score_gemma":0.004555113,"teacher_disagreement_score":0.9495228,"about_ca_system_score_codex":0.000020853895,"about_ca_system_score_gemma":0.000022846518,"threshold_uncertainty_score":0.80563813},"labels":[],"label_agreement":null},{"id":"W2996921787","doi":"10.1080/23322551.2019.1690234","title":"Performance design as mnemonic device for critical engagement with the spatial politics of urban change: the<i>ARCADE</i>project","year":2019,"lang":"en","type":"article","venue":"Theatre & Performance Design","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Vision; Visual arts; Citizen journalism; Mnemonic; Aesthetics; Narrative; Politics; Urban design; Sociology; Scenography; Architecture; Urban space; Presentation (obstetrics); Art; Computer science; Psychology; Political science; Literature","score_opus":0.08587908875361193,"score_gpt":0.27994327452262086,"score_spread":0.1940641857690089,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2996921787","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92604613,0.002952483,0.0024615894,0.005001211,0.0015198176,0.008015147,0.00012889091,0.00027004312,0.053604655],"genre_scores_gemma":[0.9932113,0.000591166,0.00051320676,0.00092037953,0.001504349,0.0007102916,0.0000126083805,0.000074543714,0.0024621047],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99741024,0.0002598058,0.00046600137,0.00040010255,0.0005437139,0.0009201336],"domain_scores_gemma":[0.9977903,0.00093682046,0.00019399893,0.0007189094,0.00029304594,0.00006694243],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.001432099,0.00048719236,0.0005093158,0.00012933741,0.0017300012,0.00014079908,0.0007270273,0.00008179716,0.00033070287],"category_scores_gemma":[0.000015888925,0.0002538021,0.00015362947,0.00014745575,0.0009108327,0.0005964602,0.00011514018,0.0004424095,0.0001867171],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.010278674,0.0011943151,0.019263547,0.0055820164,0.0019568896,0.000011525043,0.60092646,0.0033431097,0.000999085,0.100579485,0.06240036,0.19346455],"study_design_scores_gemma":[0.0055927816,0.023119345,0.004521554,0.0015865342,0.0017514145,0.000095263924,0.0506548,0.05899267,0.021543775,0.0011994956,0.8281053,0.0028371261],"about_ca_topic_score_codex":0.00032875125,"about_ca_topic_score_gemma":0.00009372938,"teacher_disagreement_score":0.7657049,"about_ca_system_score_codex":0.00007088572,"about_ca_system_score_gemma":0.00026645247,"threshold_uncertainty_score":0.9999914},"labels":[],"label_agreement":null},{"id":"W2997486514","doi":"","title":"Michael Chekhov : Teaching (Acting) in a Foreign Land","year":2011,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.3285181742536867,"score_gpt":0.48878801860982835,"score_spread":0.16026984435614167,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2997486514","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.59173226,0.00488367,0.000009110883,0.000043220927,0.00040650752,0.00019645806,0.000020716245,0.00002828797,0.40267977],"genre_scores_gemma":[0.9949679,0.0022984059,0.00007587767,0.0002320439,0.00050306314,0.000029371551,0.0000044222897,0.000037281377,0.0018516342],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99829495,0.00012236537,0.0006249336,0.0002712324,0.00028655695,0.000399961],"domain_scores_gemma":[0.9989447,0.0001448833,0.00042527416,0.0002728519,0.00011112695,0.00010116711],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010537135,0.0002679318,0.00059449935,0.0005857818,0.0005352831,0.00068814383,0.0012433518,0.000054965574,0.019001521],"category_scores_gemma":[0.000072648785,0.00021333169,0.00014341048,0.00011895698,0.00017703744,0.0023777648,0.00052738196,0.00050715124,0.00003531292],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002845814,0.00031871797,0.8859628,0.000121589284,0.00023523919,0.00003969279,0.05651964,0.000006381208,0.00075572083,0.006897875,0.020349732,0.028508045],"study_design_scores_gemma":[0.0016805078,0.00006587022,0.63291323,0.0013514595,0.00017477809,0.00002020819,0.015358523,0.000066911634,0.0042507844,0.046508674,0.29635864,0.0012504043],"about_ca_topic_score_codex":0.008620062,"about_ca_topic_score_gemma":0.0039991788,"teacher_disagreement_score":0.40323564,"about_ca_system_score_codex":0.00004312652,"about_ca_system_score_gemma":0.000043932087,"threshold_uncertainty_score":0.9979816},"labels":[],"label_agreement":null},{"id":"W2998404441","doi":"10.3138/ctr.180.009","title":"An Interview with Intimacy Coach Siobhan Richardson","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Coaching; Context (archaeology); Choreography; Art; Visual arts; Art history; Psychology; Dance; History; Archaeology","score_opus":0.0248962765355712,"score_gpt":0.2422057034146863,"score_spread":0.21730942687911511,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2998404441","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010516413,0.21503559,0.0000021516362,0.0051463973,0.0005716223,0.0014675109,0.00013968759,0.00010412764,0.76701653],"genre_scores_gemma":[0.89659905,0.075350575,0.000040376417,0.01840657,0.00078677095,0.0001236656,0.00013275968,0.000080856626,0.008479379],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989284,0.00008719357,0.00022134834,0.00025269116,0.00012600825,0.0003843471],"domain_scores_gemma":[0.9990647,0.000017223525,0.000062076215,0.000497698,0.00008440228,0.00027391518],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028889795,0.00022476375,0.0004539941,0.00009850375,0.00022667111,0.000092042006,0.00027497456,0.000025630266,0.010004729],"category_scores_gemma":[0.000002055928,0.00014734379,0.00009692911,0.00007818702,0.000096035634,0.0002902808,0.000017168515,0.00014866433,0.0018027104],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017670496,0.00006232815,0.0044708387,0.010110423,0.00025952802,0.000033526278,0.0124999415,0.0000019642014,0.000004019989,0.028383506,0.077520736,0.8666355],"study_design_scores_gemma":[0.000121601355,0.0002280783,0.00010814694,0.0039465,0.0000924767,0.000011503233,0.0008164766,0.0000074189597,0.000002081628,0.000058144204,0.9943603,0.00024722976],"about_ca_topic_score_codex":0.021261098,"about_ca_topic_score_gemma":0.37469798,"teacher_disagreement_score":0.9168396,"about_ca_system_score_codex":0.0000830426,"about_ca_system_score_gemma":0.00018822413,"threshold_uncertainty_score":0.9989745},"labels":[],"label_agreement":null},{"id":"W2998696613","doi":"10.5965/2595034702212019104","title":"Por que ensinar a encenação de marionetes?","year":2019,"lang":"pt","type":"article","venue":"Móin-Móin Revista de estudos sobre teatro de formas animadas","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Philosophy; Humanities","score_opus":0.015118305775936805,"score_gpt":0.23997185762819803,"score_spread":0.22485355185226122,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2998696613","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87584436,0.015586546,0.00031242406,0.0023545895,0.0016740585,0.0023759203,0.0004980724,0.00058460317,0.1007694],"genre_scores_gemma":[0.94699013,0.004728776,0.00064205687,0.0017184464,0.0022407006,0.0001226379,0.000105005405,0.00021672387,0.043235503],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9937164,0.00037716623,0.0013451646,0.0010325873,0.0007822408,0.002746433],"domain_scores_gemma":[0.99683493,0.00032555935,0.00064955157,0.0012216906,0.00038282175,0.00058546336],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0016578899,0.0013000582,0.0015896312,0.00036560209,0.0017319842,0.0014468613,0.0010085457,0.00045350834,0.0033108282],"category_scores_gemma":[0.000101808844,0.0011859385,0.0008572968,0.00031381217,0.00055629975,0.0010418501,0.00058504776,0.001436961,0.0023650646],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0022863254,0.0018081664,0.35129339,0.0058978023,0.0025553212,0.0007151148,0.1785418,0.00012381529,0.0020032795,0.20338424,0.22495152,0.026439218],"study_design_scores_gemma":[0.002183583,0.0021538564,0.023928707,0.0014209003,0.0008269051,0.0003861904,0.02271862,0.002431691,0.00020601,0.0006161661,0.94120103,0.0019263625],"about_ca_topic_score_codex":0.0018093144,"about_ca_topic_score_gemma":0.0011846853,"teacher_disagreement_score":0.71624947,"about_ca_system_score_codex":0.0010178926,"about_ca_system_score_gemma":0.0010079074,"threshold_uncertainty_score":0.9999751},"labels":[],"label_agreement":null},{"id":"W2999341347","doi":"","title":"Gender, Genre, and Power in the Theatre Blogosphere","year":2019,"lang":"en","type":"article","venue":"Scholarship at UWindsor (University of Windsor)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Windsor","keywords":"Blogosphere; Power (physics); Art; Aesthetics; History; Media studies; Sociology; Literature; Gender studies; Political science; Computer science; World Wide Web; The Internet","score_opus":0.02247725505222006,"score_gpt":0.198615324438436,"score_spread":0.17613806938621593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2999341347","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78986424,0.00072801206,3.6078038e-7,0.0004619336,0.00012732821,0.00017798654,0.000026102267,0.000019443254,0.20859456],"genre_scores_gemma":[0.99139524,0.00012244807,0.00002381129,0.000232163,0.00006273107,3.5445527e-7,0.00000690922,0.000011044797,0.008145322],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99902046,0.000099328,0.00011779596,0.00024692566,0.0002424336,0.0002730357],"domain_scores_gemma":[0.9994223,0.000091811424,0.00007847658,0.00031216754,0.000051921525,0.000043317537],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003964566,0.00016189723,0.00023765986,0.00009422083,0.00048000153,0.000051238017,0.00037688934,0.000077958495,0.0037324626],"category_scores_gemma":[0.0000045485763,0.00013173626,0.00010022971,0.00008359597,0.00030847383,0.00053790404,0.00016542272,0.0003058732,0.00030197972],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031863755,0.00015457589,0.69349355,0.00014199388,0.00016172152,0.00003625626,0.2722172,0.000006711751,0.0004033481,0.027044985,0.0021991148,0.0038218752],"study_design_scores_gemma":[0.0017618095,0.00032996444,0.613117,0.00007564084,0.000079116464,0.000016416716,0.17040056,0.000011677229,0.00004698779,0.0020771357,0.21168254,0.00040119208],"about_ca_topic_score_codex":0.0002467981,"about_ca_topic_score_gemma":0.0029033434,"teacher_disagreement_score":0.20948341,"about_ca_system_score_codex":0.000025268171,"about_ca_system_score_gemma":0.000024158551,"threshold_uncertainty_score":0.99717826},"labels":[],"label_agreement":null},{"id":"W2999684552","doi":"10.1007/978-3-030-29318-5_1","title":"Introduction: Why Write This Book Now?","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Political science; Media studies; Sociology; Gender studies; Law; Aesthetics; Public relations; Art","score_opus":0.025200553430030154,"score_gpt":0.19780982592572216,"score_spread":0.172609272495692,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2999684552","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.4735317e-7,0.003968444,0.000001974077,0.028680092,0.0018413727,0.0001225729,0.00005760953,0.00019396105,0.9651337],"genre_scores_gemma":[0.000031086292,0.0027817918,0.00001542074,0.0074150655,0.028576013,0.000006573631,0.00006379803,0.000043760527,0.9610665],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913394,0.0000036626363,0.00023461266,0.0003023883,0.00017394352,0.00015146958],"domain_scores_gemma":[0.9995308,0.000015483458,0.00007651845,0.00023597194,0.00009210051,0.000049149658],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003588172,0.00029261404,0.00034485024,0.00006948206,0.0003523413,0.00011673209,0.00012531817,0.00008356174,0.2892675],"category_scores_gemma":[0.0000013906285,0.00022485109,0.00017150621,0.0000039198158,0.00024245502,0.00018904368,0.00008337864,0.00031337296,0.013945232],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008130167,0.0000019840566,1.6864173e-7,0.0000283643,0.00008196512,0.0000024398435,0.0029691178,4.69306e-8,2.1226563e-7,0.44972715,0.5461538,0.0010266395],"study_design_scores_gemma":[0.00007744206,0.000101274025,1.3529628e-7,0.000030608895,0.00008193125,0.0000029113903,0.00026757322,0.0000012447576,0.000005702649,0.005650087,0.99348193,0.0002991485],"about_ca_topic_score_codex":0.000023090839,"about_ca_topic_score_gemma":0.00066526036,"teacher_disagreement_score":0.44732815,"about_ca_system_score_codex":0.0000222143,"about_ca_system_score_gemma":0.00001991725,"threshold_uncertainty_score":0.98682255},"labels":[],"label_agreement":null},{"id":"W2999740080","doi":"10.1386/atr_00013_1","title":"Return to the Nile: Celebratory theatre as cultural resistance","year":2019,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria; Brock University","funders":"","keywords":"Resistance (ecology); Narrative; Citizen journalism; Sociology; Refugee; Gender studies; Aesthetics; Political science; Law; Art; Literature; Ecology","score_opus":0.04116672626753456,"score_gpt":0.30490079053007174,"score_spread":0.2637340642625372,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2999740080","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.160609,0.00100998,3.7689298e-7,0.0054043303,0.00038068317,0.00095124304,0.000032529784,0.00009438667,0.83151746],"genre_scores_gemma":[0.93952465,0.00020875644,0.000014775838,0.0007716111,0.0016917671,0.00023000629,0.00001328903,0.000042765972,0.057502348],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973487,0.00014602923,0.0002602507,0.00047926174,0.00088655954,0.00087916636],"domain_scores_gemma":[0.99841946,0.00034168133,0.000039490133,0.0008563948,0.00020707588,0.00013589535],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0011283312,0.0002573054,0.00028854114,0.0001484903,0.0014756776,0.00037013763,0.00078231277,0.00007134784,0.0036246988],"category_scores_gemma":[0.0000069129887,0.00014410858,0.00010759743,0.00025196036,0.00046874405,0.00017428018,0.00031620174,0.00072223356,0.011642418],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00060670904,0.000089101006,0.00058746344,0.00013910023,0.0001607265,0.000007874119,0.0898023,0.000009281051,0.0013569342,0.37286258,0.49873897,0.03563894],"study_design_scores_gemma":[0.0002574338,0.0001142564,0.00008038698,0.00004729484,0.000009911564,0.0000015392253,0.038470637,0.000003126155,0.0009672466,0.004548637,0.95527995,0.00021959255],"about_ca_topic_score_codex":0.00039838604,"about_ca_topic_score_gemma":0.004069981,"teacher_disagreement_score":0.7789157,"about_ca_system_score_codex":0.00008777905,"about_ca_system_score_gemma":0.00009806433,"threshold_uncertainty_score":0.9998243},"labels":[],"label_agreement":null},{"id":"W3000063447","doi":"10.18357/sremd01201819403","title":"The Play's the Thing Wherein We'll Catch the Conscience of the Times","year":2020,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Conscience; Philosophy; Aesthetics; Psychoanalysis; Art; Psychology; Epistemology","score_opus":0.0553077979448338,"score_gpt":0.25524622368297767,"score_spread":0.19993842573814385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3000063447","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23305532,0.42225376,0.00007382671,0.16152672,0.0014004807,0.003052826,0.000090427784,0.00007873853,0.1784679],"genre_scores_gemma":[0.9754074,0.020713573,0.0000149747975,0.0008334258,0.00034253244,0.000026019085,3.842158e-7,0.000012077306,0.0026495692],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986118,0.00021866831,0.00045221738,0.00016637551,0.00031054404,0.0002403614],"domain_scores_gemma":[0.9986481,0.00031474582,0.0003355623,0.0005672677,0.00010535244,0.000028957342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084379973,0.00016645179,0.00033525593,0.000009084136,0.0012499802,0.00015881952,0.0011163473,0.000023626575,0.00017145253],"category_scores_gemma":[0.00010836952,0.000054397926,0.00024514657,0.00008760405,0.0012419167,0.0001642779,0.00023967774,0.0002556009,0.000051122195],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007190515,0.000056086512,0.0020617633,0.00046272136,0.00022040504,5.714538e-7,0.5677453,0.0000806853,0.0005521984,0.12630989,0.044830646,0.25760782],"study_design_scores_gemma":[0.00013783669,0.000108038555,0.00045847488,0.00034995002,0.000092247945,0.0000013949112,0.006315247,0.0007626989,0.0004902559,0.0040927758,0.98704946,0.00014161682],"about_ca_topic_score_codex":0.00045517617,"about_ca_topic_score_gemma":0.00087469415,"teacher_disagreement_score":0.94221884,"about_ca_system_score_codex":0.00000729472,"about_ca_system_score_gemma":0.00006081271,"threshold_uncertainty_score":0.96139634},"labels":[],"label_agreement":null},{"id":"W3000626431","doi":"10.14325/mississippi/9781496817396.003.0016","title":"Sass and Circumstance","year":2018,"lang":"en","type":"book-chapter","venue":"University Press of Mississippi eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sass; Art; Quarter (Canadian coin); Performance art; Aesthetics; Visual arts; Art history; History; Computer science","score_opus":0.028019615843172876,"score_gpt":0.18011116765486934,"score_spread":0.15209155181169648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3000626431","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007469499,0.0008826967,0.0000023152513,0.000030027804,0.00017828819,0.0001188645,0.00022197522,0.00004592376,0.99777293],"genre_scores_gemma":[0.009964985,0.00034391272,0.000027232714,0.00002612563,0.00034081368,1.4697012e-7,0.0000061349897,0.000020670344,0.98927],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993138,0.000008904415,0.0001412527,0.00023868338,0.00014774979,0.00014963197],"domain_scores_gemma":[0.9993373,0.00003820762,0.0001779486,0.00024545638,0.0001310734,0.00006999619],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000049213366,0.00022832402,0.00034786883,0.00010188981,0.00031995875,0.000029239573,0.00020895315,0.00011814976,0.0013438219],"category_scores_gemma":[0.0000018616992,0.00022545701,0.0001035332,0.0000015555395,0.00097086094,0.00007629971,0.00016057945,0.00015148529,0.000014113909],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012581063,0.000009870085,0.00000788455,0.00031236574,0.0003737634,0.000023020099,0.024554601,9.804874e-8,0.000012744543,0.9262662,0.03546864,0.012845009],"study_design_scores_gemma":[0.00022904573,0.00008163245,0.0000055444016,0.0002675877,0.00016830084,0.0000015394442,0.0010575722,0.0000018485606,0.00006730972,0.0024053047,0.99546915,0.00024516627],"about_ca_topic_score_codex":0.00008414182,"about_ca_topic_score_gemma":0.00022249423,"teacher_disagreement_score":0.9600005,"about_ca_system_score_codex":0.000022303991,"about_ca_system_score_gemma":0.000033318156,"threshold_uncertainty_score":0.99956906},"labels":[],"label_agreement":null},{"id":"W3000662509","doi":"10.24908/iqurcp.14059","title":"The Guide: An Emerging Role in Participatory Theatre","year":2020,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Presentation (obstetrics); Aesthetics; Agency (philosophy); Feeling; Apprehension; Audience response; Space (punctuation); Individualism; Sociology; Public relations; Audience reception; Perspective (graphical); Media studies; Psychology; Social psychology; Political science; Art; Visual arts; Engineering; Social science; Computer science; Law; Cognitive psychology","score_opus":0.2334469100736365,"score_gpt":0.3904348200729981,"score_spread":0.15698790999936163,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3000662509","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5001142,0.0010381319,0.000024113957,0.20142601,0.00046082633,0.0010672905,0.000015490406,0.00038014015,0.29547375],"genre_scores_gemma":[0.99569196,0.0012218403,0.00001486606,0.00035761893,0.0012068008,0.00017873924,0.0000041272633,0.000034544697,0.0012895336],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970975,0.00012235083,0.00046546038,0.00048974925,0.0007849933,0.0010399283],"domain_scores_gemma":[0.9985464,0.00019251106,0.00008086977,0.00018867904,0.00072618225,0.00026533107],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0016010945,0.0002457074,0.0002784072,0.00015961421,0.0015440744,0.0009804423,0.00072907837,0.000059660942,0.00014822869],"category_scores_gemma":[0.00015474438,0.00016911206,0.0000660194,0.00027356934,0.0014178567,0.001015208,0.00030328406,0.00078229187,0.00019696227],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000191404,0.00008223613,0.0077827284,0.00010851697,0.000054565717,0.000010023375,0.36674482,0.000004703886,0.000506755,0.5670948,0.021516478,0.03590295],"study_design_scores_gemma":[0.0004316037,0.00056029705,0.00031509012,0.00011898723,0.000013127577,0.0000013707975,0.28191653,0.0029289736,0.000558369,0.065515295,0.6472718,0.00036856448],"about_ca_topic_score_codex":0.0010119234,"about_ca_topic_score_gemma":0.0018424854,"teacher_disagreement_score":0.6257553,"about_ca_system_score_codex":0.00008220209,"about_ca_system_score_gemma":0.00021854442,"threshold_uncertainty_score":0.9997558},"labels":[],"label_agreement":null},{"id":"W3000879851","doi":"10.3138/ctr.181.014","title":"Recalibrating Performance at rEvolver Festival","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Politics; Performance art; Work (physics); Art history; Visual arts; Sociology; Selection (genetic algorithm); Media studies; Art; Political science; Engineering; Law; Computer science; Artificial intelligence","score_opus":0.04666260838563726,"score_gpt":0.22296509796135328,"score_spread":0.176302489575716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3000879851","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0077234386,0.17205708,4.899155e-7,0.02782044,0.00038177296,0.00043941283,0.0000978703,0.00011134625,0.7913681],"genre_scores_gemma":[0.72021496,0.18225516,0.00009052855,0.076162584,0.004145135,0.0000888113,0.00010999825,0.00009989702,0.016832944],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902135,0.000037954862,0.00025066623,0.00021508794,0.00011160097,0.0003633266],"domain_scores_gemma":[0.9993174,0.000025499441,0.000057565136,0.00018797943,0.000041717794,0.00036984548],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011440742,0.0001838414,0.00033081972,0.00003296351,0.00061216,0.000045073368,0.00018301529,0.00002572171,0.008099168],"category_scores_gemma":[0.000016329794,0.00014191195,0.00010976769,0.00007491858,0.00011312939,0.00021659315,0.000042355718,0.00014077463,0.0016014568],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011209642,0.000005856272,0.0024831106,0.0047381306,0.000077152625,0.000025853851,0.00957692,0.0000023445766,0.000004827183,0.00488612,0.6339981,0.3441904],"study_design_scores_gemma":[0.0000673175,0.000056198198,0.000056039196,0.0014412326,0.00005258,0.0000060014268,0.0001655576,0.000044284086,0.000010004361,0.000013479904,0.9978892,0.0001981008],"about_ca_topic_score_codex":0.003918366,"about_ca_topic_score_gemma":0.05803912,"teacher_disagreement_score":0.77453524,"about_ca_system_score_codex":0.000093331044,"about_ca_system_score_gemma":0.00013596982,"threshold_uncertainty_score":0.9991759},"labels":[],"label_agreement":null},{"id":"W3001090403","doi":"10.3138/ctr.181.002","title":"Applied Theatre and Education: We Are Not-Yet …","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Curriculum; Theatre studies; Politics; Space (punctuation); Political theatre; Field (mathematics); Sociology; Visual arts; Media studies; Aesthetics; Pedagogy; Political science; Drama; Art; Computer science; Law","score_opus":0.03673445013026946,"score_gpt":0.2303120300556562,"score_spread":0.19357757992538674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3001090403","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00035102174,0.33448237,1.6231154e-7,0.08121348,0.00026713827,0.0004231139,0.00012326325,0.000048111706,0.5830914],"genre_scores_gemma":[0.54896694,0.34918827,0.000028242555,0.09568721,0.0025028298,0.00015598659,0.000057440586,0.00005687244,0.0033561974],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991695,0.000025390435,0.00020744969,0.00023791869,0.00008823348,0.00027145067],"domain_scores_gemma":[0.9992724,0.000026568818,0.00006123719,0.00020364473,0.000040822295,0.0003952916],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000076225086,0.0001982668,0.0003766228,0.000048242866,0.00038844117,0.00007956404,0.0001501065,0.000030265703,0.0024699732],"category_scores_gemma":[0.0000048581005,0.00015274371,0.000075365584,0.00006660004,0.00013226205,0.00009614287,0.000025114477,0.00013253349,0.00047142725],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004746543,0.00000888466,0.00018833327,0.0026839396,0.00004905264,0.000004141469,0.007060366,9.622469e-8,9.707655e-7,0.030934837,0.3210928,0.6379718],"study_design_scores_gemma":[0.00007105047,0.000022513681,0.000051859497,0.0012028726,0.00009062048,0.000004878514,0.0025341918,9.900274e-7,0.00000275086,0.00033557432,0.99548596,0.00019676433],"about_ca_topic_score_codex":0.0040626186,"about_ca_topic_score_gemma":0.077998996,"teacher_disagreement_score":0.6743931,"about_ca_system_score_codex":0.000038497164,"about_ca_system_score_gemma":0.00027771987,"threshold_uncertainty_score":0.9984419},"labels":[],"label_agreement":null},{"id":"W3001198345","doi":"10.3138/ctr.181.003","title":"Applied Theatre Encounters at Canada’s National Holocaust Monument","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; The Holocaust; Narrative; Performativity; Context (archaeology); Citizen journalism; Architecture; Visual arts; Art; Aesthetics; Sociology; Art history; History; Archaeology; Literature; Gender studies; Law; Political science","score_opus":0.030201308749819904,"score_gpt":0.21354299533541823,"score_spread":0.18334168658559832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3001198345","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004918674,0.06564709,3.3408213e-7,0.045174155,0.00036000987,0.0005066683,0.0005446514,0.000044158303,0.88723105],"genre_scores_gemma":[0.8968486,0.020916998,0.000006590193,0.07792894,0.0012512514,0.00009284676,0.00015705537,0.000040661023,0.0027570387],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998691,0.000025746176,0.00028624173,0.00027150882,0.00031158846,0.0004138748],"domain_scores_gemma":[0.99921596,0.000028900844,0.00006473754,0.00017066162,0.000075056174,0.0004446559],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011662856,0.00024025587,0.0003681863,0.00004290997,0.0005490808,0.000047283225,0.00024100926,0.000027282398,0.0057904953],"category_scores_gemma":[0.000005352312,0.00019097485,0.00009816307,0.00006499708,0.00010745267,0.000074454525,0.000040336025,0.00013294774,0.0004887198],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009293759,0.0000053438944,0.00011735367,0.00088439084,0.000115324015,0.000019530258,0.0035269326,0.0000072104426,0.0000017530684,0.009265852,0.95486027,0.031186743],"study_design_scores_gemma":[0.000108428845,0.000022218295,0.000029505372,0.0003201608,0.000061551094,0.0000044330254,0.0007985167,0.0000072559897,0.000006008401,0.00004651104,0.9983613,0.00023413943],"about_ca_topic_score_codex":0.7326269,"about_ca_topic_score_gemma":0.99597716,"teacher_disagreement_score":0.89635676,"about_ca_system_score_codex":0.00071731163,"about_ca_system_score_gemma":0.001413176,"threshold_uncertainty_score":0.9951183},"labels":[],"label_agreement":null},{"id":"W3001368387","doi":"10.3138/ctr.181.010","title":"Shifting Perspectives and Practices: Mirror Theatre’s Stop/Start/Continue Evolution","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Repertoire; Through-the-lens metering; Sociology; Public relations; Visual arts; Media studies; Lens (geology); Political science; Art; Engineering; Literature","score_opus":0.05369125085395125,"score_gpt":0.26868262298729595,"score_spread":0.21499137213334468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3001368387","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012057274,0.6550368,0.0000018673901,0.062109265,0.00023780066,0.00072034774,0.00015436219,0.0001080109,0.26957428],"genre_scores_gemma":[0.91149366,0.08022029,0.00007659001,0.006295232,0.0010957412,0.000049007554,0.00001934576,0.000041737963,0.00070839596],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988123,0.00009846421,0.00025790525,0.00032989378,0.0001182428,0.00038320327],"domain_scores_gemma":[0.9991141,0.00007162803,0.00018416924,0.00019514529,0.00008389203,0.00035105835],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023899105,0.00022888828,0.0004017127,0.00006541224,0.00062258425,0.00012600594,0.00015270378,0.000035644898,0.0014253522],"category_scores_gemma":[0.00007008496,0.0001819615,0.00010918942,0.000086242915,0.00020158946,0.00039822952,0.000032365853,0.00021352683,0.00021314486],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000082382205,0.00006750548,0.0059472006,0.009291544,0.00055250066,0.00009209552,0.345885,4.3273116e-7,0.00002762311,0.14193061,0.08425624,0.41186684],"study_design_scores_gemma":[0.00013120536,0.00008682371,0.00023466194,0.0010257177,0.00016957056,0.000007391312,0.023006378,0.000012004615,0.0000011596388,0.00023026824,0.9748562,0.0002386218],"about_ca_topic_score_codex":0.050801054,"about_ca_topic_score_gemma":0.38654935,"teacher_disagreement_score":0.8994364,"about_ca_system_score_codex":0.00010953162,"about_ca_system_score_gemma":0.00022162111,"threshold_uncertainty_score":0.99948746},"labels":[],"label_agreement":null},{"id":"W3001838191","doi":"10.3138/ctr.181.009","title":"Finding What’s Real in Research and Theatre","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Media studies; Performance art; Sociology; Theatre studies; Visual arts; Gender studies; History; Art history; Art","score_opus":0.19733795391311024,"score_gpt":0.3374118246890017,"score_spread":0.14007387077589148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3001838191","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0074406494,0.41318628,3.2267213e-8,0.05601338,0.00020670274,0.00051841396,0.000040667903,0.000029959712,0.52256393],"genre_scores_gemma":[0.42005885,0.5739479,0.000004375976,0.004499246,0.0006266205,0.000037961687,0.000013201224,0.000022023261,0.00078984734],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988386,0.0000944791,0.00022129709,0.00024200192,0.00014070356,0.0004629073],"domain_scores_gemma":[0.99936235,0.000082633946,0.000023068445,0.00016528869,0.000047942405,0.0003187029],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00046126495,0.00013912036,0.00032666884,0.00013647281,0.00038512738,0.00018475148,0.0001630558,0.000032626293,0.001197673],"category_scores_gemma":[0.000011745672,0.00010935335,0.00004583995,0.00015283431,0.00021793402,0.00033584138,0.00004202902,0.00028136364,0.00022132599],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013728757,0.000014990056,0.0030831322,0.0037728485,0.000050485498,0.00010595949,0.049849894,3.5240535e-7,0.0000024851931,0.053745687,0.083825655,0.8055348],"study_design_scores_gemma":[0.000093128256,0.00007838046,0.00011902835,0.0027641673,0.000013846073,0.0000032934286,0.0061112028,0.0000047039157,0.0000013353571,0.00044939906,0.9902277,0.00013380454],"about_ca_topic_score_codex":0.052915223,"about_ca_topic_score_gemma":0.5510418,"teacher_disagreement_score":0.90640205,"about_ca_system_score_codex":0.0000803076,"about_ca_system_score_gemma":0.00016876863,"threshold_uncertainty_score":0.9997154},"labels":[],"label_agreement":null},{"id":"W3002364225","doi":"10.3138/ctr.181.011","title":"<i>Return to the Nile: Tales of Migration</i>","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Curiosity; Settlement (finance); Narrative; Refugee; Immigration; Wish; Sociology; Gender studies; History; Psychology; Social psychology; Anthropology; Art; Literature; Archaeology","score_opus":0.032132329236511874,"score_gpt":0.2279332834423707,"score_spread":0.19580095420585883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3002364225","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002356236,0.3923202,0.0000026544137,0.27276134,0.0003952946,0.00088632834,0.00048846425,0.000038912283,0.33075058],"genre_scores_gemma":[0.8243444,0.08205509,0.000018229137,0.09005539,0.0016457461,0.00007207285,0.00003555634,0.00002732147,0.0017462032],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994336,0.000029670115,0.00018689592,0.00010257938,0.00008138965,0.00016591152],"domain_scores_gemma":[0.99953,0.000024618923,0.00003944056,0.0001728343,0.00005455766,0.00017852317],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009457526,0.00010029197,0.00022509646,0.00002425909,0.00021503799,0.000026092479,0.00019497382,0.000011414546,0.0014337935],"category_scores_gemma":[0.000015269969,0.000058553574,0.000090938855,0.00008111296,0.00008061442,0.000056928802,0.000016626942,0.000065875574,0.00034401222],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000026765952,0.0000036090323,0.0002777258,0.0010633086,0.0000464843,0.0000025569582,0.019102897,0.0000014116707,0.000003246977,0.012741783,0.86586684,0.10088747],"study_design_scores_gemma":[0.0000236839,0.00004033125,0.000020109603,0.00051114435,0.00004826262,0.0000011906981,0.0007614837,0.000003505721,0.000012514797,0.000031167867,0.9984688,0.00007776737],"about_ca_topic_score_codex":0.021880684,"about_ca_topic_score_gemma":0.63173383,"teacher_disagreement_score":0.82198817,"about_ca_system_score_codex":0.000016332753,"about_ca_system_score_gemma":0.000109015346,"threshold_uncertainty_score":0.99947906},"labels":[],"label_agreement":null},{"id":"W3002637380","doi":"10.3138/ctr.181.013","title":"Camas Lilies and <i>Lysistrata</i>","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sparrow; Indigenous; Agency (philosophy); Colonialism; Performance art; Sociology; Art; Art history; History; Social science; Archaeology","score_opus":0.0327352530248628,"score_gpt":0.21679846405117378,"score_spread":0.18406321102631099,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3002637380","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009715769,0.46488136,2.631205e-7,0.038095046,0.00011878761,0.00022591218,0.00013904505,0.000044522178,0.49552348],"genre_scores_gemma":[0.5963519,0.3409382,0.000017929111,0.05878332,0.0014188114,0.000036053178,0.000042348707,0.000031624306,0.0023798002],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993984,0.000021154567,0.00015192325,0.00015373953,0.00005905122,0.0002157492],"domain_scores_gemma":[0.99950546,0.000016915523,0.000026867525,0.000121054174,0.00002780317,0.00030189057],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006256821,0.00012952856,0.0002725979,0.000025189083,0.00028436203,0.00006376287,0.00009573013,0.000016026834,0.001715985],"category_scores_gemma":[0.000007875525,0.000098495475,0.00006427195,0.000041748426,0.0001414548,0.00010530301,0.00001618438,0.00008519475,0.00028656624],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005385466,0.000006783463,0.00087346876,0.0052114865,0.00015289585,0.000042650398,0.018312292,2.1631196e-7,0.0000032149449,0.053001694,0.51581806,0.40657187],"study_design_scores_gemma":[0.000045019682,0.000033251843,0.000023082679,0.00044600302,0.00008078601,0.0000040613013,0.00070793164,0.0000017378945,0.0000023838156,0.000083934574,0.99844366,0.00012815993],"about_ca_topic_score_codex":0.01378503,"about_ca_topic_score_gemma":0.2679439,"teacher_disagreement_score":0.59538037,"about_ca_system_score_codex":0.00001629327,"about_ca_system_score_gemma":0.000091475806,"threshold_uncertainty_score":0.9991966},"labels":[],"label_agreement":null},{"id":"W3002938246","doi":"10.3138/ctr.181.004","title":"Generations, Perspectives, Differences, and Communal Discourse: <i>The Youth</i>/<i>Elders Project</i>","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"PARRY; Queer; Conversation; Sociology; Gender studies; Visual arts; Media studies; Art; Communication","score_opus":0.05780805296999282,"score_gpt":0.2542839083715238,"score_spread":0.196475855401531,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3002938246","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031020984,0.782974,0.000002760065,0.07733706,0.000183172,0.0007965053,0.00045577512,0.00004966006,0.13509898],"genre_scores_gemma":[0.68923473,0.286883,0.00001543347,0.021438032,0.0012369576,0.00007257848,0.000050229286,0.000026221347,0.0010428361],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992017,0.00008882196,0.00017703875,0.00018182649,0.00009725127,0.00025335312],"domain_scores_gemma":[0.9995155,0.00003036791,0.00004465545,0.0001950708,0.00004534559,0.00016909507],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000111495865,0.00017199814,0.00027160882,0.000030929416,0.00093403953,0.00013580793,0.00020053842,0.000019252862,0.0007068662],"category_scores_gemma":[0.00001038001,0.0001031883,0.000075480915,0.00006678803,0.0004008218,0.00012065472,0.000031068517,0.00018695423,0.000054429813],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009921681,0.000026283607,0.001859276,0.0018672288,0.0002720993,0.000011100301,0.38184956,4.861253e-7,0.0000013997613,0.07469896,0.4075486,0.1318551],"study_design_scores_gemma":[0.000079267505,0.00004737222,0.00004658027,0.00047535126,0.00014560996,0.0000042640518,0.05149476,0.0000065056274,3.4998726e-7,0.000041700037,0.94749606,0.0001621716],"about_ca_topic_score_codex":0.028911445,"about_ca_topic_score_gemma":0.31756118,"teacher_disagreement_score":0.6861326,"about_ca_system_score_codex":0.000033250093,"about_ca_system_score_gemma":0.00021063945,"threshold_uncertainty_score":0.9775551},"labels":[],"label_agreement":null},{"id":"W3003108648","doi":"","title":"The theatre, (art) and science: between amazement and applause! (Italian original version)","year":2009,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Art history","score_opus":0.1642331177296148,"score_gpt":0.4846918418981578,"score_spread":0.320458724168543,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3003108648","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89448804,0.011902232,0.0000024352578,0.0010434857,0.00040484002,0.00028602002,0.000044339755,0.000022366645,0.09180623],"genre_scores_gemma":[0.9850651,0.012662155,0.000017278446,0.00023453418,0.0004992558,0.000007990137,0.000003566593,0.000010844613,0.0014992947],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984201,0.00004857388,0.00037638188,0.0002730361,0.00051671127,0.00036520537],"domain_scores_gemma":[0.9990575,0.00016105505,0.00023399104,0.00023493083,0.00015046836,0.00016205455],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010688199,0.00021413164,0.00036174787,0.00029258814,0.0023771585,0.002780218,0.0010280935,0.000027265603,0.0024181597],"category_scores_gemma":[0.000017889428,0.00013316554,0.000058556754,0.0001895523,0.0010530668,0.00208294,0.000415399,0.00020729563,0.000024306852],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023749647,0.00012135933,0.59264064,0.000061570914,0.00026573238,0.000011432987,0.008176807,0.000003468615,0.001504361,0.012656962,0.14729063,0.23702951],"study_design_scores_gemma":[0.00034085108,0.000046835623,0.3494211,0.00012364596,0.0000757959,0.0000039673982,0.0014350871,0.0000053331855,0.0007715348,0.008238561,0.63930935,0.0002279546],"about_ca_topic_score_codex":0.00026477122,"about_ca_topic_score_gemma":0.00014924617,"teacher_disagreement_score":0.4920187,"about_ca_system_score_codex":0.00003818516,"about_ca_system_score_gemma":0.00006786562,"threshold_uncertainty_score":0.99892163},"labels":[],"label_agreement":null},{"id":"W3003251162","doi":"10.5040/9781350035089","title":"Critical Companion to Native American and First Nations Theatre and Performance","year":2020,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Indigenous; Drama; Politics; Native American studies; Theatre studies; Aesthetics; Art; History; Sociology; Visual arts; Political science; Anthropology; Law","score_opus":0.025964844339210823,"score_gpt":0.23304659307964382,"score_spread":0.207081748740433,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3003251162","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047197244,0.0008466143,0.0000033716906,0.004987502,0.0004851537,0.00039102437,0.00037874372,0.0002002089,0.98798764],"genre_scores_gemma":[0.5060944,0.00063665217,0.00018642993,0.0032138273,0.0041412166,0.00013655525,0.00016095661,0.00013575809,0.4852942],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982962,0.000038662343,0.00035421664,0.00055035314,0.00036630765,0.00039424247],"domain_scores_gemma":[0.9984947,0.0006479907,0.00012983299,0.00022179501,0.00024895914,0.0002567398],"candidate_categories":["metaepi_narrow","sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0001886789,0.00044286065,0.00059508666,0.00035130462,0.0017752167,0.0023752193,0.00028293525,0.00008104802,0.00011113542],"category_scores_gemma":[0.00016037366,0.0003914025,0.00007787777,0.00003974692,0.0011556551,0.0009491317,0.0003947592,0.0007039063,0.000029962093],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000108315806,0.00006090422,0.00089960673,0.0014206842,0.0004135327,0.000027544496,0.116479315,0.0000024065487,0.0000012638715,0.43591124,0.38693607,0.057739127],"study_design_scores_gemma":[0.00021246208,0.00038727265,0.00032886115,0.00051377475,0.00012769568,0.000014037743,0.0026613304,0.00005966389,0.00000318257,0.0013211785,0.99387354,0.0004969846],"about_ca_topic_score_codex":0.00018320378,"about_ca_topic_score_gemma":0.0038769273,"teacher_disagreement_score":0.60693747,"about_ca_system_score_codex":0.00007365705,"about_ca_system_score_gemma":0.00013532277,"threshold_uncertainty_score":0.9998538},"labels":[],"label_agreement":null},{"id":"W3004568629","doi":"","title":"Une bibliographie commentée en temps réel : l'art de la performance au Québec et au Canada = An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada","year":2019,"lang":"fr","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performing arts; Annotated bibliography; The arts; Perspective (graphical); Art history; Bibliography; Library science; Art; Performance art; Resource (disambiguation); Visual arts; Humanities; History; Computer science","score_opus":0.007032596364282523,"score_gpt":0.20973052310467738,"score_spread":0.20269792674039486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3004568629","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69370484,0.0010890943,4.3426866e-7,0.0022121079,0.0009073064,0.00085728423,0.0007917558,0.00007495844,0.3003622],"genre_scores_gemma":[0.72735035,0.029303392,0.000019056777,0.0014075405,0.000862023,0.00015904687,0.0008630925,0.00020439483,0.23983112],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99297416,0.0008110479,0.0016253627,0.0012898382,0.0010171686,0.0022824297],"domain_scores_gemma":[0.9965557,0.0009816709,0.0005920094,0.0010402919,0.00024196293,0.0005883894],"candidate_categories":["metaepi_narrow","bibliometrics","sts"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.0017374915,0.0016089407,0.0018393727,0.011695184,0.0015404266,0.0004828379,0.0008724958,0.0005604847,0.0009123932],"category_scores_gemma":[0.00001669795,0.0016157228,0.0002555925,0.005357084,0.0017673215,0.0018688703,0.00028744864,0.0019671465,0.00019759018],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004154064,0.00035996918,0.53585345,0.0013829747,0.0004478168,0.00020742061,0.021527441,0.00062812434,0.00001549808,0.0018217176,0.42911118,0.008229013],"study_design_scores_gemma":[0.0013714354,0.0004274171,0.38758215,0.0012256814,0.000114375034,0.000031735617,0.0017922126,0.0006785507,0.000005685753,0.000023583927,0.60554415,0.0012030185],"about_ca_topic_score_codex":0.99992687,"about_ca_topic_score_gemma":0.9999982,"teacher_disagreement_score":0.176433,"about_ca_system_score_codex":0.002758803,"about_ca_system_score_gemma":0.019681994,"threshold_uncertainty_score":0.99975944},"labels":[],"label_agreement":null},{"id":"W3007729229","doi":"","title":"Questors, Jesters and Renegades: The Story of Britain's Amateur Theatre","year":2020,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; History; Art; Art history; Archaeology","score_opus":0.019124566851594575,"score_gpt":0.19526068947755326,"score_spread":0.17613612262595868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3007729229","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00047187333,0.006763401,3.484247e-7,0.0019312584,0.00040259748,0.00018553181,0.000100863945,0.00006646967,0.9900777],"genre_scores_gemma":[0.015097137,0.0023077608,0.0000064245696,0.0007819559,0.0014085487,0.000009845002,0.000029983086,0.000037574773,0.98032075],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926025,0.000048475038,0.0002016669,0.00018832655,0.00015571911,0.00014556141],"domain_scores_gemma":[0.999423,0.00016381244,0.00011927874,0.00021063407,0.00004734487,0.000035930305],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013197264,0.00023800427,0.00036833555,0.000049411272,0.00039661146,0.00006695669,0.00017713835,0.00006854141,0.000577726],"category_scores_gemma":[0.0000043216332,0.00013656894,0.00010771276,0.000008115893,0.0006868128,0.000089646,0.00010036771,0.00033857083,0.00004074091],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023222268,0.000007848769,0.00002950523,0.00036310114,0.00021436953,0.0000035461067,0.06396012,3.1970893e-7,0.0000012223767,0.12718715,0.7992705,0.008939109],"study_design_scores_gemma":[0.000093512834,0.00012507895,0.000015949256,0.00014662427,0.00010109418,0.0000018427618,0.009067735,0.0000013816995,0.000004044075,0.0017825748,0.9884862,0.00017396187],"about_ca_topic_score_codex":0.0001607068,"about_ca_topic_score_gemma":0.0016882187,"teacher_disagreement_score":0.1892157,"about_ca_system_score_codex":0.000023329496,"about_ca_system_score_gemma":0.00008213575,"threshold_uncertainty_score":0.63256943},"labels":[],"label_agreement":null},{"id":"W3007910050","doi":"10.1386/jaah_00007_1","title":"Sexy till I die: What applied theatre can offer in approaches to sexual health","year":2019,"lang":"en","type":"article","venue":"Journal of Applied Arts and Health","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Victoria","funders":"University of Warwick; Government of Canada","keywords":"Human sexuality; Shame; Silence; Reproductive health; Stigma (botany); Gender studies; Psychology; Perception; Social life; Sociology; Social psychology; Aesthetics; Social science; Population; Art","score_opus":0.12728940089965723,"score_gpt":0.2660251877245177,"score_spread":0.13873578682486049,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3007910050","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8487881,0.0043383706,0.00000831373,0.047381304,0.0011306041,0.0012172255,0.000029870007,0.000032302974,0.09707395],"genre_scores_gemma":[0.9894396,0.0015914413,0.0001123173,0.007398229,0.00090079545,0.000011567848,0.000005353871,0.000024225297,0.00051643647],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983824,0.000020036694,0.0006420389,0.00022263927,0.00025723534,0.0004756653],"domain_scores_gemma":[0.9991892,0.000040157018,0.00032737045,0.00015945797,0.00002739046,0.00025645213],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083839876,0.00021715242,0.00068059267,0.00023172917,0.0003189468,0.0001897867,0.00012393648,0.00003734181,0.00012977247],"category_scores_gemma":[5.922052e-7,0.0001527957,0.000044279128,0.000047530742,0.0000762061,0.0002065632,0.000057287343,0.00033348086,0.000026473597],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045952265,0.00026555752,0.0013879241,0.0006681829,0.00010026091,0.000003842329,0.39721552,0.0001659008,0.00001670537,0.14069754,0.013008344,0.4460107],"study_design_scores_gemma":[0.0020515155,0.0018247676,0.005699512,0.0003639536,0.000016954422,0.00001668886,0.19266407,0.000035505178,0.0000261577,0.0030128055,0.793838,0.00045004618],"about_ca_topic_score_codex":0.00029333142,"about_ca_topic_score_gemma":0.0067317514,"teacher_disagreement_score":0.78082967,"about_ca_system_score_codex":0.000109178654,"about_ca_system_score_gemma":0.00021626621,"threshold_uncertainty_score":0.6230828},"labels":[],"label_agreement":null},{"id":"W3008441166","doi":"","title":"Playing for Time Theatre Company: Perspectives From the Prison (2019) McKean, A., & Massey-Chase, K. (Eds.)(Preface by S. Busby)","year":2020,"lang":"en","type":"article","venue":"Alberta Journal of Educational Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Prison; Chase; Sociology; Mathematics education; Art; Art history; Psychology; Computer science; Criminology","score_opus":0.07360928197327182,"score_gpt":0.33858221676303385,"score_spread":0.264972934789762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3008441166","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47107503,0.02876358,0.0000060211937,0.39237696,0.000590687,0.0005483569,0.0003188749,0.0000037370905,0.10631676],"genre_scores_gemma":[0.9546134,0.0008142631,0.000084581414,0.00060747494,0.004986146,0.00002554415,0.00006249265,0.0000308517,0.038775265],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985155,0.00012937808,0.00033245274,0.00019150204,0.0004967797,0.0003344098],"domain_scores_gemma":[0.9894692,0.009400483,0.00015415708,0.00014863802,0.0006879596,0.00013960342],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00043940166,0.00014303355,0.00024379544,0.00007037138,0.0011267755,0.0002318035,0.0005045231,0.000034026343,0.01378249],"category_scores_gemma":[0.0007941201,0.00008992691,0.00014707526,0.00008507213,0.0003346372,0.0003380985,0.000073122115,0.00044408668,0.0004311258],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029668753,0.00016371456,0.0021094703,0.000018749168,0.0002758976,1.9343479e-7,0.09772072,0.0000072324956,0.00051827286,0.009873709,0.8881152,0.00090015033],"study_design_scores_gemma":[0.00045124983,0.0003470115,0.0010105694,0.00007419081,0.000049759543,0.000003931558,0.030409766,0.000109193315,0.00012455051,0.0010582695,0.9662253,0.00013620051],"about_ca_topic_score_codex":0.0013495676,"about_ca_topic_score_gemma":0.00080904906,"teacher_disagreement_score":0.48353836,"about_ca_system_score_codex":0.0000639922,"about_ca_system_score_gemma":0.00033667055,"threshold_uncertainty_score":0.987119},"labels":[],"label_agreement":null},{"id":"W3009679099","doi":"10.18432/ari29489","title":"Recuperating Conflict: Between Critical Generosity and Antagonistic Activation","year":2020,"lang":"en","type":"article","venue":"Art/Research International A Transdisciplinary Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Emily Carr University of Art and Design","funders":"","keywords":"Generosity; Vernacular; Democracy; Agency (philosophy); Hegemony; Sociology; Collective action; Order (exchange); Action (physics); Work (physics); Core (optical fiber); Relation (database); Public relations; Politics; Political science; Social science; Law; Art; Engineering; Computer science","score_opus":0.24621974883146083,"score_gpt":0.40146243034526896,"score_spread":0.15524268151380813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3009679099","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8649337,0.00023316078,0.0009071438,0.09172677,0.00049417757,0.00015485096,0.0001218096,0.000047028225,0.04138133],"genre_scores_gemma":[0.99421436,0.00022793727,0.0001779108,0.0003335066,0.0044307485,0.000008481341,0.000025576857,0.000014380857,0.0005670862],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99843276,0.00012287604,0.00030781707,0.00021458606,0.0005956904,0.0003262867],"domain_scores_gemma":[0.9988668,0.00039215083,0.000037805614,0.000057716075,0.00041185733,0.00023365596],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00062413473,0.00012794432,0.00017051262,0.00012401039,0.0018758834,0.00058169605,0.00023430384,0.00003517623,0.0016167641],"category_scores_gemma":[0.00013564603,0.00010483062,0.00006681332,0.000051421306,0.00057738606,0.0007259951,0.000109679924,0.0007249117,0.00009620635],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009504034,0.0003296859,0.019613724,0.00022479043,0.000712405,0.00017493343,0.73980564,0.000084299725,0.0076688635,0.16384128,0.04504937,0.021544607],"study_design_scores_gemma":[0.0040881536,0.0040913946,0.032582454,0.0006844946,0.00015949224,0.0003290113,0.088802025,0.009920717,0.0041459133,0.036240973,0.81761974,0.0013356068],"about_ca_topic_score_codex":0.000008922639,"about_ca_topic_score_gemma":0.000032848846,"teacher_disagreement_score":0.7725704,"about_ca_system_score_codex":0.000042225478,"about_ca_system_score_gemma":0.000056727888,"threshold_uncertainty_score":0.99942356},"labels":[],"label_agreement":null},{"id":"W3010708889","doi":"10.3138/md.63.1.0962r","title":"Chekhov, Boredom, and Pathology as Dramatic Technique","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Boredom; Aesthetics; Narrative; Depiction; Politics; Literature; Art; Psychology; Psychoanalysis; Social psychology; Political science; Law","score_opus":0.022783171152433643,"score_gpt":0.226450096827394,"score_spread":0.20366692567496036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3010708889","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67460626,0.0016502378,0.0011909221,0.011682168,0.00022560562,0.0005156006,0.00004001084,0.00039981215,0.30968937],"genre_scores_gemma":[0.9956276,0.00007369261,0.0001439898,0.002068562,0.00040413468,0.00005001252,0.000005401062,0.000017062806,0.0016095614],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999411,0.000019827861,0.00013653298,0.00017690613,0.00007703394,0.00017869189],"domain_scores_gemma":[0.99974096,0.000022821365,0.000035097823,0.00011153608,0.000030267238,0.000059308542],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000056431614,0.0001250907,0.00018772931,0.00002819729,0.00023910555,0.00008795867,0.00009083791,0.000041081592,0.00049292104],"category_scores_gemma":[0.000014968111,0.00010032145,0.000037087542,0.000017467646,0.00021713277,0.00012356992,0.000079768244,0.00012353339,0.00015567747],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016539269,0.00011241637,0.0010862318,0.00045885754,0.0001522772,0.00014654896,0.6377185,0.000012430888,0.0039000504,0.25670186,0.015236466,0.084308974],"study_design_scores_gemma":[0.0011703036,0.0009961168,0.0005257419,0.00008852889,0.000112489404,0.000080464386,0.009948721,0.0034769922,0.0029160164,0.10386437,0.8760031,0.00081718696],"about_ca_topic_score_codex":0.00005095101,"about_ca_topic_score_gemma":0.00007136975,"teacher_disagreement_score":0.8607666,"about_ca_system_score_codex":0.0000062275985,"about_ca_system_score_gemma":0.000012610154,"threshold_uncertainty_score":0.539714},"labels":[],"label_agreement":null},{"id":"W3010878921","doi":"10.3138/tric.40.1_2.102","title":"Majdi Bou-Matar's Impact: An Examination of the IMPACT Festival and its Survival in the Waterloo Region","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Social impact; Media studies; Event (particle physics); Visual arts; Sociology; History; Art","score_opus":0.08007222506020167,"score_gpt":0.3245216903096487,"score_spread":0.24444946524944705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3010878921","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9556609,0.00031343577,1.0357927e-8,0.00085359917,0.0001263285,0.00036989438,0.000049385526,0.000003202644,0.042623248],"genre_scores_gemma":[0.99940914,0.0001224985,1.9614059e-7,0.00001687104,0.00013644302,0.000011878538,0.000007281524,0.000010227253,0.00028547592],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9981334,0.0005828065,0.0001770857,0.0001516853,0.0005394924,0.00041549228],"domain_scores_gemma":[0.99922323,0.00033322527,0.000035921752,0.0002927157,0.000069448,0.000045442517],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014804627,0.0001179113,0.00018364545,0.0001208032,0.00020384438,0.00006357601,0.00032531936,0.000024352987,0.00014951652],"category_scores_gemma":[0.000006622303,0.000054897995,0.00003264521,0.00014732339,0.00014744594,0.00024577006,0.00008567924,0.00033474155,0.0000034982397],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000656442,0.0002954455,0.5674817,0.00052642945,0.00014148487,0.0000834576,0.21895434,0.000536148,0.0004920049,0.0074758865,0.005354748,0.19800192],"study_design_scores_gemma":[0.0010936093,0.0007881132,0.88321,0.00032561112,0.000010652549,0.000023535953,0.10194103,0.0011774672,0.00034319487,0.0019067043,0.008876514,0.0003035415],"about_ca_topic_score_codex":0.94085795,"about_ca_topic_score_gemma":0.98088354,"teacher_disagreement_score":0.31572834,"about_ca_system_score_codex":0.0003099408,"about_ca_system_score_gemma":0.00054076227,"threshold_uncertainty_score":0.22386752},"labels":[],"label_agreement":null},{"id":"W3010886395","doi":"10.3138/tric.40.1_2.118","title":"<i>Edgy</i> + <i>Hysteria</i>: Not Like Sisters, or How Montreal’s <i>Edgy Women</i> and Toronto’s <i>Hysteria Festivals</i> Got It On Across Space and Time","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hysteria; Conversation; Politics; Romance; Space (punctuation); Sociology; Gender studies; Art; Psychology; Literature; Psychoanalysis; Political science; Philosophy; Law","score_opus":0.04052502087765602,"score_gpt":0.2807690860694756,"score_spread":0.24024406519181957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3010886395","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7500721,0.0012567057,7.710876e-8,0.0058059413,0.000780213,0.00082496606,0.00067196216,0.000043101714,0.2405449],"genre_scores_gemma":[0.96578807,0.0011078969,0.000006862262,0.0016823174,0.0005078536,0.0001237102,0.000017176235,0.00006338354,0.030702762],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963412,0.00031318303,0.00035935643,0.0006885665,0.00081287086,0.0014848147],"domain_scores_gemma":[0.9981388,0.0006687737,0.00009213221,0.0006436556,0.00011192289,0.00034472102],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010865569,0.00044146346,0.00072399684,0.00008460395,0.0006289642,0.0005337579,0.00037839467,0.000085411826,0.00093334087],"category_scores_gemma":[0.000009140919,0.0003261439,0.000044807686,0.0001045699,0.0004755439,0.0005170271,0.00039477253,0.00045211025,0.00008451011],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.009103363,0.0003529686,0.0075916024,0.003054886,0.00058582524,0.0005282886,0.19682714,0.000021272388,0.004628619,0.001738802,0.5833121,0.19225514],"study_design_scores_gemma":[0.0016167834,0.000997084,0.00037432121,0.0004459626,0.000009933941,0.000024362575,0.051643673,0.00006629865,0.0002456772,0.00012479868,0.9439026,0.0005485155],"about_ca_topic_score_codex":0.8275046,"about_ca_topic_score_gemma":0.9855166,"teacher_disagreement_score":0.3605905,"about_ca_system_score_codex":0.0010097614,"about_ca_system_score_gemma":0.0006773816,"threshold_uncertainty_score":0.9999799},"labels":[],"label_agreement":null},{"id":"W3010952050","doi":"10.3138/tric.40.1_2.135","title":"Ecology and Site-specificity in Festival Production: A Conversation with Laura Nanni","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Conversation; Ecology; Production (economics); Visual arts; Work (physics); Sociology; Art; Geography; History; Communication; Biology; Engineering","score_opus":0.046500590052209745,"score_gpt":0.26242042244488967,"score_spread":0.21591983239267992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3010952050","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93162286,0.00017395266,1.638328e-8,0.0038910916,0.00021457438,0.00029267266,0.0000096737695,0.0000063881516,0.063788794],"genre_scores_gemma":[0.99893963,0.0001189946,0.0000032892008,0.00003688134,0.00019740424,0.000021656027,0.0000047374556,0.000007276391,0.00067013875],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99899006,0.000107585634,0.00011731275,0.00019906228,0.00025949735,0.00032645656],"domain_scores_gemma":[0.99960095,0.00014935917,0.000017718383,0.00013086194,0.00006272025,0.000038404214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043544156,0.00007923596,0.00014930376,0.00015189337,0.00012842516,0.000030716245,0.00006533722,0.000017809942,0.0003224188],"category_scores_gemma":[0.0000023011864,0.000058715046,0.000006249784,0.00011000605,0.00019483482,0.00014092856,0.00003940588,0.0002815634,0.000020313732],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004895622,0.00004923737,0.9514833,0.00018496235,0.000027867325,0.00007224209,0.02442091,0.00013081353,0.000052519576,0.0030736334,0.003996343,0.016018571],"study_design_scores_gemma":[0.003058735,0.0012495768,0.29699257,0.0005443586,0.000014046588,0.00004543888,0.19094111,0.0004080747,0.00045554707,0.002656453,0.50290346,0.00073062524],"about_ca_topic_score_codex":0.86979234,"about_ca_topic_score_gemma":0.99821746,"teacher_disagreement_score":0.65449077,"about_ca_system_score_codex":0.00039963136,"about_ca_system_score_gemma":0.00061791827,"threshold_uncertainty_score":0.353026},"labels":[],"label_agreement":null},{"id":"W3011149911","doi":"10.1177/1532708620912802","title":"Pulping as Poetic Inquiry: On Upcycling “Upset” to Reckon Anew With Rape Culture, Rejection, and (Re)Turning to Trauma Texts","year":2020,"lang":"en","type":"article","venue":"Culture Studies &#x2194 Critical Methodologies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"University of British Columbia","keywords":"Poetry; Meaning (existential); Sociology; Aesthetics; Literature; Art; Philosophy; Epistemology","score_opus":0.25537136939643285,"score_gpt":0.42059924080032357,"score_spread":0.16522787140389072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3011149911","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5753242,0.056913733,0.0061221546,0.18151127,0.0081977295,0.004134361,0.00016993073,0.0032934383,0.16433324],"genre_scores_gemma":[0.9311747,0.0021597843,0.036550906,0.023247192,0.004584029,0.00026847637,0.000010440032,0.000092697956,0.001911803],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9972187,0.0003803797,0.00047403813,0.0008505901,0.00035889016,0.0007174028],"domain_scores_gemma":[0.9976481,0.0012838144,0.00007624678,0.0002464372,0.00045592876,0.00028947258],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0005801237,0.00057289534,0.0009618209,0.00012740876,0.0016394977,0.00028770426,0.0002299,0.00012788462,0.000091204776],"category_scores_gemma":[0.005759227,0.0003603304,0.00012098948,0.0002684068,0.00085184275,0.00031661688,0.00031491774,0.0005748347,0.000096927],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010253832,0.00005058139,0.00016703451,0.0006189487,0.0005210683,0.000039277937,0.9038071,0.00019121151,0.0007088929,0.03058311,0.033766467,0.02852094],"study_design_scores_gemma":[0.00067833695,0.0063958284,0.0005597821,0.0010872863,0.00038450534,0.000029831715,0.7256559,0.000008471288,0.0027201856,0.010909203,0.25045395,0.0011166898],"about_ca_topic_score_codex":0.000034968838,"about_ca_topic_score_gemma":0.00017854317,"teacher_disagreement_score":0.35585052,"about_ca_system_score_codex":0.000056575635,"about_ca_system_score_gemma":0.00001633975,"threshold_uncertainty_score":0.99988484},"labels":[],"label_agreement":null},{"id":"W3011353138","doi":"","title":"Deanna Bowen, God of Gods: A Canadian Play, Art Museum at the University of Toronto, Toronto","year":2020,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art; Visual arts; History; Archaeology","score_opus":0.008202178152796263,"score_gpt":0.14130435397456279,"score_spread":0.13310217582176653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3011353138","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29034707,0.043322552,0.0000075119333,0.029061936,0.0003135168,0.00035567099,0.00075260614,0.00007966807,0.6357595],"genre_scores_gemma":[0.9398032,0.006431813,0.000019712405,0.00035969456,0.0001493014,4.3138024e-7,0.000022347376,0.00001442297,0.0531991],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992967,0.000032368636,0.00010751075,0.00016217271,0.00013890718,0.00026233736],"domain_scores_gemma":[0.9994046,0.000035474677,0.000105064864,0.00021363249,0.00007839717,0.00016279295],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000063867614,0.00013778197,0.00023066424,0.000016689693,0.00081141357,0.000006662575,0.00029068865,0.00004802141,0.007962437],"category_scores_gemma":[0.000004781991,0.00012331645,0.00013721077,0.00002564051,0.00022504205,0.00025334547,0.0001813162,0.00006390426,0.000090198475],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035396428,0.00003312534,0.0010939819,0.0000817237,0.00036503474,0.0001320433,0.1498813,0.00004625302,0.0001276475,0.027867902,0.81530356,0.0047134752],"study_design_scores_gemma":[0.0003899526,0.00013708309,0.0010325884,0.000017979515,0.00010098595,0.000005139472,0.035805687,0.00008935097,0.00004433529,0.0000187063,0.96222603,0.00013213127],"about_ca_topic_score_codex":0.8118695,"about_ca_topic_score_gemma":0.99906474,"teacher_disagreement_score":0.6494561,"about_ca_system_score_codex":0.0025849496,"about_ca_system_score_gemma":0.00006693058,"threshold_uncertainty_score":0.9929444},"labels":[],"label_agreement":null},{"id":"W3011476717","doi":"10.3138/md.63.1.br5","title":"Marissia Fragkou, <i>Ecologies of Precarity in Twenty-First Century Theatre: Politics, Affect, Responsibility</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Precarity; Affect (linguistics); Politics; Key (lock); Sociology; Gender studies; Aesthetics; Political science; Art; Law; Ecology; Communication","score_opus":0.025912733463801296,"score_gpt":0.24007384078971675,"score_spread":0.21416110732591545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3011476717","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9094444,0.0018247463,0.000015386604,0.004360106,0.0004254571,0.00037708756,0.00015732282,0.00012850702,0.08326702],"genre_scores_gemma":[0.998256,0.0002211137,0.000043557986,0.00054295623,0.00037793283,0.0000186759,0.000011557706,0.000019154919,0.00050899835],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987016,0.00009171299,0.00034912676,0.0003005084,0.00018497749,0.00037208365],"domain_scores_gemma":[0.9992987,0.0001993591,0.000086096734,0.00028121413,0.00006153045,0.000073127485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018092411,0.00020413619,0.00039297508,0.00007340049,0.0002343117,0.00006396,0.00023496537,0.000072911906,0.0003941936],"category_scores_gemma":[0.00006377316,0.00016816788,0.00012079855,0.000057822646,0.0003534098,0.00019659824,0.00018839138,0.00024460518,0.000035258257],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012738502,0.00092937844,0.23814803,0.0014679972,0.00029696405,0.000043768814,0.62572104,0.00039629036,0.00027169517,0.08483688,0.01825811,0.028356016],"study_design_scores_gemma":[0.0027455897,0.0013637318,0.074374415,0.00026289656,0.00015433547,0.0000030129502,0.023484131,0.0037552975,0.0020217458,0.03767049,0.8530341,0.0011302754],"about_ca_topic_score_codex":0.0007599431,"about_ca_topic_score_gemma":0.0046132426,"teacher_disagreement_score":0.834776,"about_ca_system_score_codex":0.000046657016,"about_ca_system_score_gemma":0.00005325793,"threshold_uncertainty_score":0.6857687},"labels":[],"label_agreement":null},{"id":"W3011477880","doi":"10.3138/md.63.1.br7","title":"Clark Lunberry and Joseph Roach, eds., <i>The Very Thought of Herbert Blau</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Art history; Art; Visual arts; Sociology","score_opus":0.023734119612883853,"score_gpt":0.21209425143106098,"score_spread":0.18836013181817712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3011477880","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7270916,0.013426022,0.000091540445,0.01178422,0.00048293418,0.00027321896,0.000066371875,0.00011919242,0.24666487],"genre_scores_gemma":[0.9922568,0.0004793827,0.000025091249,0.0021159847,0.00093488273,0.000008840609,0.0000040730283,0.000017838738,0.004157101],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993208,0.000026290143,0.00017434229,0.00015911582,0.00014074663,0.00017868109],"domain_scores_gemma":[0.9996517,0.000051072537,0.00005426723,0.00015734388,0.00003959119,0.00004608042],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007549216,0.00013434206,0.00020576456,0.00001788562,0.00030491396,0.00007730358,0.00013915684,0.00003275152,0.00019848495],"category_scores_gemma":[0.000007739489,0.00008734782,0.00007200108,0.000027331658,0.0002853678,0.00015544672,0.000099218865,0.00014509755,0.000034728775],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044972205,0.00019929968,0.0067687985,0.00061550026,0.00061978726,0.000018039065,0.5857153,0.00013834637,0.0014666276,0.09095853,0.16475166,0.14829835],"study_design_scores_gemma":[0.00035924045,0.00012491432,0.00054785766,0.000031842355,0.00006904448,0.0000021462315,0.0030460842,0.0014510908,0.00049389177,0.0027140726,0.9909662,0.00019359753],"about_ca_topic_score_codex":0.00010197833,"about_ca_topic_score_gemma":0.0002746176,"teacher_disagreement_score":0.82621455,"about_ca_system_score_codex":0.000004801622,"about_ca_system_score_gemma":0.000014511824,"threshold_uncertainty_score":0.35619408},"labels":[],"label_agreement":null},{"id":"W3011648852","doi":"10.1080/14452294.2009.12089343","title":"Opening Pandora's Box: The Ethics of Practice in Multicultural Communities","year":2009,"lang":"en","type":"article","venue":"NJ","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Victoria","funders":"","keywords":"Drama; Sociology; Context (archaeology); Dialogic; Multiculturalism; Action (physics); Diversity (politics); Media studies; Pedagogy; Visual arts; History; Art; Anthropology","score_opus":0.07559071690440894,"score_gpt":0.3252282125765804,"score_spread":0.24963749567217147,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3011648852","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6128612,0.0018931389,0.0000011420021,0.016179994,0.00026276158,0.00016470198,0.000010537269,0.000030374365,0.36859614],"genre_scores_gemma":[0.9969259,0.00042058676,0.00005197401,0.0013610652,0.00014537123,0.000003671173,0.0000033439906,0.000002657597,0.0010854464],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995351,0.00009875118,0.00013033937,0.000034138367,0.00010018263,0.00010153264],"domain_scores_gemma":[0.99923646,0.00050026673,0.000055834225,0.00011156875,0.00008858237,0.000007299166],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034031947,0.000061509156,0.000104629326,0.0000203286,0.00036072516,0.000055392156,0.00012522821,0.00002316637,0.000109467604],"category_scores_gemma":[0.000065758395,0.000033988676,0.000026682044,0.000019434721,0.00016902668,0.0002502103,0.000029202885,0.00032646165,0.0000115679395],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003564022,0.00003796853,0.00024478202,0.0000097150405,0.000016227867,0.0000011707222,0.9553752,0.000019762807,0.000020158559,0.038147908,0.0013891935,0.0047022984],"study_design_scores_gemma":[0.00034174463,0.00012262666,0.0025997467,0.00008100373,0.00002263033,0.000002945467,0.45101866,0.00004353014,0.00013755998,0.00052606914,0.5450089,0.000094563184],"about_ca_topic_score_codex":0.0018280924,"about_ca_topic_score_gemma":0.008445682,"teacher_disagreement_score":0.54361975,"about_ca_system_score_codex":0.000006342827,"about_ca_system_score_gemma":0.000010915701,"threshold_uncertainty_score":0.4712889},"labels":[],"label_agreement":null},{"id":"W3011850282","doi":"10.3138/tric.40.1_2.42","title":"Art for Everyone? Mush, Multiculturalism, and the Prismatic Arts Festival","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Canadian Association for Theatre Research; University of Toronto","funders":"Canada Council for the Arts","keywords":"Mainstream; The arts; Negotiation; Multiculturalism; Indigenous; Visual arts; Sociology; Media studies; Art; Political science; Social science; Law; Pedagogy","score_opus":0.06978721740395916,"score_gpt":0.29766064664147573,"score_spread":0.22787342923751658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3011850282","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7473919,0.0018271898,4.845385e-7,0.00880673,0.0006449747,0.0018153318,0.000071811046,0.000018940269,0.23942266],"genre_scores_gemma":[0.9902705,0.00011197794,0.000011105787,0.00019581015,0.00028205814,0.00012467796,0.000007595537,0.000011874095,0.008984417],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998739,0.000111041176,0.00017865693,0.00016687956,0.00035903812,0.00044536017],"domain_scores_gemma":[0.9985717,0.0010721416,0.000025704583,0.0001978258,0.00007653271,0.000056113877],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000716273,0.000112436544,0.00022045258,0.000059933616,0.00035491082,0.0000912131,0.0001622553,0.000016863383,0.00023388244],"category_scores_gemma":[0.00000907696,0.00006003777,0.000033099983,0.00005157641,0.00032773142,0.00011768169,0.00007621356,0.00023184344,0.000040735722],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002051,0.000118369826,0.010859258,0.0017709249,0.0004146469,0.00004429702,0.16380069,0.00017114833,0.00008369361,0.057847343,0.68757176,0.075266846],"study_design_scores_gemma":[0.001653257,0.00006674815,0.00046641193,0.00012530472,0.000009539706,0.00000433984,0.02717157,0.00076965895,0.000035452795,0.0016066728,0.96794736,0.00014366246],"about_ca_topic_score_codex":0.6944011,"about_ca_topic_score_gemma":0.98188233,"teacher_disagreement_score":0.28748122,"about_ca_system_score_codex":0.00017441499,"about_ca_system_score_gemma":0.0003103792,"threshold_uncertainty_score":0.3076339},"labels":[],"label_agreement":null},{"id":"W3012392211","doi":"10.7202/1068259ar","title":"Making Knowledge/Playing Culture","year":2020,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Dramaturgy; Experiential learning; Drama; Context (archaeology); Criticism; Sociology; Visual arts; Psychology; Aesthetics; Pedagogy; Art; History; Literature","score_opus":0.24050621204595496,"score_gpt":0.36639958793745037,"score_spread":0.1258933758914954,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3012392211","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027668305,0.0029427696,4.544731e-7,0.0046015745,0.00025394664,0.0001527355,0.00003260776,0.00002672694,0.9643209],"genre_scores_gemma":[0.99786186,0.00016011737,0.000010477125,0.00038234543,0.0011101259,0.000017146296,0.0000036868237,0.0000147825685,0.00043947037],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986729,0.00010389048,0.00015691466,0.00019158254,0.0003559034,0.00051883067],"domain_scores_gemma":[0.9995617,0.00012652807,0.000015648651,0.00012610284,0.00006811267,0.000101857266],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00026977665,0.000109391745,0.00016866824,0.000069952046,0.00048637064,0.00007527707,0.00024994402,0.000018765357,0.0007581451],"category_scores_gemma":[0.0000053420604,0.00008421975,0.000027231805,0.00015145277,0.00012693378,0.000114725335,0.00012603952,0.00047550362,0.00008791254],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017494314,0.000048705217,0.014498125,0.0005783749,0.00010282646,0.00025668784,0.20166802,0.000063704174,0.00010779375,0.017584084,0.38121104,0.38370568],"study_design_scores_gemma":[0.00016280159,0.00005129095,0.00006618459,0.00009209592,0.0000025727747,0.0000011548605,0.031476304,0.00028896792,0.00003392286,0.00038634328,0.9673192,0.00011916459],"about_ca_topic_score_codex":0.7916904,"about_ca_topic_score_gemma":0.9934914,"teacher_disagreement_score":0.97019356,"about_ca_system_score_codex":0.00033802204,"about_ca_system_score_gemma":0.0008835844,"threshold_uncertainty_score":0.83011574},"labels":[],"label_agreement":null},{"id":"W3012397584","doi":"10.3138/md.63.1.br6","title":"Dorinne Kondo, <i>Worldmaking: Race, Performance, and the Work of Creativity</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Creativity; Redress; Race (biology); Ethnography; Affect (linguistics); Sociology; Aesthetics; Mode (computer interface); Gender studies; Art; Social psychology; Literature; Psychology; Anthropology; Computer science; Communication; Human–computer interaction","score_opus":0.027090736673309523,"score_gpt":0.214558512621791,"score_spread":0.18746777594848146,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3012397584","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76440203,0.0011658671,0.000047824004,0.0039144093,0.00014332175,0.0001818808,0.000009207839,0.00005441107,0.23008107],"genre_scores_gemma":[0.9939545,0.00030243318,0.000022043692,0.00071443035,0.0005104296,0.000017144395,0.0000017535625,0.000013425959,0.0044638393],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993318,0.000029092767,0.00018417653,0.00014354312,0.00013914953,0.00017225566],"domain_scores_gemma":[0.9995938,0.00009654032,0.00007939034,0.00014261504,0.00005055897,0.000037105317],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012525526,0.0001318684,0.0002755304,0.000025614916,0.0003480989,0.0000773463,0.00012793473,0.000019906967,0.00020026506],"category_scores_gemma":[0.000012002021,0.00007855718,0.00006203996,0.000054610453,0.0005590582,0.00017190688,0.00010614439,0.00013834533,0.000021591262],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0021745174,0.0001087966,0.037029713,0.0004142713,0.00036420414,0.0000047233766,0.5870409,0.00019430665,0.00006475017,0.18437713,0.023296066,0.16493061],"study_design_scores_gemma":[0.0028805246,0.00023473427,0.0039513446,0.000115955154,0.00013170349,0.0000018616178,0.0036258262,0.0031503518,0.00046921714,0.002417628,0.9826747,0.000346121],"about_ca_topic_score_codex":0.00003813266,"about_ca_topic_score_gemma":0.00005221103,"teacher_disagreement_score":0.95937866,"about_ca_system_score_codex":0.000004088358,"about_ca_system_score_gemma":0.0000102267395,"threshold_uncertainty_score":0.3203469},"labels":[],"label_agreement":null},{"id":"W3012442632","doi":"10.3138/tric.40.1_2.178","title":"Kirsty Johnston, <i>Disability Theatre and Modern Drama: Recasting Modernism</i>","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Disability studies; Representation (politics); Value (mathematics); Modernism (music); Aesthetics; Field (mathematics); Sociology; Psychology; Visual arts; Art; Gender studies; Political science; Computer science; Law","score_opus":0.06810318559027982,"score_gpt":0.28693557863925295,"score_spread":0.21883239304897312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3012442632","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5788827,0.001071564,6.427435e-7,0.001601968,0.00024455445,0.00034365008,0.000064776614,0.000024140138,0.417766],"genre_scores_gemma":[0.9985069,0.00031040394,0.000015512282,0.00012350945,0.00034629085,0.000034544446,0.000007780481,0.00002953528,0.0006255232],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974544,0.00022691622,0.0003140518,0.00044959362,0.00068573694,0.000869282],"domain_scores_gemma":[0.9987189,0.0005334295,0.0000379501,0.00046708903,0.000086938344,0.00015568391],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010534821,0.0002199521,0.0003559029,0.00009740208,0.0005270613,0.00012870775,0.00027726017,0.00004497929,0.00058349053],"category_scores_gemma":[0.0000048311795,0.00017330926,0.000042726544,0.00011154733,0.0004928952,0.00027271372,0.00023299534,0.0006454262,0.00003691692],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031430455,0.00013401997,0.19998433,0.000710387,0.000102367165,0.00004886935,0.029054923,0.00040343477,0.00011806933,0.0036014614,0.0051816045,0.76034623],"study_design_scores_gemma":[0.0022708043,0.000453819,0.004336227,0.00068762206,0.0000311076,0.000029923733,0.059871983,0.020554446,0.00024870675,0.031621706,0.8786358,0.0012578106],"about_ca_topic_score_codex":0.93653774,"about_ca_topic_score_gemma":0.9918935,"teacher_disagreement_score":0.8734543,"about_ca_system_score_codex":0.0006486317,"about_ca_system_score_gemma":0.00078441296,"threshold_uncertainty_score":0.70673466},"labels":[],"label_agreement":null},{"id":"W3013035605","doi":"10.1002/ace.20366","title":"Community‐Based Art Making: Creating Spaces for Changing the Story","year":2020,"lang":"en","type":"article","venue":"New Directions for Adult and Continuing Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta; University of British Columbia","funders":"","keywords":"Solidarity; Citizen journalism; Sociology; Adult education; Community education; Pedagogy; Public relations; Aesthetics; Community organizing; Media studies; Political science; Art; Law; Politics","score_opus":0.03466928124281279,"score_gpt":0.27602112664469697,"score_spread":0.24135184540188417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3013035605","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7451842,0.0032251528,0.00752861,0.10131508,0.005713185,0.00307197,0.0001330849,0.00070878427,0.13311994],"genre_scores_gemma":[0.98119247,0.000022843591,0.00040336003,0.0019120167,0.0021653918,0.0002618955,0.000039567913,0.000015296066,0.013987176],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961627,0.000029291714,0.0000906306,0.00008617443,0.000038201546,0.00013945486],"domain_scores_gemma":[0.9994384,0.00022515813,0.000065696615,0.00007345372,0.00017015339,0.000027144084],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00015211149,0.00008276904,0.00009267125,0.000052330255,0.0020100176,0.00017077754,0.000055854915,0.000016219868,0.00002407389],"category_scores_gemma":[0.00011723119,0.0000637865,0.00005602307,0.0000421098,0.000055364188,0.00012387779,0.000012673777,0.00010005216,0.0000025977731],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006797002,0.000053814685,0.00048146312,0.00018654777,0.000044020446,1.1122796e-8,0.44114378,0.000008018213,0.00007883244,0.027368551,0.10156933,0.42899767],"study_design_scores_gemma":[0.00021045975,0.00008129582,0.000117770476,0.00012097607,0.000059866088,2.7223618e-7,0.14773886,0.00050883647,0.00008431554,0.00022282338,0.85076845,0.0000861074],"about_ca_topic_score_codex":0.000075057724,"about_ca_topic_score_gemma":0.00073707715,"teacher_disagreement_score":0.7491991,"about_ca_system_score_codex":0.000011981023,"about_ca_system_score_gemma":0.000031531054,"threshold_uncertainty_score":0.9992892},"labels":[],"label_agreement":null},{"id":"W3013236154","doi":"10.4324/9780203609941-8","title":"Feminism and Theater in (Quebec) Canada","year":2012,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feminism; History; Gender studies; Sociology","score_opus":0.01748827258122609,"score_gpt":0.1948727649329862,"score_spread":0.1773844923517601,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3013236154","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4949527,0.00028072819,6.648043e-8,0.00041619502,0.00017941924,0.00001841085,0.0000016219371,0.0000056812096,0.50414515],"genre_scores_gemma":[0.94303346,0.000022571683,0.0000021842413,0.00053190417,0.00025974758,0.0000031641255,7.9740306e-7,0.0000025488705,0.05614363],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974453,0.0000039486185,0.000050471983,0.00003334077,0.00003371947,0.00013399699],"domain_scores_gemma":[0.99991965,0.000013458334,0.000005361691,0.000035520017,0.000004670536,0.000021332376],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00003093779,0.000042557418,0.000053894793,0.000013899091,0.000070579576,0.000018863666,0.00001789062,0.0000062028853,0.0014240599],"category_scores_gemma":[4.3574613e-7,0.000027114667,0.0000051176885,0.000004400575,0.000036622223,0.00012050705,0.000015065373,0.000027312324,0.000012414121],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014871012,0.00004374536,0.25418437,0.000040323914,0.000034766046,0.0000032814567,0.29046157,2.7740847e-7,0.000012054255,0.2779947,0.15483856,0.022371508],"study_design_scores_gemma":[0.000076013144,0.000004790747,0.025925439,0.000004332905,0.0000023613647,3.895048e-7,0.012499893,0.0000010499712,0.000057006324,0.000067076675,0.9612979,0.000063702006],"about_ca_topic_score_codex":0.95205665,"about_ca_topic_score_gemma":0.9992405,"teacher_disagreement_score":0.80645937,"about_ca_system_score_codex":0.000013065212,"about_ca_system_score_gemma":0.00001573637,"threshold_uncertainty_score":0.9994888},"labels":[],"label_agreement":null},{"id":"W3013307699","doi":"10.1353/tj.2020.0001","title":"Editorial Comment: Transnational Performances and Ad Hoc Communities","year":2020,"lang":"en","type":"editorial","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Context (archaeology); Poetry; Mythology; Negotiation; Mohawk; White (mutation); History; Art; Literature; Sociology; Media studies; Aesthetics; Linguistics; Social science; Philosophy","score_opus":0.017920222757450307,"score_gpt":0.23668161892951817,"score_spread":0.21876139617206786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3013307699","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026547836,0.0046420894,0.0000016060823,0.005882779,0.9677135,0.000120890705,0.0007502623,0.00006641663,0.020556986],"genre_scores_gemma":[0.0051753405,0.01143664,0.00002014976,0.00021831485,0.98194563,0.00001299724,0.00028869024,0.00005333188,0.0008488739],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977669,0.00012997055,0.00052161474,0.00016592046,0.001030529,0.00038505963],"domain_scores_gemma":[0.9985259,0.00052586576,0.00027642958,0.00016504031,0.00035292335,0.00015380057],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00043331578,0.0004563044,0.0006298953,0.00016970118,0.002092634,0.00079201756,0.0004520693,0.00027782551,0.00141761],"category_scores_gemma":[0.000011270914,0.0003445401,0.00020421774,0.000030319527,0.0005746084,0.0005658195,0.00011097632,0.0023286585,0.000035051544],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025535558,0.000040476883,0.000011651205,0.00012657342,0.00027176327,0.0000029840296,0.06144875,9.2907555e-7,3.5774693e-7,0.0012908641,0.93057835,0.0059719402],"study_design_scores_gemma":[0.00102534,0.00067190913,0.000002395684,0.00014853549,0.00020924871,0.000010265491,0.016824016,0.000014142174,7.743534e-7,0.0010999101,0.9795977,0.00039578244],"about_ca_topic_score_codex":0.00004211193,"about_ca_topic_score_gemma":0.0008233317,"teacher_disagreement_score":0.04901932,"about_ca_system_score_codex":0.000069768,"about_ca_system_score_gemma":0.00023619979,"threshold_uncertainty_score":0.999973},"labels":[],"label_agreement":null},{"id":"W3013809427","doi":"10.1353/tj.2020.0025","title":"Robert Lepage’s Scenographic Dramaturgy: The Aesthetic Signature at Work by Melissa Poll","year":2020,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Visual arts; Trilogy; Performance art; Art; Art history; History","score_opus":0.012480490655760979,"score_gpt":0.1959087029659844,"score_spread":0.1834282123102234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3013809427","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3301199,0.08169208,0.000030722218,0.21748585,0.0031811153,0.00060562417,0.00013169808,0.00039727014,0.36635575],"genre_scores_gemma":[0.9838934,0.0014610606,0.0000136648305,0.0049095815,0.002481809,0.0000057355487,0.0000085223355,0.000041427716,0.007184806],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985516,0.00011937148,0.00031445865,0.00018798355,0.0003623731,0.00046422603],"domain_scores_gemma":[0.99931484,0.00005908616,0.00015310418,0.00020932319,0.00007553531,0.00018810817],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024916785,0.00028575704,0.00030279558,0.000059024263,0.0016743257,0.00039335486,0.00044518613,0.00007304247,0.0027891996],"category_scores_gemma":[0.0000053958056,0.00015560188,0.00027845334,0.00013317159,0.00037052177,0.00024071573,0.00010986057,0.00087632675,0.0002637112],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030545727,0.000055368364,0.0008931358,0.000020526337,0.00018331042,0.000030262641,0.080371276,0.000030308316,0.00012575366,0.0018663065,0.8808779,0.0352404],"study_design_scores_gemma":[0.00041168544,0.00018260322,0.00006669271,0.0000659754,0.00010441387,0.00010751808,0.0048279767,0.000019886,0.000048727106,0.0007891701,0.99312794,0.00024743614],"about_ca_topic_score_codex":0.00003830872,"about_ca_topic_score_gemma":0.00016244758,"teacher_disagreement_score":0.6537735,"about_ca_system_score_codex":0.00003386144,"about_ca_system_score_gemma":0.000028629069,"threshold_uncertainty_score":0.9996254},"labels":[],"label_agreement":null},{"id":"W3014350456","doi":"10.33182/ml.v17i2.777","title":"The Possibilities and Limits of Participatory Theatre: Exploring Belonging and Resistance with Second-Generation Black and Muslim Dutch Youth in the Netherlands","year":2020,"lang":"en","type":"article","venue":"MIGRATION LETTERS","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Oppression; Resistance (ecology); Islamophobia; Racism; Sociology; Citizen journalism; Gender studies; Embodied cognition; Citizenship; Participatory action research; Politics; Media studies; Political science; Anthropology; Law","score_opus":0.08817403600982653,"score_gpt":0.2247001367620884,"score_spread":0.13652610075226185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3014350456","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98594433,0.00062605925,0.0000055096375,0.012926539,0.000023774746,0.000111617075,0.000010004986,0.000008365474,0.0003437948],"genre_scores_gemma":[0.99832314,0.0002844105,0.000009025834,0.0011226623,0.00019079576,0.000021464004,0.0000041149947,0.00000529447,0.00003906757],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99953276,0.000054802054,0.00013015607,0.00010736475,0.00007786102,0.000097028045],"domain_scores_gemma":[0.9997748,0.0000863204,0.000042857642,0.00006599793,0.000014999819,0.000014991646],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017653561,0.00007847895,0.00008566758,0.00001863525,0.00031632144,0.00011734084,0.00003324109,0.000008909149,0.0000045476395],"category_scores_gemma":[0.000004811072,0.00004163847,0.000009423483,0.000026635058,0.0002808283,0.00021216202,0.000009355868,0.00006203905,2.442986e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058620342,0.0000043244036,0.022085723,0.000061232764,0.000016737706,5.704568e-7,0.9737958,0.000018281897,0.0010988119,0.0016589744,0.0005924661,0.000608504],"study_design_scores_gemma":[0.0008877949,0.00030906568,0.05400209,0.00012385586,0.00008340673,9.2499647e-7,0.9324711,0.0008472448,0.0015444334,0.00014460106,0.009288088,0.0002973812],"about_ca_topic_score_codex":0.00006070641,"about_ca_topic_score_gemma":0.020466886,"teacher_disagreement_score":0.04132464,"about_ca_system_score_codex":0.0000037133968,"about_ca_system_score_gemma":0.00000463556,"threshold_uncertainty_score":0.997407},"labels":[],"label_agreement":null},{"id":"W3014370418","doi":"10.3138/ctr.182.009","title":"Spawning in Concrete: Bridging Urban and Wild with <i>Uninterrupted: A Cinematic Spectacle</i>","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Storytelling; Bridging (networking); Style (visual arts); Bridge (graph theory); The Imaginary; Visual arts; Transgenerational epigenetics; Art; Civil engineering; Sociology; Media studies; Aesthetics; Engineering; Political science; Law; Computer science; Computer security; Psychology; Literature","score_opus":0.02356153962208395,"score_gpt":0.21244704840616682,"score_spread":0.18888550878408286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3014370418","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030843135,0.42957124,0.0000035350104,0.03773862,0.00014849646,0.0010974046,0.000100553276,0.000104692816,0.5003923],"genre_scores_gemma":[0.964334,0.018646289,0.000036085592,0.016010774,0.00052472326,0.000027068358,0.000015094457,0.000034000426,0.00037193464],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991482,0.000035325444,0.00022637838,0.00020305856,0.00007847388,0.0003085903],"domain_scores_gemma":[0.9995133,0.00002707446,0.00005184847,0.00013191592,0.000022942304,0.00025290673],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010923549,0.00018048815,0.00043186432,0.000069502625,0.0001754748,0.00007043178,0.00010329319,0.000016374577,0.0005577723],"category_scores_gemma":[0.0000105100435,0.00013338,0.000041735613,0.000095515425,0.00013378769,0.00014239915,0.000019711737,0.00016254574,0.000052638356],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010130812,0.000017013577,0.05178999,0.03793122,0.00062309287,0.0010244512,0.25088093,0.000010087959,0.000014598573,0.07129898,0.36153194,0.2247764],"study_design_scores_gemma":[0.0002686157,0.00011181438,0.00013051348,0.00827622,0.0000939923,0.000021872369,0.0019731163,0.00006646081,0.000002012766,0.00002738234,0.9887609,0.00026711865],"about_ca_topic_score_codex":0.018459603,"about_ca_topic_score_gemma":0.2157052,"teacher_disagreement_score":0.9334909,"about_ca_system_score_codex":0.000041799984,"about_ca_system_score_gemma":0.000096308424,"threshold_uncertainty_score":0.98807657},"labels":[],"label_agreement":null},{"id":"W3014783255","doi":"10.3138/ctr.182.014","title":"<i>The Curious Voyage</i>: The Potentials and Pitfalls of Immersive Performance","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Appeal; Context (archaeology); Visual arts; Art; Aesthetics; Media studies; History; Sociology; Political science; Law; Archaeology","score_opus":0.019968698008290254,"score_gpt":0.20764636303823625,"score_spread":0.18767766502994598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3014783255","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007649307,0.79917705,6.864545e-7,0.070474364,0.00033645215,0.0007166833,0.00011415978,0.000015195527,0.121516116],"genre_scores_gemma":[0.6055548,0.38402432,0.0000015062168,0.009380526,0.000359105,0.000019205327,0.00000415986,0.000012706731,0.0006436867],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920475,0.000053838092,0.00024681757,0.00012739781,0.00010288434,0.0002643279],"domain_scores_gemma":[0.99940974,0.000078731435,0.00009060815,0.00020490472,0.00006512037,0.00015090576],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002190955,0.00013722676,0.00027425375,0.000017403952,0.00082727766,0.00005406868,0.0002484824,0.000016814021,0.00030381093],"category_scores_gemma":[0.000015059448,0.000069596164,0.00009346186,0.000058055375,0.0004038754,0.00008936064,0.00003588511,0.000120786186,0.000074794756],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023398206,0.000009731904,0.0006436014,0.0043920325,0.00035401818,0.000010845574,0.034126278,0.0000019680504,0.000019457497,0.03391432,0.23759213,0.6889122],"study_design_scores_gemma":[0.00006388704,0.00006253627,0.00010024529,0.00052082265,0.000111651636,0.000004803733,0.0012591202,0.0000070587603,0.000017123013,0.0000658732,0.9976868,0.00010006367],"about_ca_topic_score_codex":0.006867074,"about_ca_topic_score_gemma":0.04857466,"teacher_disagreement_score":0.7600947,"about_ca_system_score_codex":0.00001585079,"about_ca_system_score_gemma":0.00011928169,"threshold_uncertainty_score":0.99974626},"labels":[],"label_agreement":null},{"id":"W3014917578","doi":"10.3138/ctr.182.004","title":"What Is Lost and What Is Gained: A Travelogue of Tours of Hydro-Affected Communities in Northern Manitoba","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Generosity; Temporalities; Sociology; Witness; Face (sociological concept); Gender studies; Aesthetics; Political science; Social science; Law; Art","score_opus":0.03370510595796411,"score_gpt":0.2300435481670633,"score_spread":0.19633844220909918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3014917578","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19228123,0.779244,1.2694822e-7,0.015605025,0.00019846791,0.0006214817,0.00026942883,0.000013099961,0.011767143],"genre_scores_gemma":[0.52555066,0.46801665,0.0000024783697,0.0062130434,0.0000829329,0.000009977608,0.000028300676,0.000016515582,0.000079471276],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990199,0.00009321273,0.00038234584,0.00013723936,0.00010664758,0.00026063458],"domain_scores_gemma":[0.999328,0.00006373532,0.0001122568,0.0002512948,0.000084598985,0.00016010685],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001483594,0.00020380806,0.00064521574,0.00011100709,0.00011716733,0.00009658542,0.00019861416,0.000040547337,0.00093407196],"category_scores_gemma":[0.0000042709153,0.00016780545,0.00010894157,0.000106674626,0.00030355534,0.00056157325,0.00003506505,0.0001465011,0.000032300668],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025220323,0.000044711116,0.0068570976,0.013112218,0.00027252638,0.000022604323,0.32605913,0.0000010496109,0.000006760063,0.0012819465,0.010559984,0.6417567],"study_design_scores_gemma":[0.00040282146,0.0002611842,0.000595191,0.017645938,0.00020010491,0.00000770435,0.17295495,0.000022926353,0.000069076596,0.0001974295,0.8072619,0.00038078445],"about_ca_topic_score_codex":0.09978797,"about_ca_topic_score_gemma":0.9172039,"teacher_disagreement_score":0.81741595,"about_ca_system_score_codex":0.00004110417,"about_ca_system_score_gemma":0.00011410715,"threshold_uncertainty_score":0.9999792},"labels":[],"label_agreement":null},{"id":"W3017057811","doi":"10.1386/dtr_00018_5","title":"Honouring the Strength of Indian Women: Plays, Stories, Poetry, Michelle Coupal, Deanna Reder, Joanne Arnott and Emalene A. Manuel (eds), Vera Manuel Kulilu Paŧki (2019)","year":2020,"lang":"en","type":"article","venue":"Drama Therapy Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; Art; Performance art; Art history; History; Literature","score_opus":0.03284452666334612,"score_gpt":0.24142232088909218,"score_spread":0.20857779422574607,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3017057811","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27092922,0.71635985,0.0000013506373,0.007008479,0.00032161362,0.0006572335,0.00016580704,0.00006616222,0.00449028],"genre_scores_gemma":[0.43454757,0.55967546,0.000013447772,0.0039524687,0.00046570002,0.000059685637,0.000031373595,0.000035339483,0.0012189659],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99838936,0.000103688275,0.00050929177,0.00032674638,0.00025157243,0.0004193643],"domain_scores_gemma":[0.9990121,0.00010315575,0.00027233732,0.00038702428,0.000098953686,0.00012640831],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00036446494,0.00034660628,0.00070834067,0.000043616124,0.00057279837,0.00013143993,0.00035394574,0.000055928533,0.0011746293],"category_scores_gemma":[0.000023058803,0.00022893916,0.0001380749,0.00010432408,0.00032155446,0.00021577353,0.00008750928,0.00029818353,0.00005167804],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00067707896,0.00043515474,0.0019285986,0.012932296,0.0017865229,0.000049443635,0.40843275,0.000006354732,0.00027907037,0.00783742,0.18613787,0.37949744],"study_design_scores_gemma":[0.0006019738,0.00040897977,0.00021820687,0.00092474866,0.000056192686,0.000006264656,0.0038110455,0.000006569851,0.00017944605,0.00015415637,0.9933338,0.00029862422],"about_ca_topic_score_codex":0.00015845423,"about_ca_topic_score_gemma":0.00012650753,"teacher_disagreement_score":0.8071959,"about_ca_system_score_codex":0.00002659511,"about_ca_system_score_gemma":0.000047988815,"threshold_uncertainty_score":0.99973845},"labels":[],"label_agreement":null},{"id":"W3023399942","doi":"10.3390/arts9020056","title":"“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind","year":2020,"lang":"en","type":"article","venue":"Arts","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Choreography; Visual arts; Movement (music); Musical; Dance; Performing arts; Art history; Performance art; Aesthetics","score_opus":0.09465858845078451,"score_gpt":0.24587183978238358,"score_spread":0.15121325133159907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3023399942","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8052529,0.00047118403,0.000008721637,0.04914168,0.00025184875,0.0003141585,0.000003607326,0.00007869405,0.14447719],"genre_scores_gemma":[0.9804007,0.0000633212,0.0000062906574,0.018302757,0.00046291688,0.00002960819,0.0000033059066,0.00001192308,0.0007191949],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945587,0.00004268531,0.000084108,0.00015122195,0.00012252983,0.00014360544],"domain_scores_gemma":[0.9997731,0.000026034946,0.000040102976,0.000111178895,0.00001671824,0.000032896693],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011760295,0.000108644825,0.00011843315,0.000023981975,0.00022740156,0.00008101828,0.00007589841,0.000010157812,0.0002854453],"category_scores_gemma":[0.0000015146557,0.000055446922,0.00001974571,0.000029721938,0.00008292471,0.00013243126,0.000022323216,0.00014289461,0.000034076736],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003522707,0.00020171584,0.0023419484,0.00006559395,0.00016319018,0.000024503057,0.8228551,0.00019841129,0.00001944829,0.015106339,0.038208075,0.12046339],"study_design_scores_gemma":[0.0002741107,0.0006661273,0.004954922,0.00017319377,0.000019588786,4.0694937e-7,0.01256656,0.000050495724,0.000029449991,0.000034122324,0.9811132,0.00011782859],"about_ca_topic_score_codex":0.00008124839,"about_ca_topic_score_gemma":0.016526096,"teacher_disagreement_score":0.9429051,"about_ca_system_score_codex":0.000019653784,"about_ca_system_score_gemma":0.0000073907813,"threshold_uncertainty_score":0.92219496},"labels":[],"label_agreement":null},{"id":"W3023876220","doi":"10.1162/pajj_a_00516","title":"Decoding the Reality Studio","year":2020,"lang":"en","type":"article","venue":"PAJ A Journal of Performance and Art","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Innovation, Science and Economic Development Canada","funders":"","keywords":"Studio; Art; Art history; Hoax; Visual arts; The arts; Performing arts; Sublime","score_opus":0.06603869174587618,"score_gpt":0.248044471067946,"score_spread":0.18200577932206982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3023876220","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.910918,0.0018390608,0.000029134697,0.018118538,0.0004266324,0.00007043788,0.000005103907,0.000013921884,0.06857919],"genre_scores_gemma":[0.99339247,0.002695567,0.000014666283,0.0017040522,0.0016633995,0.0000011938595,3.5375203e-7,0.0000049665437,0.00052333635],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941427,0.000017773955,0.0002440469,0.000057790105,0.00013679182,0.00012932924],"domain_scores_gemma":[0.99964064,0.00004061692,0.00013109665,0.00005427362,0.00007940457,0.000053943855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027601438,0.0000835384,0.00016768678,0.000022788507,0.00047219876,0.00007791663,0.00011274362,0.000010566071,0.00022921755],"category_scores_gemma":[0.0000136007775,0.000044167915,0.000058067057,0.000026380356,0.0001560998,0.00034388193,0.00003966529,0.00017371673,0.000041346582],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00056439935,0.000103313716,0.056787856,0.00037731862,0.0005579262,0.000026305059,0.43213925,0.00009574247,0.00017920758,0.025355596,0.30948675,0.17432635],"study_design_scores_gemma":[0.00027221162,0.00032321006,0.0022103128,0.000045060457,0.000041784017,0.000019506995,0.0059833787,0.0002504748,0.000081716804,0.00009851889,0.990594,0.00007978501],"about_ca_topic_score_codex":0.0000023623209,"about_ca_topic_score_gemma":0.000025798425,"teacher_disagreement_score":0.6811073,"about_ca_system_score_codex":0.0000053939416,"about_ca_system_score_gemma":0.000017443474,"threshold_uncertainty_score":0.3631819},"labels":[],"label_agreement":null},{"id":"W3024621529","doi":"10.32920/21948641.v1","title":"Drunken Language, Elliptical Politics: Caryl Churchill’s Oblique Protest Theatre","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Allegory; Politics; Depiction; Political theatre; Metaphor; Literature; Theatre director; Reading (process); Aesthetics; History; Art; Sociology; Political science; Philosophy; Law; Linguistics","score_opus":0.04054475449675002,"score_gpt":0.2713321254283472,"score_spread":0.2307873709315972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3024621529","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09399768,0.00089141715,0.0000106170055,0.005119226,0.0023082718,0.0010037163,0.0006458564,0.0011060671,0.89491713],"genre_scores_gemma":[0.7673457,0.0004758707,0.00016005264,0.00078022905,0.01003182,0.00036466625,0.0003443603,0.0001324446,0.22036484],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982055,0.000044793753,0.0003899508,0.00049325393,0.00028163666,0.00058487005],"domain_scores_gemma":[0.9989681,0.00011069612,0.000084492516,0.00061352196,0.00010941012,0.00011377873],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017862621,0.0004440005,0.0005192612,0.00018304224,0.00045204334,0.00032438757,0.00040280592,0.00018807266,0.0028553933],"category_scores_gemma":[0.000017533372,0.00032222678,0.0002666802,0.00002946246,0.0003698079,0.000089597735,0.0007853573,0.00079641934,0.0017290127],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037867965,0.00021082629,0.001473697,0.0015328587,0.000812305,0.00009993615,0.21933395,0.00007406218,0.000017652974,0.6369651,0.13262363,0.006818128],"study_design_scores_gemma":[0.0004210646,0.00020850437,0.0009970037,0.00059436273,0.0002430914,0.000008265005,0.035495445,0.0002522602,0.00024218943,0.044675175,0.9154553,0.0014073376],"about_ca_topic_score_codex":0.0061393613,"about_ca_topic_score_gemma":0.0074203727,"teacher_disagreement_score":0.78283167,"about_ca_system_score_codex":0.00006054651,"about_ca_system_score_gemma":0.00014521989,"threshold_uncertainty_score":0.999923},"labels":[],"label_agreement":null},{"id":"W3026214858","doi":"10.18178/ijlll.2019.5.4.229","title":"Ethics in Performance of Violence: On Controversy of Collen Murphy‟s Pig Girl","year":2019,"lang":"en","type":"article","venue":"International Journal of Languages Literature and Linguistics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Psychoanalysis; Criminology; Art; Psychology; Sociology; Philosophy; Developmental psychology","score_opus":0.010118561496000194,"score_gpt":0.2780354596380114,"score_spread":0.2679168981420112,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3026214858","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9615354,0.003296371,8.992102e-7,0.00014114306,0.0016422693,0.00004995473,0.00010447156,0.000002299584,0.033227198],"genre_scores_gemma":[0.99558175,0.0022821466,0.00008131326,0.0002080111,0.0012344092,3.496466e-7,0.000006059894,0.0000051789953,0.0006008006],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921995,0.00002368975,0.00034688486,0.000058475627,0.000279157,0.000071857736],"domain_scores_gemma":[0.9985527,0.00024066273,0.0002840534,0.000059834965,0.00084465626,0.000018121525],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002482437,0.00008295284,0.00022255149,0.0001801072,0.00002333516,0.00003461661,0.00014593646,0.000052001153,0.000086793945],"category_scores_gemma":[0.0002684469,0.000059498125,0.00005598363,0.000027691412,0.00008487157,0.000046472574,0.000024018998,0.0003343544,0.000001583001],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0039861724,0.000598486,0.12635285,0.0012670114,0.00091414707,0.00023348255,0.44550544,0.00044738076,0.0012577978,0.4001453,0.0024559319,0.016836002],"study_design_scores_gemma":[0.010155221,0.0069582,0.02725202,0.030971657,0.00023558161,0.00011939942,0.03621817,0.0008554413,0.008844529,0.006429843,0.8710137,0.0009462055],"about_ca_topic_score_codex":0.000026934802,"about_ca_topic_score_gemma":0.000032985212,"teacher_disagreement_score":0.8685578,"about_ca_system_score_codex":0.0000137744055,"about_ca_system_score_gemma":0.000039426566,"threshold_uncertainty_score":0.24262631},"labels":[],"label_agreement":null},{"id":"W3026905917","doi":"10.1590/2237-266096976","title":"A Im/possível Feminilidade de Nina Arsenault: gênero teatral em I w@s B*rbie e em The Silicone Diaries","year":2020,"lang":"pt","type":"article","venue":"Revista Brasileira de Estudos da Presença","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.04728513483373095,"score_gpt":0.27346329412615916,"score_spread":0.2261781592924282,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3026905917","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9566678,0.02141042,0.00007769496,0.004996515,0.00063678867,0.0017315284,0.0010046365,0.0004101565,0.0130644925],"genre_scores_gemma":[0.974839,0.0012659112,0.00005715585,0.003130794,0.0050447965,0.00021784213,0.00006804506,0.0001755265,0.015200956],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99433273,0.00068078586,0.0012190437,0.0010851074,0.00080659974,0.0018757583],"domain_scores_gemma":[0.99637336,0.0010790528,0.0004985859,0.0011883706,0.00023234544,0.0006283174],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0009274952,0.0011637552,0.0014278841,0.00013401365,0.002913703,0.0033224225,0.0014972676,0.0003178026,0.0016554769],"category_scores_gemma":[0.00052890315,0.00086552784,0.0007359947,0.00034370727,0.0012875312,0.0006424426,0.0008586133,0.0015875354,0.0009331247],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007411865,0.0005403436,0.22568248,0.0022193457,0.0016197431,0.00030464304,0.49746823,0.000120148325,0.00035684384,0.027587377,0.23463635,0.008723315],"study_design_scores_gemma":[0.002847744,0.0016927856,0.24109797,0.001185983,0.0020367624,0.00016745014,0.19339167,0.0025484108,0.00044171297,0.00021715174,0.55166364,0.0027087058],"about_ca_topic_score_codex":0.0004232638,"about_ca_topic_score_gemma":0.0008847852,"teacher_disagreement_score":0.3170273,"about_ca_system_score_codex":0.00019280636,"about_ca_system_score_gemma":0.0004840628,"threshold_uncertainty_score":0.9998448},"labels":[],"label_agreement":null},{"id":"W3028947167","doi":"10.3389/978-2-83251-732-1","title":"International symposium on performance science 2021","year":2023,"lang":"en","type":"book","venue":"Frontiers research topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":37,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Engineering ethics; Library science; Computer science; Engineering","score_opus":0.07924619105213328,"score_gpt":0.324583410216117,"score_spread":0.2453372191639837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3028947167","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018051705,0.00020238374,0.0000013382099,0.007016907,0.009862683,0.0002218419,0.000100186204,0.000057337613,0.9823568],"genre_scores_gemma":[0.00018240613,0.004002093,0.000024920422,0.00007080593,0.009220297,0.00003996334,0.00007352197,0.000038037586,0.986348],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99717754,0.000028641034,0.00021763441,0.00044338193,0.0015135817,0.0006192137],"domain_scores_gemma":[0.9988052,0.00002187916,0.000057271067,0.00041980445,0.00060107274,0.00009474061],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008860262,0.00020920584,0.0002480319,0.0006140794,0.0013740938,0.00044976972,0.0009818035,0.00009615493,0.0011533239],"category_scores_gemma":[0.000052587427,0.00017571881,0.00009035972,0.00010157778,0.0019361723,0.000298522,0.00040944913,0.00093023345,0.0020483641],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027236303,0.000015702974,0.00003064246,0.000057086807,0.00006468263,0.000009146269,0.0060869027,0.000005146467,0.0000012164622,0.02669764,0.93235016,0.034654412],"study_design_scores_gemma":[0.00009914303,0.00018840597,0.000029693028,0.00017687377,0.0000073406572,2.8679534e-7,0.0009575924,0.00020190152,0.000018878618,0.0014404419,0.99668735,0.00019206812],"about_ca_topic_score_codex":0.000021242351,"about_ca_topic_score_gemma":0.000057319852,"teacher_disagreement_score":0.06433719,"about_ca_system_score_codex":0.00054508424,"about_ca_system_score_gemma":0.00047705031,"threshold_uncertainty_score":0.999926},"labels":[],"label_agreement":null},{"id":"W3028983549","doi":"10.3138/md.63.2.1081","title":"Between Paper and Performance: Suspicion, Race, and Casting in <i>The Piano Teacher</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Piano; Presidency; Drama; Race (biology); Gaze; Blindness; Aesthetics; Convergence (economics); Psychology; Gender studies; Sociology; History; Literature; Art; Social psychology; Political science; Psychoanalysis; Law; Art history; Economics; Politics","score_opus":0.0327112568335285,"score_gpt":0.2244543461028891,"score_spread":0.19174308926936062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3028983549","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9658996,0.0009501481,0.0000065437857,0.0049239886,0.000034572815,0.00010764048,0.0000068806153,0.000028202467,0.028042458],"genre_scores_gemma":[0.99699575,0.00016867033,0.000010748652,0.0013391682,0.0007285563,0.0000094475,0.0000040791406,0.000010861612,0.00073272455],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939,0.000027177577,0.00014486132,0.00015463051,0.000098025426,0.00018528823],"domain_scores_gemma":[0.99979055,0.00004952699,0.000029595802,0.00007703006,0.000017072372,0.000036202506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014311545,0.00011584924,0.00016308279,0.000023515413,0.000370204,0.00012996717,0.00007915538,0.000027167325,0.000080944075],"category_scores_gemma":[0.000009365635,0.00007786136,0.000017005254,0.000025527144,0.00014326612,0.00025319244,0.00006028653,0.00018254346,0.000013205352],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046225225,0.00002122186,0.29694572,0.00016570334,0.00003364005,0.0000071041854,0.5716935,0.000009296516,0.000043082004,0.0019369664,0.0029533235,0.12614426],"study_design_scores_gemma":[0.0017897636,0.0006529895,0.16785672,0.00013651792,0.00011268576,0.000014495926,0.034002513,0.0071023456,0.000057058307,0.0016475378,0.7859313,0.00069610483],"about_ca_topic_score_codex":0.0000872038,"about_ca_topic_score_gemma":0.00028412516,"teacher_disagreement_score":0.78297794,"about_ca_system_score_codex":0.0000051636407,"about_ca_system_score_gemma":0.000006845257,"threshold_uncertainty_score":0.3175094},"labels":[],"label_agreement":null},{"id":"W3029140137","doi":"10.24908/iqurcp.10674","title":"16. Why has Classical Drama been Foundational for 172 Years at Queen’s University?","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Queen (butterfly); Classical antiquity; Ancient Greek; Classical period; Value (mathematics); Greeks; Ancient Greece; Classical tradition; Relation (database); Art; Literature; Sociology; Classics; Computer science","score_opus":0.15596673160989533,"score_gpt":0.3364399369721181,"score_spread":0.18047320536222278,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3029140137","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36706197,0.000089632995,0.0018027753,0.3057724,0.00222969,0.0036798748,0.00034711065,0.00075876666,0.31825778],"genre_scores_gemma":[0.93995327,0.00018172865,0.00016063968,0.00025001093,0.0026162262,0.000073819254,0.00005592341,0.000038928352,0.056669436],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972723,0.000053951782,0.00029415506,0.00060543156,0.00083787076,0.0009363046],"domain_scores_gemma":[0.99667686,0.0002854525,0.000110451234,0.00017783024,0.0025278432,0.0002215561],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0007641596,0.00026670066,0.00032547195,0.0004237181,0.002483957,0.0009093688,0.0005786889,0.00012411136,0.0009797552],"category_scores_gemma":[0.0001318431,0.0002544523,0.0001343118,0.00020294545,0.0046860557,0.0009914207,0.0004562641,0.00042140804,0.00057965063],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038337117,0.00006742377,0.00077560684,0.000082616825,0.000116268144,0.000002990786,0.027230706,9.2530534e-8,0.00009414252,0.66018534,0.30747882,0.0035826412],"study_design_scores_gemma":[0.0007327454,0.00071929727,0.00030741593,0.000104444895,0.000028246799,0.00000261281,0.013639314,0.0001392975,0.00025007938,0.070381604,0.9133767,0.00031827038],"about_ca_topic_score_codex":0.001023903,"about_ca_topic_score_gemma":0.0017168547,"teacher_disagreement_score":0.60589784,"about_ca_system_score_codex":0.0005265861,"about_ca_system_score_gemma":0.00041772614,"threshold_uncertainty_score":0.99999076},"labels":[],"label_agreement":null},{"id":"W3029433772","doi":"10.3138/md.63.2.br2","title":"Renata Kobetts Miller, <i>The Victorian Actress in the Novel and on the Stage</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Miller; Stage (stratigraphy); Feeling; Politics; Relation (database); Class (philosophy); History; Aesthetics; Art; Sociology; Political science; Psychology; Law; Philosophy; Epistemology; Geology; Social psychology; Computer science","score_opus":0.051345964188700334,"score_gpt":0.2285855975444686,"score_spread":0.17723963335576828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3029433772","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6537403,0.0015316366,0.000030264295,0.15755065,0.0005300302,0.0005425888,0.00014231405,0.00006272765,0.1858695],"genre_scores_gemma":[0.9885883,0.000119346405,0.00000157503,0.0092305625,0.0008017045,0.000024133136,0.0000027765157,0.000010847658,0.0012207798],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993575,0.000043911183,0.00011191325,0.0001440405,0.00016627528,0.00017635433],"domain_scores_gemma":[0.9995378,0.00016195702,0.00003375697,0.00022847555,0.000017547376,0.00002044599],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016296488,0.000120731835,0.00010587016,0.000012920999,0.000574137,0.00021471451,0.00030067365,0.0000205038,0.00010102489],"category_scores_gemma":[0.000016109374,0.000049315073,0.00003403494,0.000031102252,0.00017775723,0.00008406493,0.00007606635,0.00022418663,0.000026024463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010630705,0.00007037929,0.00028312943,0.000038088536,0.000051209314,0.0000058790492,0.78796756,0.000053138214,0.000106206535,0.18847781,0.018541802,0.004298498],"study_design_scores_gemma":[0.00028410534,0.00007474131,0.000549396,0.000023356153,0.000011603548,6.2559616e-7,0.008998837,0.00097571104,0.00006283924,0.0009204795,0.98799783,0.00010048623],"about_ca_topic_score_codex":0.00015140178,"about_ca_topic_score_gemma":0.0018369614,"teacher_disagreement_score":0.969456,"about_ca_system_score_codex":0.00000630819,"about_ca_system_score_gemma":0.000008803323,"threshold_uncertainty_score":0.44158557},"labels":[],"label_agreement":null},{"id":"W3029646860","doi":"10.1017/9781108348447.003","title":"International Festivals, the Practice of Co-production, and the Challenges for Documentation in a Digital Age","year":2020,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Documentation; Phenomenon; Media studies; Criticism; Production (economics); Visual arts; Function (biology); Political science; Art; History; Sociology; Literature; Computer science","score_opus":0.0409362719331599,"score_gpt":0.23452531127786577,"score_spread":0.19358903934470587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3029646860","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006725657,0.00051045883,0.0000052600903,0.001855686,0.00024333439,0.0004063507,0.00021801946,0.000012805926,0.99668086],"genre_scores_gemma":[0.05785993,0.0024370886,0.000007683305,0.000089047564,0.0005273338,0.0000038352873,0.000034381148,0.000012435869,0.93902826],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995554,0.000014860812,0.00011157125,0.00014913194,0.00011000209,0.000059007758],"domain_scores_gemma":[0.9993723,0.00023015456,0.00015816081,0.00010242242,0.00012466674,0.000012267838],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010973422,0.000110344976,0.00015767457,0.000041647738,0.00019290269,0.00007579706,0.0001499165,0.00003074001,0.0000031650807],"category_scores_gemma":[0.00004533973,0.000074557924,0.000060206687,0.0000013222908,0.00061334006,0.00022334853,0.00008538197,0.00012752756,0.0000010938834],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047869293,0.0000047548647,8.134258e-7,0.00005565183,0.0001751742,0.0000046444666,0.012212035,6.2566625e-7,5.141838e-7,0.9771917,0.007849492,0.002025937],"study_design_scores_gemma":[0.00052813184,0.00003708179,0.000005109884,0.000068623565,0.00010684741,0.0000029577034,0.007260411,0.0000052877303,0.000008296801,0.00022645645,0.99166864,0.00008217583],"about_ca_topic_score_codex":0.00008331285,"about_ca_topic_score_gemma":0.00003374854,"teacher_disagreement_score":0.9838191,"about_ca_system_score_codex":0.000023049111,"about_ca_system_score_gemma":0.00001370369,"threshold_uncertainty_score":0.30403838},"labels":[],"label_agreement":null},{"id":"W3029731605","doi":"10.24908/iqurcp.10443","title":"Physical Theatre: Text in Body and Space","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Storytelling; Narrative; Choreography; Musical; Visual arts; Dance; Space (punctuation); Spoken word; Art; Linguistics; Literature","score_opus":0.09097753180895006,"score_gpt":0.3516414005829221,"score_spread":0.260663868773972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3029731605","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7410883,0.000098608165,0.0000068245804,0.022669965,0.00018521743,0.00034962755,0.00000605823,0.00009300729,0.23550245],"genre_scores_gemma":[0.9931304,0.0005990861,0.000024163355,0.000080418096,0.0020079617,0.00007085551,0.0000022790068,0.000027200838,0.0040576407],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9978287,0.000050866474,0.00022938893,0.0004934482,0.00057991844,0.0008176607],"domain_scores_gemma":[0.998713,0.00015211444,0.00005241239,0.0001435207,0.00079411856,0.00014483956],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.000775527,0.0002413363,0.00031894312,0.0003844635,0.00073370885,0.00061382755,0.00030302096,0.000059988724,0.00014332187],"category_scores_gemma":[0.000066775894,0.00019036546,0.00004386739,0.00023607598,0.0034282443,0.00075357064,0.0003218957,0.0005709394,0.0002887517],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014110652,0.00013529185,0.0054460494,0.00012165732,0.00004401403,0.0000056233016,0.16807012,3.8765947e-8,0.00090222986,0.8009759,0.012917103,0.011240862],"study_design_scores_gemma":[0.0014711405,0.0022936487,0.0030275267,0.0006394922,0.000030986874,0.000013890162,0.11224613,0.0014601413,0.0045254547,0.503822,0.36952963,0.00093994034],"about_ca_topic_score_codex":0.0009464936,"about_ca_topic_score_gemma":0.0009819963,"teacher_disagreement_score":0.3566125,"about_ca_system_score_codex":0.00007062268,"about_ca_system_score_gemma":0.00011681583,"threshold_uncertainty_score":0.99928385},"labels":[],"label_agreement":null},{"id":"W3030271396","doi":"10.3138/md.63.2.br7","title":"Paul Rae, <i>Real Theatre: Essays in Experience</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Simple (philosophy); Theatre studies; Aesthetics; Media studies; Visual arts; Literature; Art history; Sociology; History; Art; Epistemology; Philosophy; Drama","score_opus":0.032425595388908664,"score_gpt":0.23532904883945663,"score_spread":0.20290345345054797,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3030271396","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5137077,0.0005070436,0.000029251669,0.0028468296,0.00022410134,0.000112587026,0.000019651037,0.00011273168,0.48244008],"genre_scores_gemma":[0.99629307,0.00015668533,0.000014562129,0.0014336923,0.0007182369,0.00003095726,0.000006915672,0.000016467553,0.0013293931],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992134,0.000018662304,0.00017238776,0.00020318771,0.00013599382,0.00025639334],"domain_scores_gemma":[0.99974823,0.000022318394,0.000028356542,0.0001275452,0.000014691365,0.000058839843],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00004211534,0.00013944117,0.00018908911,0.000026399744,0.00019412393,0.000096599186,0.00015322145,0.000028288745,0.0005600554],"category_scores_gemma":[0.0000029738142,0.00011020087,0.00005465354,0.00003635737,0.00014484738,0.00023133558,0.00006306285,0.00012342074,0.00016273915],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012672394,0.00009679701,0.009493,0.00004564749,0.000032699954,0.000039081446,0.88900733,0.0000688116,0.00018405136,0.020621132,0.016710836,0.06357388],"study_design_scores_gemma":[0.0016123591,0.00032878754,0.0011619539,0.000060475384,0.000026998263,0.0000035510075,0.046928793,0.0072191465,0.00057736575,0.014246956,0.9270845,0.00074910285],"about_ca_topic_score_codex":0.0004048094,"about_ca_topic_score_gemma":0.001973448,"teacher_disagreement_score":0.9103737,"about_ca_system_score_codex":0.000013849161,"about_ca_system_score_gemma":0.000015285112,"threshold_uncertainty_score":0.6132214},"labels":[],"label_agreement":null},{"id":"W3031265003","doi":"10.3138/md.63.2.1080","title":"Contemporary African-American Drama at Visuality’s Limits","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Invisibility; Drama; Aesthetics; Art; Sociology; History; Literature; Art history","score_opus":0.0710862222338664,"score_gpt":0.26643397955813763,"score_spread":0.19534775732427123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3031265003","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6106003,0.0008145816,0.000033588745,0.010582849,0.00024155247,0.0001823737,0.00009036992,0.00028251606,0.37717184],"genre_scores_gemma":[0.9846855,0.000037251586,0.000018782139,0.004527067,0.001115961,0.000023756877,0.000024275269,0.00003529641,0.009532139],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998825,0.00004660179,0.0002620105,0.00031587447,0.00022955833,0.00032092942],"domain_scores_gemma":[0.99940157,0.00006010843,0.000111649395,0.00020753327,0.000069873,0.00014929476],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006998039,0.00022476778,0.00035689713,0.000039401828,0.00049461605,0.00014567107,0.00020836176,0.000028124896,0.00075541023],"category_scores_gemma":[0.000016861572,0.00018753052,0.00012504033,0.000054531403,0.00043799725,0.00022082798,0.0001329707,0.00014748538,0.00070113066],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00080499466,0.0002346132,0.008956862,0.0001755796,0.00041392166,0.000066332126,0.65592486,0.000034119523,0.0008004647,0.021908151,0.26713628,0.04354383],"study_design_scores_gemma":[0.00043635524,0.0004827592,0.00054239406,0.000017297929,0.000026702806,0.0000015964915,0.008580848,0.0015800288,0.00036377326,0.00046977983,0.9871234,0.00037503397],"about_ca_topic_score_codex":0.00041358446,"about_ca_topic_score_gemma":0.00042390663,"teacher_disagreement_score":0.71998715,"about_ca_system_score_codex":0.00003749558,"about_ca_system_score_gemma":0.000037834874,"threshold_uncertainty_score":0.901185},"labels":[],"label_agreement":null},{"id":"W3031664511","doi":"10.1017/9781108348447.007","title":"International Theatre Festivals in the UK","year":2020,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Competition (biology); Work (physics); Public relations; Mental health; Political science; Sociology; Engineering; Psychology","score_opus":0.03799048338186238,"score_gpt":0.19999192998075846,"score_spread":0.1620014465988961,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3031664511","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006638967,0.00011183537,0.0000017673304,0.00037626096,0.00047313946,0.00020741645,0.0003726863,0.00004432293,0.9983462],"genre_scores_gemma":[0.028408825,0.00019134366,0.0000030298029,0.00035021844,0.0009430133,8.881805e-7,0.000050442122,0.000017251537,0.97003496],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992899,0.000022082957,0.00012472538,0.00022582263,0.00019942578,0.00013808462],"domain_scores_gemma":[0.9995628,0.00006550962,0.00008644822,0.00020492502,0.00004802445,0.00003229689],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006175043,0.00022058061,0.00022492379,0.00008831246,0.0002444531,0.0000842574,0.00054454716,0.00007564313,0.00009850327],"category_scores_gemma":[0.0000019209222,0.00017258571,0.00014067345,0.0000021345863,0.00028889548,0.000066435976,0.00019442604,0.00037314603,0.000043592452],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004882161,0.0000040321715,0.0000067260125,0.000019743793,0.00009523163,0.000110915535,0.004457093,4.1871434e-7,5.8957994e-7,0.8837402,0.11008256,0.0014336795],"study_design_scores_gemma":[0.00023672523,0.000034338358,0.0000124218805,0.0000843725,0.000072443494,0.0000035651594,0.0015511591,0.0000051246075,0.0000034680859,0.000044449924,0.9977538,0.00019811056],"about_ca_topic_score_codex":0.00028708376,"about_ca_topic_score_gemma":0.00009262183,"teacher_disagreement_score":0.88767123,"about_ca_system_score_codex":0.00005196701,"about_ca_system_score_gemma":0.000028123979,"threshold_uncertainty_score":0.70378417},"labels":[],"label_agreement":null},{"id":"W3031915478","doi":"10.1017/9781108348447.008","title":"Under the Radar Festival, New York","year":2020,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Radar; History; Aeronautics; Geography; Meteorology; Computer science; Telecommunications; Engineering","score_opus":0.058786381122630814,"score_gpt":0.1916661075039772,"score_spread":0.13287972638134637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3031915478","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000017444494,0.0008188404,0.00002153116,0.00056316535,0.0006095746,0.0002517296,0.00022707414,0.00015265924,0.997338],"genre_scores_gemma":[0.0016067532,0.0001638824,0.000008916066,0.0006015169,0.0018334521,3.1585049e-7,0.000028757202,0.000042283915,0.9957141],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991092,0.000019295407,0.0001352617,0.0003089117,0.00021016266,0.00021713281],"domain_scores_gemma":[0.99927056,0.000067881716,0.0001301245,0.0003543111,0.00006061717,0.00011649442],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00003680248,0.00034191628,0.00033258685,0.000054663375,0.0008066269,0.00011368991,0.00047492163,0.000112464244,0.000110422785],"category_scores_gemma":[0.0000014185673,0.0002683121,0.00023108145,0.0000026772036,0.0005582107,0.00007174656,0.00028275608,0.00047533866,0.00013776807],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037793794,0.0000015260699,1.2090699e-7,0.000020197793,0.00015964973,0.000020714915,0.0013815735,4.313798e-7,6.6412406e-7,0.59710157,0.40051386,0.00076190993],"study_design_scores_gemma":[0.00027688406,0.000058018682,0.000002323389,0.00008787113,0.00030297163,0.000003173826,0.0015068755,0.000002235749,0.000012899902,0.00012072026,0.99729127,0.00033474126],"about_ca_topic_score_codex":0.0006939172,"about_ca_topic_score_gemma":0.00008969126,"teacher_disagreement_score":0.5969808,"about_ca_system_score_codex":0.000063796164,"about_ca_system_score_gemma":0.00011833153,"threshold_uncertainty_score":0.99997693},"labels":[],"label_agreement":null},{"id":"W3034307411","doi":"10.36510/learnland.v13i1.1019","title":"Arts and Drama Education Is for All","year":2020,"lang":"en","type":"article","venue":"LEARNing Landscapes","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; The arts; Passion; Performing arts; Pedagogy; Psychology; Arts in education; Sociology; Visual arts; Work (physics); Art; Social psychology; Engineering","score_opus":0.02791383927908963,"score_gpt":0.24975368645913115,"score_spread":0.22183984718004152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3034307411","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8228923,0.002793591,0.00004337674,0.026855638,0.00044397876,0.00025270635,0.000017593842,0.00019525658,0.14650558],"genre_scores_gemma":[0.9911471,0.00010418794,0.00006108961,0.002490381,0.0010960004,0.000017666453,0.000016919108,0.000008895765,0.005057767],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970144,0.0000058823507,0.00006295063,0.00009888524,0.000037395705,0.00009343286],"domain_scores_gemma":[0.9998517,0.000034468383,0.000026632968,0.000027600852,0.00002823156,0.000031380056],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000310973,0.000061217484,0.00008258671,0.000015858983,0.00023653216,0.00008790853,0.00002860708,0.0000136945155,0.0003544469],"category_scores_gemma":[0.000014974557,0.000047881094,0.000024583216,0.000008038043,0.000021020602,0.00008413568,0.000014268176,0.00005942296,0.000039762686],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011098401,0.00004255313,0.015029932,0.00030254145,0.00012917683,5.004741e-7,0.5990229,0.0000253139,0.00010900818,0.046325814,0.19636576,0.1425355],"study_design_scores_gemma":[0.00013852367,0.00012116927,0.0002650301,0.0000117964355,0.000018644523,4.3441335e-7,0.0067997645,0.00036622724,0.000041811534,0.00030193996,0.9918601,0.00007454826],"about_ca_topic_score_codex":0.000019509518,"about_ca_topic_score_gemma":0.00005439059,"teacher_disagreement_score":0.7954944,"about_ca_system_score_codex":0.0000017782893,"about_ca_system_score_gemma":0.000009534335,"threshold_uncertainty_score":0.38809448},"labels":[],"label_agreement":null},{"id":"W3034743658","doi":"10.36510/learnland.v13i1.1000","title":"Winter’s Walk: All the Light I Hold in This Moment","year":2020,"lang":"en","type":"article","venue":"LEARNing Landscapes","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Notice; Space (punctuation); Moment (physics); Politics; Scripting language; Resistance (ecology); Action (physics); Sociology; Mathematics education; Public relations; Political science; Psychology; Computer science; Law; Physics","score_opus":0.02532528646779199,"score_gpt":0.2224387365372452,"score_spread":0.1971134500694532,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3034743658","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47526148,0.0015357722,0.0000027325789,0.055067394,0.000336161,0.00014098486,0.000004206572,0.00015314098,0.46749812],"genre_scores_gemma":[0.98551136,0.00017921226,0.0000027205315,0.0017415362,0.0007547006,0.000013179868,0.0000054178795,0.000011338198,0.011780533],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940175,0.000039025173,0.00013091872,0.00012980078,0.000105994055,0.00019250566],"domain_scores_gemma":[0.9998094,0.000036791484,0.000038075174,0.00007189692,0.000014868545,0.000029010285],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010153893,0.00010478329,0.00013470522,0.000028352275,0.00023098341,0.000100994344,0.00013523907,0.000018549932,0.002828632],"category_scores_gemma":[0.00001136047,0.000059550443,0.0000516676,0.00002863894,0.000031541265,0.00009199449,0.000063226355,0.0002620098,0.00037995962],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009475491,0.00004534413,0.059666384,0.00006559068,0.00013317296,0.000017538428,0.80814093,0.0003938331,0.00013788507,0.010065145,0.11274224,0.008497186],"study_design_scores_gemma":[0.00019111535,0.00011740966,0.0010275654,0.000023732657,0.000012148783,6.082683e-7,0.0067187436,0.0003305725,0.0000478418,0.00003810626,0.99139464,0.00009749924],"about_ca_topic_score_codex":0.00008436662,"about_ca_topic_score_gemma":0.0008902235,"teacher_disagreement_score":0.8786524,"about_ca_system_score_codex":0.00000821233,"about_ca_system_score_gemma":0.0000055087053,"threshold_uncertainty_score":0.99808294},"labels":[],"label_agreement":null},{"id":"W3034748897","doi":"10.36510/learnland.v13i1.1025","title":"Vignettes From a Lifetime of Studying Performance","year":2020,"lang":"en","type":"article","venue":"LEARNing Landscapes","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Passion; Drama; Psychology; History; Visual arts; Social psychology; Art","score_opus":0.02258620325845477,"score_gpt":0.2057474273280232,"score_spread":0.18316122406956842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3034748897","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95725155,0.00077545375,0.000004863023,0.00061550236,0.000098620556,0.000049029222,0.000009874273,0.00010260445,0.041092515],"genre_scores_gemma":[0.9979201,0.00013852814,0.000042015698,0.00022670452,0.00091495615,0.0000046153723,0.000013729337,0.000012946237,0.00072639075],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940366,0.000025541989,0.0001660237,0.00013437418,0.00012566503,0.00014473779],"domain_scores_gemma":[0.9996987,0.000084898085,0.00008036934,0.00006271674,0.0000376428,0.000035679077],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005524087,0.000106158855,0.0002081496,0.000027300675,0.00025626816,0.00004258336,0.00010868209,0.000018780134,0.0016852588],"category_scores_gemma":[0.000024210201,0.000081597194,0.00005062016,0.000031731684,0.0000528948,0.00013628835,0.000052603296,0.00015626148,0.00016427183],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022821418,0.00006546661,0.42704728,0.00023715492,0.00034114614,0.0000046487994,0.5228616,0.0016035049,0.0011825818,0.001434047,0.005550678,0.03944368],"study_design_scores_gemma":[0.0009071718,0.00092415407,0.018864674,0.00017845022,0.00010496638,5.719749e-7,0.024736509,0.007682365,0.001633444,0.000060881153,0.9444833,0.0004235394],"about_ca_topic_score_codex":0.00010273178,"about_ca_topic_score_gemma":0.000059102225,"teacher_disagreement_score":0.9389326,"about_ca_system_score_codex":0.0000025937386,"about_ca_system_score_gemma":0.000008019858,"threshold_uncertainty_score":0.99922734},"labels":[],"label_agreement":null},{"id":"W3035458299","doi":"10.36510/learnland.v13i1.1001","title":"1, 2, 3, Action: Using Performance in Higher Education to Develop Teachers and Learners","year":2020,"lang":"en","type":"article","venue":"LEARNing Landscapes","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Improvisation; Action (physics); Dance; Mathematics education; Psychology; Pedagogy; Outcome (game theory); Visual arts; Art","score_opus":0.06826599357948761,"score_gpt":0.2692626513269811,"score_spread":0.20099665774749348,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3035458299","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96511704,0.0002626633,0.000001653249,0.002388874,0.00021107387,0.000056529094,3.9205196e-7,0.000052089486,0.031909678],"genre_scores_gemma":[0.9933833,0.00006814355,0.000099746,0.00059274957,0.0006579234,0.0000070767223,0.0000038304297,0.000011172786,0.00517605],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953175,0.00002345599,0.00010145466,0.00013773212,0.00006708312,0.00013851872],"domain_scores_gemma":[0.9998411,0.000015945117,0.000029992025,0.000032944386,0.000031103562,0.000048894664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006426813,0.00008897428,0.00010786867,0.000062317915,0.00024192285,0.000072797535,0.000042157513,0.000021892272,0.00047666446],"category_scores_gemma":[0.000015577716,0.00007626627,0.000010429596,0.00009175089,0.000024022831,0.00019578374,0.000031240113,0.00017064472,0.000053139593],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000096260475,0.000030681396,0.4947552,0.0001445781,0.000038798582,0.0000014193841,0.3674488,0.0038957219,0.00022222567,0.0019352185,0.0017697318,0.12966135],"study_design_scores_gemma":[0.00017470508,0.00009382617,0.05267,0.000055684082,0.000010201507,0.00000124612,0.01701824,0.00063827424,0.000032035376,0.00000654625,0.9291328,0.00016640915],"about_ca_topic_score_codex":0.00008609328,"about_ca_topic_score_gemma":0.00021790322,"teacher_disagreement_score":0.9273631,"about_ca_system_score_codex":0.000017157623,"about_ca_system_score_gemma":0.000031596253,"threshold_uncertainty_score":0.5219141},"labels":[],"label_agreement":null},{"id":"W3035813620","doi":"10.3138/ctr.183.016","title":"Tuning a Room: Designs for Hearing According to Nancy Tobin","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Active listening; Composition (language); Space (punctuation); Dramaturgy; Sound (geography); Aesthetics; Art; Sociology; Visual arts; Acoustics; Computer science; Linguistics; Literature; Communication; Philosophy; Physics","score_opus":0.13021601560073165,"score_gpt":0.2790117926826062,"score_spread":0.14879577708187453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3035813620","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0037976734,0.4352286,0.00047781476,0.103854425,0.0013969304,0.0047128024,0.0004538997,0.0003335501,0.4497443],"genre_scores_gemma":[0.8881809,0.024681987,0.00072470197,0.07945404,0.003761332,0.0005250479,0.000047846064,0.00012594082,0.0024982102],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901086,0.000024356761,0.00023374893,0.00022485603,0.00006940116,0.00043675653],"domain_scores_gemma":[0.9992651,0.000050514715,0.000037118305,0.00015778652,0.0000622227,0.00042731117],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001660281,0.00017394873,0.00038304552,0.000068074725,0.00054091564,0.00010055908,0.00018993432,0.00002104293,0.00056882086],"category_scores_gemma":[0.00004314102,0.00014782914,0.00014137477,0.000091980204,0.000023488205,0.00015185704,0.000028761851,0.00009329315,0.0002623922],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019832156,0.000008825302,0.00065604673,0.005843756,0.000146327,0.000018848361,0.029968701,0.000010234415,0.00004458519,0.025253298,0.20274071,0.7352888],"study_design_scores_gemma":[0.00008399773,0.00009463717,0.000006878301,0.0021869475,0.00006562561,0.0000020608597,0.0014616767,0.000021976139,0.000010363763,0.00008132372,0.9957772,0.00020734125],"about_ca_topic_score_codex":0.009672497,"about_ca_topic_score_gemma":0.1026075,"teacher_disagreement_score":0.8843832,"about_ca_system_score_codex":0.000082646584,"about_ca_system_score_gemma":0.00016557328,"threshold_uncertainty_score":0.9969222},"labels":[],"label_agreement":null},{"id":"W3035846574","doi":"10.3138/ctr.183.009","title":"In the Company of Mump &amp; Smoot and Pochsy","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Art; Art history; Visual arts; History; Media studies; Sociology","score_opus":0.057226159600203594,"score_gpt":0.25115895296743784,"score_spread":0.19393279336723424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3035846574","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018191602,0.5392558,4.476289e-7,0.09254197,0.00015748778,0.00059378153,0.00012425073,0.000013723751,0.34912091],"genre_scores_gemma":[0.8990116,0.07250641,0.000008407491,0.027881736,0.00031017614,0.000016675429,0.0000100066445,0.000009992517,0.00024500905],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947554,0.000049120074,0.00017137644,0.000090542475,0.000061017734,0.00015237866],"domain_scores_gemma":[0.99969506,0.000037411795,0.0000325094,0.00012809344,0.000019000536,0.00008794126],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014251689,0.00008849849,0.000252365,0.000031147756,0.00010874716,0.000019682855,0.00013427269,0.000011962461,0.0010243405],"category_scores_gemma":[0.000008239487,0.00005380293,0.000047642945,0.000056724813,0.000108994944,0.000061952924,0.000011790708,0.000087332184,0.00007220524],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012719706,0.000030384661,0.0032992342,0.008967723,0.00011658645,0.000031751184,0.13659723,8.6932613e-7,0.0000052522037,0.13402432,0.51658624,0.2003277],"study_design_scores_gemma":[0.000057830803,0.000022102993,0.0002123381,0.0005044321,0.00003219148,0.0000032075025,0.0008391548,0.0000014124925,5.5459253e-7,0.00016784883,0.99809194,0.000066965906],"about_ca_topic_score_codex":0.027960489,"about_ca_topic_score_gemma":0.46593964,"teacher_disagreement_score":0.88082,"about_ca_system_score_codex":0.000010665891,"about_ca_system_score_gemma":0.00005196278,"threshold_uncertainty_score":0.99988884},"labels":[],"label_agreement":null},{"id":"W3035860303","doi":"10.3138/ctr.183.017","title":"The Art and Legacy of Susan Benson’s Theatre Design","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Craft; Visual arts; Ballet; Scholarship; Art; Performance art; Costume design; Criticism; Theatre studies; Art history; Literature; Dance; Drama","score_opus":0.046513001924071505,"score_gpt":0.23088522012865326,"score_spread":0.18437221820458174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3035860303","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00028134955,0.5025657,0.0000041742596,0.056541145,0.00019668585,0.0006538991,0.000080638056,0.000032449043,0.43964398],"genre_scores_gemma":[0.370597,0.6119474,0.000056876415,0.012838472,0.0010863912,0.0000634553,0.000019144465,0.0000531479,0.0033380985],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912864,0.00008086569,0.00025286106,0.000155865,0.00009598131,0.000285801],"domain_scores_gemma":[0.9993185,0.0001144376,0.00006490669,0.00021031077,0.000052961077,0.00023890963],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002294247,0.00016094382,0.00033513748,0.000028164613,0.000522434,0.000088041226,0.0001881495,0.000021627908,0.0009780362],"category_scores_gemma":[0.000012199252,0.00009574255,0.000094234325,0.000057234276,0.00027768032,0.00013629899,0.000024001032,0.00011372227,0.00013245463],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013832603,0.000005818786,0.00018098211,0.0014530037,0.00013032986,0.000009617821,0.007651748,9.138483e-7,0.000003044437,0.028325727,0.50156087,0.46066412],"study_design_scores_gemma":[0.00007125144,0.00008318333,0.000020247662,0.0005821305,0.0000917168,0.000004106299,0.0012628033,0.0000081804055,0.000008838801,0.00022250284,0.997526,0.000119040575],"about_ca_topic_score_codex":0.005370848,"about_ca_topic_score_gemma":0.08882982,"teacher_disagreement_score":0.49596512,"about_ca_system_score_codex":0.000022584622,"about_ca_system_score_gemma":0.00015399828,"threshold_uncertainty_score":0.9999352},"labels":[],"label_agreement":null},{"id":"W3035939453","doi":"10.3138/ctr.183.005","title":"Bouffon: The Roots of ‘Critical Clowning’ in Canada","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psyche; Aesthetics; Performing arts; The arts; Sociology; Media studies; Environmental ethics; Visual arts; Art; Psychology; Psychoanalysis","score_opus":0.032581686301368325,"score_gpt":0.22999222421528998,"score_spread":0.19741053791392166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3035939453","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0053400905,0.44545493,2.6018114e-7,0.14929919,0.0005144466,0.00048471265,0.00024962515,0.000014169535,0.3986426],"genre_scores_gemma":[0.9729571,0.011844993,0.0000019728118,0.014777039,0.00029089363,0.000014440359,0.0000048701545,0.000009825852,0.00009889003],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992024,0.000049039125,0.0002552375,0.00011316353,0.000108491826,0.0002716689],"domain_scores_gemma":[0.9995129,0.00007914328,0.000030169946,0.00015753471,0.000038620397,0.00018163958],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011170183,0.000108789085,0.00030259995,0.000022213559,0.0001439546,0.000014249944,0.00020268366,0.000011788206,0.0019167373],"category_scores_gemma":[0.00003675149,0.00006894529,0.00005991292,0.00007901227,0.00014038863,0.000052531068,0.000017730174,0.00013590198,0.00003639659],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014386647,0.000021892562,0.009101108,0.010695936,0.00011947417,0.00016128656,0.023324143,0.00000884694,0.0000021157068,0.13609153,0.5243641,0.2960952],"study_design_scores_gemma":[0.000044805245,0.000020243924,0.0003459749,0.0007899041,0.000033972174,0.0000021444453,0.001629462,0.00000927919,0.0000020933294,0.000096421114,0.9969329,0.00009278013],"about_ca_topic_score_codex":0.9862759,"about_ca_topic_score_gemma":0.99977976,"teacher_disagreement_score":0.967617,"about_ca_system_score_codex":0.00012670629,"about_ca_system_score_gemma":0.0013362247,"threshold_uncertainty_score":0.99899566},"labels":[],"label_agreement":null},{"id":"W3036133465","doi":"10.3138/ctr.183.010","title":"Jacques Lecoq and the Canadian Theatre","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Performance art; Theatre studies; Visual arts; Political theatre; Theatre director; Art history; Aesthetics; Sociology; Drama","score_opus":0.03230394448495139,"score_gpt":0.22188258154153848,"score_spread":0.1895786370565871,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036133465","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014042761,0.30358723,9.508502e-8,0.14164424,0.00016245735,0.00044899553,0.00012890417,0.00003067565,0.55385697],"genre_scores_gemma":[0.7231499,0.17103986,0.00000769333,0.10250157,0.0014709537,0.00007745498,0.000033651595,0.000043236214,0.0016756636],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883,0.00009979989,0.00024553583,0.0002305956,0.00011344234,0.00048061262],"domain_scores_gemma":[0.99886906,0.00006506798,0.0000462341,0.00025334297,0.00005660308,0.0007096702],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002753968,0.00022995769,0.0004464755,0.00006543693,0.001224031,0.00019334424,0.00026493866,0.000039136186,0.0034653656],"category_scores_gemma":[0.0000182824,0.00013534448,0.00013431566,0.0000818183,0.00052844675,0.0001364648,0.000025742409,0.00021057768,0.00042968622],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001558895,0.0000036999893,0.00050686265,0.0015547728,0.00020609758,0.00003864172,0.026792541,4.3831045e-7,1.7901301e-7,0.20571297,0.40444234,0.36072588],"study_design_scores_gemma":[0.00020881685,0.000028953262,0.000032543136,0.00052714726,0.00012621714,0.000009122253,0.00083009584,0.000009558096,6.2171557e-7,0.00050369324,0.99753225,0.00019097414],"about_ca_topic_score_codex":0.8684693,"about_ca_topic_score_gemma":0.9975239,"teacher_disagreement_score":0.72300947,"about_ca_system_score_codex":0.00009846455,"about_ca_system_score_gemma":0.00056351064,"threshold_uncertainty_score":0.9974456},"labels":[],"label_agreement":null},{"id":"W3036450943","doi":"10.3138/ctr.183.006","title":"Clowning but Not: A Clown’s Approach to Drama for People with Intellectual and Physical Disabilities","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Creativity; Expression (computer science); Psychology; Drama therapy; Aesthetics; Social psychology; Visual arts; Art","score_opus":0.03950033479585691,"score_gpt":0.2327166383318802,"score_spread":0.1932163035360233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036450943","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25201097,0.09452187,0.0002013591,0.06737253,0.00042021193,0.0069972263,0.0017713185,0.00031261946,0.5763919],"genre_scores_gemma":[0.9850454,0.003381477,0.000118355645,0.008846308,0.0011784555,0.00032567108,0.00002871898,0.000039996034,0.0010356625],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910754,0.000026047648,0.00015668038,0.0002761568,0.0000869557,0.00034662528],"domain_scores_gemma":[0.9992178,0.00018686717,0.00002346275,0.00014683662,0.000054123444,0.0003709196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008353016,0.00020370708,0.0004926233,0.00003781956,0.00039220427,0.00009451954,0.0001155998,0.000018223805,0.00017509972],"category_scores_gemma":[0.0000721568,0.00013851495,0.00009237606,0.00007112386,0.00015410969,0.00010259835,0.000027804734,0.000101776786,0.00006336156],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013100044,0.000050135368,0.00034294266,0.011756874,0.00024440236,0.0000022086629,0.67132175,0.000007591876,0.00000357333,0.049880292,0.1075768,0.15868245],"study_design_scores_gemma":[0.00015287986,0.00031452527,0.000017264343,0.00064193964,0.0001303351,0.000005175894,0.021364722,0.000107533175,0.0000053510785,0.000080563506,0.97691673,0.0002629683],"about_ca_topic_score_codex":0.007204678,"about_ca_topic_score_gemma":0.09122111,"teacher_disagreement_score":0.86933994,"about_ca_system_score_codex":0.00004361018,"about_ca_system_score_gemma":0.00011970204,"threshold_uncertainty_score":0.99940646},"labels":[],"label_agreement":null},{"id":"W3036472721","doi":"10.3138/ctr.183.015","title":"A Sonic Sampling, a Nuancing of Space: Theoretical Insights and Elaborations on the Acoustic and Spatial ‘Turns’","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Space (punctuation); Audience measurement; Sound (geography); Sociology; Relation (database); Visual arts; Epistemology; Aesthetics; Art; Computer science; Acoustics; Advertising","score_opus":0.030987980187737012,"score_gpt":0.23992812913474257,"score_spread":0.20894014894700555,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036472721","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04191233,0.65554965,0.000051178144,0.089072876,0.00030449883,0.0015827813,0.00033883416,0.00005646815,0.2111314],"genre_scores_gemma":[0.949155,0.046171136,0.0000060071225,0.004349691,0.00026421365,0.000014474787,0.000003694156,0.000009767229,0.000026022977],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994384,0.00004838002,0.00015797478,0.00013022474,0.00007092726,0.00015408201],"domain_scores_gemma":[0.9995134,0.0001287777,0.000042909272,0.00011937787,0.000043369782,0.00015219457],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009491856,0.00011819023,0.00024388843,0.000030752828,0.00028322331,0.00004513312,0.00006833732,0.000020875115,0.00058011356],"category_scores_gemma":[0.000050889787,0.0000684337,0.00003786725,0.000050865867,0.00035948918,0.00004415099,0.000018498804,0.00012644396,0.000015916778],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000066358575,0.000005336505,0.00006361032,0.0013001744,0.000060328006,0.000003199618,0.019232167,0.0000018410038,0.000007031102,0.95774066,0.002594844,0.018984139],"study_design_scores_gemma":[0.00015313088,0.00023022636,0.00012480738,0.002511664,0.0002986453,0.0000051684183,0.0030343,0.00023945572,0.000008916983,0.005668105,0.9875108,0.00021479953],"about_ca_topic_score_codex":0.004320976,"about_ca_topic_score_gemma":0.19249901,"teacher_disagreement_score":0.9849159,"about_ca_system_score_codex":0.000014545545,"about_ca_system_score_gemma":0.00012284688,"threshold_uncertainty_score":0.82223576},"labels":[],"label_agreement":null},{"id":"W3036523540","doi":"10.3138/ctr.183.004","title":"Clowning and Neutral Mask","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Value (mathematics); Art; Visual arts; Aesthetics; Sociology; Computer science","score_opus":0.039608531809547695,"score_gpt":0.22343028900258302,"score_spread":0.18382175719303534,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036523540","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034925179,0.41976476,4.5299836e-7,0.041332725,0.00020246248,0.0002675791,0.00007280949,0.00005366075,0.53481305],"genre_scores_gemma":[0.753743,0.18712188,0.000022954484,0.05579173,0.0016946574,0.000025179881,0.00002088593,0.00003229722,0.0015474218],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994647,0.00001860435,0.00012631169,0.00013034095,0.000037010606,0.0002230684],"domain_scores_gemma":[0.99957436,0.000012829452,0.000021268348,0.0000858948,0.000016136457,0.0002895201],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000059125243,0.00010882227,0.00022028349,0.00002465184,0.00025751453,0.000049076938,0.00007733709,0.000014053334,0.0014399608],"category_scores_gemma":[0.000004718172,0.00008362636,0.00005345544,0.000032385917,0.000086319684,0.000094181436,0.000014435273,0.000088109446,0.00022039279],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000057613024,0.0000051942,0.0011892372,0.004846284,0.00011484548,0.00005086821,0.033082265,6.487096e-7,0.0000025133652,0.09861869,0.24132247,0.6207612],"study_design_scores_gemma":[0.000048697188,0.000031234267,0.00003254295,0.0005373872,0.00004862959,0.000004095698,0.00054253853,0.0000044781036,0.000001299697,0.00010305392,0.99853396,0.00011207492],"about_ca_topic_score_codex":0.010499012,"about_ca_topic_score_gemma":0.13807248,"teacher_disagreement_score":0.7572115,"about_ca_system_score_codex":0.000015964973,"about_ca_system_score_gemma":0.00006342515,"threshold_uncertainty_score":0.99947286},"labels":[],"label_agreement":null},{"id":"W3036556558","doi":"10.3138/ctr.183.011","title":"Re-Contextualizing Canadian Clown: In Conversation with Monique Mojica, Jani Lauzon, Rose Stella, and Gloria Miguel","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Trickster; STELLA (programming language); Indigenous; Style (visual arts); Sociology; Conversation; Humanities; Performance art; Ceremony; Art; Art history; Gender studies; Visual arts; Anthropology; History; Communication","score_opus":0.03316513608181586,"score_gpt":0.22100470252629717,"score_spread":0.1878395664444813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036556558","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028634923,0.45103335,0.0000023399773,0.10635667,0.00045902806,0.002426908,0.0005102979,0.000101071564,0.41047543],"genre_scores_gemma":[0.9352715,0.0431029,0.000017373563,0.020783417,0.00035327178,0.000042113134,0.00005200147,0.000033858683,0.00034358216],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988372,0.00007010517,0.0002821677,0.0002781499,0.00009569551,0.00043673406],"domain_scores_gemma":[0.9990383,0.000035321467,0.00006048628,0.00018094109,0.00006339952,0.0006215671],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018012745,0.00022695262,0.0004243435,0.00012109249,0.00026993777,0.000092816415,0.00013147791,0.00004961369,0.0009553338],"category_scores_gemma":[0.000014744951,0.00018316113,0.000049139628,0.00011843831,0.00013536116,0.00020911302,0.000012984505,0.00018474001,0.00009746305],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000112385525,0.000030644183,0.04989379,0.009336153,0.0004477975,0.00055301253,0.27040583,0.00001257684,0.0000051275974,0.057809997,0.22197099,0.3894217],"study_design_scores_gemma":[0.00026260447,0.00009534745,0.00048012307,0.0013202678,0.00006628456,0.0000046099963,0.00622608,0.000032057815,0.0000032926814,0.00007092135,0.99115807,0.00028034847],"about_ca_topic_score_codex":0.8025876,"about_ca_topic_score_gemma":0.99721056,"teacher_disagreement_score":0.90663654,"about_ca_system_score_codex":0.00019609526,"about_ca_system_score_gemma":0.0005021274,"threshold_uncertainty_score":0.9999579},"labels":[],"label_agreement":null},{"id":"W3036700454","doi":"10.14288/1.0389962","title":"Empty house : real estate and theatricality in Vancouver's downtown","year":2020,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Downtown; Real estate; Estate; Art; Geography; Business; Archaeology; Finance","score_opus":0.014490457695323714,"score_gpt":0.16787347588906282,"score_spread":0.15338301819373912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036700454","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9508105,0.000064525644,0.000002743018,0.0002444093,0.000090388996,0.000107352214,0.00013928134,0.00007670981,0.0484641],"genre_scores_gemma":[0.99760866,0.0017636486,0.000023200952,0.00007981997,0.00007695621,2.5058196e-7,0.000002765183,0.000008534434,0.00043618557],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9993794,0.000030563544,0.00009662723,0.00021725148,0.000108731394,0.00016741795],"domain_scores_gemma":[0.9996992,0.000029602237,0.00005055846,0.000090707836,0.000050107807,0.00007984058],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000079280806,0.000038559112,0.00022257565,0.000020809523,0.00025067024,0.00007217331,0.00011882096,0.000032793254,0.0003093996],"category_scores_gemma":[0.000005989252,0.000109432665,0.0000524717,0.000064941494,0.00035800788,0.00028834055,0.000104181905,0.00010773253,0.000011467938],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047923324,0.0000795025,0.058741506,0.00013163881,0.0000426558,0.00011601703,0.047192752,0.000003970883,0.000007888602,0.000016171813,0.016852649,0.87676734],"study_design_scores_gemma":[0.00082314364,0.00012680037,0.9518905,0.000035834055,0.000026922558,0.0000022044344,0.023349168,0.000083703955,1.5492807e-7,0.00015853408,0.023341505,0.00016148124],"about_ca_topic_score_codex":0.38925105,"about_ca_topic_score_gemma":0.93782294,"teacher_disagreement_score":0.893149,"about_ca_system_score_codex":0.000020401987,"about_ca_system_score_gemma":0.00002420655,"threshold_uncertainty_score":0.61481595},"labels":[],"label_agreement":null},{"id":"W3036817976","doi":"10.3138/ctr.183.018","title":"A Tremendous Responsibility: The Words and Work of Vera Manuel","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sister; Poetry; Work (physics); Performance art; Art; Commission; Drama; Sociology; Visual arts; Art history; Literature; Law; Political science; Engineering","score_opus":0.045441649207623176,"score_gpt":0.2382133437588548,"score_spread":0.19277169455123164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036817976","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014995896,0.6854918,6.2637014e-7,0.06854848,0.0002165859,0.00075073773,0.00014397268,0.000034576635,0.22981736],"genre_scores_gemma":[0.91681296,0.07011782,0.000008093939,0.011774325,0.00027979448,0.000016781005,0.0000053806525,0.000015510239,0.0009693701],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930316,0.00007159518,0.00020924216,0.00014144435,0.00008044018,0.00019409352],"domain_scores_gemma":[0.9994771,0.00007051047,0.00004760841,0.00021762491,0.000031462918,0.0001557218],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021420761,0.000117993084,0.00029231925,0.000028850947,0.00023555329,0.000030857816,0.00014040835,0.000015540792,0.0010493306],"category_scores_gemma":[0.000023682735,0.000071004375,0.00007926034,0.00008688992,0.00022773616,0.00005589195,0.000025507694,0.000103458675,0.000050195336],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000075638,0.000013910419,0.002058727,0.003934383,0.00021035527,0.000021545442,0.075399525,4.3992637e-7,0.0000022111594,0.024551334,0.117254466,0.77647746],"study_design_scores_gemma":[0.00007502479,0.00005037273,0.0001663591,0.0007583646,0.000089360845,0.0000020724863,0.0011043575,9.727498e-7,0.0000019116578,0.00020783926,0.99745566,0.0000877277],"about_ca_topic_score_codex":0.00609688,"about_ca_topic_score_gemma":0.08999083,"teacher_disagreement_score":0.901817,"about_ca_system_score_codex":0.000021807016,"about_ca_system_score_gemma":0.00011289441,"threshold_uncertainty_score":0.99986386},"labels":[],"label_agreement":null},{"id":"W3036986041","doi":"10.3138/ctr.183.019","title":"A “Shimmering Map” of Theatre and (Im)migration in Canada","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Ideology; Political theatre; Theatre studies; Perspective (graphical); Theatre director; Postmodern theatre; Colonialism; Art; Sociology; Media studies; Gender studies; Visual arts; History; Political science; Politics; Literature; Archaeology; Postmodernism; Law; Pedagogy; Drama","score_opus":0.02660561352230949,"score_gpt":0.20234393641350598,"score_spread":0.17573832289119648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036986041","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.072705455,0.6727053,6.9155647e-7,0.075040944,0.00039700788,0.0009178423,0.00037964305,0.000025363675,0.17782778],"genre_scores_gemma":[0.9617886,0.03390348,0.000004953298,0.0040316447,0.00015093507,0.000012968708,0.00001216466,0.000010915808,0.000084353],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934167,0.000027715756,0.00023367917,0.00012618037,0.000073789946,0.00019694411],"domain_scores_gemma":[0.9996501,0.000022959448,0.0000452957,0.000098743396,0.000022115404,0.00016074957],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000068982394,0.0001138874,0.00030950044,0.000039896957,0.00009324083,0.000014161328,0.00008213648,0.000012472503,0.0006464431],"category_scores_gemma":[0.000004163523,0.00009265897,0.00003519438,0.000050199556,0.00005350235,0.00008227795,0.000013360407,0.000082697035,0.000013704837],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001954933,0.000012423573,0.041835528,0.015205949,0.00014387596,0.00007297534,0.039951082,0.000011972996,0.00001721465,0.010743421,0.111027084,0.78095895],"study_design_scores_gemma":[0.00007804771,0.00002512417,0.00039834974,0.0012321307,0.00003073033,0.000001696182,0.0023444004,0.000026547308,0.000007510262,0.000035241188,0.9957009,0.00011934977],"about_ca_topic_score_codex":0.9895955,"about_ca_topic_score_gemma":0.999878,"teacher_disagreement_score":0.88908315,"about_ca_system_score_codex":0.000107669024,"about_ca_system_score_gemma":0.00063121883,"threshold_uncertainty_score":0.7078099},"labels":[],"label_agreement":null},{"id":"W3036992669","doi":"10.3138/ctr.183.002","title":"Canadian Clown: A Generation’s Journey to Legitimacy, Innovation, and Excellence","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Counterculture; Parade; Legitimacy; Media studies; Grassroots; Sociology; Social movement; Comics; Entertainment; Aesthetics; Art; Gender studies; Visual arts; Political science; Art history; Law; Literature; Politics","score_opus":0.07649610824823591,"score_gpt":0.2582890965796057,"score_spread":0.18179298833136978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036992669","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005506979,0.16098222,0.000009061603,0.4125164,0.0006555649,0.0012541098,0.00048568426,0.00006496652,0.418525],"genre_scores_gemma":[0.69278413,0.04874135,0.000104153376,0.24990208,0.0036960475,0.000125084,0.00011299781,0.00005195648,0.004482186],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990507,0.00003091468,0.0002683305,0.00021748469,0.000087539986,0.00034505918],"domain_scores_gemma":[0.9989005,0.000010711649,0.0000371199,0.00015264485,0.00015787037,0.00074115524],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015672397,0.00016115594,0.0002594918,0.00016907357,0.0005998168,0.0001435248,0.00014306081,0.000024246601,0.0028048514],"category_scores_gemma":[0.000031030966,0.00013829538,0.00003621043,0.00021696581,0.00005763215,0.00016479644,0.000016763423,0.00011186578,0.00042115615],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000012700431,0.0000021205353,0.00034498007,0.0005217773,0.000034554636,0.000019668707,0.010286584,0.0000015436618,0.000004639795,0.039865676,0.83818495,0.11073226],"study_design_scores_gemma":[0.00005215045,0.00003977519,0.000028658975,0.00041106765,0.000029740413,0.000006906765,0.00039563407,0.000017272896,0.0000032902508,0.00008526657,0.9987459,0.00018429571],"about_ca_topic_score_codex":0.57905746,"about_ca_topic_score_gemma":0.98291177,"teacher_disagreement_score":0.68727714,"about_ca_system_score_codex":0.00014306193,"about_ca_system_score_gemma":0.00074798655,"threshold_uncertainty_score":0.9981067},"labels":[],"label_agreement":null},{"id":"W3037246084","doi":"10.1080/13569783.2020.1783994","title":"Dramatic codifications: possibilities and roadblocks for promoting critical reflection through drama in Chile","year":2020,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"Comisión Nacional de Investigación Científica y Tecnológica","keywords":"Drama; Pedagogy; Reflection (computer programming); Sociology; Latin Americans; Psychology; Political science; Literature; Art; Law; Computer science","score_opus":0.0996738563221672,"score_gpt":0.37263560421963454,"score_spread":0.27296174789746736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3037246084","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96595633,0.0020932318,0.000013480304,0.013955255,0.0001513068,0.0005730809,0.000005701226,0.000008618525,0.017243017],"genre_scores_gemma":[0.9967341,0.0018794452,0.00016849028,0.00024087097,0.00079113443,0.00008280661,0.0000027372798,0.000012583481,0.00008783955],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987311,0.0001037772,0.0004849774,0.00014512306,0.00024723998,0.000287829],"domain_scores_gemma":[0.9987673,0.00070584787,0.00011004722,0.00011858973,0.00023174736,0.00006644107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016426161,0.000119602206,0.00022421572,0.00017748043,0.0006477215,0.00018909847,0.00017036621,0.000044007906,0.000036827183],"category_scores_gemma":[0.00008211606,0.00008015703,0.000027807484,0.00018675844,0.00048164156,0.00045962384,0.000044897824,0.00049755856,0.0000037174798],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012561801,0.00038042795,0.0033861464,0.0017065564,0.00004667051,5.4354894e-7,0.77521944,0.00006991316,0.00037913528,0.06711966,0.0015988804,0.14883642],"study_design_scores_gemma":[0.0030820253,0.0038087168,0.0075867665,0.0021654405,0.00011783885,0.00009686303,0.6691945,0.009547874,0.0033228076,0.18496911,0.1153568,0.00075120566],"about_ca_topic_score_codex":0.00008659097,"about_ca_topic_score_gemma":0.000113817594,"teacher_disagreement_score":0.14808522,"about_ca_system_score_codex":0.000052653722,"about_ca_system_score_gemma":0.0002060699,"threshold_uncertainty_score":0.49818158},"labels":[],"label_agreement":null},{"id":"W3037883521","doi":"10.5040/9781474238670","title":"The Theatre of Simon Stephens","year":2021,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dozen; Performance art; Gray (unit); Art history; Art; Visual arts; History; Sociology","score_opus":0.02599640453502369,"score_gpt":0.20879591236288997,"score_spread":0.18279950782786628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3037883521","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00030868518,0.010145329,5.666131e-7,0.0005395013,0.002297331,0.00028812743,0.00027117436,0.00012868442,0.9860206],"genre_scores_gemma":[0.004579612,0.00048784487,0.0000115521625,0.00034828074,0.003968999,0.00003584401,0.00015682077,0.00009491698,0.99031615],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976732,0.00008588501,0.0006777391,0.0004145168,0.000631581,0.00051707943],"domain_scores_gemma":[0.9975676,0.0005789189,0.00046003333,0.00086078746,0.00044982944,0.000082843784],"candidate_categories":["metaepi_narrow","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.00058897695,0.00047532294,0.00067421887,0.00014024887,0.0012184215,0.0025519037,0.0008855084,0.00018495813,0.00055999315],"category_scores_gemma":[0.000056902267,0.00031384605,0.00043217867,0.000019171384,0.00087052956,0.00051358656,0.00041733848,0.0009777955,0.00003369383],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036389043,0.000025136083,0.000018093302,0.00026290948,0.0005736182,0.00002442114,0.012066106,0.0000012503772,0.0000026364783,0.23509762,0.7027357,0.049156077],"study_design_scores_gemma":[0.00023245528,0.00009414623,0.0000036232204,0.00045438873,0.00020897723,0.0000041618487,0.0043977657,0.0000024791063,0.00003530414,0.010601849,0.9836087,0.0003561044],"about_ca_topic_score_codex":0.00019988391,"about_ca_topic_score_gemma":0.0054442263,"teacher_disagreement_score":0.280873,"about_ca_system_score_codex":0.00007418039,"about_ca_system_score_gemma":0.0005581594,"threshold_uncertainty_score":0.99993134},"labels":[],"label_agreement":null},{"id":"W3040595431","doi":"10.3138/utq.89.1.08","title":"Silent Witness and “Scenes of Hearing” in Marie Clements’s <i>The Unnatural and Accidental Women</i>","year":2020,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Silence; Witness; Accidental; Indigenous; Colonialism; Resistance (ecology); Alienation; Sociology; Economic Justice; Criticism; History; Gender studies; Aesthetics; Political science; Law; Art; Acoustics; Archaeology","score_opus":0.012081643257002691,"score_gpt":0.18692375441285008,"score_spread":0.17484211115584739,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3040595431","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99584466,0.0008043619,0.000001454276,0.00050260726,0.00005446189,0.00007181059,0.00001692525,0.0000063543866,0.0026973381],"genre_scores_gemma":[0.999491,0.00011641748,0.000008394241,0.00006374651,0.000039018847,1.5687895e-7,0.0000014308521,0.0000022391616,0.00027761326],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99966246,0.000016564023,0.00007602479,0.00008502371,0.00006624746,0.0000936989],"domain_scores_gemma":[0.9998349,0.000022682081,0.000044072658,0.000048498987,0.000020286074,0.000029558167],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000044298315,0.000061267696,0.00013197429,0.000009660961,0.00011824835,0.0000152796,0.000074942414,0.000013503519,0.00029433868],"category_scores_gemma":[9.96285e-7,0.00005135265,0.00001918943,0.000006830696,0.0002457199,0.0002496849,0.00003921308,0.000038546892,8.050108e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003308732,0.00004234219,0.046379115,0.00012430931,0.000070309405,0.0000042129623,0.9216398,9.696802e-7,0.00012928536,0.007198937,0.0004940864,0.02358578],"study_design_scores_gemma":[0.0017812303,0.0015492184,0.14068712,0.00006172187,0.000043345164,0.0000010528607,0.7941585,0.000118259835,0.000042272364,0.00027346052,0.061074015,0.00020976955],"about_ca_topic_score_codex":0.013627591,"about_ca_topic_score_gemma":0.043982517,"teacher_disagreement_score":0.12748125,"about_ca_system_score_codex":0.000025077434,"about_ca_system_score_gemma":0.0000069534885,"threshold_uncertainty_score":0.9929407},"labels":[],"label_agreement":null},{"id":"W3041281219","doi":"","title":"Jamie Elman Comedian, Actor, Producer, Director, Co-Creator of “YidLifeCrisis”","year":2020,"lang":"en","type":"article","venue":"Florida International University Digital Commons (Florida International University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Art; Visual arts; Aesthetics","score_opus":0.026631665711160938,"score_gpt":0.20698283876003126,"score_spread":0.18035117304887033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3041281219","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3329602,0.00003672411,0.0001364162,0.0053489,0.0037425016,0.00026297537,0.0036122184,0.00024722455,0.65365285],"genre_scores_gemma":[0.97174567,0.0001562423,0.00003877462,0.0002111655,0.0017364564,5.7055894e-7,0.0006848019,0.000029128607,0.025397189],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980733,0.00004219231,0.00033270507,0.00051824056,0.00071142835,0.00032214497],"domain_scores_gemma":[0.9982695,0.00018696298,0.0002897834,0.000268076,0.0007307158,0.0002549931],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006404491,0.0003584167,0.00041517089,0.00064875756,0.00038688903,0.00021180308,0.0015504858,0.00008629999,0.0019075718],"category_scores_gemma":[0.00009529263,0.0004066458,0.00035623927,0.00026177644,0.00055355724,0.002213746,0.00053231284,0.00034454113,0.00031025521],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004194414,0.00085864763,0.14753556,0.00015376012,0.0045159636,0.00065074005,0.022978825,0.00023912443,0.00041652707,0.6274238,0.18447417,0.00655844],"study_design_scores_gemma":[0.0012852558,0.00019065924,0.0020081492,0.00006363418,0.0000757349,0.0000049364057,0.007671383,0.00015865453,0.0003398712,0.000089366775,0.98769754,0.00041480217],"about_ca_topic_score_codex":0.00034756085,"about_ca_topic_score_gemma":0.0004202998,"teacher_disagreement_score":0.8032234,"about_ca_system_score_codex":0.0003822365,"about_ca_system_score_gemma":0.00014494629,"threshold_uncertainty_score":0.99983853},"labels":[],"label_agreement":null},{"id":"W3047700158","doi":"10.1386/atr_00022_2","title":"Applied puppetry: Communities, identities, transgressions","year":2020,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Arts and Humanities Research Council; University of the Western Cape; Queen's University; Bath Spa University; Ulster University; University of Toronto; University of Exeter; University of Cape Town; University of Portsmouth; Queen Mary University of London","keywords":"Puppetry; Scope (computer science); Field (mathematics); Sociology; Set (abstract data type); Power (physics); Aesthetics; Visual arts; Computer science; Art","score_opus":0.16195883641112285,"score_gpt":0.3248512811973069,"score_spread":0.16289244478618403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3047700158","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02259743,0.00063876825,0.000017741062,0.0032649222,0.00016109976,0.0005298811,0.00012265112,0.00026023193,0.9724073],"genre_scores_gemma":[0.99481344,0.0005530441,0.00003318013,0.00076934457,0.0015395562,0.00022211688,0.00009343874,0.000059228496,0.0019166771],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976923,0.000111919784,0.00032148484,0.0002939318,0.00076556613,0.00081481965],"domain_scores_gemma":[0.998834,0.0003349135,0.000041108968,0.00045879412,0.000101704914,0.00022945371],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00054422027,0.00026214548,0.00037241788,0.00019233566,0.002168037,0.0003355544,0.00071640825,0.000079234356,0.005697747],"category_scores_gemma":[0.000003131301,0.00021147387,0.00010128201,0.00023329335,0.0011005546,0.000152518,0.0003117159,0.0009657732,0.0015874979],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003120696,0.00013198255,0.0001472376,0.00022153801,0.00018230709,0.000008813316,0.18618602,0.000010856934,0.0007071899,0.6812163,0.0867438,0.044131864],"study_design_scores_gemma":[0.000623807,0.00011942149,0.000026923753,0.000033342938,0.000024092953,0.0000014033803,0.11457802,0.000029540486,0.0005858467,0.007817078,0.8758688,0.00029170795],"about_ca_topic_score_codex":0.00044066508,"about_ca_topic_score_gemma":0.00094537745,"teacher_disagreement_score":0.972216,"about_ca_system_score_codex":0.00004533555,"about_ca_system_score_gemma":0.000093884155,"threshold_uncertainty_score":0.99918985},"labels":[],"label_agreement":null},{"id":"W3047746914","doi":"10.1386/atr_00023_1","title":"‘Objects with Objectives’: Applied puppetry from practice into theory","year":2020,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Arts and Humanities Research Council; Queen's University; Coordenação de Aperfeiçoamento de Pessoal de Nível Superior; Queen's University Belfast","keywords":"Puppetry; Drama; Context (archaeology); Visual arts; Aesthetics; Sociology; Art; History; Archaeology","score_opus":0.04432505082497221,"score_gpt":0.2992831802570717,"score_spread":0.25495812943209945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3047746914","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022391085,0.0007515419,0.00007125516,0.003146367,0.000087306034,0.00068798143,0.000035515364,0.0002182946,0.97261065],"genre_scores_gemma":[0.99504626,0.00017862963,0.0003623747,0.0013440662,0.002194854,0.00022815356,0.00003724027,0.000072361356,0.00053606695],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99732584,0.00020668529,0.0002490681,0.00064095826,0.0008714062,0.0007060502],"domain_scores_gemma":[0.9975498,0.0015102756,0.00007330623,0.0004546229,0.00019645049,0.00021554917],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008676895,0.00030645521,0.00038132476,0.00014333717,0.0012536343,0.00031258116,0.00046847967,0.000082600614,0.0015508288],"category_scores_gemma":[0.00003277905,0.00021565025,0.000062167834,0.00026644534,0.0009460745,0.0002849906,0.00030725953,0.00095160655,0.0017456365],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0046938057,0.00021932827,0.00008503636,0.00012070384,0.0006505693,0.000033970624,0.3166001,0.000013645008,0.0024021831,0.5739021,0.005643445,0.09563511],"study_design_scores_gemma":[0.0013332848,0.0005393724,0.00007864434,0.000043310767,0.00009382361,0.000002416374,0.3122488,0.0000143176285,0.0041497876,0.045077734,0.6359045,0.0005139944],"about_ca_topic_score_codex":0.0006313856,"about_ca_topic_score_gemma":0.0005709326,"teacher_disagreement_score":0.9726552,"about_ca_system_score_codex":0.000067996465,"about_ca_system_score_gemma":0.00015463769,"threshold_uncertainty_score":0.9993619},"labels":[],"label_agreement":null},{"id":"W3047992857","doi":"10.1007/978-3-030-41410-8","title":"Performance, Subjectivity, Cosmopolitanism","year":2020,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Cosmopolitanism; Subjectivity; Aesthetics; Sociology; Anthropology; Art; Political science; Epistemology; Philosophy; Law; Politics","score_opus":0.031598790485933996,"score_gpt":0.20935066350067713,"score_spread":0.17775187301474313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3047992857","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001693028,0.0003256366,5.8509266e-7,0.00030172305,0.0011447237,0.0001865981,0.000115643874,0.0002732712,0.99748254],"genre_scores_gemma":[0.019800251,0.0005213628,0.0000069664816,0.0008929076,0.004792805,0.00001544884,0.00009044169,0.00005769796,0.9738221],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989597,0.000009583423,0.00023007127,0.00027644634,0.00023445363,0.00028973728],"domain_scores_gemma":[0.99950963,0.000041223666,0.0000868037,0.00021609389,0.00007341662,0.00007285725],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000057399226,0.00034692825,0.00044975395,0.00008916116,0.00044521355,0.000115352545,0.00021094846,0.00010162794,0.010227255],"category_scores_gemma":[0.0000024001367,0.00027046795,0.00016997394,0.00001132005,0.00031969324,0.00019034109,0.00014079192,0.00037442995,0.0044583958],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010471371,0.000009739413,0.000023534054,0.0001530798,0.000095929296,0.0000035507755,0.0054864227,9.017801e-8,2.0340275e-7,0.31930873,0.67207396,0.0028342698],"study_design_scores_gemma":[0.0001257048,0.00019962496,0.00001457983,0.00006196127,0.000071393275,0.000002111215,0.00034652566,0.000014332556,0.00000763588,0.0071291295,0.99165016,0.00037681256],"about_ca_topic_score_codex":0.000041994026,"about_ca_topic_score_gemma":0.00055948936,"teacher_disagreement_score":0.3195762,"about_ca_system_score_codex":0.000090412315,"about_ca_system_score_gemma":0.00016215886,"threshold_uncertainty_score":0.9999747},"labels":[],"label_agreement":null},{"id":"W3048110690","doi":"10.1007/978-3-030-41410-8_8","title":"To Be a Cosmopolitan: Concluding Remarks","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Phenomenon; Subject (documents); Politics; Meaning (existential); Aesthetics; Cultural phenomenon; Context (archaeology); Sociology; Epistemology; Art; History; Political science; Social science; Philosophy; Computer science; Law; World Wide Web","score_opus":0.07296562522527922,"score_gpt":0.25316893471632035,"score_spread":0.18020330949104113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3048110690","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000007077244,0.00047233023,0.0000038479093,0.00641909,0.00063297513,0.00020532575,0.00016372504,0.00014179833,0.99195385],"genre_scores_gemma":[0.004466772,0.0001621139,0.00003787952,0.010418995,0.0024976016,0.000008951126,0.000032928427,0.000048647897,0.9823261],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991401,0.0000032625212,0.0002314415,0.00025696016,0.00017121113,0.00019705163],"domain_scores_gemma":[0.99954265,0.000042744356,0.000056666413,0.00018004603,0.00007378518,0.00010409075],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000046277437,0.00028019096,0.00040001608,0.000076713746,0.00031528727,0.000097559845,0.00014401009,0.00007175138,0.01931168],"category_scores_gemma":[0.0000053671088,0.00022192873,0.00014509243,0.0000044560707,0.00013700404,0.00006624256,0.0001536122,0.00021396464,0.0017552701],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001029463,0.000001224235,5.6917787e-7,0.000026772166,0.00007050143,0.0000057317884,0.008152885,4.1191257e-8,5.098189e-7,0.62301123,0.36791018,0.0008100769],"study_design_scores_gemma":[0.00007951183,0.000129993,3.551778e-7,0.00008849152,0.000051847896,0.0000011273205,0.0014417287,0.000001254432,0.000005658969,0.020328006,0.97756004,0.00031198913],"about_ca_topic_score_codex":0.00005766695,"about_ca_topic_score_gemma":0.0012719027,"teacher_disagreement_score":0.6096499,"about_ca_system_score_codex":0.00004315651,"about_ca_system_score_gemma":0.0000257724,"threshold_uncertainty_score":0.999022},"labels":[],"label_agreement":null},{"id":"W3049257815","doi":"10.7202/1070476ar","title":"La fabrique du comique","year":2020,"lang":"fr","type":"article","venue":"Ethnologies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.04504068589933459,"score_gpt":0.24971662469847242,"score_spread":0.2046759387991378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3049257815","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11838351,0.048199557,0.00007280827,0.37619415,0.001722201,0.00017177171,0.00015246442,0.0005596698,0.45454386],"genre_scores_gemma":[0.95917666,0.01795316,0.0000882654,0.002721543,0.0021558541,0.000019406487,0.0000062144713,0.000024095449,0.017854799],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999057,0.00012349023,0.00020565143,0.00021719858,0.00007642122,0.0003202439],"domain_scores_gemma":[0.99940103,0.00027452921,0.00006410631,0.00014836254,0.000058366713,0.000053628683],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013156536,0.00022056518,0.00028826593,0.000034116558,0.0004544629,0.0001536207,0.0002468604,0.00020013266,0.0016146852],"category_scores_gemma":[0.00013512118,0.0001884212,0.000114421935,0.000047346235,0.001497887,0.00023499165,0.0002263617,0.0005084713,0.0010234865],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004989145,0.00005111424,0.0022877157,0.00030924013,0.00018117434,0.000080670805,0.19354816,0.000030384339,0.00002673733,0.48268932,0.24943624,0.071309336],"study_design_scores_gemma":[0.00020796972,0.00022354205,0.00043769839,0.00006986338,0.00003308461,0.000006420611,0.072370686,0.00006391987,0.0003453245,0.0025299522,0.9234845,0.00022703204],"about_ca_topic_score_codex":0.0009791425,"about_ca_topic_score_gemma":0.00085105305,"teacher_disagreement_score":0.84079313,"about_ca_system_score_codex":0.000022868904,"about_ca_system_score_gemma":0.000035775567,"threshold_uncertainty_score":0.9997543},"labels":[],"label_agreement":null},{"id":"W306946482","doi":"","title":"'Da Kink in My Hair: Voices of Black Womyn","year":2006,"lang":"en","type":"article","venue":"Canadian ethnic studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Witness; Salon; Art history; Art; Media studies; History; Visual arts; Sociology; Law; Political science","score_opus":0.10378520429505339,"score_gpt":0.3059612913713385,"score_spread":0.2021760870762851,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W306946482","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54773,0.11620567,1.503722e-7,0.0020188545,0.00078975415,0.00020722549,0.00010964554,0.00004078551,0.33289787],"genre_scores_gemma":[0.98314446,0.0026129487,0.0000075473054,0.0003053566,0.0005827051,0.000021495318,0.0000057740094,0.000013245873,0.013306467],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99903786,0.000022159904,0.00028290722,0.00016493938,0.00010481093,0.00038731564],"domain_scores_gemma":[0.9995273,0.00009140709,0.00006468655,0.00015493632,0.00010698838,0.000054692526],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014013695,0.0001584078,0.00033092874,0.00024959183,0.00015345203,0.000010995174,0.00012964426,0.00003516746,0.0003278325],"category_scores_gemma":[0.000021325272,0.00013272912,0.000069568414,0.00009528368,0.00078571757,0.00011783577,0.000032417654,0.00011512987,0.000080898535],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003040196,0.00008653577,0.031093426,0.00047382663,0.0005888625,0.00006738723,0.38977087,0.00015928259,0.000023840883,0.16964003,0.31610674,0.091958806],"study_design_scores_gemma":[0.00076115894,0.0001368299,0.25409874,0.00029844773,0.00007701654,0.0000014059725,0.12571286,0.000015186288,0.00010552694,0.007851304,0.61036813,0.0005733858],"about_ca_topic_score_codex":0.24718258,"about_ca_topic_score_gemma":0.9763068,"teacher_disagreement_score":0.72912425,"about_ca_system_score_codex":0.00011048349,"about_ca_system_score_gemma":0.00009115302,"threshold_uncertainty_score":0.7578305},"labels":[],"label_agreement":null},{"id":"W307494080","doi":"","title":"Writing and Rewriting: National Theatre Histories","year":2005,"lang":"en","type":"article","venue":"Australasian drama studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":64,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Variety (cybernetics); Object (grammar); Contradiction; History; Historiography; Face (sociological concept); National history; Flexibility (engineering); Media studies; Genealogy; Sociology; Social science; Political science; Politics; Computer science; Law; Archaeology; Linguistics; Management","score_opus":0.04991366194599957,"score_gpt":0.2879115170378196,"score_spread":0.23799785509182003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W307494080","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22906439,0.011196897,8.0724396e-7,0.026838537,0.0005919032,0.00018999305,0.000051661304,0.00026256076,0.73180324],"genre_scores_gemma":[0.9825098,0.0005244122,0.0001866893,0.00044482664,0.0025878488,0.00002534565,0.0000043838354,0.00001558242,0.0137011185],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99899864,0.000018499237,0.00026261274,0.00021859669,0.00020930433,0.00029234382],"domain_scores_gemma":[0.9995059,0.00011317598,0.000067656656,0.00008554196,0.0001862819,0.000041449042],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016605617,0.00019483813,0.00024735404,0.00007910634,0.0010382027,0.00012373114,0.00007741023,0.000030085635,0.0001993228],"category_scores_gemma":[0.000031880714,0.00015941494,0.000055762568,0.000031834286,0.0006345232,0.00040360104,0.00007586966,0.00013875146,0.000056835932],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003319782,0.00008272581,0.009067408,0.00021607245,0.0005776086,0.000009676796,0.27025652,0.000009117109,0.000034371686,0.49630588,0.13889062,0.08451681],"study_design_scores_gemma":[0.00028317122,0.00007375742,0.001082027,0.00007117854,0.000040582894,0.0000127318535,0.0939694,0.0000073555807,0.0000621741,0.0030512458,0.90109867,0.0002476828],"about_ca_topic_score_codex":0.000025221341,"about_ca_topic_score_gemma":0.00084930524,"teacher_disagreement_score":0.7622081,"about_ca_system_score_codex":0.0000729809,"about_ca_system_score_gemma":0.000018767762,"threshold_uncertainty_score":0.7985121},"labels":[],"label_agreement":null},{"id":"W3087291291","doi":"10.33137/q.i..v37i2.29233","title":"Marco Paolini’s Theatre of Trauma: &lt;i&gt;Vajont&lt;/i&gt;","year":2018,"lang":"en","type":"article","venue":"Quaderni d italianistica","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Witness; Narrative; Theme (computing); Mainstream; Art; Representation (politics); Politics; Literature; Humanities; History; Art history; Philosophy; Law; Theology; Political science","score_opus":0.02921601072435356,"score_gpt":0.2475234836093029,"score_spread":0.21830747288494934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3087291291","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053245537,0.001128096,0.00004136152,0.0006440932,0.0012253091,0.00024312532,0.0003928878,0.0001573769,0.94292223],"genre_scores_gemma":[0.967916,0.000110413195,0.00014804614,0.00024224157,0.0027026956,0.000023169905,0.00003097428,0.000050116178,0.028776355],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981333,0.00005899937,0.00053624145,0.0003647234,0.0003606019,0.0005461271],"domain_scores_gemma":[0.9988632,0.00014233546,0.00016331028,0.00047850347,0.00023158148,0.000121067365],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021913818,0.00033586271,0.00049179426,0.00011247874,0.00066505175,0.00010599197,0.00035148184,0.00009506836,0.022486957],"category_scores_gemma":[0.000032993434,0.0002685149,0.00020701099,0.00006443806,0.0014570459,0.00020710909,0.00008999772,0.00014409129,0.0027499788],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034209155,0.00050286256,0.0005004672,0.0003337506,0.0004594801,0.000026161097,0.053731948,8.1335503e-7,0.0012998042,0.76547635,0.13798907,0.039337225],"study_design_scores_gemma":[0.0003529968,0.00087198743,0.000770825,0.00009326517,0.00012705958,0.000006622605,0.0021709506,0.00005931679,0.0006601804,0.0039668805,0.9905457,0.0003742385],"about_ca_topic_score_codex":0.00008761776,"about_ca_topic_score_gemma":0.0025974151,"teacher_disagreement_score":0.91467047,"about_ca_system_score_codex":0.000033421522,"about_ca_system_score_gemma":0.000051938852,"threshold_uncertainty_score":0.9999767},"labels":[],"label_agreement":null},{"id":"W3088673941","doi":"10.1353/tj.2020.0091","title":"Robert Lepage / Ex Machina: Revolutions in Theatrical Space by James Reynolds","year":2020,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Parade; Opera; Space (punctuation); Visual arts; Art history; Art; Management; Sociology; History; Philosophy; Economics","score_opus":0.016542541822013132,"score_gpt":0.22228628026189456,"score_spread":0.20574373843988142,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3088673941","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19238576,0.027208565,0.0002175213,0.1032133,0.0012487896,0.00035228574,0.00015811805,0.00023065382,0.674985],"genre_scores_gemma":[0.98945653,0.0021103707,0.00008543192,0.001270406,0.0025218697,0.0000045263073,0.0000063959947,0.000029828248,0.0045146276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986881,0.00010646688,0.00036273318,0.00018718917,0.00024075499,0.00041476527],"domain_scores_gemma":[0.99948806,0.00006784765,0.00009324446,0.00013913208,0.000044918248,0.00016681105],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023226227,0.00021613679,0.00033011948,0.00010294282,0.0005953674,0.00015976594,0.0002455076,0.00005472576,0.0020393962],"category_scores_gemma":[0.000015098766,0.00015684623,0.00015961572,0.00010319076,0.0001728208,0.00034375308,0.0000727421,0.00066896563,0.00023339703],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024469953,0.00019013324,0.006534306,0.00004554121,0.00012886355,0.00007811279,0.085664526,0.000049698247,0.00020319845,0.011475291,0.87265795,0.022727676],"study_design_scores_gemma":[0.0006779311,0.00028143663,0.00036084204,0.000059979917,0.00004957963,0.00006268396,0.009274308,0.00021155266,0.000043556054,0.0015186025,0.9872026,0.0002569397],"about_ca_topic_score_codex":0.00037542888,"about_ca_topic_score_gemma":0.00036393057,"teacher_disagreement_score":0.7970708,"about_ca_system_score_codex":0.00006843636,"about_ca_system_score_gemma":0.000047665817,"threshold_uncertainty_score":0.9988729},"labels":[],"label_agreement":null},{"id":"W3089535331","doi":"","title":"The Politics of the Other in Canadian Theatre/Performance","year":2020,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université Laval; Concordia University","funders":"","keywords":"Politics; Reflection (computer programming); Ethnic group; Aesthetics; Sociology; Visual arts; Political science; Art; Computer science; Anthropology; Law","score_opus":0.023500697486626025,"score_gpt":0.20144608889112717,"score_spread":0.17794539140450114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3089535331","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30196443,0.00024536648,7.7176985e-8,0.01630914,0.0001906523,0.00008426206,0.000016903616,0.000008879539,0.6811803],"genre_scores_gemma":[0.99020904,0.000053790445,0.0000011768213,0.0025053432,0.00027423966,0.0000037116222,2.1535253e-7,0.000005608098,0.006946874],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995332,0.000013595455,0.000116773896,0.000050838236,0.00006801909,0.00021759923],"domain_scores_gemma":[0.9997739,0.000030183757,0.000020123629,0.00011465538,0.000020000258,0.000041121628],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006894321,0.000058273432,0.00006912406,0.0000146908515,0.00042444534,0.000025855956,0.0001824793,0.000011313359,0.0004156152],"category_scores_gemma":[0.000004581487,0.00002514164,0.00003303265,0.00003525953,0.00021043279,0.000049892376,0.000025987638,0.000073366646,0.000037990576],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001283405,0.000011509833,0.10523029,0.000039808197,0.000039290007,3.7749e-7,0.10230472,0.000029010558,0.000008267657,0.76395446,0.019593783,0.00877567],"study_design_scores_gemma":[0.00006946465,0.000025129555,0.0039156536,0.000009466829,0.0000036764072,1.4490455e-7,0.0049118763,0.00018107273,0.0001749227,0.0002720293,0.9903905,0.000046071676],"about_ca_topic_score_codex":0.22960356,"about_ca_topic_score_gemma":0.87373304,"teacher_disagreement_score":0.9707967,"about_ca_system_score_codex":0.00001601127,"about_ca_system_score_gemma":0.00007249824,"threshold_uncertainty_score":0.7755266},"labels":[],"label_agreement":null},{"id":"W3090302034","doi":"","title":"Stage Jewel: Le Diamant Theatre, Quebec City, Quebec","year":2020,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geology; Archaeology; History","score_opus":0.04250358813868894,"score_gpt":0.22581322825071,"score_spread":0.18330964011202108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3090302034","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12500674,0.00044555322,0.000048769172,0.014388359,0.0003643648,0.00016765647,0.000058513273,0.0003418782,0.8591782],"genre_scores_gemma":[0.8183803,0.00006151564,0.000016282966,0.002705156,0.0010922797,0.000010822802,0.000011954366,0.000017296446,0.1777044],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916196,0.000020804224,0.00019261595,0.00020958645,0.00014848684,0.00026652787],"domain_scores_gemma":[0.99963194,0.00003753291,0.00003979991,0.00015902802,0.00004147282,0.00009022336],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000058818474,0.00017283711,0.00022048935,0.000024317955,0.00043730644,0.00019969282,0.00017351455,0.000026711452,0.0066561354],"category_scores_gemma":[0.000004268115,0.00012221116,0.00010520201,0.000031593467,0.00020486441,0.00032978193,0.00011440331,0.00012257995,0.0005969403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066611436,0.000102618695,0.0027228498,0.000104099425,0.00015290471,0.000015718997,0.1189508,0.0000098299315,0.000093017785,0.6657792,0.18494079,0.027061567],"study_design_scores_gemma":[0.0002714299,0.00007163201,0.0004692427,0.000008824676,0.0000151955865,2.5165073e-7,0.017981235,0.000057327576,0.00044745556,0.00026421042,0.98020333,0.00020984003],"about_ca_topic_score_codex":0.22429046,"about_ca_topic_score_gemma":0.77864563,"teacher_disagreement_score":0.7952626,"about_ca_system_score_codex":0.000018584258,"about_ca_system_score_gemma":0.00007585763,"threshold_uncertainty_score":0.9942519},"labels":[],"label_agreement":null},{"id":"W3095314527","doi":"10.14288/1.0394841","title":"Re-covering and remembering","year":2020,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.01902305177583635,"score_gpt":0.16176462717544315,"score_spread":0.1427415753996068,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3095314527","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94816417,0.0002404332,0.000009930392,0.00029089625,0.00007099005,0.000049640406,0.00004264071,0.00004931692,0.05108197],"genre_scores_gemma":[0.9984179,0.00025868043,0.000040445117,0.00011724295,0.00011867214,8.044563e-8,0.0000021723565,0.0000056205663,0.001039167],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.99962866,0.0000069162534,0.000050561117,0.00013829516,0.00007039766,0.00010513862],"domain_scores_gemma":[0.9998117,0.000011643753,0.000033579647,0.000057211342,0.000036126403,0.00004973538],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00003309318,0.000022545548,0.0001268946,0.000008901122,0.0002957927,0.000085004205,0.00007837254,0.000017123242,0.0004613739],"category_scores_gemma":[0.0000046751816,0.000078928955,0.00003616014,0.00002497252,0.00019007544,0.00025138713,0.00009544556,0.00005668378,0.000016144739],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002818896,0.00003407494,0.019144269,0.00042125382,0.00012320775,0.00010422924,0.086926915,0.00001062877,0.00014346438,0.000084381005,0.024479758,0.86849964],"study_design_scores_gemma":[0.00095640495,0.00020479875,0.731773,0.0002008697,0.00006636354,0.0000083539935,0.08456458,0.00034054814,0.0000018287135,0.00023631702,0.18130209,0.00034483167],"about_ca_topic_score_codex":0.03498043,"about_ca_topic_score_gemma":0.47230318,"teacher_disagreement_score":0.8681548,"about_ca_system_score_codex":0.000006718553,"about_ca_system_score_gemma":0.0000074794393,"threshold_uncertainty_score":0.97144574},"labels":[],"label_agreement":null},{"id":"W3095591659","doi":"10.3138/ctr.184.007","title":"Writing with Sound in <i>What We Deserve</i>","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Space (punctuation); Sound (geography); Oppression; Politics; Sociology; Order (exchange); Visual arts; Media studies; Aesthetics; Art; Computer science; Political science; Law; Acoustics","score_opus":0.05051114803328428,"score_gpt":0.23375950433583112,"score_spread":0.18324835630254685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3095591659","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004408068,0.7061579,6.6427765e-7,0.05406633,0.00012587738,0.00044030248,0.00003794104,0.00003564434,0.23472725],"genre_scores_gemma":[0.5979188,0.3687533,0.000019188192,0.031912856,0.00077402865,0.000052653548,0.00002046272,0.00003814995,0.00051051995],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917716,0.000033944754,0.00020611015,0.00017435673,0.00008043871,0.00032801868],"domain_scores_gemma":[0.9995285,0.000036380392,0.000036355195,0.00013942347,0.000029636632,0.00022967129],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010734618,0.00015166926,0.00031566818,0.000045169163,0.00019943934,0.00013962219,0.00014531445,0.00001805959,0.0018673687],"category_scores_gemma":[0.0000055148193,0.00010916863,0.000058876936,0.00009745572,0.00009005206,0.00037150993,0.000015167805,0.00013837875,0.00029090105],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028852122,0.000028726214,0.011722367,0.013635868,0.00017835543,0.00026601306,0.057614367,0.000008701028,0.0000013495519,0.041639686,0.08047185,0.79440385],"study_design_scores_gemma":[0.00011416531,0.000053569296,0.000022705895,0.004933956,0.0000362822,0.000005881474,0.004003021,0.000003747418,0.0000010188426,0.00014817786,0.990506,0.00017146539],"about_ca_topic_score_codex":0.013086165,"about_ca_topic_score_gemma":0.69101906,"teacher_disagreement_score":0.9100342,"about_ca_system_score_codex":0.00005274868,"about_ca_system_score_gemma":0.000126603,"threshold_uncertainty_score":0.9990451},"labels":[],"label_agreement":null},{"id":"W3096170745","doi":"10.3138/md.63.3.1012","title":"Ruhls of the House: Surreal Spaces for Queer Homes in the Plays of Sarah Ruhl","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Queer; Aesthetics; Normative; Sociology; Subcategory; TRACE (psycholinguistics); Gender studies; Art; Visual arts; Epistemology; Philosophy; Linguistics","score_opus":0.04004579924972763,"score_gpt":0.2372707238447099,"score_spread":0.19722492459498228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096170745","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97952783,0.0010706432,0.000045848672,0.0058165668,0.00015375082,0.00033279712,0.0001417029,0.00002302589,0.012887807],"genre_scores_gemma":[0.99877846,0.00006372546,0.000013803846,0.00037377194,0.00024889744,0.000019319843,0.0000017563402,0.000012129413,0.00048814787],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994369,0.000038581133,0.00016917121,0.00008945686,0.0001337293,0.00013216992],"domain_scores_gemma":[0.9995709,0.00015716371,0.000075455406,0.0001443016,0.000041137893,0.000011027282],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014911988,0.000088924804,0.00018821884,0.000019946552,0.00012401026,0.00003355126,0.00023634458,0.00002570319,0.000047716538],"category_scores_gemma":[0.000020184905,0.000044827768,0.00009555723,0.00003299923,0.0001865033,0.00007405998,0.000043749274,0.0000880264,0.0000035453413],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022628228,0.00011944797,0.016832251,0.000411436,0.00012693681,9.33967e-7,0.86120445,0.00034410425,0.0002975661,0.096132115,0.017194944,0.007109542],"study_design_scores_gemma":[0.0042126905,0.0013719562,0.03844439,0.000396704,0.0002958541,0.0000034453606,0.12350814,0.008113778,0.009215846,0.046838596,0.7666884,0.00091017096],"about_ca_topic_score_codex":0.00029048248,"about_ca_topic_score_gemma":0.001633835,"teacher_disagreement_score":0.7494935,"about_ca_system_score_codex":0.0000051119478,"about_ca_system_score_gemma":0.00002045316,"threshold_uncertainty_score":0.18280233},"labels":[],"label_agreement":null},{"id":"W3096345356","doi":"10.3138/md.63.3.br5","title":"Liz Tomlin, <i>Political Dramaturgies and Theatre Spectatorship: Provocations for Change</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Hegemony; Autonomy; Interrogation; Aesthetics; Political theatre; Ideology; Space (punctuation); Sociology; Media studies; Political science; Art; Law; Philosophy","score_opus":0.06081143339476792,"score_gpt":0.26069381896692256,"score_spread":0.19988238557215465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096345356","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43943867,0.011084882,0.0015397366,0.17257492,0.0015811387,0.0036613897,0.0010993874,0.0013480849,0.3676718],"genre_scores_gemma":[0.99346054,0.000053517557,0.00011724368,0.0029438487,0.002379872,0.00016741578,0.00002042391,0.000024018971,0.0008331182],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923587,0.000011869965,0.00014158282,0.00020876595,0.00009088406,0.0003110296],"domain_scores_gemma":[0.99961513,0.0000741532,0.000027615806,0.0001091764,0.000064180815,0.00010975429],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000035319703,0.00014675326,0.0001848229,0.000027625987,0.00041224816,0.00018234592,0.00009034256,0.000035708184,0.00010022986],"category_scores_gemma":[0.0000142671715,0.000115875686,0.00006295231,0.000020354419,0.00020693516,0.00022779239,0.000052607007,0.00009352825,0.000040871273],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000097677526,0.000058347327,0.00057899865,0.00029277932,0.000079134436,0.0000020845346,0.23946926,0.0000016238401,0.000037941976,0.73159605,0.0067685903,0.02101749],"study_design_scores_gemma":[0.00065147626,0.0003432135,0.00017376804,0.00004479255,0.000090827976,0.0000034499544,0.018163113,0.003845715,0.00031210462,0.0434204,0.9325764,0.00037474293],"about_ca_topic_score_codex":0.000050249768,"about_ca_topic_score_gemma":0.00020908388,"teacher_disagreement_score":0.92580783,"about_ca_system_score_codex":0.000010660094,"about_ca_system_score_gemma":0.000017778117,"threshold_uncertainty_score":0.47252733},"labels":[],"label_agreement":null},{"id":"W3096520511","doi":"10.1017/s0307883320000486","title":"Enacting Lecoq: Movement in Theatre, Cognition, and Life","year":2020,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movement (music); Content (measure theory); Cognition; History; Cognitive science; Art history; Psychology; Art; Aesthetics; Neuroscience; Mathematics","score_opus":0.13602479743384507,"score_gpt":0.3455766500737012,"score_spread":0.20955185263985612,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096520511","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2167454,0.00050898513,0.00000509686,0.025410505,0.00024499954,0.00021231124,0.000064780645,0.000046724832,0.7567612],"genre_scores_gemma":[0.9961829,0.00045369484,0.000018458079,0.0012153451,0.0015081542,0.000035439203,0.000020575662,0.000012632355,0.0005528037],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879265,0.000075380434,0.00020506533,0.00020815244,0.0004379292,0.00028081943],"domain_scores_gemma":[0.9994723,0.00019361974,0.00002689839,0.000069287984,0.00012911475,0.00010877955],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045126234,0.000100156656,0.00012608508,0.00016409002,0.00026953503,0.00016477547,0.00017598037,0.00002193455,0.0021481474],"category_scores_gemma":[0.000040637526,0.00008141494,0.00003273511,0.000060764232,0.00022686062,0.00026379022,0.00016267625,0.00029588168,0.00016059265],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012305435,0.00053315377,0.039951455,0.00028327093,0.0007458961,0.0000797215,0.31251705,0.0000396721,0.0018325293,0.16165273,0.059827853,0.42130613],"study_design_scores_gemma":[0.0019454743,0.00042533374,0.0017683922,0.00018860803,0.00001554737,0.0000029090043,0.06705351,0.001451649,0.0010305207,0.017770384,0.9079846,0.00036305253],"about_ca_topic_score_codex":0.00041653795,"about_ca_topic_score_gemma":0.0007867175,"teacher_disagreement_score":0.84815675,"about_ca_system_score_codex":0.000039537503,"about_ca_system_score_gemma":0.000046853114,"threshold_uncertainty_score":0.99876404},"labels":[],"label_agreement":null},{"id":"W3096527763","doi":"","title":"Unfolding Artistic Practices — with Laura Marks","year":2020,"lang":"en","type":"article","venue":"Summit (Simon Fraser University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Epistemology; History; Aesthetics; Philosophy","score_opus":0.029561390194091264,"score_gpt":0.20778138152007627,"score_spread":0.178219991325985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096527763","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46752182,0.00023956275,0.000075548865,0.0035916476,0.00022546272,0.00017016678,0.000055829874,0.00022498288,0.527895],"genre_scores_gemma":[0.9920924,0.0000944923,0.000044986602,0.0004931664,0.0003664582,4.1859363e-7,0.00001161654,0.000012825546,0.00688364],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993445,0.000028578632,0.000081545,0.00020534756,0.00013140135,0.0002085972],"domain_scores_gemma":[0.99951684,0.000069758025,0.00013753124,0.000112615795,0.000069326365,0.000093895826],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000036660993,0.00013938532,0.00015710002,0.00006848326,0.00044875246,0.00009620998,0.00017618024,0.000027312883,0.0015502269],"category_scores_gemma":[0.000017967443,0.00011841265,0.00004436611,0.00012551791,0.00016232616,0.0006048832,0.00006325082,0.00015982882,0.00020129529],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014370584,0.00015536409,0.56838906,0.00029401566,0.0006786409,0.0008969683,0.009981398,0.00013645996,0.0000101047735,0.15405297,0.2573144,0.006653577],"study_design_scores_gemma":[0.00039747375,0.00018448321,0.00013231691,0.00002744208,0.00009857565,5.585439e-9,0.11029655,0.00007482404,0.00006970731,0.00003324381,0.88850445,0.0001809619],"about_ca_topic_score_codex":0.00018896794,"about_ca_topic_score_gemma":0.05443783,"teacher_disagreement_score":0.63119,"about_ca_system_score_codex":0.00002460134,"about_ca_system_score_gemma":0.000032404365,"threshold_uncertainty_score":0.99936247},"labels":[],"label_agreement":null},{"id":"W3097051391","doi":"10.3138/ctr.184.018","title":"Breaking Bread with New Invited Guests","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Scholarship; Reading (process); Sociology; Media studies; Political science; Ecology; Law","score_opus":0.041356507348084506,"score_gpt":0.22797106746713588,"score_spread":0.18661456011905136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097051391","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015120803,0.337701,0.000005118256,0.123434566,0.0003034129,0.0006948393,0.00013285875,0.00017857793,0.53603756],"genre_scores_gemma":[0.5900688,0.10741478,0.00010076456,0.29083177,0.006437999,0.000057789097,0.00015139257,0.00014838949,0.0047882893],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999176,0.00002139128,0.00017984609,0.00019446322,0.00010212465,0.00032614177],"domain_scores_gemma":[0.9992055,0.000017686812,0.000050178984,0.00018440092,0.00004373312,0.0004984529],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000057726043,0.00018563893,0.0003383087,0.000047615224,0.00026647476,0.00007014842,0.0001692512,0.000021172289,0.0021790443],"category_scores_gemma":[0.000006645509,0.00012856627,0.000074095435,0.00010342141,0.00008563339,0.0001505678,0.00001554669,0.00012431009,0.0004930381],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011168594,0.0000057211028,0.0011655194,0.002016134,0.0001405366,0.000053067502,0.017391685,0.0000011073771,0.0000012285695,0.0060206032,0.5349935,0.43819973],"study_design_scores_gemma":[0.0001165097,0.00007409841,0.000055453154,0.002026523,0.00009889078,0.000013643577,0.00041182627,0.0000022947538,0.0000021961853,0.00003774297,0.99696314,0.00019766304],"about_ca_topic_score_codex":0.083186924,"about_ca_topic_score_gemma":0.585426,"teacher_disagreement_score":0.5885567,"about_ca_system_score_codex":0.000044600387,"about_ca_system_score_gemma":0.00021799264,"threshold_uncertainty_score":0.9987331},"labels":[],"label_agreement":null},{"id":"W3097060348","doi":"10.3138/md.63.3.br3","title":"Max Shulman and J. Chris Westgate, eds., <i>Performing the Progressive Era: Immigration, Urban Life, and Nationalism on Stage</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Immigration; Nationalism; Portrait; Stage (stratigraphy); Progressive era; History; Period (music); Art history; Gender studies; Sociology; Aesthetics; Art; Political science; Law","score_opus":0.018922854427104892,"score_gpt":0.21717777291641394,"score_spread":0.19825491848930904,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097060348","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9486432,0.007964834,0.000017985793,0.02367837,0.00016479104,0.0003952904,0.00009437456,0.00009823985,0.018942881],"genre_scores_gemma":[0.99236584,0.0003802209,0.000016011378,0.0037791573,0.001013059,0.000043117194,0.0000191816,0.000017474655,0.0023659512],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925566,0.000022386308,0.00015951735,0.00021190582,0.00017840172,0.00017213475],"domain_scores_gemma":[0.99962753,0.000055472472,0.000069050315,0.00010145076,0.000075248274,0.00007123522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007528209,0.00015985327,0.00014918626,0.000029249932,0.0009161182,0.00026473403,0.000086110485,0.000030392808,0.00013794846],"category_scores_gemma":[0.000015512951,0.00010228625,0.000030149638,0.000027289432,0.00023404876,0.00027101167,0.000065120636,0.00016595102,0.000019215626],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002975293,0.000115739786,0.009806291,0.00029757232,0.000361846,0.000017718841,0.6843699,0.0001297704,0.00016292025,0.16475645,0.06033469,0.079349555],"study_design_scores_gemma":[0.0009343714,0.0004597246,0.003255857,0.000077935976,0.00006274469,0.0000051806387,0.0102858115,0.012149651,0.00030342062,0.0023319204,0.9696715,0.00046187415],"about_ca_topic_score_codex":0.00007867417,"about_ca_topic_score_gemma":0.00023653734,"teacher_disagreement_score":0.9093368,"about_ca_system_score_codex":0.000007822385,"about_ca_system_score_gemma":0.000025171059,"threshold_uncertainty_score":0.7046133},"labels":[],"label_agreement":null},{"id":"W3097244062","doi":"10.3138/ctr.184.015","title":"<i>Encounters at the Edge of the Woods</i>: Answering Calls and Standing at the Edge of a Pandemic","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Distancing; Media studies; Social distance; Colonialism; Storytelling; Sociology; Enhanced Data Rates for GSM Evolution; Visual arts; Coronavirus disease 2019 (COVID-19); History; Art; Literature; Narrative; Engineering; Archaeology; Telecommunications; Ecology","score_opus":0.03880817444379488,"score_gpt":0.23202827768510684,"score_spread":0.19322010324131195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097244062","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.149986,0.7187573,7.6034456e-7,0.023927968,0.0005331853,0.0011430176,0.00063305197,0.000021798593,0.104996935],"genre_scores_gemma":[0.8951268,0.09767241,8.162982e-7,0.005518783,0.000256443,0.000021369358,0.0000044450007,0.0000191307,0.0013797779],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990807,0.00008502473,0.00029506307,0.00015111182,0.00013435076,0.00025371654],"domain_scores_gemma":[0.9992873,0.00012184926,0.00013247746,0.000312328,0.00004111423,0.000104917875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003030529,0.0001616606,0.0003532396,0.000019655843,0.00066745444,0.000024459876,0.00029785399,0.000023587569,0.0007047008],"category_scores_gemma":[0.000018375384,0.00007160006,0.00015438956,0.00008603054,0.0005594801,0.00006264633,0.00012978015,0.00013980255,0.00001577342],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009388248,0.000021740072,0.051905375,0.01714458,0.0010808698,0.0000132096475,0.24599889,0.000014637964,0.0006483466,0.013002734,0.4313994,0.23867634],"study_design_scores_gemma":[0.000095221614,0.000032770426,0.00023124121,0.0015550789,0.00016191346,0.000007314693,0.0022393882,0.0000041766734,0.000066516666,0.0000319289,0.9954727,0.00010172416],"about_ca_topic_score_codex":0.009175653,"about_ca_topic_score_gemma":0.37289834,"teacher_disagreement_score":0.74514085,"about_ca_system_score_codex":0.0000997393,"about_ca_system_score_gemma":0.000114927054,"threshold_uncertainty_score":0.99742234},"labels":[],"label_agreement":null},{"id":"W3097664974","doi":"10.3138/md.63.3.br1","title":"Mary Mcavoy, <i>Rehearsing Revolutions: The Labor Drama Experiment and Radical Activism in the Early Twentieth Century</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rehearsing; Drama; Political activism; Politics; Ideal (ethics); Political theatre; Movement (music); The arts; Visual arts; History; Political science; Gender studies; Art; Sociology; Aesthetics; Law","score_opus":0.02736335906190591,"score_gpt":0.23684934254307988,"score_spread":0.20948598348117398,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097664974","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9297355,0.011885511,0.000047756526,0.041696478,0.00035227818,0.00042371723,0.00003392673,0.000067839115,0.015757034],"genre_scores_gemma":[0.99447507,0.00056170905,0.000030443634,0.0038241528,0.00068001926,0.000043824333,0.0000041987687,0.000016026053,0.00036455854],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898064,0.00011345629,0.00018444272,0.0002145664,0.00022798685,0.00027893393],"domain_scores_gemma":[0.9995983,0.000093217015,0.000043856227,0.00019411446,0.000023558498,0.00004690828],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016817641,0.00015643034,0.00017028666,0.00002740795,0.0007068294,0.0002732326,0.00020626829,0.000035389767,0.00009764941],"category_scores_gemma":[0.000011335689,0.000088485656,0.00005870645,0.0000555788,0.00038560634,0.00023844588,0.000102339785,0.0002998701,0.000025563502],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016242085,0.00016859073,0.0020757741,0.00006507778,0.00008642706,0.000017294222,0.9084614,0.000014142971,0.00037156572,0.038131148,0.020434348,0.030011794],"study_design_scores_gemma":[0.00091888424,0.0002592799,0.008755704,0.000093082395,0.00005499366,0.000008106257,0.039027963,0.0015874716,0.00012883103,0.004016483,0.94481814,0.00033107106],"about_ca_topic_score_codex":0.00033680085,"about_ca_topic_score_gemma":0.00013994744,"teacher_disagreement_score":0.92438376,"about_ca_system_score_codex":0.000022379085,"about_ca_system_score_gemma":0.000021794604,"threshold_uncertainty_score":0.5436432},"labels":[],"label_agreement":null},{"id":"W3100313903","doi":"","title":"Before I Was a Critic I Was a Human Being, Book*hug Press & Artspeak","year":2019,"lang":"en","type":"article","venue":"Esse/Esse arts + opinions","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychoanalysis; Art; Philosophy; Psychology","score_opus":0.027524127681137312,"score_gpt":0.27064707662996795,"score_spread":0.24312294894883063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3100313903","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18061076,0.0022322757,0.000004172261,0.011968315,0.0038335407,0.0009194944,0.00019316665,0.0005215748,0.7997167],"genre_scores_gemma":[0.9120945,0.00015249688,0.000014442768,0.0008251013,0.0021073753,0.00013926839,0.00017888685,0.000070175236,0.084417775],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979097,0.00004730466,0.0004773858,0.00050235755,0.00033949333,0.00072373217],"domain_scores_gemma":[0.9987637,0.00008155724,0.00012085636,0.0007064792,0.00017078403,0.00015662001],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016473386,0.00040835183,0.00049688376,0.00015807278,0.0014307911,0.00036830336,0.0003788239,0.0000836638,0.006013095],"category_scores_gemma":[0.000018484823,0.00034658893,0.00023057358,0.000058209942,0.0003775341,0.00086034776,0.00021543077,0.00034345756,0.0014491309],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016307089,0.0001952449,0.00080746645,0.00019910779,0.00013391333,0.000010307509,0.060126558,0.00000791063,0.000047610534,0.8539222,0.084196165,0.00033722643],"study_design_scores_gemma":[0.0005884462,0.00037527154,0.00077270163,0.0002919933,0.00006885028,0.000009109474,0.004599248,0.000045701956,0.00016801154,0.0048287297,0.98779887,0.00045304323],"about_ca_topic_score_codex":0.0005611984,"about_ca_topic_score_gemma":0.00290722,"teacher_disagreement_score":0.9036027,"about_ca_system_score_codex":0.000040217335,"about_ca_system_score_gemma":0.000049504655,"threshold_uncertainty_score":0.9998986},"labels":[],"label_agreement":null},{"id":"W3107314242","doi":"10.21428/b54437e2.0da249c1","title":"Decolonial Performance Practice: Witnessing with an Ethic of Incommensurability","year":2021,"lang":"en","type":"article","venue":"Performance of the Real","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Epistemology; Sociology; Psychology; Philosophy; Environmental ethics; Psychoanalysis; Aesthetics","score_opus":0.025114443341825023,"score_gpt":0.2684343847057363,"score_spread":0.24331994136391125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3107314242","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95381343,0.00011450845,6.868961e-7,0.00069578283,0.00034910775,0.00011247322,0.0000148593645,0.000023465467,0.04487568],"genre_scores_gemma":[0.9983697,0.0005095042,0.000249374,0.00010248312,0.00025440182,0.000010795653,0.0000057760603,0.000015954758,0.00048200056],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9987514,0.000108741115,0.00035759513,0.0001886913,0.0003476455,0.00024591293],"domain_scores_gemma":[0.99851406,0.0001262196,0.00031242074,0.0005042623,0.0005063704,0.000036676847],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00053530704,0.00016476157,0.00031246236,0.00003914283,0.00058502896,0.000035585443,0.00026260293,0.00004981517,0.00014374351],"category_scores_gemma":[0.00003809148,0.00010013262,0.000071197996,0.00011617502,0.000778992,0.00084097596,0.00012867525,0.00027431917,0.000004537448],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0033966417,0.0012456824,0.7761286,0.0025197337,0.00046324392,0.0000057649113,0.13393353,0.0014535869,0.0011438269,0.010747002,0.00030400456,0.06865838],"study_design_scores_gemma":[0.004131492,0.0058785332,0.78474087,0.0019894557,0.00080443785,0.00016028172,0.03347332,0.009909189,0.08063885,0.00043886647,0.07637736,0.0014573777],"about_ca_topic_score_codex":0.0002824207,"about_ca_topic_score_gemma":0.0014169245,"teacher_disagreement_score":0.1004602,"about_ca_system_score_codex":0.000035965793,"about_ca_system_score_gemma":0.00022757449,"threshold_uncertainty_score":0.44996288},"labels":[],"label_agreement":null},{"id":"W3107627648","doi":"10.1386/atr_00043_5","title":"Theatre and (Im)migration, edited by Yana Meerzon (2019)","year":2020,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.05361538796951969,"score_gpt":0.2847017034787366,"score_spread":0.23108631550921688,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3107627648","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07964913,0.0036332165,0.000014803961,0.026865738,0.00019899564,0.0007384219,0.000204255,0.00023866618,0.88845676],"genre_scores_gemma":[0.99387366,0.0013401571,0.0000190235,0.00061206147,0.0020175877,0.000076448814,0.00009125047,0.000039451174,0.0019303806],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99815637,0.000081110404,0.00023929853,0.0004124561,0.0005477073,0.00056306814],"domain_scores_gemma":[0.9991736,0.00022430238,0.000034655666,0.00025051952,0.00012166467,0.00019526693],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046044786,0.00021521276,0.00027541938,0.000112629394,0.0011045524,0.0002678365,0.00025546984,0.0000721137,0.0008858103],"category_scores_gemma":[0.0000065695763,0.00016213719,0.0000513725,0.00016488474,0.00063110725,0.00017179258,0.00018046895,0.00045189372,0.0006271784],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024160148,0.000081582315,0.00045839365,0.00012221454,0.00014797426,0.000004288384,0.052926358,0.0000018380272,0.0025266444,0.065667674,0.7754568,0.10236467],"study_design_scores_gemma":[0.00042703835,0.00020081332,0.000034590605,0.000015508447,0.000018673883,0.0000010326531,0.012829678,0.00007418117,0.0011612896,0.0023444707,0.9826824,0.00021030639],"about_ca_topic_score_codex":0.0006474177,"about_ca_topic_score_gemma":0.00075046066,"teacher_disagreement_score":0.9142245,"about_ca_system_score_codex":0.000024318924,"about_ca_system_score_gemma":0.00004160206,"threshold_uncertainty_score":0.96990013},"labels":[],"label_agreement":null},{"id":"W3108239517","doi":"10.32920/21948509.v1","title":"The Shock and Awe of the Real: Political Performance and the War on Terror","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Citizen journalism; Postmodernism; Terrorism; Representation (politics); Power (physics); Aesthetics; Media studies; Political science; Art; Sociology; Visual arts; History; Literature; Law","score_opus":0.04192314008227245,"score_gpt":0.2514109494781057,"score_spread":0.20948780939583328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3108239517","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6161705,0.0005891289,2.6699905e-7,0.022336481,0.0011369351,0.00047295858,0.00006529988,0.00006022619,0.3591682],"genre_scores_gemma":[0.9682363,0.0043254104,0.000001620192,0.0003652048,0.0005007751,0.00004299986,0.000001925824,0.000015172719,0.026510537],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991407,0.00005656192,0.00022002358,0.00017170508,0.00017142679,0.00023959111],"domain_scores_gemma":[0.9991271,0.00033320911,0.0000730448,0.0003970115,0.00004482223,0.000024813055],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033646706,0.00017393615,0.0002318765,0.000023144967,0.0009770067,0.000094867166,0.0002599586,0.000050475654,0.00004406395],"category_scores_gemma":[0.00001843418,0.000057982805,0.00008453528,0.00001300764,0.0017025027,0.000031863794,0.0007145942,0.00034757334,0.00001155851],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014623912,0.000013359242,0.0028859696,0.00022055602,0.00015540658,2.538164e-7,0.039768353,0.0000047469375,4.736701e-7,0.94314617,0.0105150435,0.0031434577],"study_design_scores_gemma":[0.002275857,0.00052926055,0.1033636,0.0012097599,0.0005403288,0.00000893984,0.12580194,0.0027085638,0.00021366862,0.10370895,0.65866154,0.0009775603],"about_ca_topic_score_codex":0.0012385586,"about_ca_topic_score_gemma":0.0032631243,"teacher_disagreement_score":0.8394372,"about_ca_system_score_codex":0.000010609052,"about_ca_system_score_gemma":0.00002561191,"threshold_uncertainty_score":0.75144446},"labels":[],"label_agreement":null},{"id":"W3110398594","doi":"10.1007/978-3-476-05728-0_17301-1","title":"Walcott, Derek: Dream on Monkey Mountain","year":2020,"lang":"sv","type":"book-chapter","venue":"J.B. Metzler eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dream; Art; Humanities; Kabuki; Art history; Visual arts; Psychology","score_opus":0.04730119165653935,"score_gpt":0.23654559477581885,"score_spread":0.1892444031192795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3110398594","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017209419,0.0014284479,0.000003369532,0.0010806809,0.0021104445,0.0009002898,0.00092049217,0.00029227752,0.99154305],"genre_scores_gemma":[0.18955961,0.0006073841,0.000032314612,0.004159859,0.0063541364,0.00008608069,0.00018425136,0.00028595474,0.79873043],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960445,0.00006954734,0.0010260812,0.0011297754,0.0008302136,0.0008998592],"domain_scores_gemma":[0.9978337,0.00022475008,0.0004710201,0.00092497555,0.00022567918,0.00031984146],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.00023485842,0.0014678466,0.0015554607,0.00028028619,0.0015315993,0.00046198125,0.0006367259,0.0005065308,0.0064850124],"category_scores_gemma":[0.000016518503,0.0012379653,0.00086400803,0.000015928996,0.0008081716,0.00013535171,0.00036040763,0.0014298124,0.007480193],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003435518,0.00005299406,0.000021222542,0.00030091978,0.0013180408,0.00011983806,0.02406047,0.0000036659897,0.000023055438,0.9124376,0.036444295,0.02487436],"study_design_scores_gemma":[0.0007831009,0.00096738007,0.00002735054,0.00059233303,0.000650987,0.0000086967275,0.0022132397,0.000025494335,0.00025307204,0.013785616,0.9792773,0.0014154225],"about_ca_topic_score_codex":0.0003143328,"about_ca_topic_score_gemma":0.0009984032,"teacher_disagreement_score":0.942833,"about_ca_system_score_codex":0.00016328301,"about_ca_system_score_gemma":0.0001315402,"threshold_uncertainty_score":0.9998071},"labels":[],"label_agreement":null},{"id":"W3110423249","doi":"10.1162/dram_r_00975","title":"<i>Incapacity and Theatricality: Politics and Aesthetics in Theatre Involving Actors with Intellectual Disabilities</i>. By Tony McCaffrey. London: Routledge, 2019; 198 pp. $155.00 cloth, e-book available.","year":2020,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Defence Research and Development Canada","funders":"","keywords":"Politics; Aesthetics; Art; Media studies; Sociology; Art history; Political science; Political economy; Law","score_opus":0.025131384615082308,"score_gpt":0.22066791042826622,"score_spread":0.19553652581318393,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3110423249","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07187734,0.87212604,0.0000071516,0.017873472,0.0001523989,0.0012750349,0.00023206719,0.00013106267,0.036325414],"genre_scores_gemma":[0.2694641,0.7112223,0.00002789662,0.013826915,0.00059414015,0.000079918216,0.000041690433,0.000085398206,0.0046576406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99791384,0.0002472468,0.0005670716,0.0004613685,0.00027664256,0.0005338243],"domain_scores_gemma":[0.99845135,0.00073821924,0.00012866067,0.00040675642,0.000085001106,0.00019002407],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00039289516,0.0004525443,0.0008270717,0.00003507838,0.00055187586,0.00023572674,0.0002800733,0.0000742638,0.0013819628],"category_scores_gemma":[0.0001436287,0.0002665709,0.000107963046,0.00015657644,0.0012851972,0.00032157436,0.00020779674,0.0005024578,0.00012937126],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017256275,0.0002588198,0.006314767,0.007012119,0.00023595647,0.000011515825,0.1413514,0.0000010720196,0.000014215261,0.021990372,0.79319745,0.02943976],"study_design_scores_gemma":[0.00042168362,0.00035051012,0.000019841782,0.0011609903,0.00015807016,0.00002126304,0.005771258,0.000044739434,0.00002283356,0.00036111937,0.99127454,0.00039316062],"about_ca_topic_score_codex":0.0007177729,"about_ca_topic_score_gemma":0.00046615084,"teacher_disagreement_score":0.19807708,"about_ca_system_score_codex":0.00006467029,"about_ca_system_score_gemma":0.00006297074,"threshold_uncertainty_score":0.99997866},"labels":[],"label_agreement":null},{"id":"W3111239267","doi":"10.3138/tric.37.1.135","title":"ERIN HURLEY, ed. Theatres of Affect <i>. New Essays on Canadian Theatre, Volume Four.</i> ERIN HURLEY, ed. <i>Once More, With Feeling: Five Affecting Plays</i>.","year":2016,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feeling; Affect (linguistics); Volume (thermodynamics); History; Psychology; Art; Social psychology; Communication; Physics; Thermodynamics","score_opus":0.040908454879867266,"score_gpt":0.27289534197142185,"score_spread":0.23198688709155457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3111239267","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56250167,0.0022940808,0.0000044851467,0.0062520807,0.00062464597,0.0012165054,0.0007203655,0.00008064858,0.42630553],"genre_scores_gemma":[0.995055,0.0009766109,0.000038402362,0.00025266633,0.00114771,0.00007798513,0.000018571562,0.00011066129,0.002322387],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9947664,0.0004320189,0.0005733035,0.00077116425,0.0013785537,0.0020785716],"domain_scores_gemma":[0.9966015,0.0014198406,0.00014966639,0.000907131,0.0002174135,0.00070442853],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001282822,0.0005994502,0.0008244714,0.0006530921,0.00096226466,0.00015118073,0.0008739099,0.000111698784,0.0010169513],"category_scores_gemma":[0.000025147425,0.00038626904,0.0001402093,0.0003982456,0.00072607934,0.0003852598,0.00020478704,0.0008505166,0.00006985539],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002203538,0.00023238227,0.121724024,0.00070987403,0.00057598285,0.0009534746,0.019863863,0.001460048,0.00080386957,0.0043155104,0.38830683,0.4588506],"study_design_scores_gemma":[0.0051131356,0.0031866643,0.0061239316,0.005707484,0.00011951118,0.000081005055,0.04333497,0.00033076605,0.004131592,0.0015557868,0.92802703,0.0022881327],"about_ca_topic_score_codex":0.9959599,"about_ca_topic_score_gemma":0.99941003,"teacher_disagreement_score":0.5397202,"about_ca_system_score_codex":0.0015836402,"about_ca_system_score_gemma":0.0057387915,"threshold_uncertainty_score":0.9998977},"labels":[],"label_agreement":null},{"id":"W3111517099","doi":"10.5195/aa.2020.289","title":"Theater review: The Other","year":2020,"lang":"en","type":"article","venue":"Anthropology & Aging","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Psychology; Art","score_opus":0.0436685370329095,"score_gpt":0.28611774181829897,"score_spread":0.24244920478538945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3111517099","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013687701,0.05396784,0.000021284073,0.65749043,0.0010839525,0.00022224805,0.000018646315,0.00015643239,0.27335146],"genre_scores_gemma":[0.9098106,0.006859165,0.0000039980487,0.08021509,0.0015703855,0.00001119213,0.0000025184465,0.000013160927,0.0015138793],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952054,0.000038241295,0.00011091617,0.00011067226,0.000049625083,0.00017002774],"domain_scores_gemma":[0.9997834,0.000032450946,0.000030392874,0.00011423638,0.000020799904,0.000018748728],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007871456,0.0000857274,0.00013918045,0.0000092027985,0.0005728242,0.000021694836,0.00012673311,0.000011596928,0.01018511],"category_scores_gemma":[0.0000057216826,0.00004474843,0.000053900785,0.000018752538,0.0008154038,0.00007073343,0.000050253966,0.00010723336,0.000495904],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011528285,0.000019186225,0.0020919389,0.00020606519,0.00014782262,0.000008531729,0.17067768,6.5795587e-7,0.00002982993,0.0632911,0.7440789,0.019436775],"study_design_scores_gemma":[0.00005814702,0.00003877988,0.0000610135,0.00005828202,0.000032332802,0.0000022550664,0.0050912406,0.0000063718962,0.000072087445,0.00014901638,0.994363,0.00006744524],"about_ca_topic_score_codex":0.00059884734,"about_ca_topic_score_gemma":0.00047428685,"teacher_disagreement_score":0.89612293,"about_ca_system_score_codex":0.0000031461896,"about_ca_system_score_gemma":0.0000053905464,"threshold_uncertainty_score":0.99071974},"labels":[],"label_agreement":null},{"id":"W3111898003","doi":"10.3138/tric.41.2.f01","title":"Manifesting the Future","year":2020,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Canadian Association for Theatre Research; University of Toronto","funders":"","keywords":"Humanities; Art; Oppression; Ethnology; Sociology; Political science","score_opus":0.1023357519607803,"score_gpt":0.3051070832031092,"score_spread":0.20277133124232888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3111898003","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011462993,0.070696816,1.5553483e-7,0.32861155,0.0019866917,0.00027974328,0.00015174563,0.000012860656,0.5867974],"genre_scores_gemma":[0.9758367,0.0075092628,0.0000054177526,0.0016207619,0.011418262,0.000024926074,0.0000052052874,0.000030527368,0.0035489383],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972464,0.00042112137,0.00028033488,0.00027116825,0.00077450223,0.0010064672],"domain_scores_gemma":[0.9988118,0.00059249694,0.000034481294,0.00026652194,0.00009123299,0.00020348473],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00081420207,0.00019424068,0.00023660895,0.000054044784,0.0012773195,0.00016411133,0.0005262286,0.0000450697,0.0016940894],"category_scores_gemma":[0.0000063879043,0.00013160892,0.000051455074,0.0002913576,0.0005338257,0.000112731126,0.00023480812,0.001283717,0.00014637523],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007774542,0.000017597713,0.0033511997,0.00049195014,0.00007475843,0.00051511143,0.017460905,0.00011042014,0.000002451013,0.039529648,0.34672272,0.5916455],"study_design_scores_gemma":[0.0001697201,0.000078791265,0.00017670314,0.00018267891,0.000009264136,0.000012224474,0.08012716,0.00042318352,0.000009996679,0.0011044305,0.91755927,0.00014658083],"about_ca_topic_score_codex":0.98548627,"about_ca_topic_score_gemma":0.9974151,"teacher_disagreement_score":0.9643737,"about_ca_system_score_codex":0.0006414428,"about_ca_system_score_gemma":0.0026512924,"threshold_uncertainty_score":0.9992185},"labels":[],"label_agreement":null},{"id":"W3112081097","doi":"10.1080/14794713.2020.1827206","title":"A year (in five months) of living dangerously: hidden intimacies in Zoom exigencies","year":2020,"lang":"en","type":"article","venue":"International Journal of Performance Arts and Digital Media","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Zoom; Aesthetics; Reading (process); Happiness; Ephemeral key; Sociology; Visual arts; Media studies; Psychology; Art; Computer science; Social psychology; Law; Engineering; Computer security","score_opus":0.03052728766262496,"score_gpt":0.23200983444164078,"score_spread":0.2014825467790158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112081097","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98511624,0.000552662,0.0000034751706,0.0006815726,0.00039752538,0.000036634694,0.000033042055,0.0000045265947,0.013174337],"genre_scores_gemma":[0.998458,0.00068884087,0.000034324552,0.00013170156,0.00058565126,0.0000013405078,0.0000018494393,0.0000057782568,0.00009247861],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9991652,0.0000060444563,0.00038058567,0.00007364056,0.00026374197,0.0001107824],"domain_scores_gemma":[0.9994815,0.00013676449,0.00015637987,0.00003331863,0.00013995994,0.000052102783],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000113650116,0.00008858031,0.00019909116,0.00017590464,0.00002871748,0.00010281384,0.00016249307,0.000017333277,0.00015146192],"category_scores_gemma":[0.00017985515,0.00006805657,0.000046671044,0.00003535083,0.00015660774,0.0010753025,0.000074832955,0.00011901289,0.0000072630473],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041733368,0.0001630907,0.3388473,0.00009635925,0.00012646163,0.00008025074,0.5586606,0.00012377164,0.000071328715,0.007302053,0.0012154526,0.09289596],"study_design_scores_gemma":[0.004632315,0.003277766,0.4664327,0.005971941,0.000087784596,0.00017630558,0.3169802,0.004517468,0.0010181039,0.003306345,0.19214587,0.0014532192],"about_ca_topic_score_codex":0.000032068452,"about_ca_topic_score_gemma":0.00025056655,"teacher_disagreement_score":0.24168041,"about_ca_system_score_codex":0.000020389163,"about_ca_system_score_gemma":0.000034453034,"threshold_uncertainty_score":0.27752665},"labels":[],"label_agreement":null},{"id":"W3112148953","doi":"10.3138/tric.31.2.164","title":"The. Women. The Subject(s) of <i>The Unnatural and Accidential Woman</i>","year":2010,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Subject (documents); Politics; Accidental; Adaptation (eye); Sociology; Aesthetics; Psychoanalysis; Philosophy; Psychology; Law; Computer science; Political science; Neuroscience; Library science","score_opus":0.02318603718820632,"score_gpt":0.26500130067509553,"score_spread":0.2418152634868892,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112148953","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90500724,0.00074249937,7.43679e-9,0.00759771,0.0008657638,0.00020096517,0.000020136626,0.0000041199505,0.08556154],"genre_scores_gemma":[0.9979291,0.00024436924,3.6425882e-7,0.00016273132,0.00043408715,0.000037124828,4.4036125e-7,0.000008547544,0.0011832139],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854296,0.0001527689,0.00016500408,0.00011338403,0.0005191071,0.00050677184],"domain_scores_gemma":[0.99885416,0.0006348502,0.00003340877,0.00035780904,0.00007074854,0.000049021663],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001077312,0.000089839385,0.00011545753,0.000037984028,0.0012542622,0.00011003378,0.0005275086,0.000019297211,0.00015323171],"category_scores_gemma":[0.000012138335,0.000037967864,0.000027527423,0.00010930133,0.0009966053,0.00007706491,0.0002276816,0.0007338224,0.0000025730094],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007472531,0.00008871131,0.079625,0.0002558821,0.00032747816,0.000036933056,0.1010148,0.000011941403,0.0015366762,0.09648274,0.18341485,0.5364577],"study_design_scores_gemma":[0.00022107967,0.000037019123,0.005160672,0.000023550416,0.0000038335615,0.000005324092,0.024927959,0.000019565297,0.00043571455,0.0042859,0.96479505,0.000084350126],"about_ca_topic_score_codex":0.8658747,"about_ca_topic_score_gemma":0.9983363,"teacher_disagreement_score":0.7813802,"about_ca_system_score_codex":0.00011059446,"about_ca_system_score_gemma":0.0007155646,"threshold_uncertainty_score":0.96468973},"labels":[],"label_agreement":null},{"id":"W3112763991","doi":"10.3138/tric.41.2.r01","title":"Kim Solga, <i>Theory for Theatre Studies: Space</i> Susan Bennett, <i>Theory for Theatre Studies: Sound</i>","year":2020,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Publishing; Politics; The Renaissance; Space (punctuation); Indigenous; Media studies; Sociology; Sound (geography); Art history; Classics; Cultural studies; History; Social science; Anthropology; Art; Political science; Literature; Law; Philosophy; Linguistics","score_opus":0.18608215195272473,"score_gpt":0.36418358071972756,"score_spread":0.17810142876700283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112763991","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05220254,0.21226455,0.000322041,0.12887976,0.0074072517,0.016397547,0.007902372,0.00072846294,0.57389545],"genre_scores_gemma":[0.98197097,0.0053669377,0.00012803463,0.003399088,0.005091474,0.0016197988,0.00008560528,0.0002078979,0.0021301925],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9939437,0.0007462835,0.0008936619,0.0010694949,0.0010568199,0.002290068],"domain_scores_gemma":[0.9897467,0.008196941,0.00016395574,0.00077283004,0.0006751242,0.0004444349],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0039598523,0.0007432368,0.0013586275,0.0002793735,0.0021821985,0.00018720338,0.0009844801,0.000116910865,0.00031381907],"category_scores_gemma":[0.00012112109,0.00057405443,0.0003470222,0.00038896958,0.0014139545,0.0003745786,0.00043816233,0.0008549896,0.000035042995],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004215134,0.00019029794,0.0012860018,0.0037568694,0.002538276,0.000088411005,0.105137765,0.00024223774,0.00007719319,0.09409863,0.68342924,0.10493993],"study_design_scores_gemma":[0.0015567999,0.0007926578,0.0000025429688,0.0002952326,0.00011062225,0.0000032814762,0.23928463,0.00009361963,0.00022275494,0.08481991,0.6722752,0.00054276595],"about_ca_topic_score_codex":0.12616102,"about_ca_topic_score_gemma":0.9133417,"teacher_disagreement_score":0.92976844,"about_ca_system_score_codex":0.0012992524,"about_ca_system_score_gemma":0.0020096076,"threshold_uncertainty_score":0.9996711},"labels":[],"label_agreement":null},{"id":"W3112800830","doi":"10.3138/tric.41.2.a01","title":"The Aesthetics of <i>Towards Youth</i>: Making Relations in and through Theatre","year":2020,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Regina; Institute for Christian Studies; University of Toronto; University of Alberta","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.12631798892854343,"score_gpt":0.32387183903350647,"score_spread":0.19755385010496304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112800830","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14425963,0.08442595,0.0000015213614,0.12959753,0.0005107129,0.00056581787,0.00053528865,0.000010769068,0.6400928],"genre_scores_gemma":[0.9797533,0.019261217,0.000017730626,0.00021198121,0.00033998842,0.000015730851,0.0000050542244,0.000025580646,0.00036938055],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.997397,0.00044144478,0.0004886573,0.00026290346,0.0006359992,0.00077398337],"domain_scores_gemma":[0.9988102,0.0006686533,0.00006548098,0.00026776057,0.00009353333,0.000094414216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089639646,0.00019663137,0.00033428622,0.00008269258,0.0007770507,0.000095986805,0.00033508465,0.00006470164,0.00012229626],"category_scores_gemma":[0.000013460104,0.00014495649,0.0000472481,0.00036837583,0.0011560232,0.00017914256,0.0002387737,0.0009085559,0.0000079527435],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000348258,0.00008813483,0.0353826,0.0007204008,0.00012326064,0.0001368384,0.27007487,0.0007136698,0.0000046745686,0.061396755,0.016721187,0.61428934],"study_design_scores_gemma":[0.0004098916,0.00018158715,0.00069759664,0.00059348193,0.000016092437,0.0000040350014,0.18912463,0.00070550933,0.000018889199,0.0054340353,0.8026382,0.00017607071],"about_ca_topic_score_codex":0.9503549,"about_ca_topic_score_gemma":0.99123454,"teacher_disagreement_score":0.8354937,"about_ca_system_score_codex":0.00043162383,"about_ca_system_score_gemma":0.0021234532,"threshold_uncertainty_score":0.5976524},"labels":[],"label_agreement":null},{"id":"W3113262634","doi":"","title":"Pressure or Movement","year":2018,"lang":"en","type":"article","venue":"Designing Interactive Systems","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Movement (music); Computer science; Acoustics; Physics","score_opus":0.04777808826912411,"score_gpt":0.27375461221737135,"score_spread":0.22597652394824724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3113262634","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033941,0.0008451664,0.0018294731,0.00018313024,0.010301596,0.00080860505,0.000074160096,0.0003142976,0.9517026],"genre_scores_gemma":[0.92909384,0.000005477331,0.00002987358,0.0001792528,0.0029523913,0.00006155869,0.000002646531,0.0000156095,0.067659326],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925375,0.000059014346,0.00018719997,0.00016830939,0.00013135275,0.00020036084],"domain_scores_gemma":[0.99943465,0.00009547144,0.00009702832,0.00014121346,0.00020091927,0.000030692852],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014185105,0.00013360147,0.00017697847,0.00006523187,0.0004052161,0.00019860988,0.000110454195,0.000020616959,0.0016966071],"category_scores_gemma":[0.000017613333,0.0000865469,0.00004137756,0.000022837137,0.00014650942,0.0002997431,0.000037093978,0.0000869511,0.0005922336],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010945942,0.00020322969,0.0016035379,0.00033661895,0.0017704455,0.000026466761,0.5929708,0.000050049533,0.0027664304,0.08447279,0.3085366,0.006168447],"study_design_scores_gemma":[0.0002151997,0.0005288018,0.000086734864,0.00023365341,0.000042374457,0.00000358771,0.028302489,0.00071164325,0.0017639205,0.00008069255,0.9678453,0.0001855983],"about_ca_topic_score_codex":0.0005679614,"about_ca_topic_score_gemma":0.00032647589,"teacher_disagreement_score":0.89515287,"about_ca_system_score_codex":0.000025024092,"about_ca_system_score_gemma":0.000016644773,"threshold_uncertainty_score":0.99921596},"labels":[],"label_agreement":null},{"id":"W3113266037","doi":"10.3138/tric.41.2.f06","title":"Volunteerism and Calgary’s “infa-Moose” Community Impro Theatre","year":2020,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Simon Fraser University; University of the Fraser Valley","funders":"","keywords":"Humanities; Art","score_opus":0.09496359198497628,"score_gpt":0.30173961862615273,"score_spread":0.20677602664117645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3113266037","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24700475,0.04904815,9.5078053e-7,0.073840775,0.0008689423,0.00066414,0.0006784399,0.000038970247,0.6278549],"genre_scores_gemma":[0.9867612,0.008069602,0.000017025495,0.0013367109,0.0014041503,0.00004745717,0.000027147256,0.000058701036,0.002277973],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99567354,0.0012122223,0.00048590865,0.00038945486,0.0008272747,0.0014116071],"domain_scores_gemma":[0.9978044,0.0009205124,0.000056004035,0.0005130671,0.00014586694,0.00056014553],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013710982,0.0003899884,0.0005931369,0.00015571273,0.0019558815,0.00022912634,0.0005903043,0.00011969666,0.0013457489],"category_scores_gemma":[0.00001432061,0.000349786,0.000074701835,0.0003034582,0.0013399433,0.00030604948,0.0006437939,0.0029153351,0.000070202],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00042515778,0.00015971487,0.009261802,0.0020943615,0.00026107093,0.00042217225,0.06694689,0.00003487212,0.000045305937,0.006032352,0.18205115,0.7322652],"study_design_scores_gemma":[0.0006675643,0.00047967175,0.00085060176,0.00034880475,0.000027253109,0.000015581167,0.081899576,0.0010079084,0.00005881801,0.0013973523,0.9128673,0.00037957146],"about_ca_topic_score_codex":0.99829465,"about_ca_topic_score_gemma":0.9973446,"teacher_disagreement_score":0.73975646,"about_ca_system_score_codex":0.00090267474,"about_ca_system_score_gemma":0.002434417,"threshold_uncertainty_score":0.9998954},"labels":[],"label_agreement":null},{"id":"W3113374331","doi":"10.3138/tric.41.2.01.fr","title":"La performance pour/par/avec les jeunes dans un contexte canadien","year":2020,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"MacEwan University; University of Victoria","funders":"","keywords":"Humanities; Political science; Sociology; Art","score_opus":0.06858969304192497,"score_gpt":0.2805147156931725,"score_spread":0.21192502265124752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3113374331","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62549585,0.013014831,5.9176716e-7,0.029406022,0.0004396543,0.00028524315,0.0004524647,0.000020021807,0.3308853],"genre_scores_gemma":[0.9874464,0.006731884,0.000010663221,0.00034731146,0.0014693682,0.000048995873,0.00001625884,0.00005455555,0.003874531],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960683,0.0006739444,0.00046606126,0.00046456623,0.00081772753,0.0015093841],"domain_scores_gemma":[0.998178,0.0007322946,0.000062119805,0.0003433598,0.0001707922,0.00051344465],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000984266,0.0003632784,0.00050499133,0.00014004836,0.0014596018,0.00015552186,0.0006218138,0.00010699664,0.0020255323],"category_scores_gemma":[0.000016511682,0.00032869328,0.00007918841,0.00030663714,0.0012627679,0.00026457608,0.00024293439,0.0013360297,0.00011017993],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029121662,0.00008638597,0.12889268,0.0013764955,0.00027291625,0.0012043067,0.090348765,0.0002555472,0.000030095662,0.0070920796,0.060266364,0.70988315],"study_design_scores_gemma":[0.00062456,0.00028451334,0.0050965417,0.00047684566,0.00002625342,0.00003197712,0.079978675,0.0013727921,0.00032073003,0.0002793667,0.911097,0.0004107483],"about_ca_topic_score_codex":0.99692535,"about_ca_topic_score_gemma":0.99940914,"teacher_disagreement_score":0.8508306,"about_ca_system_score_codex":0.0013832109,"about_ca_system_score_gemma":0.0040143584,"threshold_uncertainty_score":0.9999165},"labels":[],"label_agreement":null},{"id":"W3113674405","doi":"","title":"Book Review: In Search of Deeper Learning: The Quest to Remake the American High School","year":2020,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Environmental ethics; Sociology; Philosophy","score_opus":0.20543589485872107,"score_gpt":0.4989245261507524,"score_spread":0.2934886312920313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3113674405","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4094384,0.51446366,0.000009181821,0.039991323,0.000373925,0.0013682966,0.000043696215,0.000039992054,0.03427152],"genre_scores_gemma":[0.7240498,0.24455932,0.000010093786,0.027594041,0.0006655984,0.0000617449,0.0000034300617,0.00003695527,0.003018997],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978661,0.00042164998,0.0006520728,0.00024077146,0.00051885244,0.00030053192],"domain_scores_gemma":[0.9985144,0.000315591,0.00043878562,0.00032652495,0.00026725102,0.00013743],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012013132,0.00021091667,0.0007218967,0.00017629279,0.0004778198,0.0004988701,0.0018368887,0.00001806892,0.020581143],"category_scores_gemma":[0.0002817316,0.000116087445,0.00014599603,0.00043274238,0.00043971595,0.0007512131,0.00071394554,0.00061754265,0.00007717603],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024017545,0.00007194806,0.08193167,0.0003287438,0.00018108581,0.000009473561,0.012277828,0.00018336718,0.0006643197,0.000672633,0.8923472,0.011091553],"study_design_scores_gemma":[0.00013700144,0.000046468987,0.09563624,0.0008299177,0.000052088573,0.0000014723612,0.0019513933,0.0000076450815,0.0005454267,0.0001612559,0.9004527,0.00017842997],"about_ca_topic_score_codex":0.0030729002,"about_ca_topic_score_gemma":0.00076689525,"teacher_disagreement_score":0.3146114,"about_ca_system_score_codex":0.000033812077,"about_ca_system_score_gemma":0.00008478617,"threshold_uncertainty_score":0.9803142},"labels":[],"label_agreement":null},{"id":"W3113740179","doi":"","title":"Robyn Orlin - City Theatre and Dance Group, And So You See… Our Honorable Blue Sky and Ever Enduring Sun… Can Only Be Consumed Slice by Slice…, Festival TransAmériques, Montréal","year":2018,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Sky; Art; Wafer; Group (periodic table); Visual arts; Astronomy; Physics; Optoelectronics","score_opus":0.008378803094086644,"score_gpt":0.1665124268288632,"score_spread":0.15813362373477655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3113740179","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96257734,0.024649022,0.00002080817,0.0069715697,0.00015195976,0.00029215627,0.00036996024,0.00011965234,0.0048475545],"genre_scores_gemma":[0.9728998,0.008257531,0.00010122764,0.00035374408,0.0003368854,0.000008887156,0.000029746212,0.00003432688,0.017977841],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986404,0.000060848317,0.00017859283,0.0004563944,0.000170854,0.0004928762],"domain_scores_gemma":[0.99934447,0.00006259609,0.00009900683,0.00021543767,0.000073407195,0.00020507902],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00015844732,0.0003413852,0.00039301644,0.00010106334,0.0020672728,0.00012929,0.00014142573,0.00010882805,0.00007464786],"category_scores_gemma":[0.0000046344435,0.0003233434,0.000057055033,0.00006060474,0.00048641552,0.00044752215,0.00016174106,0.0002360223,0.0000055020682],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0034310275,0.00056791754,0.06369077,0.0009222579,0.0021754114,0.000889605,0.41512927,0.00002392862,0.005250671,0.030510794,0.30913094,0.16827741],"study_design_scores_gemma":[0.0017764875,0.00029524902,0.003530594,0.00007907127,0.00017439733,0.00013893173,0.02601094,0.00020173704,0.00026805702,0.00014752524,0.96688354,0.00049348746],"about_ca_topic_score_codex":0.083359614,"about_ca_topic_score_gemma":0.6744314,"teacher_disagreement_score":0.6577526,"about_ca_system_score_codex":0.00033209665,"about_ca_system_score_gemma":0.000034090095,"threshold_uncertainty_score":0.99992186},"labels":[],"label_agreement":null},{"id":"W3114896904","doi":"","title":"Watch Bombshell (2019) Full","year":2020,"lang":"en","type":"article","venue":"OSF Preprints (OSF Preprints)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.02540514765509674,"score_gpt":0.23051192466386136,"score_spread":0.20510677700876462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3114896904","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.081833765,0.0000063702937,0.00007964476,0.004902602,0.00054129405,0.00038356188,0.00004035283,0.00026021624,0.9119522],"genre_scores_gemma":[0.5288438,0.00022316398,0.00011660266,0.0013249569,0.0008990632,0.000067909874,0.000020442241,0.000042323492,0.46846175],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99738735,0.00014771945,0.0004529097,0.0012251722,0.00030861088,0.0004782312],"domain_scores_gemma":[0.9979523,0.00015723209,0.00013826523,0.0013898207,0.00013451496,0.00022791229],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008998501,0.00031100446,0.0004025161,0.00004717842,0.00047162888,0.0002170044,0.00077197,0.000089542176,0.7437123],"category_scores_gemma":[0.0002862661,0.00029226605,0.00021381385,0.00006661821,0.00030666814,0.00038700717,0.00091944454,0.00040033172,0.8959293],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037481016,0.0002599816,0.006383082,0.0002269267,0.0003742379,0.000029832829,0.11534396,0.00016426209,0.0016052511,0.041846998,0.8047084,0.028682243],"study_design_scores_gemma":[0.00040278555,0.000003933215,0.00059462927,0.00002815458,0.000057649002,0.0000058019423,0.0016203168,0.00015226935,0.0018993751,0.0018892263,0.992988,0.00035784885],"about_ca_topic_score_codex":0.00032788774,"about_ca_topic_score_gemma":0.00029649687,"teacher_disagreement_score":0.44701004,"about_ca_system_score_codex":0.00005271022,"about_ca_system_score_gemma":0.00005776308,"threshold_uncertainty_score":0.999953},"labels":[],"label_agreement":null},{"id":"W3115473771","doi":"10.3968/11746","title":"Semiotics and Contemporary Play Directing: The Example of Ogonna Agu’s Dawn in the Academy","year":2020,"lang":"en","type":"article","venue":"Cross-cultural communication","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Semiotics; Sign (mathematics); Dialectic; Postmodernism; Scripting language; Sign system; The arts; Sociology; Theatre director; Aesthetics; Theatrical production; Epistemology; Art; Visual arts; Computer science; Philosophy; Communication","score_opus":0.13675098596904497,"score_gpt":0.33295333088052503,"score_spread":0.19620234491148006,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3115473771","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9438639,0.004553357,3.0929993e-7,0.010319312,0.000031960968,0.00017375297,0.000015522402,0.000024861463,0.041017015],"genre_scores_gemma":[0.99788815,0.0006422843,0.000010110704,0.0010721957,0.00012367804,0.00001213397,0.000023628496,0.000004897236,0.00022293809],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994095,0.000111117544,0.00021696211,0.00008382089,0.00008897332,0.00008963687],"domain_scores_gemma":[0.99930423,0.00029858164,0.000109129716,0.00020999857,0.00006391004,0.000014169996],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031418807,0.00008594214,0.00012410268,0.000009613651,0.0007274787,0.00021083814,0.00039881756,0.00002874664,0.000019285391],"category_scores_gemma":[0.000056994442,0.000041739495,0.000032880533,0.000046179535,0.000791092,0.00036178256,0.00014443716,0.00026549696,0.0000046629584],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006480893,0.00003478631,0.024737978,0.000072536764,0.0000454981,2.5864784e-7,0.8747663,0.00001520417,0.00035592364,0.08294476,0.012455178,0.0045067994],"study_design_scores_gemma":[0.00035679273,0.00006205967,0.036477704,0.00005207405,0.0000165775,0.0000019481668,0.052997097,0.00015556147,0.0004110547,0.000829312,0.90851206,0.00012774374],"about_ca_topic_score_codex":0.00093664584,"about_ca_topic_score_gemma":0.0005034508,"teacher_disagreement_score":0.8960569,"about_ca_system_score_codex":0.000006614122,"about_ca_system_score_gemma":0.0000075625417,"threshold_uncertainty_score":0.55952513},"labels":[],"label_agreement":null},{"id":"W3115799792","doi":"10.1093/owc/9780199555611.003.0020","title":"Chapter IV fate works, with zack for an instrument","year":2009,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Neighbourhood (mathematics); Independence (probability theory); Quarter (Canadian coin); Engineering; Art; Visual arts; History; Archaeology; Mathematics; Statistics","score_opus":0.04520237716542595,"score_gpt":0.19661023465004188,"score_spread":0.15140785748461594,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3115799792","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00038925398,0.00008889086,0.000022549139,0.00003997463,0.00017929528,0.0005215354,0.00021519042,0.00011145438,0.99843186],"genre_scores_gemma":[0.0071133547,0.00045449747,0.00010701609,0.0001279432,0.0004852763,0.0000020355478,0.00006605977,0.000041984396,0.9916018],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990713,0.0000058849937,0.00013515359,0.0003418396,0.0001625158,0.00028331528],"domain_scores_gemma":[0.9993079,0.000016458645,0.00015045426,0.00031764226,0.000118643955,0.00008895393],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000041483632,0.00036963454,0.00036035723,0.00011563182,0.0006172394,0.00011976171,0.00027012403,0.00012672992,0.00017383164],"category_scores_gemma":[2.6504162e-7,0.00031921736,0.00014303121,0.0000013684856,0.00030087036,0.00025412775,0.000086808686,0.00022103521,0.0000021036703],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004837297,0.000012063213,0.0000013217568,0.000046072364,0.00020714666,0.000011491125,0.0050711744,0.0000030721615,3.3184435e-7,0.90031004,0.0009161468,0.0929374],"study_design_scores_gemma":[0.00073411845,0.0007387852,0.0000023152606,0.000259563,0.00023856963,0.0000019791935,0.00065185165,0.000012606115,0.000008536106,0.0016008784,0.9952981,0.00045271567],"about_ca_topic_score_codex":0.00006593169,"about_ca_topic_score_gemma":0.0012709786,"teacher_disagreement_score":0.99438196,"about_ca_system_score_codex":0.0000515075,"about_ca_system_score_gemma":0.000025312074,"threshold_uncertainty_score":0.999926},"labels":[],"label_agreement":null},{"id":"W3118057185","doi":"10.1111/jaac.12763","title":"Is Stand-Up Comedy Art?","year":2020,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Comedy; Vernacular; Aesthetics; Art; Style (visual arts); Visual arts; Sociology; Literature","score_opus":0.0418887707948851,"score_gpt":0.25444484070393236,"score_spread":0.21255606990904727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3118057185","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5819943,0.008100795,0.00018767586,0.18474315,0.0024098053,0.00017382197,0.00011550747,0.00004684999,0.22222812],"genre_scores_gemma":[0.9837473,0.0017109328,0.00006641434,0.006559504,0.0009018245,5.7330243e-7,7.456989e-7,0.000013437346,0.006999236],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928546,0.000013868576,0.0002991945,0.000071191585,0.00017991952,0.0001503716],"domain_scores_gemma":[0.9995401,0.000028003207,0.000089757545,0.000055766668,0.00016272138,0.00012367357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010945835,0.000105503445,0.00023865588,0.00004297755,0.00021658414,0.00012793335,0.00008323488,0.000020558778,0.0006210643],"category_scores_gemma":[0.000009671891,0.0000766274,0.000090191934,0.000017556342,0.00021045856,0.00016539326,0.000028865092,0.00017230975,0.00008760523],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013923753,0.00010584514,0.0004839624,0.00017151138,0.0001231877,0.0000931133,0.13799119,0.0000030379058,0.00009131668,0.10162471,0.7474138,0.011759107],"study_design_scores_gemma":[0.00043194526,0.00060937926,0.00003814235,0.00006166992,0.000046907637,0.00004685349,0.004340147,0.000042816755,0.0001189704,0.0025530523,0.99160635,0.00010374466],"about_ca_topic_score_codex":7.5302376e-7,"about_ca_topic_score_gemma":0.0000048632082,"teacher_disagreement_score":0.40175307,"about_ca_system_score_codex":0.0000048303273,"about_ca_system_score_gemma":0.000020982734,"threshold_uncertainty_score":0.6800218},"labels":[],"label_agreement":null},{"id":"W3118345859","doi":"10.24908/iqurcp.10437","title":"Haunted Time in Music Theatre","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Temporality; Musical; Aesthetics; Literature; Art; Representation (politics); Binary opposition; Psychology; Psychoanalysis; Philosophy; Epistemology; Politics","score_opus":0.12740459311760655,"score_gpt":0.34235819007670265,"score_spread":0.2149535969590961,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3118345859","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39068815,0.00009082854,0.000009451663,0.018208548,0.00042308206,0.00056620385,0.000013891474,0.00021903269,0.5897808],"genre_scores_gemma":[0.98500943,0.00022812234,0.00003091942,0.00018391012,0.0016871878,0.00009829356,0.0000089820505,0.00003869217,0.012714449],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971304,0.000068692214,0.00040041012,0.00055393146,0.0007710405,0.0010755268],"domain_scores_gemma":[0.99787647,0.00015084993,0.00007676839,0.00020878437,0.0015362452,0.00015086903],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0012504641,0.00028717323,0.00036716257,0.0006805122,0.0008866374,0.00064151513,0.00056172686,0.000095344614,0.0020258592],"category_scores_gemma":[0.000094108924,0.00023411242,0.000072022696,0.00041186786,0.002986524,0.00089268666,0.00031464171,0.00066104106,0.0025935797],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034409325,0.00024524887,0.004159883,0.00019459275,0.00011800222,0.00001776564,0.24721992,2.1063912e-7,0.0019491373,0.598596,0.123114854,0.024040315],"study_design_scores_gemma":[0.0013867638,0.0015901205,0.0013107568,0.0008078395,0.000025285015,0.000011041645,0.065119624,0.0012606011,0.0017579681,0.25643575,0.6693582,0.00093606574],"about_ca_topic_score_codex":0.0012649937,"about_ca_topic_score_gemma":0.0018287483,"teacher_disagreement_score":0.5943213,"about_ca_system_score_codex":0.0001332615,"about_ca_system_score_gemma":0.00020572003,"threshold_uncertainty_score":0.9997268},"labels":[],"label_agreement":null},{"id":"W3118728918","doi":"10.3138/tric.23.1_2.v","title":"New \"Look,\" Emerging Vision: A Time For Introductions","year":2002,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Artificial intelligence","score_opus":0.07875290999636118,"score_gpt":0.31436081826530804,"score_spread":0.23560790826894684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3118728918","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013313953,0.003351435,0.000006438657,0.040983867,0.0012764306,0.00065085985,0.00010432851,0.000050587598,0.9402621],"genre_scores_gemma":[0.95191926,0.00043486638,0.000111827656,0.00016416483,0.0057276883,0.00008868708,0.00001167602,0.00003438298,0.04150747],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864954,0.000054613563,0.00017677527,0.00020270245,0.00036251813,0.0005538405],"domain_scores_gemma":[0.9993429,0.00022628314,0.000016617896,0.00022996386,0.00007670945,0.00010748725],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035584831,0.000101845195,0.00016232862,0.00018202973,0.00060144434,0.00007127311,0.00018679744,0.000015837784,0.007945467],"category_scores_gemma":[0.0000056509452,0.0000841336,0.000037225534,0.00013170572,0.000101044476,0.00015208866,0.00005677326,0.00023012838,0.00014822715],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020020914,0.000015676065,0.00009296028,0.000027472615,0.000022309821,0.0000039814104,0.003906343,0.000024463476,0.0000135639,0.0020665615,0.72114795,0.27265868],"study_design_scores_gemma":[0.00025865395,0.0000893239,0.000013824052,0.000040588035,0.0000041383028,0.0000021807891,0.0045244475,0.0006653753,0.00002484898,0.0016668185,0.9926037,0.000106098014],"about_ca_topic_score_codex":0.8865059,"about_ca_topic_score_gemma":0.98662645,"teacher_disagreement_score":0.9386053,"about_ca_system_score_codex":0.00034998957,"about_ca_system_score_gemma":0.0004360438,"threshold_uncertainty_score":0.9929614},"labels":[],"label_agreement":null},{"id":"W3118853555","doi":"10.3138/tric.39.2.265","title":"Barry Freeman <i>Staging Strangers: Theatre and Global Ethics</i>","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychoanalysis; Sociology; Environmental ethics; Philosophy; Psychology","score_opus":0.11173588167255313,"score_gpt":0.34383747401532166,"score_spread":0.23210159234276853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3118853555","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22207603,0.0017236236,5.831817e-7,0.008952797,0.00041970937,0.00020635467,0.00017983423,0.00002976652,0.7664113],"genre_scores_gemma":[0.9977072,0.00041210846,0.000012372429,0.0004619072,0.0011605612,0.000015695488,0.0000052940945,0.000016169817,0.00020867585],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977776,0.00022909438,0.00021246314,0.00030098384,0.0006916789,0.0007881776],"domain_scores_gemma":[0.9990347,0.0003552113,0.000022617272,0.00029409947,0.00013212203,0.00016123654],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011156508,0.00017221985,0.0002233754,0.000103691054,0.00091817736,0.00014464889,0.00027089688,0.000049412323,0.0006924905],"category_scores_gemma":[0.0000055070277,0.00013757437,0.0000276325,0.00015458101,0.00096669147,0.0001931648,0.00015256886,0.0006821113,0.000028803901],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038508725,0.00009704262,0.098465376,0.0006896841,0.00024652024,0.00029020163,0.08125364,0.000008889577,0.00007568259,0.033418477,0.1352925,0.6497769],"study_design_scores_gemma":[0.000522066,0.00021236853,0.0011715929,0.00027475678,0.000011336453,0.0000085333495,0.056501005,0.00007476372,0.000115236784,0.009922554,0.9308693,0.00031652462],"about_ca_topic_score_codex":0.9782998,"about_ca_topic_score_gemma":0.99906653,"teacher_disagreement_score":0.79557675,"about_ca_system_score_codex":0.00047818327,"about_ca_system_score_gemma":0.0014344439,"threshold_uncertainty_score":0.75822854},"labels":[],"label_agreement":null},{"id":"W3120278197","doi":"10.1080/14682761.2020.1862998","title":"Vulnerability, care and hope in audience research: theatre as a site of struggle for an intergenerational politics","year":2021,"lang":"en","type":"article","venue":"Studies in Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Institute for Christian Studies; University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Precarity; Vulnerability (computing); Injustice; Politics; Sociology; Audience reception; Social injustice; Media studies; Gender studies; Political science; Psychology; Social psychology","score_opus":0.13198862753013857,"score_gpt":0.3803135616645344,"score_spread":0.24832493413439582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3120278197","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9524124,0.018693145,4.1111284e-7,0.00027091746,0.00021507921,0.00023041319,0.00011661995,0.000009771336,0.028051239],"genre_scores_gemma":[0.98891467,0.009966896,0.00012295319,0.00008064121,0.00035826862,0.00008169213,0.000023313936,0.000011463587,0.00044007497],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987114,0.000098295444,0.00033025796,0.00032177757,0.00017935189,0.00035888984],"domain_scores_gemma":[0.9990965,0.00026879873,0.00004138979,0.00019195741,0.0003591563,0.000042189058],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004822401,0.00016707102,0.0003449813,0.00015883765,0.0005707087,0.000044272878,0.000086625136,0.000040679908,0.000039660008],"category_scores_gemma":[0.00002948757,0.00013305033,0.00003574156,0.00011268403,0.0009780207,0.00034158415,0.00020980339,0.00019698105,0.0000018207585],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028960616,0.00017932708,0.20018056,0.0021252115,0.00010439547,0.00000753374,0.6810538,0.000075371456,0.00014215872,0.027746594,0.00085598195,0.087239414],"study_design_scores_gemma":[0.0030514523,0.005255016,0.02099293,0.0016416246,0.00007481735,0.000036731228,0.7971921,0.0013944248,0.0037527625,0.022019362,0.14364254,0.0009462316],"about_ca_topic_score_codex":0.0003546066,"about_ca_topic_score_gemma":0.022445336,"teacher_disagreement_score":0.17918764,"about_ca_system_score_codex":0.00004755973,"about_ca_system_score_gemma":0.00007989904,"threshold_uncertainty_score":0.9953925},"labels":[],"label_agreement":null},{"id":"W3120828299","doi":"10.33178/scenario.10.2.6","title":"What exactly is an apple pie? Performative arts and pedagogy: Towards the development of an international glossary","year":2016,"lang":"en","type":"article","venue":"Scenario A journal for performative teaching learning research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Glossary; Performative utterance; Drama; German; Brainstorming; The arts; Sociology; Media studies; Session (web analytics); Library science; Pedagogy; Visual arts; Art history; History; Art; Aesthetics; Linguistics","score_opus":0.17627264508752563,"score_gpt":0.41817261654310117,"score_spread":0.24189997145557554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3120828299","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9893118,0.00024278693,0.00028027222,0.002443661,0.00065266347,0.00033551827,0.000028251563,0.000029980807,0.00667503],"genre_scores_gemma":[0.9940617,0.0004622551,0.0008356853,0.000081131024,0.0009019092,0.000043934855,0.000021208447,0.000028685376,0.0035634525],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9969127,0.0007566683,0.0005972557,0.00024180765,0.00089643244,0.00059513294],"domain_scores_gemma":[0.9979176,0.00060011755,0.00029205225,0.00019798316,0.00082311436,0.0001691514],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.010652462,0.00024009828,0.00029811027,0.00038113078,0.008320343,0.0009971488,0.000578663,0.000060326744,0.00068696705],"category_scores_gemma":[0.00034894582,0.00012503345,0.000096438,0.000048431077,0.0007096559,0.0056614596,0.00024272433,0.0020142314,0.00002837954],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027322394,0.00007812393,0.0016463826,0.00004929138,0.0001430062,7.7399227e-7,0.6838771,0.000009651297,0.00011191621,0.0012769313,0.00047173488,0.31206188],"study_design_scores_gemma":[0.001113151,0.0015353143,0.0037122131,0.00061234436,0.00002182224,0.00006121172,0.6168371,0.0021913312,0.00072363246,0.000999795,0.37189814,0.0002939768],"about_ca_topic_score_codex":0.00006850431,"about_ca_topic_score_gemma":0.00027294343,"teacher_disagreement_score":0.3714264,"about_ca_system_score_codex":0.00018809535,"about_ca_system_score_gemma":0.00032685653,"threshold_uncertainty_score":0.9929707},"labels":[],"label_agreement":null},{"id":"W3120950519","doi":"10.3138/tric.39.1.96","title":"Reporting from the Post-Margins: Cultural Diversity as Theatrical Practice","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Diversity (politics); Indigenous; Representation (politics); Cultural diversity; Immigration; Sociology; Gender studies; Media studies; Political science; Anthropology; Politics; Law","score_opus":0.1448383076775859,"score_gpt":0.3619999092763696,"score_spread":0.2171616015987837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3120950519","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48217255,0.0006320764,8.4966445e-8,0.016579855,0.00040947137,0.00018074542,0.000057575693,0.000016527358,0.49995112],"genre_scores_gemma":[0.99596953,0.00019447986,0.000011718399,0.0011975032,0.0021193381,0.000010781736,0.0000119295855,0.000010902317,0.00047381467],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974423,0.00035595463,0.00040568318,0.00026510836,0.0009173345,0.000613634],"domain_scores_gemma":[0.9973218,0.0015766938,0.00015801722,0.00037589602,0.00046789242,0.00009973388],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0017536,0.00013534099,0.0002049297,0.000057452657,0.002360389,0.00015253694,0.00046548434,0.000028327933,0.0012134381],"category_scores_gemma":[0.0002536301,0.00007800527,0.000048715083,0.00015692899,0.00060644496,0.00036432117,0.0006135035,0.00059873244,0.00013373895],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013332139,0.00018356649,0.13592894,0.000053598964,0.00048145588,0.0009961276,0.26706398,0.000008316683,0.00005972848,0.011983114,0.33137468,0.25053328],"study_design_scores_gemma":[0.00021078631,0.0001443828,0.0038978613,0.00005152761,0.000017003014,0.000012531344,0.1580583,0.000026276904,0.000044238324,0.0014350757,0.835959,0.00014298747],"about_ca_topic_score_codex":0.9976599,"about_ca_topic_score_gemma":0.9974434,"teacher_disagreement_score":0.513797,"about_ca_system_score_codex":0.0005588055,"about_ca_system_score_gemma":0.001183789,"threshold_uncertainty_score":0.9996996},"labels":[],"label_agreement":null},{"id":"W3122654511","doi":"10.7202/1072856ar","title":"Centre Stage: Radical Theatre in America, 1925-1934","year":2020,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Drama; Visual arts","score_opus":0.01774267277649554,"score_gpt":0.19761020000309515,"score_spread":0.1798675272265996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3122654511","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50323606,0.020209882,0.0000071564396,0.21103644,0.0035846585,0.0006959639,0.002156333,0.00013094462,0.25894254],"genre_scores_gemma":[0.7378804,0.0054112608,0.00009090887,0.0067057465,0.0076913154,0.000025924373,0.00019728506,0.00010526277,0.2418919],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99758035,0.00012021048,0.0005060532,0.0005139996,0.00013608063,0.0011433177],"domain_scores_gemma":[0.9988288,0.00010806703,0.00012372016,0.0002925312,0.000056664638,0.0005902119],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014590881,0.0003905036,0.0006278856,0.00011155381,0.0004793218,0.0001120221,0.0002892922,0.00012128956,0.009375272],"category_scores_gemma":[0.000040246006,0.00039618323,0.00020291924,0.00020545683,0.00065839494,0.0002953298,0.00011103,0.0006231205,0.0016936557],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023945428,0.000268623,0.008923218,0.0013972737,0.00034341775,0.001449483,0.23479815,0.0005007736,0.000034125558,0.18480921,0.28070325,0.28653303],"study_design_scores_gemma":[0.00056946225,0.00022674429,0.00034396196,0.00025704404,0.00007226876,0.000012228579,0.017339794,0.0009944945,0.000012099114,0.000099768964,0.97962564,0.0004464879],"about_ca_topic_score_codex":0.027294632,"about_ca_topic_score_gemma":0.25912726,"teacher_disagreement_score":0.6989224,"about_ca_system_score_codex":0.000255209,"about_ca_system_score_gemma":0.00013141127,"threshold_uncertainty_score":0.999849},"labels":[],"label_agreement":null},{"id":"W3123202133","doi":"10.22215/etd/2017-11935","title":"Building Fiction: Exit Through Looking-Glass","year":2017,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Adventure; Event (particle physics); Space (punctuation); Aesthetics; Visual arts; Perception; Interpretation (philosophy); Art; Literature; Psychology; Art history; Computer science","score_opus":0.03825748137899226,"score_gpt":0.2948628024723391,"score_spread":0.2566053210933468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3123202133","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0096998345,0.0012903191,0.0000051232646,0.00010400903,0.0059192707,0.00011284071,0.000019950221,0.00013215054,0.9827165],"genre_scores_gemma":[0.18531963,0.0014888463,0.00007925721,0.00010883411,0.004982696,0.00003868483,0.00023190446,0.00004080434,0.80770934],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918956,0.0000071301774,0.0001971362,0.00022694949,0.00016718826,0.00021202501],"domain_scores_gemma":[0.99939036,0.000021052223,0.00017724089,0.00028699733,0.00010528847,0.000019085164],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005445097,0.00024053741,0.0002759756,0.00009594599,0.0015563384,0.00039056913,0.00021422954,0.00010117885,0.007265544],"category_scores_gemma":[0.0000068638874,0.00018805281,0.00013838928,0.000012024071,0.000081924154,0.00039589094,0.000016251528,0.00021118988,0.00024158301],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005899656,0.00003464602,0.000052381176,0.0003237183,0.0002766243,0.0000062079935,0.070193075,0.000001291907,0.000018083376,0.54620385,0.35328835,0.029542768],"study_design_scores_gemma":[0.00010755547,0.000039890576,0.00009513141,0.00017571707,0.00007251293,7.9684474e-7,0.009659022,0.0000030350172,0.00031432253,0.0035718316,0.9856967,0.00026352901],"about_ca_topic_score_codex":0.0008857913,"about_ca_topic_score_gemma":0.008973204,"teacher_disagreement_score":0.6324083,"about_ca_system_score_codex":0.000016110138,"about_ca_system_score_gemma":0.000025633968,"threshold_uncertainty_score":0.9997435},"labels":[],"label_agreement":null},{"id":"W3125275401","doi":"10.15215/aupress/9781897425558.01","title":"Nightwood Theatre: A Woman’s Work Is Always Done","year":2010,"lang":"en","type":"book","venue":"Athabasca University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Ontario Arts Council; Toronto Arts Council","keywords":"Work (physics); Visual arts; Art; Psychoanalysis; Psychology; Engineering; Mechanical engineering","score_opus":0.020962494091863508,"score_gpt":0.18156719711574454,"score_spread":0.16060470302388102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3125275401","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006533953,0.00055128697,0.000002018894,0.00013695107,0.0013919753,0.00038812956,0.00058541005,0.00027300793,0.9960178],"genre_scores_gemma":[0.0020324527,0.0003087141,0.000024062536,0.0003171867,0.002341579,0.0000034654922,0.00006347392,0.00007178983,0.9948373],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99828416,0.0000401157,0.00022847478,0.0005615851,0.0003677489,0.0005179415],"domain_scores_gemma":[0.9986529,0.0000955615,0.00022165803,0.00073597615,0.00014961924,0.00014433307],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000095660565,0.0005756961,0.00061649934,0.00020198131,0.0010721828,0.0001708367,0.0007528331,0.00038874778,0.0011593753],"category_scores_gemma":[0.000001068791,0.00054415915,0.00042969605,0.000010516045,0.00072368415,0.00020802816,0.0005003661,0.0010242698,0.00021942533],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016525945,0.000047153335,0.000020503501,0.00014994435,0.0006560207,0.00009956595,0.04608278,7.4621234e-8,0.000001857559,0.16523896,0.7813886,0.0061492785],"study_design_scores_gemma":[0.0005262207,0.000096478,0.000010112874,0.00022716707,0.00037819718,0.0000038226203,0.00080305466,8.098456e-7,0.000036757643,0.0005267178,0.9967326,0.0006580853],"about_ca_topic_score_codex":0.0010131003,"about_ca_topic_score_gemma":0.0027273886,"teacher_disagreement_score":0.21534398,"about_ca_system_score_codex":0.0001316497,"about_ca_system_score_gemma":0.00016768303,"threshold_uncertainty_score":0.9997537},"labels":[],"label_agreement":null},{"id":"W3126334213","doi":"10.3138/ctr.185.015","title":"Performing Paces, Sandrine Schaefer’s Embodied Know-How","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Kinesthetic learning; Aesthetics; Pace; Visual arts; Software deployment; Art; Sociology; Computer science; Artificial intelligence","score_opus":0.031141309589360563,"score_gpt":0.23565732618962743,"score_spread":0.20451601660026686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126334213","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006761029,0.4713814,3.7760498e-7,0.01405548,0.0005263106,0.00019570466,0.00008243352,0.000045108376,0.5130371],"genre_scores_gemma":[0.2724711,0.65330654,0.000064238564,0.010126895,0.002330474,0.00008818661,0.00018173858,0.00007296369,0.06135787],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880314,0.00005567895,0.00022705634,0.00026652575,0.00013557269,0.0005120247],"domain_scores_gemma":[0.999066,0.00003164853,0.000055883833,0.00039191576,0.00015125383,0.00030333103],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018669417,0.00023941619,0.00048234925,0.00008754512,0.0005698377,0.00014152193,0.00016321927,0.000038289963,0.008741566],"category_scores_gemma":[0.000022159451,0.00019045467,0.00018447063,0.000097145174,0.00012360427,0.00022084129,0.000040434323,0.0001902831,0.00051275495],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003348241,0.000020928006,0.0005496238,0.00366546,0.00019429007,0.00016137002,0.0060042017,3.298806e-7,0.0000042208053,0.05708342,0.2126651,0.7196477],"study_design_scores_gemma":[0.00011609599,0.000024727462,0.000020519274,0.0025972822,0.00011630081,0.000037417376,0.0012879872,0.00000325804,0.000019663828,0.000181041,0.99533653,0.0002591582],"about_ca_topic_score_codex":0.009553241,"about_ca_topic_score_gemma":0.58256584,"teacher_disagreement_score":0.78267145,"about_ca_system_score_codex":0.00011177693,"about_ca_system_score_gemma":0.00044193186,"threshold_uncertainty_score":0.99704224},"labels":[],"label_agreement":null},{"id":"W3126577380","doi":"10.18733/cpi29544","title":"One's Freedom is Another's Cage","year":2021,"lang":"en","type":"article","venue":"Cultural and Pedagogical Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"University of Alberta","keywords":"Embodied cognition; Phenomenon; Space (punctuation); Public space; Sociology; Poetry; White (mutation); Aesthetics; Media studies; Gender studies; Art; Epistemology; Literature; Philosophy; Engineering; Linguistics","score_opus":0.6015597320643674,"score_gpt":0.40315476457827976,"score_spread":0.19840496748608766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126577380","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78579026,0.006303637,0.0000048795673,0.003995358,0.0008859064,0.00006724512,0.00005529318,0.00008898597,0.20280842],"genre_scores_gemma":[0.9338918,0.001411818,0.000042922446,0.0028813912,0.0034022422,0.000008594675,0.000027703878,0.000008641266,0.058324926],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931896,0.00002305735,0.00013807285,0.000204612,0.000113416914,0.00020186209],"domain_scores_gemma":[0.999693,0.000028181017,0.000026280677,0.00010087139,0.000097116725,0.000054563603],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000038457507,0.0001304293,0.00019013969,0.0000122732745,0.0004491492,0.00018705952,0.000062742154,0.00004600098,0.009613597],"category_scores_gemma":[0.000007481231,0.000083577725,0.00007655953,0.000023493601,0.0004717344,0.00021474983,0.00007804294,0.00012437707,0.00019107513],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060581653,0.0001957297,0.0014328037,0.00012166032,0.00020388067,0.000045869994,0.607795,0.0000012934064,0.0013369778,0.15766439,0.1985791,0.032562703],"study_design_scores_gemma":[0.00022435552,0.00007132563,0.0011409883,0.000027319287,0.00002899053,0.000008638628,0.04876691,0.0000058515784,0.00035636022,0.0011281597,0.9480424,0.00019869412],"about_ca_topic_score_codex":0.00009934028,"about_ca_topic_score_gemma":0.0003157624,"teacher_disagreement_score":0.7494633,"about_ca_system_score_codex":0.000004930318,"about_ca_system_score_gemma":0.000010089547,"threshold_uncertainty_score":0.99129176},"labels":[],"label_agreement":null},{"id":"W3126907497","doi":"10.7202/1075799ar","title":"ONO Epistemologies—Resounding the “Bleeding Haints”","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Conversation; Dialogical self; Subaltern; Sound (geography); Sociology; Art; History; Aesthetics; Communication; Psychology; Acoustics; Social psychology; Law; Political science; Politics","score_opus":0.03447606804725546,"score_gpt":0.22481101441704582,"score_spread":0.19033494636979037,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126907497","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8151421,0.00052745803,0.000011338509,0.013651907,0.0020702246,0.00009737494,0.000009151966,0.00012992405,0.16836055],"genre_scores_gemma":[0.97808486,0.00028327687,0.00003228114,0.005262536,0.00092927436,0.000029120583,0.000008386823,0.000018543671,0.015351694],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990128,0.000027743978,0.00021347364,0.0001922673,0.000171573,0.000382136],"domain_scores_gemma":[0.9994687,0.000094633106,0.00006715048,0.00026927516,0.00006924981,0.000030994208],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023823137,0.00016336681,0.00017745332,0.000049192666,0.0012429109,0.00026217027,0.00022485797,0.000023401624,0.0020093527],"category_scores_gemma":[0.000011695968,0.00010606007,0.00008428809,0.00006129951,0.00031935988,0.00032092797,0.00013615128,0.00018975826,0.0004944793],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014360693,0.0001648979,0.0812011,0.0010614088,0.0007069408,0.000080722064,0.2619984,0.0005363781,0.0009567328,0.08540372,0.47714412,0.09060197],"study_design_scores_gemma":[0.00020768758,0.000042808755,0.0030283374,0.00010277178,0.000036544614,0.000030020072,0.019386748,0.00033647742,0.00095479656,0.0002194032,0.97540045,0.0002539318],"about_ca_topic_score_codex":0.000052179,"about_ca_topic_score_gemma":0.00015344076,"teacher_disagreement_score":0.49825636,"about_ca_system_score_codex":0.000048006204,"about_ca_system_score_gemma":0.000025159788,"threshold_uncertainty_score":0.9989029},"labels":[],"label_agreement":null},{"id":"W3127335412","doi":"10.3138/ctr.185.004","title":"Theatre for the Offended: “Safety”—Sashay Away","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Context (archaeology); Drag; Status quo; Queer; Aesthetics; Power (physics); Action (physics); Sociology; Performing arts; Environmental ethics; Political science; History; Gender studies; Law; Art; Visual arts; Engineering; Philosophy","score_opus":0.03735771716279495,"score_gpt":0.2455276549433587,"score_spread":0.20816993778056375,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3127335412","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000021875941,0.47327504,0.0000068062704,0.033724148,0.0009296888,0.00065361103,0.00048995955,0.00003898721,0.4908599],"genre_scores_gemma":[0.07729691,0.7837378,0.00009112626,0.05845663,0.0063217417,0.0006856995,0.0003799948,0.0001619679,0.07286812],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986995,0.000065087086,0.00031977595,0.00026592563,0.00012906185,0.0005206471],"domain_scores_gemma":[0.99875873,0.00024021661,0.00008164507,0.00055992045,0.00015828763,0.00020118315],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00033312503,0.00024051177,0.00043105986,0.000048421884,0.0012222572,0.00011272511,0.0002945048,0.00003997748,0.0058166785],"category_scores_gemma":[0.000027201058,0.00014501673,0.00033623297,0.00009435451,0.00017802254,0.00011432485,0.00003280764,0.00015762835,0.00038830208],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006980269,0.000013854763,0.00006239707,0.0014855221,0.00024183201,0.000017577388,0.0027550452,0.0000013495029,0.0000010034682,0.09052832,0.30996922,0.59491694],"study_design_scores_gemma":[0.00014405388,0.000027820673,0.000025460591,0.0010781463,0.0002504425,0.000020008267,0.001502176,0.0000073002193,0.0000088368,0.00066746766,0.9960561,0.00021219986],"about_ca_topic_score_codex":0.011194809,"about_ca_topic_score_gemma":0.5192511,"teacher_disagreement_score":0.6860869,"about_ca_system_score_codex":0.00009702352,"about_ca_system_score_gemma":0.0005280266,"threshold_uncertainty_score":0.9953897},"labels":[],"label_agreement":null},{"id":"W3127518306","doi":"10.3138/ctr.185.018","title":"Thinking Beyond Failure","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aesthetics; Politics; Generative grammar; Heap (data structure); Hopefulness; Sociology; Art; Philosophy; Psychology; Political science; Social psychology; Law","score_opus":0.020706388848081354,"score_gpt":0.22434892277297974,"score_spread":0.2036425339248984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3127518306","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013535109,0.3355219,3.4491998e-7,0.018248225,0.00035841973,0.0001066425,0.000058233854,0.000031728297,0.64553916],"genre_scores_gemma":[0.21124503,0.5618014,0.00032763756,0.14612953,0.006265503,0.00013783369,0.00042000064,0.00015378109,0.0735193],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991805,0.000039220864,0.00017610741,0.00017039847,0.000118055206,0.0003156994],"domain_scores_gemma":[0.999402,0.000023115263,0.0000317828,0.00027331075,0.00009457202,0.00017524978],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014975578,0.000139781,0.00027945737,0.000047929574,0.0005403699,0.00011324747,0.00015916358,0.000025384412,0.011711372],"category_scores_gemma":[0.000009500608,0.00011132432,0.0001294866,0.00006744942,0.000076555756,0.00012979451,0.00002625659,0.00012935998,0.00072993606],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[5.97348e-7,0.0000086655555,0.00023070716,0.0016446316,0.0001029999,0.000119227356,0.0070345276,2.3213511e-7,0.0000016455118,0.2253807,0.56852216,0.1969539],"study_design_scores_gemma":[0.000043828357,0.000008510258,0.000012802852,0.0013753059,0.00007100864,0.000022779413,0.00095316384,3.5569124e-7,0.0000069871376,0.002018195,0.9953369,0.00015017246],"about_ca_topic_score_codex":0.009660441,"about_ca_topic_score_gemma":0.73935235,"teacher_disagreement_score":0.72969186,"about_ca_system_score_codex":0.000060335282,"about_ca_system_score_gemma":0.00031554303,"threshold_uncertainty_score":0.9969343},"labels":[],"label_agreement":null},{"id":"W3127682941","doi":"10.3138/ctr.185.002","title":"The Queer Ethereal: Hybrid Forms and the Making of a Drag Queen","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Witness; Aesthetics; Fandom; Drag; Visual arts; Art; Sociology; Gender studies; Media studies; Law; Political science; Engineering","score_opus":0.020891869680589256,"score_gpt":0.241546722365089,"score_spread":0.22065485268449975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3127682941","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00064331206,0.5810627,7.0628323e-7,0.038346015,0.00019233485,0.00033056896,0.00006427558,0.000012039614,0.37934807],"genre_scores_gemma":[0.6070078,0.3758346,0.0000070067185,0.0102650365,0.00038712064,0.0000678471,0.000009597005,0.0000283586,0.00639261],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922353,0.000095908574,0.0002347113,0.000111729125,0.000090585956,0.00024354176],"domain_scores_gemma":[0.999358,0.0001322877,0.000071318536,0.00030671954,0.00008608725,0.000045605793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043500605,0.00011904374,0.00030080584,0.000020103178,0.0006714116,0.00008218303,0.0001516943,0.00001350412,0.00040232396],"category_scores_gemma":[0.000025928113,0.000053328826,0.00012438661,0.000042042724,0.00044800484,0.000066028944,0.000035228957,0.000116337265,0.000020646024],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013725981,0.0000049131636,0.00021881297,0.0014938423,0.00023989516,0.000018018784,0.011916515,2.6362426e-7,3.114818e-7,0.4554559,0.07112854,0.45950925],"study_design_scores_gemma":[0.00013366902,0.000009836515,0.000033605007,0.0012610457,0.00009633733,0.00001835192,0.0018249187,0.0000025537831,0.0000035264964,0.0028961818,0.99363995,0.00008001955],"about_ca_topic_score_codex":0.019735588,"about_ca_topic_score_gemma":0.44911328,"teacher_disagreement_score":0.9225114,"about_ca_system_score_codex":0.000026983867,"about_ca_system_score_gemma":0.00019185297,"threshold_uncertainty_score":0.9867921},"labels":[],"label_agreement":null},{"id":"W3128728997","doi":"10.1080/02660830.2021.1879453","title":"‘When my home is your business’: Transforming stories of housing in a post-industrial city","year":2021,"lang":"en","type":"article","venue":"Studies in the Education of Adults","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"St. Francis Xavier University","funders":"","keywords":"Grassroots; Gentrification; Sociology; The arts; Public housing; Public relations; Media studies; Gender studies; Political science; Economic growth; Law","score_opus":0.09058588490043146,"score_gpt":0.3148682029474086,"score_spread":0.22428231804697712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3128728997","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9835127,0.004128105,4.7100906e-7,0.0028462345,0.0017739941,0.0001704061,0.0000387097,0.0000067633964,0.0075226193],"genre_scores_gemma":[0.99758947,0.0010600031,0.000034378565,0.00014747308,0.00069982186,0.000025532214,0.000008662909,0.000006822556,0.0004278617],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991326,0.000052697822,0.0003664445,0.00013131493,0.0001692869,0.00014768772],"domain_scores_gemma":[0.9990217,0.0001339896,0.0001239225,0.00015532755,0.0005562237,0.000008841025],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025514848,0.000116262956,0.00029323628,0.000117810654,0.00017110266,0.000016121643,0.00012385438,0.00002972152,0.00010097721],"category_scores_gemma":[0.0001350367,0.00008387345,0.000053056847,0.0001662753,0.00031535848,0.00019601537,0.000038529484,0.00011939773,0.0000013057268],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011489584,0.00021841713,0.0070793964,0.00021898723,0.0000726831,9.425778e-7,0.9737347,0.0000025805239,0.000017438637,0.002882385,0.0016295982,0.014028013],"study_design_scores_gemma":[0.0006665256,0.00007859422,0.007530828,0.0007089494,0.000039111554,0.0000016983828,0.97213537,8.743724e-7,0.0006759623,0.0014745473,0.016559115,0.00012843926],"about_ca_topic_score_codex":0.0017295884,"about_ca_topic_score_gemma":0.008962831,"teacher_disagreement_score":0.014929517,"about_ca_system_score_codex":0.00004230672,"about_ca_system_score_gemma":0.00022220868,"threshold_uncertainty_score":0.50014704},"labels":[],"label_agreement":null},{"id":"W3129182284","doi":"10.3138/ctr.185.014","title":"Editorial: Performance in an Age of Gross Incompetence","year":2021,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Section (typography); Creativity; Aesthetics; History; Visual arts; Sociology; Psychology; Art; Advertising; Social psychology; Business","score_opus":0.019333284187368138,"score_gpt":0.25097147573042056,"score_spread":0.23163819154305243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3129182284","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000066553985,0.13771941,1.89713e-8,0.00009366247,0.81120247,0.000309898,0.0006140964,0.000018578437,0.04997532],"genre_scores_gemma":[0.0004593816,0.21446177,0.0000051071243,0.00012834943,0.78306115,0.000054922024,0.0008654989,0.000044172382,0.0009196748],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976981,0.00013683963,0.0007028587,0.0004233933,0.0004900937,0.00054867374],"domain_scores_gemma":[0.9983225,0.0001515188,0.00021598613,0.00066502613,0.00039561006,0.0002493736],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00056655187,0.00042030995,0.0012722667,0.00023067689,0.00023049145,0.00009815778,0.00059483864,0.00029474046,0.0009117932],"category_scores_gemma":[0.00006907634,0.00036260343,0.00020104511,0.00014943404,0.0002928361,0.00031005012,0.000060682672,0.00078085804,0.00006242972],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004312979,0.000016771617,0.0000739485,0.007175076,0.000031939995,0.00002577545,0.002015794,4.0709668e-7,2.5520933e-7,0.000268003,0.979265,0.011122723],"study_design_scores_gemma":[0.00013242837,0.0001104821,0.000013046669,0.014747306,0.00010221627,6.8849033e-7,0.00025037353,5.732618e-7,7.3685214e-7,0.00003056402,0.9842266,0.00038499286],"about_ca_topic_score_codex":0.07124435,"about_ca_topic_score_gemma":0.8316884,"teacher_disagreement_score":0.76044405,"about_ca_system_score_codex":0.00024654504,"about_ca_system_score_gemma":0.0017971268,"threshold_uncertainty_score":0.9998826},"labels":[],"label_agreement":null},{"id":"W3129897935","doi":"10.1177/1059712321994689","title":"Intra-performance: the choreographies of K.G. Guttman","year":2021,"lang":"en","type":"article","venue":"Adaptive Behavior","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Guttman scale; Visitor pattern; Dance; Situated; Point (geometry); Sociology; Visual arts; Psychology; Aesthetics; Computer science; Artificial intelligence; Art; Mathematics; Developmental psychology","score_opus":0.03670885312508874,"score_gpt":0.23777119389074752,"score_spread":0.2010623407656588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3129897935","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9356342,0.0010212617,0.0000017030363,0.00018919546,0.0004624305,0.00012249034,0.00004165692,0.000031148982,0.06249591],"genre_scores_gemma":[0.99446684,0.00048920483,0.00003326003,0.00008901009,0.0003147244,0.00006120124,0.000008682027,0.000011333431,0.00452574],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932,0.000025743862,0.00019146867,0.00012858551,0.00015514078,0.00017908204],"domain_scores_gemma":[0.99944097,0.000040107858,0.00006542144,0.00022487422,0.00020704218,0.000021564634],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000084450985,0.00012026189,0.00016821717,0.00005158673,0.00039233005,0.000034681103,0.00013366951,0.000022566439,0.0011934203],"category_scores_gemma":[0.000003535756,0.00007483344,0.00010169103,0.00008110088,0.00058573665,0.00016426777,0.00006172277,0.00012274267,0.00004483648],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021361618,0.00087062415,0.10571992,0.00012920363,0.00053410686,0.00004733709,0.16640231,0.000010590088,0.001799117,0.38182122,0.022212448,0.32023954],"study_design_scores_gemma":[0.00097530143,0.00087366375,0.29116437,0.000173233,0.00070358755,0.000041777173,0.086580984,0.000025110336,0.033340693,0.00075263635,0.5846501,0.0007185231],"about_ca_topic_score_codex":0.00010854592,"about_ca_topic_score_gemma":0.00094542146,"teacher_disagreement_score":0.56243765,"about_ca_system_score_codex":0.0000073486235,"about_ca_system_score_gemma":0.000027336466,"threshold_uncertainty_score":0.9997196},"labels":[],"label_agreement":null},{"id":"W3132630346","doi":"10.29173/isotl516","title":"Applying Theatre Principles to SoTL Research","year":2021,"lang":"en","type":"article","venue":"Imagining SoTL","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Perspective (graphical); Parallels; Scholarship of Teaching and Learning; Sociology; Centrality; The arts; Process (computing); Pedagogy; Computer science; Visual arts; Teaching method; Engineering; Art; Artificial intelligence","score_opus":0.15937009587639941,"score_gpt":0.3542698493046449,"score_spread":0.19489975342824548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3132630346","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.072777696,0.001933837,0.000020255873,0.01268608,0.0010038567,0.00029931232,0.00002841897,0.00022498467,0.9110256],"genre_scores_gemma":[0.9673732,0.000083624946,0.00046643565,0.00081128697,0.0017617533,0.0001939821,0.000010389999,0.00003429068,0.029265055],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99867064,0.00006707641,0.00018186432,0.0002822646,0.00031724994,0.00048093143],"domain_scores_gemma":[0.99916464,0.00015682669,0.000023468334,0.00030346264,0.00027214954,0.000079454614],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004291056,0.00012906682,0.00017470845,0.00012500792,0.0009660988,0.0003490108,0.00018241977,0.00002073278,0.0013939036],"category_scores_gemma":[0.00004755472,0.00011130781,0.000063731124,0.00011155966,0.0002033207,0.00020014985,0.00024814496,0.0002808827,0.0009892617],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071936774,0.00014612611,0.007910924,0.00016617542,0.00018410844,0.00014773611,0.29284728,0.00006105372,0.0017041757,0.40660548,0.072561026,0.21759398],"study_design_scores_gemma":[0.00012808589,0.00004525071,0.00016073693,0.000083844665,0.000008985291,0.0000059511494,0.03158555,0.00003218462,0.0014982239,0.0008286029,0.96546835,0.00015421738],"about_ca_topic_score_codex":0.0002548236,"about_ca_topic_score_gemma":0.0011239586,"teacher_disagreement_score":0.8945955,"about_ca_system_score_codex":0.000031999938,"about_ca_system_score_gemma":0.000089607674,"threshold_uncertainty_score":0.9997886},"labels":[],"label_agreement":null},{"id":"W3134700482","doi":"10.1093/oxfordhb/9780190863456.013.34","title":"From Exile to Migration","year":2021,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Politics; Dignity; Refugee; Aesthetics; Agency (philosophy); Power (physics); Media studies; Underclass; Sociology; Art; Political science; Law; Social science","score_opus":0.03492474982169056,"score_gpt":0.19333831460078935,"score_spread":0.1584135647790988,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3134700482","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005772551,0.00013720422,0.000011147542,0.00007324737,0.0004781899,0.00014628474,0.00060096936,0.000073676485,0.99790204],"genre_scores_gemma":[0.00097452296,0.00022348163,0.00004305999,0.0001226534,0.0010065332,7.0799166e-7,0.00015021102,0.000021931895,0.9974569],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993624,0.0000084148205,0.00009921321,0.00025487444,0.00013490644,0.00014019445],"domain_scores_gemma":[0.9994984,0.000026086165,0.00006629845,0.0002483112,0.00009962483,0.00006124964],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000018591263,0.00020637322,0.00024460448,0.000076776756,0.00033099516,0.00008357859,0.0001736591,0.00009629386,0.0013495173],"category_scores_gemma":[9.748933e-7,0.00021745882,0.00012895116,0.0000014199687,0.000095954536,0.000080815815,0.00018694473,0.00016170881,0.000013707188],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050956074,0.000005127909,0.0000013490022,0.000020670946,0.00017112971,0.000037030375,0.018232163,0.0000014656415,0.0000045772836,0.934423,0.03978238,0.007270122],"study_design_scores_gemma":[0.00013074701,0.000043772114,0.0000017100552,0.00011654971,0.00012368994,3.099611e-7,0.0013951003,0.000002425146,0.000046442576,0.00064551143,0.9972348,0.00025892732],"about_ca_topic_score_codex":0.00088905776,"about_ca_topic_score_gemma":0.005490037,"teacher_disagreement_score":0.9574524,"about_ca_system_score_codex":0.00004951828,"about_ca_system_score_gemma":0.000030740775,"threshold_uncertainty_score":0.9995634},"labels":[],"label_agreement":null},{"id":"W3134719692","doi":"10.26522/ssj.v15i2.2430","title":"Letting Bodies be Bodies: Exploring Relaxed Performance in the Canadian Performance Landscape","year":2021,"lang":"en","type":"article","venue":"Studies in Social Justice","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Reflexivity; Context (archaeology); The arts; Legislature; Politics; Sociology; Thematic analysis; Relation (database); Work (physics); Movement (music); Disability studies; Public relations; Political science; Gender studies; Aesthetics; Social science; Qualitative research; Law; History; Engineering","score_opus":0.15053390156866725,"score_gpt":0.3062184899928345,"score_spread":0.15568458842416727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3134719692","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66384536,0.005118657,6.7173076e-8,0.0033745044,0.0021337862,0.00014334905,0.000018199924,0.000038168677,0.3253279],"genre_scores_gemma":[0.9835226,0.009060156,0.000021284775,0.0016206081,0.0030639565,0.000179768,0.0000096092,0.000020828842,0.0025012165],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981644,0.000112099806,0.00040684105,0.00028942947,0.00031098767,0.000716227],"domain_scores_gemma":[0.99915606,0.00032862928,0.00008395844,0.00018524553,0.00021071154,0.00003537927],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00069366297,0.00026093874,0.00040520882,0.00015992511,0.0036587978,0.00013635935,0.00026043644,0.000055250806,0.0000933855],"category_scores_gemma":[0.00019417684,0.00020340671,0.00007499429,0.00016263057,0.0005538138,0.00052198826,0.00014958839,0.00050851924,0.000035555397],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030561085,0.000038368566,0.024317961,0.0007550642,0.00011335622,0.00007001154,0.94204265,0.000059010094,0.0000014087835,0.010592575,0.017838296,0.00414075],"study_design_scores_gemma":[0.0003950588,0.000051686227,0.014772185,0.0002406623,0.00010509883,0.0000051471393,0.6078505,0.00005900774,0.000014921819,0.00010861681,0.37608418,0.00031294744],"about_ca_topic_score_codex":0.0041055474,"about_ca_topic_score_gemma":0.64721966,"teacher_disagreement_score":0.6431141,"about_ca_system_score_codex":0.00021672704,"about_ca_system_score_gemma":0.00014781984,"threshold_uncertainty_score":0.9976383},"labels":[],"label_agreement":null},{"id":"W3135196864","doi":"","title":"Theater Curtain: The Ring of Transformations by Vea Vecchi (editor)","year":2003,"lang":"en","type":"article","venue":"Journal of Childhood Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ring (chemistry); Art; Chemistry","score_opus":0.017521409016779992,"score_gpt":0.23937946857250975,"score_spread":0.22185805955572976,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3135196864","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76061606,0.07860218,0.000032947664,0.008243732,0.00927925,0.0003217798,0.00008402332,0.000029287346,0.14279072],"genre_scores_gemma":[0.99340755,0.00393883,0.000015046898,0.00017367792,0.0020846706,0.0000039073134,4.76154e-7,0.000008984449,0.00036684296],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902356,0.000053367905,0.00047365561,0.000051595463,0.00023509967,0.00016272762],"domain_scores_gemma":[0.999261,0.00012964616,0.00024305166,0.000096055184,0.0002465141,0.000023693221],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036655483,0.00013009646,0.00032176572,0.000066149885,0.000570855,0.000035733974,0.00013852108,0.000017184013,0.00008378742],"category_scores_gemma":[0.00004066279,0.00006606258,0.00017208888,0.000036477297,0.00024620863,0.00029754482,0.000014855447,0.00019351374,0.0000059885942],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035846377,0.00027177448,0.0010743524,0.000096137344,0.001933928,0.0000017154457,0.6462007,0.00004785069,0.00005664822,0.024734203,0.32295328,0.0025935462],"study_design_scores_gemma":[0.0007399099,0.00038879015,0.0010124162,0.00017596655,0.00023035333,0.000020403852,0.101591855,0.0000010652743,0.0012282335,0.0040974095,0.890358,0.00015562537],"about_ca_topic_score_codex":0.0000048065767,"about_ca_topic_score_gemma":0.000043339598,"teacher_disagreement_score":0.5674047,"about_ca_system_score_codex":0.000014488248,"about_ca_system_score_gemma":0.00002654602,"threshold_uncertainty_score":0.43906125},"labels":[],"label_agreement":null},{"id":"W3136084002","doi":"10.3138/md.64.1.br3","title":"Loren Kruger, <i>A Century of South African Theatre</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; National park; Art; History; Geography; Archaeology; Visual arts","score_opus":0.019771759633275997,"score_gpt":0.20947594886267812,"score_spread":0.18970418922940213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3136084002","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28126457,0.0040511633,0.000048616523,0.0006708109,0.000621926,0.000086241285,0.00014204525,0.000081451144,0.7130332],"genre_scores_gemma":[0.9925971,0.00015823467,0.00003603293,0.00020840137,0.00047682194,0.0000063776806,0.000016965367,0.000016300633,0.0064837793],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927264,0.000022032822,0.00017603407,0.00016448903,0.00015237303,0.00021241575],"domain_scores_gemma":[0.99954444,0.000025478337,0.000055858145,0.00024327707,0.00009481374,0.000036124016],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000050168994,0.00012119099,0.00021252388,0.000034735618,0.00018398615,0.000055676668,0.000106806685,0.000025817515,0.0009976783],"category_scores_gemma":[0.0000037193968,0.00009566068,0.000107943924,0.000032048334,0.00016542237,0.0000964287,0.00007532562,0.00008538005,0.000067756286],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000119293116,0.0003481505,0.0036023995,0.00022045759,0.00037180702,0.000035552956,0.74038935,0.00007102928,0.0008367807,0.1058722,0.010008376,0.1381246],"study_design_scores_gemma":[0.000596724,0.00010051723,0.00029815477,0.0000690437,0.00008836177,0.0000044906997,0.03552116,0.00024269414,0.0029443013,0.012322983,0.94746554,0.000346038],"about_ca_topic_score_codex":0.00008525642,"about_ca_topic_score_gemma":0.0003879561,"teacher_disagreement_score":0.93745714,"about_ca_system_score_codex":0.000010483503,"about_ca_system_score_gemma":0.00003527384,"threshold_uncertainty_score":0.99991554},"labels":[],"label_agreement":null},{"id":"W3136456966","doi":"10.3138/tric.41.1.1","title":"Introduction: Race and Performance in the US-Canada Borderlands","year":2020,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Race (biology); Gender studies; Political science; Sociology; Media studies","score_opus":0.04727494139643568,"score_gpt":0.2670442213892531,"score_spread":0.21976927999281742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3136456966","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7625393,0.0011773467,4.4846004e-8,0.10172184,0.00020621433,0.00019620878,0.000023834498,0.0000059046674,0.13412929],"genre_scores_gemma":[0.9966897,0.00075020903,0.0000015262646,0.0009691838,0.0013606542,0.000026253887,0.000005205341,0.0000081024655,0.0001891691],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985515,0.00013861507,0.00017044599,0.00019516588,0.0005182403,0.00042605322],"domain_scores_gemma":[0.99953455,0.00017450802,0.000016555528,0.00016512349,0.000040846255,0.00006839314],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00052154943,0.00010409639,0.0001623631,0.000055018896,0.0003515276,0.000066153174,0.00023763173,0.000012781729,0.0003716663],"category_scores_gemma":[0.0000063076973,0.000068955575,0.000009258419,0.00019638069,0.00015653517,0.00012914816,0.000067600085,0.00048189738,0.000004673905],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038688557,0.000037850525,0.2257967,0.00043848212,0.00004957044,0.00017842393,0.04370585,0.00029672534,0.000005895156,0.003509767,0.5414127,0.18418111],"study_design_scores_gemma":[0.00021527515,0.00008686072,0.0068781786,0.000019463618,0.0000018954854,0.000004236179,0.017711505,0.00035635443,0.0000116318315,0.000046731297,0.97457397,0.00009387384],"about_ca_topic_score_codex":0.99696094,"about_ca_topic_score_gemma":0.99995,"teacher_disagreement_score":0.43316126,"about_ca_system_score_codex":0.00026390268,"about_ca_system_score_gemma":0.001605736,"threshold_uncertainty_score":0.40694857},"labels":[],"label_agreement":null},{"id":"W3136713259","doi":"","title":"LibGuides: IB Theatre - Director's Notebook: American & Canadian Plays","year":2015,"lang":"en","type":"libguides","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Advertising; Computer graphics (images); History; Management; Art; Computer science; Business; Economics","score_opus":0.035520623918458304,"score_gpt":0.2432450307955946,"score_spread":0.20772440687713628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3136713259","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00037380852,0.0038093918,2.9600645e-7,0.0022164052,0.0039480324,0.0003220451,0.0019279748,0.00033795403,0.98706406],"genre_scores_gemma":[0.03574116,0.0025108308,0.00008085816,0.0054023326,0.018160101,0.00010659154,0.0010477287,0.00024441557,0.936706],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975408,0.000056289176,0.00050166924,0.00052565255,0.00043367993,0.0009419257],"domain_scores_gemma":[0.9983112,0.00011239085,0.000204817,0.00060563727,0.00028464475,0.00048128876],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022736413,0.0006932517,0.00095403445,0.00048517872,0.0008226273,0.00041916355,0.0005880149,0.00013306747,0.010583388],"category_scores_gemma":[0.000020411908,0.00051227806,0.00026954297,0.000073096264,0.0008751898,0.0002333028,0.00011692545,0.000538578,0.0018131507],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012401239,0.0000135398805,0.00010142434,0.000057687987,0.00023327515,0.000026070655,0.014397981,0.0000011561614,1.6751964e-7,0.0046101804,0.96231097,0.018235154],"study_design_scores_gemma":[0.0001466729,0.0001871835,0.000017542483,0.0001331481,0.00012910175,0.0000053096715,0.008687592,0.0000056876793,0.000005815213,0.00041663184,0.9895228,0.00074248004],"about_ca_topic_score_codex":0.8037656,"about_ca_topic_score_gemma":0.9734867,"teacher_disagreement_score":0.1697211,"about_ca_system_score_codex":0.00030285152,"about_ca_system_score_gemma":0.0010596978,"threshold_uncertainty_score":0.99973285},"labels":[],"label_agreement":null},{"id":"W3137038481","doi":"10.3138/md.64.1.br6","title":"Maria Shevtsova, <i>Rediscovering Stanislavsky</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Historiography; Context (archaeology); Work (physics); History; Art; Literature; Art history; Engineering; Archaeology","score_opus":0.02061110193975087,"score_gpt":0.21775707277726278,"score_spread":0.1971459708375119,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3137038481","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26597974,0.0017480114,0.000381921,0.001057056,0.0012299498,0.000074611446,0.0000752201,0.00014968812,0.7293038],"genre_scores_gemma":[0.9610142,0.000105244646,0.000086146974,0.000556317,0.0009520597,0.000009875133,0.000018246097,0.000021238247,0.03723666],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992375,0.000015250559,0.00014673326,0.00019640577,0.00015146192,0.000252674],"domain_scores_gemma":[0.9996152,0.000023531866,0.000028822811,0.00022328163,0.00007298762,0.000036192832],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000055105054,0.00013019402,0.00016435653,0.00002525427,0.00037434226,0.00024280492,0.00009291849,0.000025608588,0.0024045843],"category_scores_gemma":[0.000006540417,0.0001139896,0.00007910597,0.000023279275,0.00008848485,0.00026093423,0.000103699436,0.00010670341,0.00021434657],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000108619235,0.00030333523,0.0024665953,0.00023333375,0.00045803576,0.00026207956,0.2504004,0.00023872642,0.0033116082,0.561763,0.049743373,0.13071093],"study_design_scores_gemma":[0.000393429,0.00004507288,0.00025148553,0.000040614457,0.000037202943,0.000009324608,0.0051262137,0.0007208779,0.0016896478,0.017573185,0.97381675,0.00029620697],"about_ca_topic_score_codex":0.000100066856,"about_ca_topic_score_gemma":0.0017095939,"teacher_disagreement_score":0.92407334,"about_ca_system_score_codex":0.000021227997,"about_ca_system_score_gemma":0.00003916069,"threshold_uncertainty_score":0.9985074},"labels":[],"label_agreement":null},{"id":"W3137719173","doi":"10.3138/md.64.1.br1","title":"Jesse Rae Archibald-Barber, Kathleen Irwin, and Moira J. Day, eds., <i>Performing Turtle Island: Indigenous Theatre on the World Stage</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Turtle (robot); Performance art; History; Art history; Stage (stratigraphy); Visual arts; Media studies; Art; Sociology; Fishery; Ecology; Biology","score_opus":0.018673827524824917,"score_gpt":0.22285900292633953,"score_spread":0.20418517540151462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3137719173","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7288669,0.0057742675,0.000020544734,0.0022880412,0.00047711862,0.0002955779,0.00018623598,0.00010393269,0.2619874],"genre_scores_gemma":[0.9375548,0.0007403695,0.000017431701,0.0019103637,0.0010100604,0.00004140643,0.000032242686,0.0000449885,0.058648337],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99858135,0.000071782604,0.00024557055,0.00035003707,0.00027139363,0.00047986818],"domain_scores_gemma":[0.99909514,0.00023993738,0.00007314235,0.0004512704,0.00006936367,0.000071174014],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002351938,0.00029382444,0.00030273918,0.000085153595,0.0013602987,0.00037847136,0.00021527191,0.000044538054,0.001023676],"category_scores_gemma":[0.000010384897,0.00018779194,0.00010678065,0.00006528065,0.00023258115,0.0002066535,0.00018101698,0.00038073622,0.00010160151],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002097892,0.00040550542,0.0023483818,0.00023956351,0.0005284154,0.00014719651,0.57230824,0.00031505746,0.00062025804,0.03048265,0.03516326,0.35723165],"study_design_scores_gemma":[0.0005745031,0.00014179367,0.00019611677,0.00014026841,0.00007513192,0.000011147241,0.009775053,0.0006876318,0.002316294,0.005980729,0.97965723,0.00044409235],"about_ca_topic_score_codex":0.00039033886,"about_ca_topic_score_gemma":0.023156606,"teacher_disagreement_score":0.94449395,"about_ca_system_score_codex":0.000027148411,"about_ca_system_score_gemma":0.00006439685,"threshold_uncertainty_score":0.9999398},"labels":[],"label_agreement":null},{"id":"W3138282944","doi":"10.3138/md.64.1.1055","title":"Distributed Agencies in Dramatic Form: A Posthuman Perspective on Lucy Prebble’s <i>The Sugar Syndrome</i> and Sarah Ruhl’s <i>Dead Man’s Cell Phone</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Posthuman; Subjectivity; Poetics; Agency (philosophy); Aesthetics; Drama; Posthumanism; Art; Sociology; Literature; Philosophy; Epistemology; Social science","score_opus":0.015453929337532132,"score_gpt":0.218432180044547,"score_spread":0.20297825070701486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3138282944","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9425652,0.0027977189,0.000022594033,0.002106402,0.00024739752,0.00034688634,0.00020750384,0.00008274206,0.051623527],"genre_scores_gemma":[0.9899634,0.00028709692,0.000014286839,0.0008335909,0.00014397521,0.00006612407,0.000048786835,0.000034569424,0.008608172],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984842,0.000077915334,0.00030482362,0.00039556477,0.00026782096,0.00046969275],"domain_scores_gemma":[0.99919564,0.00012374863,0.00009022353,0.00039215796,0.00013661648,0.00006162956],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015809729,0.00031222528,0.0003775188,0.00007753311,0.0007509829,0.00032862663,0.0002112906,0.000062342006,0.00031640907],"category_scores_gemma":[0.000021033859,0.00022636518,0.00011161537,0.00008828335,0.0003174104,0.00026642598,0.00014854358,0.000313957,0.00011443945],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025904458,0.00084051106,0.0024070079,0.0005275975,0.00030703528,0.00036043,0.8972626,0.00024181794,0.00054194115,0.082309015,0.012361322,0.0025817268],"study_design_scores_gemma":[0.008465011,0.0021109926,0.031135496,0.0014283046,0.00066791364,0.00051088864,0.5996999,0.0068060397,0.006123107,0.17525014,0.16394731,0.0038548799],"about_ca_topic_score_codex":0.0007765584,"about_ca_topic_score_gemma":0.0063399915,"teacher_disagreement_score":0.29756263,"about_ca_system_score_codex":0.00017626586,"about_ca_system_score_gemma":0.000065697284,"threshold_uncertainty_score":0.92309046},"labels":[],"label_agreement":null},{"id":"W3138548059","doi":"10.3138/md.64.1.br5","title":"Nicholas Ridout, <i>Scenes from Bourgeois Life</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bourgeoisie; Devolution (biology); Reign; Brexit; Reading (process); Performance art; Art; History; Art history; Literature; Political science; Law; European union; Economics; Politics; Archaeology","score_opus":0.024808492219843797,"score_gpt":0.21967476646498318,"score_spread":0.1948662742451394,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3138548059","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74919134,0.007270327,0.000066040964,0.0027135366,0.0013992477,0.000065792294,0.0002016227,0.00017347268,0.23891859],"genre_scores_gemma":[0.9669116,0.00026387902,0.00004979215,0.0019910985,0.0018740344,0.00001117273,0.000057210767,0.00002375982,0.028817434],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912095,0.000025625448,0.00018250865,0.00024406414,0.00016171184,0.00026516523],"domain_scores_gemma":[0.99943846,0.000052672447,0.000042017036,0.00028678408,0.00010372857,0.00007632332],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000048409063,0.00015580436,0.0002239992,0.000025958025,0.00043945422,0.0002763196,0.00012297003,0.0000392626,0.0037905981],"category_scores_gemma":[0.000019289664,0.00013408784,0.00011247888,0.000023836647,0.0001050023,0.00022791857,0.000096931515,0.0001358046,0.00060029654],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023572029,0.0007671877,0.033216342,0.00016568904,0.0013625037,0.00023754702,0.41031024,0.00017322783,0.0024080263,0.07349575,0.31518763,0.16244012],"study_design_scores_gemma":[0.00037835675,0.000022478038,0.0010918467,0.000034069955,0.000051175906,0.0000017488035,0.0028465905,0.00034495883,0.0011973804,0.009602656,0.98417276,0.00025595012],"about_ca_topic_score_codex":0.0006381634,"about_ca_topic_score_gemma":0.0033159193,"teacher_disagreement_score":0.6689851,"about_ca_system_score_codex":0.000013832656,"about_ca_system_score_gemma":0.000053827294,"threshold_uncertainty_score":0.9971201},"labels":[],"label_agreement":null},{"id":"W3138830028","doi":"10.3138/md.64.1.1097","title":"Rethinking the Refugee Experience in Verbatim Theatre: Hospitality and Translation in Jessica Blank and Erik Jensen’s <i>Aftermath</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Refugee; Hospitality; Scholarship; Blank; Sociology; Mediation; Media studies; Gender studies; Psychology; Tourism; Political science; Social science; Law","score_opus":0.03561848960645318,"score_gpt":0.24994155432855886,"score_spread":0.21432306472210566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3138830028","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98057383,0.0035724256,0.000010123236,0.0016866466,0.000097536606,0.00010033436,0.00000940841,0.000019960331,0.013929736],"genre_scores_gemma":[0.99890035,0.00042475254,0.000037835034,0.0003295893,0.000091867405,0.000025166153,0.0000045214847,0.000008156399,0.00017773872],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992927,0.000057188427,0.00017782144,0.0001988395,0.00010783677,0.0001656682],"domain_scores_gemma":[0.9997023,0.00008028586,0.00003002653,0.00014990325,0.000019320514,0.000018173827],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014580031,0.00011020537,0.00015283513,0.000028166452,0.00023423495,0.00015376782,0.000058636706,0.0000350708,0.000026815162],"category_scores_gemma":[0.000005836474,0.00007808866,0.000020866704,0.000034140434,0.00021097153,0.00025589275,0.000046252168,0.00014480701,0.0000013950778],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034884524,0.00003254984,0.014336733,0.000048210557,0.000009811363,0.000019236437,0.9012629,0.00000991693,0.00018131018,0.0059920894,0.000038224236,0.078034155],"study_design_scores_gemma":[0.00545712,0.00034762142,0.23653509,0.0012860743,0.000115868446,0.00008183481,0.21487647,0.024527438,0.0023054227,0.2709757,0.24142684,0.0020645305],"about_ca_topic_score_codex":0.00018632306,"about_ca_topic_score_gemma":0.007918062,"teacher_disagreement_score":0.6863864,"about_ca_system_score_codex":0.00001544918,"about_ca_system_score_gemma":0.00001477135,"threshold_uncertainty_score":0.4418464},"labels":[],"label_agreement":null},{"id":"W3140944024","doi":"10.1017/s0040557421000120","title":"Insecurity: Perils and Products of Theatres of the Real By Jenn Stephenson. Toronto: University of Toronto Press, 2019; pp. viii + 286, 10 images. $75 cloth, $75 e-book.","year":2021,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; History; Art history; Economic history; Sociology","score_opus":0.015662757523966956,"score_gpt":0.2072964719348345,"score_spread":0.19163371441086754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3140944024","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57285637,0.20286022,5.700992e-7,0.00020933378,0.0005330756,0.00046370632,0.0038714854,0.000048720794,0.21915655],"genre_scores_gemma":[0.93744665,0.045568246,0.000018477476,0.00002318754,0.0001791913,0.0000015626056,0.00006993465,0.00002632037,0.016666401],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99839973,0.000406088,0.00033074195,0.00031325454,0.00028040726,0.0002697715],"domain_scores_gemma":[0.9984962,0.00018239896,0.00023201588,0.0006048374,0.00043430744,0.00005023946],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000463341,0.0002435908,0.00055782637,0.000006540259,0.00027764196,0.000026758818,0.00029297973,0.000068902256,0.0018998067],"category_scores_gemma":[0.00002203663,0.00017871018,0.000122050755,0.00002953727,0.0007897052,0.00042262446,0.00027364612,0.000098760414,0.0000026128707],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018821886,0.0011505976,0.0603729,0.0015835706,0.0014519355,0.000007751477,0.19135113,0.0000054376474,0.011631949,0.0055370913,0.70158213,0.023443293],"study_design_scores_gemma":[0.0015517649,0.00051631604,0.10732934,0.00027226948,0.00031134757,0.0000041537587,0.02044224,0.0000072765565,0.01958698,0.00012352283,0.8493415,0.0005132719],"about_ca_topic_score_codex":0.2787425,"about_ca_topic_score_gemma":0.27454555,"teacher_disagreement_score":0.36459032,"about_ca_system_score_codex":0.0000500386,"about_ca_system_score_gemma":0.000097798125,"threshold_uncertainty_score":0.9990126},"labels":[],"label_agreement":null},{"id":"W3143230352","doi":"10.3138/md.48.1.108","title":"Re-reading Stephen Sewell’s <i>Traitors</i>: Ideology and Gender in “the Australian Play”","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ideology; Period (music); Hegemony; Reading (process); Cultural hegemony; Context (archaeology); Gender studies; Sociology; History; Media studies; Political science; Politics; Aesthetics; Law; Art","score_opus":0.046516465478294335,"score_gpt":0.25789193802985083,"score_spread":0.2113754725515565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3143230352","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85233396,0.00045297272,0.00001986999,0.0052014412,0.0002927824,0.00015769897,0.000016491715,0.00004788072,0.14147688],"genre_scores_gemma":[0.99040765,0.00003823719,0.000040627234,0.0013856243,0.001036247,0.00001650015,0.0000051314782,0.000012309036,0.0070576896],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921405,0.000040841303,0.00017513172,0.00017465519,0.0001079504,0.0002873887],"domain_scores_gemma":[0.9997135,0.00005668808,0.000033935205,0.00014995113,0.000017336164,0.000028619395],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017918045,0.00013571804,0.00015479444,0.00005967733,0.00028405729,0.000109005356,0.00013297338,0.00004618831,0.00034783894],"category_scores_gemma":[0.000003990257,0.0000943972,0.00003494264,0.000019498251,0.00018368867,0.00021075997,0.000037193684,0.00016917333,0.00006093413],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003521964,0.0000802575,0.00944344,0.000053316235,0.00006560109,0.000017741677,0.8897278,0.00018562838,0.000069441725,0.03935799,0.03107342,0.029890146],"study_design_scores_gemma":[0.0007153837,0.00009056605,0.006625127,0.00002348025,0.000043686203,0.000012218545,0.018335689,0.0009572266,0.00007204463,0.015891245,0.95690393,0.000329396],"about_ca_topic_score_codex":0.00022346692,"about_ca_topic_score_gemma":0.006486148,"teacher_disagreement_score":0.92583054,"about_ca_system_score_codex":0.000017924303,"about_ca_system_score_gemma":0.00000874074,"threshold_uncertainty_score":0.3849406},"labels":[],"label_agreement":null},{"id":"W3143969699","doi":"10.3138/md.50.3.375","title":"‘‘Form Follows Function’’: Meaning and Politics in Martin Crimp’s <i>Fewer Emergencies</i>","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Trilogy; Political radicalism; Meaning (existential); Politics; Crimp; Function (biology); Sociology; Epistemology; Aesthetics; Literature; Art; Law; Political science; Philosophy","score_opus":0.02512431231541378,"score_gpt":0.2327676616260987,"score_spread":0.2076433493106849,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3143969699","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.71926135,0.0006141809,0.00020907114,0.00025419245,0.00060855167,0.00009422392,0.000008298751,0.000060196387,0.27888995],"genre_scores_gemma":[0.98518884,0.000042610125,0.000036410016,0.0005953791,0.0006594548,0.000006607179,0.00000518363,0.000017851731,0.0134476395],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990254,0.0000087423605,0.0002546266,0.00016529832,0.00014290454,0.0004030115],"domain_scores_gemma":[0.9996925,0.000028344424,0.000040686038,0.00012639373,0.000054421806,0.000057639256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023833459,0.0001422979,0.00016340523,0.00010642439,0.00036735932,0.00007707517,0.00006286603,0.000038902803,0.00042006923],"category_scores_gemma":[0.0000094109655,0.00012186244,0.00004639974,0.000034317796,0.00010703266,0.00023982764,0.000057512243,0.00013201106,0.000044784247],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018953063,0.0001964531,0.05132483,0.00015800561,0.00014382228,0.000034645967,0.3750099,0.00003451689,0.00032922026,0.49623418,0.020827431,0.055517472],"study_design_scores_gemma":[0.0008143251,0.00020973774,0.006390247,0.00005038622,0.00005542396,0.0000055080127,0.016802039,0.0010843066,0.00016332674,0.05568238,0.9182825,0.00045982035],"about_ca_topic_score_codex":0.0006985437,"about_ca_topic_score_gemma":0.014452302,"teacher_disagreement_score":0.8974551,"about_ca_system_score_codex":0.00003369076,"about_ca_system_score_gemma":0.000013725149,"threshold_uncertainty_score":0.80647236},"labels":[],"label_agreement":null},{"id":"W3148837786","doi":"","title":"All the world's a stage - The information practices and sense-making of theatre professionals","year":2010,"lang":"en","type":"article","venue":"UTS ePRESS (University of Technology Sydney)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Sense (electronics); Sense of place; Aesthetics; History; Sociology; Art; Engineering; Social science; Geology","score_opus":0.019060343256630193,"score_gpt":0.2494484359642801,"score_spread":0.2303880927076499,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3148837786","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9110612,0.0001592884,0.0000060005495,0.026620325,0.00019751853,0.00021763431,0.000045014225,0.00005932538,0.061633646],"genre_scores_gemma":[0.99726856,0.000052056246,0.0001088734,0.00016144669,0.000029358143,8.8912606e-7,0.0000023657738,0.0000027429387,0.0023736947],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995948,0.000023613644,0.000097269054,0.000074247335,0.00009952143,0.0001105231],"domain_scores_gemma":[0.99915016,0.00012603997,0.00037688354,0.0002478621,0.00009101583,0.000008032209],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018497284,0.00007711611,0.00013211228,0.00017752824,0.0005475352,0.000018109728,0.00025276642,0.000061777064,0.00027723148],"category_scores_gemma":[0.000029723751,0.00004540712,0.000033251363,0.00007041466,0.0011035604,0.00050025864,0.00023647328,0.00029305607,0.0000065857184],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021848676,0.00012482419,0.015696546,0.00026907912,0.00047641553,0.000006980293,0.2458508,0.0000061683604,0.0012595924,0.67167646,0.014500204,0.04991446],"study_design_scores_gemma":[0.00018840177,0.000033318112,0.0017384569,0.000049247807,0.00006722845,0.00000434065,0.10513604,0.000062519975,0.00041408933,0.0012443466,0.89098907,0.000072971685],"about_ca_topic_score_codex":0.0003575831,"about_ca_topic_score_gemma":0.0069193235,"teacher_disagreement_score":0.87648886,"about_ca_system_score_codex":0.0000031794552,"about_ca_system_score_gemma":0.000016904716,"threshold_uncertainty_score":0.42112535},"labels":[],"label_agreement":null},{"id":"W315221461","doi":"10.1353/mdr.2000.0003","title":"Certain Fragments: Contemporary Performance and Forced Entertainment by Tim Etchells (review)","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.017918373751213586,"score_gpt":0.22060265080750743,"score_spread":0.20268427705629385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W315221461","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6213283,0.0489934,0.000010538779,0.001501437,0.00013948779,0.00045952405,0.0000800788,0.000091384565,0.32739586],"genre_scores_gemma":[0.91216195,0.025382185,0.000006824529,0.0031677487,0.00014674616,0.000056541492,0.000049006452,0.000020718899,0.05900828],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902666,0.000027050799,0.0002646243,0.00023383574,0.00017829661,0.00026956576],"domain_scores_gemma":[0.99963593,0.000022237105,0.000051995663,0.00019609713,0.00002794488,0.00006579685],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001144262,0.00021199363,0.00027388908,0.000021100186,0.00032817406,0.000065102344,0.00012220169,0.000032016116,0.004284823],"category_scores_gemma":[0.0000016463802,0.00016630787,0.00005969214,0.000015957256,0.00014488421,0.00029578301,0.000037690013,0.00011230329,0.0002475025],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019076648,0.0002421201,0.0021916889,0.001202818,0.00025911053,0.000007494476,0.05479026,0.000017034492,0.00013329339,0.0008730647,0.49517518,0.44491714],"study_design_scores_gemma":[0.00060808094,0.00018288883,0.000114954826,0.00043204782,0.000029214187,0.000002383325,0.0005626493,0.0013930321,0.00014678869,0.00026062495,0.9959933,0.00027403852],"about_ca_topic_score_codex":0.000114633,"about_ca_topic_score_gemma":0.000029943936,"teacher_disagreement_score":0.5008181,"about_ca_system_score_codex":0.000022865754,"about_ca_system_score_gemma":0.000012983071,"threshold_uncertainty_score":0.9966254},"labels":[],"label_agreement":null},{"id":"W3152958561","doi":"10.24908/iqurcp.9600","title":"Investigating Digital (Re)Mediation in the Performing Arts","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reinterpretation; Mediation; The arts; Visual arts; Liveness; Digital media; Space (punctuation); Aesthetics; Media studies; Sociology; Art; Multimedia; Computer science; World Wide Web; Social science","score_opus":0.18570102980483358,"score_gpt":0.3627260636880495,"score_spread":0.17702503388321592,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3152958561","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74518704,0.00004704013,0.000017913866,0.026172241,0.00030169546,0.00045738718,0.000007138209,0.0000897106,0.22771983],"genre_scores_gemma":[0.99576354,0.00013316222,0.0000319615,0.00026900423,0.0025247284,0.00011351385,0.000011613712,0.000021284504,0.0011311767],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99748904,0.000044996545,0.00036936972,0.00037123455,0.00094722153,0.0007781599],"domain_scores_gemma":[0.9982938,0.00027216607,0.00009984582,0.00015568922,0.0010864392,0.00009202469],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0017801824,0.00021188389,0.00020900494,0.00036153235,0.0013485902,0.0016244795,0.0005321067,0.00006158973,0.00014046593],"category_scores_gemma":[0.0004270536,0.00014532327,0.00004930199,0.00032667795,0.0024126882,0.00180476,0.00019929708,0.00066629343,0.00030602992],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028109884,0.00006653278,0.015123565,0.0001160654,0.000028315591,0.0000030936828,0.49477243,2.9124945e-7,0.00013731836,0.45359483,0.016886696,0.019242736],"study_design_scores_gemma":[0.00076976337,0.0011248814,0.0030196435,0.00061726704,0.000015971327,0.000011568054,0.44724414,0.0017884648,0.0007412801,0.3175284,0.22645232,0.00068629434],"about_ca_topic_score_codex":0.0003390057,"about_ca_topic_score_gemma":0.00071673904,"teacher_disagreement_score":0.2505765,"about_ca_system_score_codex":0.000088344204,"about_ca_system_score_gemma":0.00016386324,"threshold_uncertainty_score":0.99995154},"labels":[],"label_agreement":null},{"id":"W3153230051","doi":"10.3138/ctr.186.010","title":"Tiny Sparks Everywhere: Birch Bark Biting as Land-Based Dramaturgies","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Sociology; Aesthetics; Geography; Ecology; Art","score_opus":0.023376809240039577,"score_gpt":0.23845854764452742,"score_spread":0.21508173840448785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3153230051","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003809657,0.36787167,4.980184e-7,0.0063495645,0.0005697623,0.00023428288,0.000121816425,0.000080010475,0.62096274],"genre_scores_gemma":[0.8016673,0.14661829,0.00007971439,0.031011563,0.002400923,0.000113747934,0.0002719248,0.00011030496,0.017726244],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986514,0.00009287422,0.0003048284,0.00027474505,0.00016299772,0.00051318377],"domain_scores_gemma":[0.99904233,0.0001041116,0.00006803395,0.000378773,0.00014585811,0.0002608627],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022390498,0.00024450093,0.00046719547,0.00010163777,0.0006086038,0.00016811272,0.00017628304,0.00005104277,0.010706583],"category_scores_gemma":[0.000040953008,0.00019873011,0.00020619112,0.00014044675,0.00012995214,0.00012904804,0.000026948032,0.00021357683,0.0011048301],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018965527,0.0000673142,0.005692335,0.01195846,0.00044508599,0.00073196535,0.006874386,0.000013061621,0.000019661195,0.054267813,0.47712812,0.44278282],"study_design_scores_gemma":[0.00012766078,0.000019932088,0.000096192416,0.0035211397,0.00010336439,0.00002194135,0.0007724156,0.0000064461306,0.000034979777,0.0003085432,0.99471295,0.0002744175],"about_ca_topic_score_codex":0.037233308,"about_ca_topic_score_gemma":0.41082123,"teacher_disagreement_score":0.79785764,"about_ca_system_score_codex":0.000097857,"about_ca_system_score_gemma":0.00077569345,"threshold_uncertainty_score":0.99967295},"labels":[],"label_agreement":null},{"id":"W3153230587","doi":"10.3138/ctr.186.013","title":"Editorial: Re-Storying Ensembles","year":2021,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; History; Aesthetics","score_opus":0.02373061717642362,"score_gpt":0.2503859638779217,"score_spread":0.22665534670149812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3153230587","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[9.583857e-8,0.31683365,2.803355e-8,0.0005265689,0.5054081,0.00019581841,0.0005885112,0.000041546693,0.17640568],"genre_scores_gemma":[0.000003473559,0.3134093,0.0000031232971,0.00061622733,0.6745347,0.00006653995,0.0007176954,0.00007498495,0.01057399],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973868,0.00014756553,0.00056503195,0.0005445924,0.0006195081,0.0007364723],"domain_scores_gemma":[0.99775666,0.00033335027,0.00020853274,0.0007486255,0.0005421517,0.00041065514],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00053109514,0.0005765787,0.0012593399,0.00018728276,0.00082832336,0.0002692568,0.00048784039,0.00042699112,0.0062692463],"category_scores_gemma":[0.00020691637,0.0004912066,0.00045928088,0.000088075394,0.00019431068,0.00017007897,0.00006443355,0.0009880038,0.00074533146],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017445273,0.000005225933,5.258185e-7,0.0046566757,0.00014081835,0.0000259317,0.0013297593,5.307027e-8,6.410105e-8,0.000358513,0.97453284,0.018947842],"study_design_scores_gemma":[0.00009204061,0.000032626525,3.306873e-8,0.0137771275,0.00042337726,9.2568985e-7,0.00042178138,7.778707e-8,3.2966244e-7,0.00005924463,0.98463327,0.00055918127],"about_ca_topic_score_codex":0.09550184,"about_ca_topic_score_gemma":0.7784597,"teacher_disagreement_score":0.6829579,"about_ca_system_score_codex":0.00046139563,"about_ca_system_score_gemma":0.0027450898,"threshold_uncertainty_score":0.99975395},"labels":[],"label_agreement":null},{"id":"W3153280980","doi":"10.3138/ctr.186.012","title":"LET US GUIDE YOU: A Series of 2S/Trans/Non-binary Monologues","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; Performance art; Visual arts; Coronavirus disease 2019 (COVID-19)","score_opus":0.027077101138930332,"score_gpt":0.23440577785671446,"score_spread":0.20732867671778413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3153280980","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003947149,0.52697295,6.9601606e-7,0.009111455,0.00044439072,0.00026944114,0.00036561358,0.000033790395,0.45885453],"genre_scores_gemma":[0.18674827,0.7690131,0.00012837622,0.0064208163,0.0009250736,0.00008897433,0.00021729225,0.00006252408,0.036395587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892527,0.000054085955,0.0003701733,0.00020440748,0.00009814533,0.0003479255],"domain_scores_gemma":[0.9992329,0.0000236346,0.000067538625,0.0003787165,0.00014590955,0.00015132672],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014374898,0.00019741338,0.0005389469,0.000077381716,0.00028231583,0.00003436667,0.00017765057,0.000040721236,0.0033690494],"category_scores_gemma":[0.000011759092,0.00016055672,0.00019890125,0.00008798033,0.00023208844,0.00018010019,0.000025759577,0.000113992544,0.00012063795],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021515489,0.00008093928,0.0025350414,0.01367901,0.0007053634,0.00043072252,0.023949897,0.0000038599774,0.000098837234,0.030404557,0.5105639,0.41752636],"study_design_scores_gemma":[0.00008326222,0.00006494559,0.0001466839,0.0024034786,0.00013769479,0.00002648725,0.0015711455,9.4436945e-7,0.000095142925,0.00022628743,0.99505776,0.00018614465],"about_ca_topic_score_codex":0.033947367,"about_ca_topic_score_gemma":0.46132973,"teacher_disagreement_score":0.48449388,"about_ca_system_score_codex":0.000060907423,"about_ca_system_score_gemma":0.00049294427,"threshold_uncertainty_score":0.997542},"labels":[],"label_agreement":null},{"id":"W3153322263","doi":"10.24908/iqurcp.14702","title":"Bodies Out of Time","year":2021,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Temporality; Realm; Citizen journalism; Action (physics); Event (particle physics); Sociology; Centrality; Relation (database); Participatory action research; Identity (music); Aesthetics; Epistemology; Cognitive science; Psychology; Computer science; Art; History","score_opus":0.14742650835770216,"score_gpt":0.35402083989717,"score_spread":0.20659433153946782,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3153322263","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17776623,0.00071602303,0.000032889737,0.03372408,0.00077694346,0.00041180907,0.000052450192,0.0002099851,0.7863096],"genre_scores_gemma":[0.9427808,0.0016208562,0.000069483474,0.00006924021,0.0007274454,0.00004234528,0.0000130186045,0.000025034957,0.054651767],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976505,0.000055506993,0.00038928012,0.00042777223,0.00081957184,0.0006573425],"domain_scores_gemma":[0.99601936,0.00017216343,0.00010303607,0.00020410315,0.0033854558,0.00011585147],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008116038,0.00021125177,0.00040425998,0.00024997955,0.00058937224,0.00039270078,0.0003483892,0.00006602279,0.0011867514],"category_scores_gemma":[0.00023356098,0.00017992943,0.00010880085,0.00012636508,0.0018018023,0.00059930456,0.0003641808,0.0004358791,0.0006444073],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009142961,0.00017666486,0.0014327669,0.00047296062,0.00023786319,0.00001667278,0.18097052,3.8245258e-7,0.0058204187,0.71283007,0.091993615,0.0059566326],"study_design_scores_gemma":[0.0007325746,0.00057696056,0.00023642693,0.0006699626,0.000055041437,0.000008716087,0.085395455,0.00016316243,0.02566821,0.25001976,0.63583726,0.0006364623],"about_ca_topic_score_codex":0.00020139004,"about_ca_topic_score_gemma":0.00027256607,"teacher_disagreement_score":0.7650146,"about_ca_system_score_codex":0.000053791937,"about_ca_system_score_gemma":0.00032372694,"threshold_uncertainty_score":0.9997263},"labels":[],"label_agreement":null},{"id":"W3153771313","doi":"10.3138/ctr.186.007","title":"Words have Weight (unless you’ve never had to carry that weight): The White Lens in Theatre","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Racism; George (robot); Performance art; Art; Visual arts; Media studies; Political theatre; Theatre director; Sociology; Aesthetics; Gender studies; Art history","score_opus":0.03195994538533753,"score_gpt":0.2336947954446612,"score_spread":0.20173485005932368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3153771313","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002803776,0.3462657,0.0000010196303,0.093325526,0.0012362102,0.0008438154,0.00034575356,0.000048491343,0.5551297],"genre_scores_gemma":[0.5981893,0.26837924,0.000040168372,0.07391167,0.003646194,0.00044525997,0.00017611851,0.00018141835,0.05503062],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977931,0.00020356681,0.00042328567,0.00047371653,0.00027083533,0.0008355424],"domain_scores_gemma":[0.99856156,0.000073728246,0.000075723714,0.0008439086,0.00011788125,0.00032719257],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040051716,0.00041779815,0.00072706066,0.00018087422,0.00068567175,0.00015717631,0.00045821053,0.0000795769,0.005485512],"category_scores_gemma":[0.000010253894,0.0002712093,0.000295067,0.00024869715,0.0001977757,0.0003596074,0.00009634657,0.00039740177,0.0005505924],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023355982,0.00007394868,0.025472736,0.0022832253,0.00040902031,0.00053178327,0.0803078,0.000008047222,0.0000022469862,0.03813613,0.4587538,0.3939979],"study_design_scores_gemma":[0.0001587149,0.000026349999,0.00071055593,0.002755696,0.0001414492,0.000027501826,0.006153733,0.0000028578322,0.00000915451,0.000241713,0.98938257,0.0003896901],"about_ca_topic_score_codex":0.032524623,"about_ca_topic_score_gemma":0.8394131,"teacher_disagreement_score":0.8068885,"about_ca_system_score_codex":0.00025431893,"about_ca_system_score_gemma":0.000522372,"threshold_uncertainty_score":0.999974},"labels":[],"label_agreement":null},{"id":"W3153960592","doi":"10.1353/shb.2020.0000","title":"Labor in Contemporary Shakespeare Performance","year":2020,"lang":"en","type":"article","venue":"Shakespeare bulletin","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Honor; Politics; Subject (documents); Emotional labor; Sociology; Media studies; Political science; Management; Law; Economics","score_opus":0.06097339986413654,"score_gpt":0.2247192255333434,"score_spread":0.16374582566920687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3153960592","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40208954,0.0028786662,0.0000011162316,0.038959756,0.00041700798,0.00035677454,0.00018464854,0.00027092008,0.5548416],"genre_scores_gemma":[0.9841793,0.00013904783,0.000029469582,0.0054861642,0.0011825201,0.000030319778,0.00003738277,0.00003595524,0.008879817],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998685,0.000047358568,0.0003478056,0.0003385641,0.0002168273,0.00036444125],"domain_scores_gemma":[0.9995035,0.000043616914,0.000072283816,0.00018747694,0.000082916165,0.00011019227],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014645545,0.00023832265,0.0003191347,0.00007198015,0.00024376769,0.00011668818,0.00026456133,0.00005045494,0.013204548],"category_scores_gemma":[0.000036426507,0.00020643897,0.00008177684,0.0000927036,0.00018855307,0.00014806644,0.000099676945,0.0003038021,0.0037013849],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005915159,0.00015107261,0.043860786,0.00048046053,0.000083613886,0.0001318732,0.17964315,0.00004041488,0.000055010216,0.0129472455,0.74630296,0.01571188],"study_design_scores_gemma":[0.000629155,0.00021526824,0.004134144,0.00009358403,0.00000571749,0.0000014863899,0.008409118,0.000068913,0.00007028522,0.000025921827,0.9860619,0.0002845236],"about_ca_topic_score_codex":0.00016230847,"about_ca_topic_score_gemma":0.00026341266,"teacher_disagreement_score":0.5820898,"about_ca_system_score_codex":0.000023585517,"about_ca_system_score_gemma":0.000050424078,"threshold_uncertainty_score":0.99707437},"labels":[],"label_agreement":null},{"id":"W3154075577","doi":"10.3138/ctr.186.006","title":"Participating in the Age of Pandemic","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Social distance; Pandemic; Distancing; Loneliness; Isolation (microbiology); Public relations; Media studies; Space (punctuation); Sociology; Coronavirus disease 2019 (COVID-19); Psychology; Political science; Medicine; Social psychology; Law","score_opus":0.07983066958387759,"score_gpt":0.28149293117259466,"score_spread":0.20166226158871708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3154075577","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02495081,0.40327877,2.1189548e-7,0.00423828,0.00017830587,0.00022484775,0.000049987342,0.00001034813,0.56706846],"genre_scores_gemma":[0.93201303,0.061139457,0.000005240147,0.0058604623,0.00019596163,0.00008629916,0.00001975689,0.000007741062,0.00067207223],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999376,0.00008496351,0.00020494673,0.00007875757,0.00006474724,0.00019060275],"domain_scores_gemma":[0.9996536,0.00006209874,0.000030877378,0.00018772931,0.000031146432,0.00003457523],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002857511,0.000069748414,0.00021380333,0.000029396928,0.00011354025,0.000018515831,0.000109118264,0.000011906295,0.0016908251],"category_scores_gemma":[0.000019883066,0.000043324846,0.00006729069,0.00007277716,0.000076569544,0.000042109885,0.0000092084365,0.00008596461,0.0000364039],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003444929,0.000061787236,0.03855631,0.006814414,0.00012935893,0.0003667005,0.110765494,0.000003173358,0.0000143539855,0.096975125,0.07472386,0.671586],"study_design_scores_gemma":[0.000041521685,0.0000098085975,0.00059510214,0.0014187496,0.000036999867,0.000006330248,0.0020909556,7.808047e-7,0.0000031152363,0.000292067,0.99544567,0.000058919664],"about_ca_topic_score_codex":0.02488068,"about_ca_topic_score_gemma":0.80466175,"teacher_disagreement_score":0.92072177,"about_ca_system_score_codex":0.000022779914,"about_ca_system_score_gemma":0.00013850883,"threshold_uncertainty_score":0.99922174},"labels":[],"label_agreement":null},{"id":"W3154324918","doi":"10.24908/iqurcp.11777","title":"In Search of ‘Good’ Theatre: Historical Ideals of Quality in Contemporary Times","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Power (physics); Aesthetics; Ideal (ethics); Presentation (obstetrics); Value (mathematics); Representation (politics); Quality (philosophy); Drama; Sociology; Globalization; Multiculturalism; Key (lock); Art; Literature; Epistemology; Philosophy; Computer science; Politics; Political science; Law; Pedagogy","score_opus":0.2475948131820687,"score_gpt":0.4034700147220513,"score_spread":0.1558752015399826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3154324918","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7098935,0.00046487863,0.000008930805,0.018406639,0.00027124127,0.0006021673,0.00002137546,0.00003608118,0.27029517],"genre_scores_gemma":[0.9954448,0.00044672145,0.000036624733,0.000046937763,0.00042823568,0.00004706322,0.0000032621888,0.00002093299,0.003525431],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9967563,0.00020697803,0.00094695156,0.00042372453,0.0010038343,0.0006622193],"domain_scores_gemma":[0.9974007,0.00039920336,0.00017971228,0.00020804926,0.0017109824,0.00010134793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036762087,0.00021774617,0.00069006823,0.0008837131,0.00018502487,0.000081816805,0.0005166155,0.00010547959,0.0002842681],"category_scores_gemma":[0.00016881549,0.00018236286,0.00008656676,0.00047710678,0.0025548628,0.0007262239,0.00028844216,0.00059764157,0.000041066352],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000651031,0.0004009926,0.059944317,0.0007445817,0.00006264495,0.00000615827,0.14407352,2.903308e-7,0.0019853285,0.7738113,0.0158368,0.0024830357],"study_design_scores_gemma":[0.0049898066,0.0055351546,0.017973123,0.0028144603,0.000026423582,0.0000062384197,0.17429401,0.00036105252,0.03270437,0.60510117,0.1547287,0.0014655051],"about_ca_topic_score_codex":0.019808555,"about_ca_topic_score_gemma":0.0021936814,"teacher_disagreement_score":0.28555128,"about_ca_system_score_codex":0.00028407833,"about_ca_system_score_gemma":0.0004941026,"threshold_uncertainty_score":0.9867186},"labels":[],"label_agreement":null},{"id":"W3154445260","doi":"10.3138/ctr.186.001","title":"Introduction: Theatre After the Explosion","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Aesthetics","score_opus":0.021698823667272882,"score_gpt":0.21853980073167503,"score_spread":0.19684097706440215,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3154445260","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005547851,0.5238384,4.4867846e-7,0.12087177,0.0012558087,0.00025490893,0.00006337698,0.000038393537,0.35312212],"genre_scores_gemma":[0.32927802,0.5495557,0.000026710362,0.049206816,0.021003129,0.00044177056,0.00014351202,0.00009097456,0.050253324],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990232,0.00009334485,0.00021325561,0.00022747,0.000121752215,0.00032095553],"domain_scores_gemma":[0.9991748,0.000029558587,0.00003395538,0.00051436236,0.000106996515,0.0001403581],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018091849,0.00017062594,0.00025979345,0.000039398234,0.0005963418,0.00010005498,0.00015343877,0.000025389683,0.024013367],"category_scores_gemma":[0.000008068618,0.00010007879,0.0001631476,0.00009702578,0.00015646132,0.00015113514,0.00003158701,0.00016448906,0.001206327],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000063744715,0.000014032763,0.00013523966,0.0007902293,0.00008311545,0.000054094715,0.0048205378,3.5528683e-7,0.0000016400807,0.013071787,0.6898859,0.29113665],"study_design_scores_gemma":[0.000043661596,0.000014901904,0.00003573779,0.00070865534,0.00010646258,0.000048039008,0.0013046283,5.258769e-7,0.000011610825,0.0003086688,0.9972743,0.00014283565],"about_ca_topic_score_codex":0.0046220976,"about_ca_topic_score_gemma":0.31727293,"teacher_disagreement_score":0.32872322,"about_ca_system_score_codex":0.00006971901,"about_ca_system_score_gemma":0.00021854466,"threshold_uncertainty_score":0.9995713},"labels":[],"label_agreement":null},{"id":"W3154828318","doi":"10.24908/iqurcp.11675","title":"Pics or it Didn’t Happen: A Theatrical Examination of Definitions Truth, Reality and Authenticity in Twenty-First Century Post-Reality","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Social reality; Context (archaeology); Reality television; Natural (archaeology); Aesthetics; Reality tv; Epistemology; Consensus reality; Sociology; Art; Philosophy; History; Visual arts; Media studies; Linguistics","score_opus":0.22243315347789355,"score_gpt":0.3686017155547037,"score_spread":0.14616856207681017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3154828318","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8896765,0.00009445848,0.000073309915,0.032011174,0.00032449584,0.00087727956,0.00016836732,0.000096923985,0.07667748],"genre_scores_gemma":[0.99653214,0.0022849988,0.000041632986,0.00006985079,0.00046491725,0.0000810905,0.000027144464,0.000020436197,0.00047779133],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99725837,0.00015535462,0.0005979556,0.0005190305,0.00077784085,0.00069147686],"domain_scores_gemma":[0.99692196,0.0005299685,0.00016547379,0.00020253308,0.0020180645,0.00016200205],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0020840939,0.00025640582,0.0004273958,0.0004958223,0.0009162728,0.00034224443,0.0003313834,0.000119505436,0.00024544148],"category_scores_gemma":[0.0006105845,0.0001977141,0.00006496294,0.00035594197,0.0033471622,0.0007256218,0.00033482185,0.0005226538,0.00003168652],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005658667,0.00046765266,0.004382154,0.0006782766,0.00008154969,0.0000051701795,0.19615045,1.4467626e-7,0.000092039365,0.78623766,0.002937897,0.008401133],"study_design_scores_gemma":[0.0046041836,0.006209132,0.10118472,0.0024268418,0.00020993619,0.00003635337,0.3667511,0.0023061868,0.0016172326,0.40779227,0.10507207,0.0017899707],"about_ca_topic_score_codex":0.0031844643,"about_ca_topic_score_gemma":0.0067694085,"teacher_disagreement_score":0.37844542,"about_ca_system_score_codex":0.00014192481,"about_ca_system_score_gemma":0.00022837745,"threshold_uncertainty_score":0.99936515},"labels":[],"label_agreement":null},{"id":"W3155105605","doi":"10.15402/esj.v6i2.61545","title":"Review of Dissonant Methods: Undoing Discipline in the Humanities Classroom","year":2021,"lang":"en","type":"article","venue":"Engaged Scholar Journal Community-Engaged Research Teaching and Learning","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Undoing; Consonance and dissonance; Humanities; Sociology; Art; Psychology; Psychoanalysis; Acoustics","score_opus":0.24349017209844823,"score_gpt":0.4362799371853108,"score_spread":0.19278976508686255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3155105605","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":"methods","domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77942884,0.17834243,0.00015852459,0.002359448,0.00030746395,0.00026545528,0.000007624366,0.00005332826,0.039076902],"genre_scores_gemma":[0.9674026,0.027999228,0.0012814817,0.00045587914,0.00042936354,0.000013884743,0.0000148776335,0.000030697247,0.0023719845],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.3785176,0.6200659,0.00046168698,0.000119642966,0.000442492,0.00039263637],"domain_scores_gemma":[0.8056493,0.19326389,0.0001982067,0.00041915214,0.0004033053,0.00006615132],"candidate_categories":["metaresearch","sts","scholarly_communication","research_integrity"],"consensus_categories":["metaresearch"],"category_scores_codex":[0.7479968,0.00022116657,0.0005079878,0.00034545397,0.35327038,0.0011624823,0.00061001093,0.00005500124,0.0002197723],"category_scores_gemma":[0.29244936,0.00014493127,0.0001636674,0.00020165788,0.0006184684,0.00069491594,0.00044658966,0.49086058,0.0000058178302],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022345726,0.00014603224,0.00038575704,0.0013529428,0.00008272439,0.00002825404,0.9632359,0.000012826465,0.00063701556,0.0012442681,0.0010127417,0.03183917],"study_design_scores_gemma":[0.00027780051,0.0001603017,0.00069511763,0.0054990347,0.000026664975,0.00007770657,0.68836844,0.000021527716,0.000036785925,0.00048653968,0.30422714,0.00012295389],"about_ca_topic_score_codex":0.00040280883,"about_ca_topic_score_gemma":0.00088036497,"teacher_disagreement_score":0.49080557,"about_ca_system_score_codex":0.00006581454,"about_ca_system_score_gemma":0.00013233158,"threshold_uncertainty_score":0.9998744},"labels":[],"label_agreement":null},{"id":"W3155257029","doi":"10.3138/ctr.186.011","title":"We Are Holding our Breath: Canadian Theatre after the Explosions","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Honour; Futures contract; Order (exchange); Visual arts; Art; Performance art; Theatre studies; Political theatre; History; Art history; Aesthetics; Archaeology; Drama","score_opus":0.04498078297194208,"score_gpt":0.24271562697339974,"score_spread":0.19773484400145766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3155257029","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011842254,0.5353653,1.9273647e-7,0.12843274,0.0009909576,0.00046083977,0.0007723009,0.00004952912,0.33274394],"genre_scores_gemma":[0.73715264,0.22430743,0.000008568779,0.022279123,0.0017205022,0.0002256968,0.00006028452,0.00006727883,0.014178471],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99816984,0.00013992692,0.00033163335,0.00035159304,0.00017608724,0.0008309293],"domain_scores_gemma":[0.9983243,0.000049369344,0.00006974836,0.0007321154,0.00013992593,0.0006845709],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022849863,0.00033907176,0.0004985282,0.00014725215,0.0014155695,0.00022809651,0.00034424957,0.000064141204,0.005251881],"category_scores_gemma":[0.000015904174,0.00022012292,0.00030669212,0.00018696727,0.00010997662,0.00020608776,0.00004708795,0.00032285857,0.00094932877],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000076675315,0.000031071006,0.0031166133,0.0020862017,0.00036573896,0.00093696173,0.024420582,0.0000020347427,0.0000019696022,0.013524352,0.69001955,0.26548728],"study_design_scores_gemma":[0.000072640876,0.000013207079,0.0001940505,0.004030434,0.00020221193,0.00007464026,0.013130704,0.0000013427571,0.0000037166412,0.00021870807,0.9817524,0.00030597163],"about_ca_topic_score_codex":0.45130545,"about_ca_topic_score_gemma":0.9955364,"teacher_disagreement_score":0.7359684,"about_ca_system_score_codex":0.00027963176,"about_ca_system_score_gemma":0.001102587,"threshold_uncertainty_score":0.9998844},"labels":[],"label_agreement":null},{"id":"W3155664349","doi":"10.24908/iqurcp.9570","title":"Acting Out: Exploring Applied Theatre Practices in Canadian Correctional Facilities","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Politics; Realm; Narrative; Sociology; Normative; Space (punctuation); Aesthetics; Gender studies; History; Art; Law; Political science; Literature; Archaeology","score_opus":0.32662781190433615,"score_gpt":0.37902481513017,"score_spread":0.05239700322583385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3155664349","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34419957,0.000051765768,0.000007027883,0.009154412,0.0012568468,0.00044676044,0.000023311728,0.00013164057,0.64472866],"genre_scores_gemma":[0.9899241,0.00039254353,0.000030328178,0.00008529821,0.0023993037,0.00031642214,0.000009145067,0.000031479765,0.00681142],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968734,0.000053387983,0.00038438552,0.00056263653,0.0007500009,0.0013762277],"domain_scores_gemma":[0.99792933,0.0002788675,0.00016739771,0.00015756102,0.0011787859,0.00028804643],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0016951036,0.00028331854,0.0003115817,0.000890971,0.0017533626,0.0009999872,0.00044193998,0.00008325404,0.00067739724],"category_scores_gemma":[0.00029118772,0.0002527636,0.00005266748,0.0002587116,0.00173483,0.0017083138,0.0001798824,0.0008640873,0.00055237405],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020335373,0.000063097985,0.011392353,0.00020721911,0.00009219543,0.000007695532,0.5921658,8.672723e-7,0.00018317103,0.36057574,0.009945011,0.025163436],"study_design_scores_gemma":[0.0003205181,0.00026320593,0.00035482028,0.00022022966,0.000009144929,0.000003970689,0.42127177,0.00015304737,0.00072717323,0.022976879,0.5532997,0.00039948535],"about_ca_topic_score_codex":0.28091472,"about_ca_topic_score_gemma":0.6513074,"teacher_disagreement_score":0.64572453,"about_ca_system_score_codex":0.00041580902,"about_ca_system_score_gemma":0.00079324516,"threshold_uncertainty_score":0.99999243},"labels":[],"label_agreement":null},{"id":"W3156642167","doi":"10.24908/iqurcp.10014","title":"Performing Material Objects: Reconnecting the “now, then and since”","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Presentation (obstetrics); Multitude; Aesthetics; Style (visual arts); Visual arts; Media studies; Sociology; History; Art; Law; Political science","score_opus":0.12226795363504595,"score_gpt":0.3409975938077899,"score_spread":0.21872964017274393,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3156642167","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8170633,0.000105784326,0.000010650428,0.02946051,0.0008832084,0.0005357125,0.000013020464,0.00016922013,0.15175863],"genre_scores_gemma":[0.99123573,0.00076945947,0.00005056461,0.0002049992,0.0042390735,0.00008979257,0.0000036739016,0.000034831464,0.003371879],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976112,0.000074122545,0.0003415597,0.00047906634,0.0005837632,0.0009102605],"domain_scores_gemma":[0.9979656,0.0002755547,0.00011268071,0.00018579166,0.0013394074,0.00012097099],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":["sts"],"category_scores_codex":[0.0019744132,0.00026754403,0.00027921182,0.00022331283,0.003369719,0.0016431361,0.00047404255,0.00007349972,0.00037984102],"category_scores_gemma":[0.00020453038,0.00017142236,0.00005113819,0.00016026606,0.003559913,0.0009738227,0.0004631655,0.0005587141,0.00020286928],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029032753,0.000047165162,0.0018972987,0.00025171618,0.0001518435,0.0000038247576,0.42446893,6.124576e-8,0.0014738716,0.5340995,0.0147591,0.022556344],"study_design_scores_gemma":[0.0008212067,0.001743617,0.0005357477,0.0007856092,0.00006214787,0.000052609324,0.38219747,0.00073570205,0.009579937,0.2017836,0.4008017,0.000900674],"about_ca_topic_score_codex":0.00083926326,"about_ca_topic_score_gemma":0.0009156,"teacher_disagreement_score":0.3860426,"about_ca_system_score_codex":0.000074512354,"about_ca_system_score_gemma":0.0001430844,"threshold_uncertainty_score":0.9993932},"labels":[],"label_agreement":null},{"id":"W3156813968","doi":"10.3138/ctr.186.004","title":"Come to My Garbage Show!: Semiotics and Audience Development for <i>Wastelands</i>","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Semiotics; Audience reception; Sociology; Face (sociological concept); Media studies; Theatre studies; Discoverability; Social semiotics; Aesthetics; Terminology; Visual arts; Linguistics; Art; Social science; Drama; Computer science","score_opus":0.03274084723771007,"score_gpt":0.24122482911842472,"score_spread":0.20848398188071465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3156813968","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009672989,0.6057707,0.000046307054,0.021331545,0.0011903711,0.0016867458,0.0005279309,0.000079117446,0.35969427],"genre_scores_gemma":[0.46804658,0.3347244,0.0037913683,0.118050985,0.0030389614,0.0007352675,0.0003903482,0.00019457543,0.07102755],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912375,0.000019514231,0.00021884525,0.00021217765,0.00007582459,0.00034991454],"domain_scores_gemma":[0.9993389,0.00005557545,0.000029706185,0.00018251393,0.00010295525,0.00029035032],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018073071,0.00015309681,0.00032676908,0.000047726975,0.00048328267,0.00007364448,0.00010253182,0.000021200458,0.0004481317],"category_scores_gemma":[0.000019583651,0.00012458001,0.00005636077,0.000058513404,0.000060536415,0.0000652372,0.000037519978,0.00006184446,0.00007312437],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008902892,0.000029525047,0.0017740132,0.008403977,0.00021659798,0.00006251925,0.028709723,0.0000017151829,0.0000080498585,0.031099794,0.280717,0.6489682],"study_design_scores_gemma":[0.000082890925,0.000026171661,0.000078270255,0.001591876,0.000051127565,0.000011856843,0.0007492989,0.0000016625982,0.000026783455,0.000079431346,0.9971164,0.00018422001],"about_ca_topic_score_codex":0.0007626788,"about_ca_topic_score_gemma":0.2927292,"teacher_disagreement_score":0.71639943,"about_ca_system_score_codex":0.000073209805,"about_ca_system_score_gemma":0.00031748472,"threshold_uncertainty_score":0.72017664},"labels":[],"label_agreement":null},{"id":"W3157030427","doi":"10.24908/iqurcp.7317","title":"Healing the Civic Body: Darren O’Donnell’s Social Acupuncture","year":2017,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Aesthetics; Politics; Sociology; Mirroring; Power (physics); Style (visual arts); Visual arts; Media studies; Psychology; Law; Art; Political science; Communication","score_opus":0.1806505065303413,"score_gpt":0.3807068303799031,"score_spread":0.20005632384956182,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3157030427","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24032526,0.00036320314,0.00006571366,0.349522,0.0020170012,0.0013647042,0.000057131307,0.00035863966,0.40592638],"genre_scores_gemma":[0.9824871,0.0007342039,0.000014018594,0.0002726075,0.004968105,0.00014190559,0.00000993846,0.000044919594,0.011327194],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99671316,0.00007447635,0.00036854955,0.0005597819,0.0011214102,0.001162643],"domain_scores_gemma":[0.9974917,0.00017718917,0.00024334669,0.00042505286,0.0015142169,0.00014845366],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":["sts"],"category_scores_codex":[0.001791469,0.00040592087,0.0004515216,0.00019831792,0.011850419,0.004131812,0.0016914645,0.00012364177,0.00033726843],"category_scores_gemma":[0.0002590236,0.00022868668,0.00017631472,0.00008782201,0.004093338,0.001255664,0.00080868497,0.00123492,0.00029219696],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001143536,0.00005893967,0.0015036191,0.00019316573,0.00018327478,0.000007244602,0.16108179,2.664828e-7,0.00024666393,0.727958,0.09918815,0.009464516],"study_design_scores_gemma":[0.0007322689,0.00030372545,0.0030057821,0.00029870184,0.00006878039,0.000008600302,0.08053424,0.00030185343,0.0004273638,0.23827219,0.6753789,0.0006675584],"about_ca_topic_score_codex":0.0015729631,"about_ca_topic_score_gemma":0.0010083726,"teacher_disagreement_score":0.74216187,"about_ca_system_score_codex":0.00011222083,"about_ca_system_score_gemma":0.00025963422,"threshold_uncertainty_score":0.99861693},"labels":[],"label_agreement":null},{"id":"W3157507378","doi":"","title":"More than just theatre: queer theatre festivals as sites of queer community building, learning, activism, and leadership","year":2020,"lang":"en","type":"dissertation","venue":"UVic’s Research and Learning Repository (University of Victoria)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Gender studies; Sociology; Theatre studies; Visual arts; Art; Media studies; Political science; Drama","score_opus":0.08513529800382685,"score_gpt":0.30028995371095957,"score_spread":0.2151546557071327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3157507378","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8942777,0.0030465217,0.000001245933,0.0002805695,0.00028466203,0.00026338338,0.000013646992,0.00008397343,0.10174832],"genre_scores_gemma":[0.9342003,0.0010758376,0.000022957709,0.0000066922466,0.00045015258,0.0000018271664,0.000116967734,0.000040646988,0.064084604],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99704283,0.0010426472,0.00024984224,0.0004229791,0.0007790908,0.00046260576],"domain_scores_gemma":[0.99785155,0.0007746843,0.0003407471,0.00028243253,0.000550287,0.00020027148],"candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":[],"category_scores_codex":[0.00082408806,0.00035301878,0.00069438375,0.0003474053,0.0034879057,0.00016854853,0.00040812703,0.00031058444,0.00025108407],"category_scores_gemma":[0.000114584014,0.00035886554,0.00016283018,0.00015649368,0.0011812501,0.0003726947,0.00022358625,0.003389,0.0000119732085],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0020148228,0.00022206074,0.063039385,0.0035400141,0.0010380045,0.00006411324,0.911038,0.000026640551,0.00879346,0.0023657146,0.003352997,0.004504826],"study_design_scores_gemma":[0.0007075098,0.0022340228,0.022677703,0.0010395256,0.00022627859,0.000008606339,0.7510547,0.00006742694,0.0011880252,0.00021108582,0.2200944,0.0004907118],"about_ca_topic_score_codex":0.011192414,"about_ca_topic_score_gemma":0.0028308765,"teacher_disagreement_score":0.2167414,"about_ca_system_score_codex":0.000064719236,"about_ca_system_score_gemma":0.00019959478,"threshold_uncertainty_score":0.99988633},"labels":[],"label_agreement":null},{"id":"W3159002900","doi":"10.29173/inton45","title":"We Other Fairies","year":2021,"lang":"en","type":"article","venue":"Intonations","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Queer; Carnivalesque; Aesthetics; Queer theory; Context (archaeology); Literature; Performativity; Poetry; Art; Style (visual arts); Dream; Performative utterance; Vision; Sociology; History; Gender studies; Psychology; Anthropology","score_opus":0.04022279617912694,"score_gpt":0.25491262908359424,"score_spread":0.2146898329044673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3159002900","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012803001,0.0010789466,0.000029910183,0.012280116,0.0005085817,0.000025498497,0.00004491035,0.00006830565,0.97316074],"genre_scores_gemma":[0.8598731,0.000109613684,0.000071737995,0.0006304474,0.00055761717,0.00001361146,0.000009013786,0.0000063549287,0.13872851],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975544,0.0000066882185,0.00006119705,0.00005582339,0.000055012384,0.00006582583],"domain_scores_gemma":[0.99979717,0.0000260554,0.000011127179,0.000070474365,0.00008476544,0.000010404177],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000018180763,0.000039110342,0.00004543337,0.000024024715,0.00027752365,0.000060962127,0.000032083153,0.000008493811,0.007856402],"category_scores_gemma":[0.000008601944,0.000032227028,0.000028531795,0.000020380243,0.00008829486,0.000106306004,0.00001763216,0.000033918666,0.00043192838],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.194431e-7,0.000021155081,0.00017271981,0.000004404884,0.000026564652,0.000001155524,0.057076596,0.0000021388892,0.00002381577,0.9025281,0.03248231,0.0076603177],"study_design_scores_gemma":[0.0000435873,0.0000056301437,0.00010365373,0.000007286731,0.000006295801,8.8762556e-7,0.009890758,0.000006826806,0.0002875048,0.010085099,0.9795155,0.000046971247],"about_ca_topic_score_codex":0.00004947495,"about_ca_topic_score_gemma":0.00548576,"teacher_disagreement_score":0.94703317,"about_ca_system_score_codex":0.000006769885,"about_ca_system_score_gemma":0.000020183605,"threshold_uncertainty_score":0.9930506},"labels":[],"label_agreement":null},{"id":"W3159959931","doi":"10.24908/iqurcp.8445","title":"Lighting in Theatrical Performance as a Dynamic Medium","year":2016,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aesthetics; Opera; Realism; Tone (literature); Opposition (politics); Visual arts; Art; Computer science; Sociology; Literature","score_opus":0.08664036955623355,"score_gpt":0.3425821921709602,"score_spread":0.25594182261472664,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3159959931","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82303697,0.00013797855,0.000016960088,0.053380772,0.00036984833,0.00046284252,0.000006820711,0.00017535493,0.12241245],"genre_scores_gemma":[0.9847699,0.003063376,0.000024066823,0.000092865674,0.0006750938,0.00016860409,0.0000023699217,0.000039665014,0.011164082],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99655396,0.00006776007,0.0005020252,0.00060670683,0.0010214145,0.0012481522],"domain_scores_gemma":[0.9982164,0.00034292616,0.00009960097,0.00019791174,0.00095100456,0.00019217722],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0015471593,0.00031260093,0.00039104818,0.00071890396,0.0007337643,0.00041403825,0.00062144286,0.00010864978,0.00044451532],"category_scores_gemma":[0.0002503302,0.00019628569,0.00007976329,0.00033956367,0.001573668,0.0012678596,0.00034994583,0.0006482387,0.0009170247],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006611662,0.00033514987,0.02881635,0.0005736545,0.00014688556,0.00004491145,0.15826896,5.9521557e-7,0.005224938,0.67945486,0.011298997,0.11517356],"study_design_scores_gemma":[0.005673251,0.004030719,0.011796761,0.0054842024,0.000066633904,0.000082206134,0.099436246,0.0016425553,0.009769108,0.39457875,0.4645595,0.0028800762],"about_ca_topic_score_codex":0.0004722229,"about_ca_topic_score_gemma":0.00047215703,"teacher_disagreement_score":0.45326048,"about_ca_system_score_codex":0.00028185663,"about_ca_system_score_gemma":0.00032666803,"threshold_uncertainty_score":0.9998609},"labels":[],"label_agreement":null},{"id":"W316052305","doi":"","title":"Scots language in theory and practice in Graham Moffats Playwriting","year":2014,"lang":"en","type":"article","venue":"Scottish language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scots; Context (archaeology); Irish; Wife; History; Sociology; Classics; Art history; Law; Literature; Art; Archaeology; Political science; Philosophy","score_opus":0.009008064307407821,"score_gpt":0.26512425322192473,"score_spread":0.25611618891451693,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W316052305","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7592691,0.004059141,0.0000025812856,0.0001638529,0.00017744691,0.000105268824,0.000011113889,0.000043418924,0.23616803],"genre_scores_gemma":[0.99655205,0.00012514932,0.00007356752,0.0006203917,0.0005277724,0.000013962775,0.000008973149,0.000017477745,0.0020606674],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99899244,0.00021937548,0.00019539746,0.00019881676,0.00011332562,0.00028065615],"domain_scores_gemma":[0.9990857,0.0006578757,0.000056293575,0.00014794826,0.000018198998,0.00003398631],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010771353,0.00013088634,0.00019368171,0.00013928523,0.00011519462,0.00010720214,0.000092397946,0.000036643654,0.00029166247],"category_scores_gemma":[0.0004420895,0.00011581058,0.000024073242,0.000053652286,0.00013750451,0.00040934372,0.0000666657,0.00019414951,0.000049697806],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017771435,0.00013777868,0.0042766994,0.00014344766,0.000029152228,0.00017712962,0.76299727,0.00000536216,0.00057120004,0.12007327,0.0010082835,0.110402696],"study_design_scores_gemma":[0.0033821873,0.00034690773,0.019418033,0.00095409324,0.000057324534,0.000083739535,0.8875233,0.00010769659,0.0006632333,0.005088098,0.081384525,0.0009908613],"about_ca_topic_score_codex":0.0017628822,"about_ca_topic_score_gemma":0.019708931,"teacher_disagreement_score":0.23728289,"about_ca_system_score_codex":0.000016174461,"about_ca_system_score_gemma":0.000009289726,"threshold_uncertainty_score":0.99817884},"labels":[],"label_agreement":null},{"id":"W3161658983","doi":"10.1177/00084298211007825","title":"Le théâtre hindi – l’identité culturelle et l’imaginaire hindou","year":2021,"lang":"fr","type":"article","venue":"Studies in Religion/Sciences Religieuses","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Hindi; Humanities; Art; Ethnology; Philosophy; History; Linguistics","score_opus":0.04541130345481564,"score_gpt":0.33711049247806096,"score_spread":0.2916991890232453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3161658983","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04222096,0.57209146,0.000002478057,0.042137038,0.0075102686,0.00025558792,0.00008885065,0.00012003232,0.33557332],"genre_scores_gemma":[0.27506292,0.6499277,0.00024212326,0.0021184692,0.001142352,0.000074283096,0.000015116597,0.00004391785,0.071373165],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9955648,0.00030756756,0.0009585462,0.0011407551,0.0008219649,0.001206371],"domain_scores_gemma":[0.9978312,0.0005366485,0.00031226806,0.0005853482,0.0006131169,0.00012139353],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":["sts"],"category_scores_codex":[0.00082680426,0.0006914693,0.0009965489,0.0003217412,0.0032494972,0.0006551997,0.00075766427,0.0001841456,0.00015627197],"category_scores_gemma":[0.00042302255,0.0005955184,0.0003801635,0.00078861124,0.0056854542,0.0012846979,0.0011015359,0.0006795048,0.0003744615],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018281287,0.00025099024,0.003778942,0.0003874456,0.00023061498,0.0003209148,0.02626554,0.00018696774,0.000020079928,0.4641903,0.50391406,0.00043587707],"study_design_scores_gemma":[0.00057765725,0.00023046198,0.00034595118,0.0014924465,0.00012090814,0.00012842425,0.08940889,0.000011018699,0.00045452293,0.024318533,0.88219374,0.00071746425],"about_ca_topic_score_codex":0.010866955,"about_ca_topic_score_gemma":0.046706025,"teacher_disagreement_score":0.4398718,"about_ca_system_score_codex":0.00016400858,"about_ca_system_score_gemma":0.0014832387,"threshold_uncertainty_score":0.99964964},"labels":[],"label_agreement":null},{"id":"W3163094669","doi":"","title":"Flight Paths and Theatre for Early Years Audiences","year":2020,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Computer science; Computer graphics (images)","score_opus":0.274141482858911,"score_gpt":0.48673969286878094,"score_spread":0.21259821000986995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3163094669","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9238118,0.021616593,0.000017528264,0.0011344039,0.0006347758,0.0004544618,0.00015904386,0.000042878914,0.0521285],"genre_scores_gemma":[0.98973024,0.007931238,0.000042885207,0.0006311939,0.0008832068,0.000036366924,0.000004001303,0.000025700307,0.00071516394],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99876505,0.00004541563,0.00039251242,0.0002682163,0.00025578495,0.00027299716],"domain_scores_gemma":[0.9991525,0.00017072156,0.00025989086,0.00013997577,0.0001306424,0.00014631383],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030549962,0.00020114424,0.00048318692,0.00016071677,0.0005079468,0.0012280212,0.0008583173,0.000036784768,0.0051065083],"category_scores_gemma":[0.00003492064,0.00015380276,0.00012689442,0.000113193055,0.00026853857,0.0016163953,0.00037223363,0.00015562473,0.00001862519],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00079821254,0.00020319106,0.3973223,0.00049332436,0.000824967,0.000034546083,0.10888939,0.000018382318,0.0041421037,0.008196744,0.2956679,0.18340898],"study_design_scores_gemma":[0.0006887638,0.00010075627,0.17345469,0.00024356047,0.00014127466,0.000002680526,0.0035592916,0.00004015888,0.001549483,0.0086870855,0.811025,0.00050721527],"about_ca_topic_score_codex":0.00041775886,"about_ca_topic_score_gemma":0.00023404976,"teacher_disagreement_score":0.51535714,"about_ca_system_score_codex":0.000011170726,"about_ca_system_score_gemma":0.00003625707,"threshold_uncertainty_score":0.9998088},"labels":[],"label_agreement":null},{"id":"W3165958555","doi":"","title":"Continued Alienation of the Whitened Othellos in Djanet Sears`s Harlem Duet","year":2016,"lang":"en","type":"article","venue":"현대영어영문학","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Alienation; Black women; Race (biology); Girl; Black feminism; Black female; Gender studies; Sociology; African american; Art; Psychology; Anthropology; Law; Political science","score_opus":0.015545271942732442,"score_gpt":0.19366484615511087,"score_spread":0.17811957421237842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3165958555","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9460939,0.00015203939,0.0000011862196,0.002061377,0.00019832667,0.00010014284,0.000037075803,0.000013034081,0.051342875],"genre_scores_gemma":[0.98788524,0.00006681087,0.0000042221013,0.0001353749,0.0001154716,0.000006391827,7.790462e-7,0.0000050220083,0.011780718],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961376,0.000023217588,0.00011678603,0.00007094814,0.000076845085,0.000098439494],"domain_scores_gemma":[0.9997689,0.000043880224,0.000044812074,0.00010044271,0.00003231793,0.000009619706],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000097698656,0.0000553601,0.00009359129,0.000032986685,0.000074635886,0.000014393225,0.00006962688,0.000015534752,0.00037494584],"category_scores_gemma":[0.00001080191,0.000026496515,0.000024510171,0.00001888483,0.00015697734,0.00009425647,0.000032943186,0.000028509581,0.00002342583],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018091351,0.00017181982,0.3010038,0.00013727756,0.00013123106,0.000002956881,0.17249143,0.0000032156872,0.008876974,0.38628542,0.027546681,0.10316829],"study_design_scores_gemma":[0.0016954056,0.0001289717,0.1327236,0.00027714312,0.000027526012,0.0000013965986,0.0052616224,0.000026181244,0.0077911643,0.006155557,0.8456618,0.00024961855],"about_ca_topic_score_codex":0.00014103802,"about_ca_topic_score_gemma":0.0038600487,"teacher_disagreement_score":0.8181151,"about_ca_system_score_codex":0.0000072087005,"about_ca_system_score_gemma":0.000007171457,"threshold_uncertainty_score":0.4105394},"labels":[],"label_agreement":null},{"id":"W3166479029","doi":"10.3138/tric.42.1.a05","title":"“A Dramaturgical Chimera”: Judith Thompson, Urjo Kareda, and the Politics of Playwright-Dramaturg Negotiations","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Humanities; Vision; Politics; Art; Philosophy; Political science; Theology; Law","score_opus":0.03836151036700045,"score_gpt":0.2909565951441422,"score_spread":0.2525950847771417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3166479029","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15823568,0.15596646,0.000001242751,0.11690923,0.0019443023,0.0006074785,0.0013967307,0.000015060783,0.5649238],"genre_scores_gemma":[0.9771218,0.011417979,0.000026208387,0.00023509025,0.0013175867,0.000030943615,0.000032238335,0.00002818542,0.009789976],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964207,0.00083897857,0.0005301847,0.0003240645,0.0008908677,0.0009952444],"domain_scores_gemma":[0.9966629,0.0022339858,0.000080437254,0.00048032682,0.00034397532,0.00019837607],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009928739,0.00024928263,0.00056278944,0.00014341761,0.0014201443,0.00019689661,0.0003052694,0.000095198724,0.0014466324],"category_scores_gemma":[0.000030746996,0.00017025071,0.00009593642,0.0003404168,0.0022757656,0.0001638889,0.0002985494,0.0010638831,0.00001269016],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022721307,0.00016511903,0.0028679157,0.0007233038,0.0003721922,0.00027648188,0.018319063,0.00009163603,0.000005809327,0.91083884,0.042737972,0.023374464],"study_design_scores_gemma":[0.0015086089,0.000074424235,0.0012678336,0.0005495233,0.000066689114,0.00006400455,0.03648312,0.00057410763,0.00014993314,0.020842534,0.9381699,0.00024932885],"about_ca_topic_score_codex":0.9410173,"about_ca_topic_score_gemma":0.98385835,"teacher_disagreement_score":0.89543194,"about_ca_system_score_codex":0.0004858542,"about_ca_system_score_gemma":0.0043475297,"threshold_uncertainty_score":0.9998799},"labels":[],"label_agreement":null},{"id":"W3166607753","doi":"10.3138/tric.42.1.a01","title":"Seeding a Green New Theatre in Canada","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.08675843958390286,"score_gpt":0.3006429259504318,"score_spread":0.21388448636652893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3166607753","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16730835,0.07123263,1.5468014e-7,0.07170757,0.0024839393,0.0003781816,0.00048586467,0.000011118634,0.6863922],"genre_scores_gemma":[0.96725255,0.006561808,0.000012057782,0.00049098703,0.0021432082,0.0000256375,0.000025851794,0.000053464897,0.023434404],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9951156,0.0004102096,0.00059613545,0.0005512202,0.0013334086,0.0019934366],"domain_scores_gemma":[0.99811584,0.00071720436,0.00005081692,0.0005075218,0.00016545114,0.00044316138],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008102806,0.00035985716,0.0006059806,0.00027216575,0.00058739254,0.0001508736,0.0004811685,0.000078600635,0.0039310087],"category_scores_gemma":[0.0000081796925,0.0003517516,0.00006976073,0.0007030962,0.00024889922,0.00026595668,0.00034687077,0.0014739509,0.000035110144],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00012112412,0.00007632968,0.10970418,0.0007801225,0.00016818811,0.005729771,0.009417511,0.00036622852,0.000014264403,0.005125732,0.20666274,0.6618338],"study_design_scores_gemma":[0.00067342975,0.000050852414,0.0023580987,0.0010254893,0.000013994819,0.0000361397,0.06811134,0.00030189398,0.00009772073,0.0018741238,0.92507225,0.0003846845],"about_ca_topic_score_codex":0.9999992,"about_ca_topic_score_gemma":0.99999994,"teacher_disagreement_score":0.7999442,"about_ca_system_score_codex":0.010603069,"about_ca_system_score_gemma":0.08282289,"threshold_uncertainty_score":0.9998934},"labels":[],"label_agreement":null},{"id":"W3166786729","doi":"10.3138/tric.42.1.f03","title":"Dreaming New Worlds: Katz and Kerr in the 1970s","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Victoria","funders":"","keywords":"Humanities; Art","score_opus":0.08558880408453075,"score_gpt":0.31674101413142164,"score_spread":0.2311522100468909,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3166786729","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16134676,0.19857025,1.9424793e-7,0.07732774,0.0007691753,0.00028247145,0.00009080959,0.00000591987,0.56160665],"genre_scores_gemma":[0.96468043,0.011283811,0.0000117089285,0.0005468685,0.0013799759,0.000022409598,0.000009455317,0.000021262129,0.022044063],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971599,0.00058807444,0.00029860184,0.00030581595,0.000675938,0.00097166555],"domain_scores_gemma":[0.99835134,0.0010675098,0.000024411058,0.00035230265,0.00006737905,0.00013707762],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012898954,0.00018652844,0.00028362026,0.00017088882,0.0006215839,0.00025025744,0.00028691773,0.00004703303,0.0010266217],"category_scores_gemma":[0.000013025049,0.00014181815,0.000035666733,0.00040598452,0.00043464813,0.00017855226,0.00017277212,0.0009710087,0.00002113215],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000062265855,0.00008690404,0.020227997,0.00040402115,0.00007264149,0.0015651502,0.045722023,0.00003576596,0.0000068731906,0.028804446,0.19389908,0.7091128],"study_design_scores_gemma":[0.0003662729,0.000048609392,0.0022495887,0.00054000574,0.000008832186,0.000031972646,0.09330191,0.00006257835,0.000024870802,0.0040035397,0.8992034,0.00015839512],"about_ca_topic_score_codex":0.9952763,"about_ca_topic_score_gemma":0.9997973,"teacher_disagreement_score":0.8033337,"about_ca_system_score_codex":0.000631804,"about_ca_system_score_gemma":0.004387719,"threshold_uncertainty_score":0.9998866},"labels":[],"label_agreement":null},{"id":"W3170170230","doi":"10.3138/tric.42.1.a02","title":"“Doing Ecology” in the Chemical Valley: Pedagogies of Time, Scale, and Participation in <i>The Chemical Valley Project</i>","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Humanities; Philosophy; Political science","score_opus":0.07148594190224272,"score_gpt":0.348770518975203,"score_spread":0.2772845770729603,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3170170230","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8847484,0.008378582,9.2865996e-8,0.018171376,0.00012559515,0.00046990937,0.00006411873,0.0000040767786,0.088037826],"genre_scores_gemma":[0.9953966,0.0034852684,0.000024057004,0.00023195264,0.00032082383,0.00013387483,0.000018504728,0.000014516182,0.00037438647],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99663645,0.0010364894,0.0004923145,0.0003094211,0.00068956014,0.0008357929],"domain_scores_gemma":[0.9973709,0.0020999324,0.000051857318,0.00032093775,0.00010975896,0.00004663846],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022830456,0.00018899496,0.00038377405,0.00014451002,0.00023863504,0.00009100389,0.00037544823,0.00009479176,0.00016803066],"category_scores_gemma":[0.000046310426,0.00012913831,0.000047220223,0.00042095422,0.00086296257,0.00013767724,0.00021299526,0.00094529183,0.0000055867213],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010764303,0.0023767713,0.18555866,0.0040420126,0.00029149407,0.0014482011,0.39859918,0.00027460823,0.003801074,0.014250845,0.09209558,0.29618514],"study_design_scores_gemma":[0.002702555,0.00043487598,0.01198858,0.0016431236,0.00009151782,0.0001102227,0.32979563,0.0015390381,0.0051310956,0.0047824844,0.64103097,0.00074992393],"about_ca_topic_score_codex":0.82826895,"about_ca_topic_score_gemma":0.984326,"teacher_disagreement_score":0.54893535,"about_ca_system_score_codex":0.00039310165,"about_ca_system_score_gemma":0.002142521,"threshold_uncertainty_score":0.52661073},"labels":[],"label_agreement":null},{"id":"W3171559594","doi":"10.3138/tric.42.1.f02","title":"Clicking a Collaborative Path: Exploring What (re)Conciliation Can Look Like in <i>Inheritance: a pick-the-path experience</i>","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Spectacle; Inheritance (genetic algorithm); Art; Political science; Law","score_opus":0.11974138654138183,"score_gpt":0.31762414430032604,"score_spread":0.1978827577589442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3171559594","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7494548,0.16228923,6.363476e-7,0.027808145,0.0038721692,0.000809825,0.00026448842,0.000019703572,0.055480994],"genre_scores_gemma":[0.9258512,0.069637336,0.000015365027,0.000706319,0.0010199826,0.00056061713,0.00001933433,0.000040596264,0.0021492324],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9953841,0.0007750859,0.0006137544,0.000588852,0.00119808,0.0014401057],"domain_scores_gemma":[0.99784285,0.0008595018,0.00009060978,0.0005457001,0.00047863278,0.000182686],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0012752188,0.00033972922,0.0004973093,0.00017316779,0.0011866358,0.00062635704,0.00040001346,0.00008039758,0.00054196635],"category_scores_gemma":[0.000026592801,0.00029633398,0.000064794855,0.0010910119,0.0007165121,0.001209183,0.00026464986,0.001109343,0.000013132074],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024321386,0.00021370656,0.028353576,0.0006869161,0.00013185701,0.002130618,0.6592867,0.0004522309,0.00009798754,0.008534133,0.010514071,0.289355],"study_design_scores_gemma":[0.0004322857,0.000081038816,0.00036325422,0.0017162677,0.000006927503,0.0000057946936,0.5527489,0.00017046681,0.00027930134,0.0006343493,0.44331193,0.00024945807],"about_ca_topic_score_codex":0.951199,"about_ca_topic_score_gemma":0.9993141,"teacher_disagreement_score":0.43279785,"about_ca_system_score_codex":0.0035907088,"about_ca_system_score_gemma":0.0074511324,"threshold_uncertainty_score":0.99994886},"labels":[],"label_agreement":null},{"id":"W3174833506","doi":"10.3138/md.64.2.br07","title":"Magda Romanska and Kathleen Cioffi, eds., <i>Theatermachine: Tadeusz Kantor in Context</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Viewpoints; Context (archaeology); Discipline; History; Epistemology; Sociology; Art history; Classics; Art; Visual arts; Philosophy; Social science; Archaeology","score_opus":0.013988054212325246,"score_gpt":0.21704160931895602,"score_spread":0.20305355510663078,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3174833506","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9196854,0.00842894,0.00001375038,0.0015701393,0.0003941914,0.00011792157,0.00006773669,0.00006959012,0.06965228],"genre_scores_gemma":[0.98272586,0.0004273412,0.000018902092,0.0010163776,0.0004791194,0.000018736693,0.000021242464,0.000022982102,0.015269425],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990571,0.00003959879,0.00021898554,0.00026131378,0.00012678739,0.00029617714],"domain_scores_gemma":[0.99961513,0.00004168957,0.000035907575,0.00019988955,0.000052562827,0.000054822834],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000090412024,0.00018438077,0.0002720623,0.000060053637,0.0002537124,0.00018214,0.00009707787,0.000044286982,0.00054230535],"category_scores_gemma":[0.000007223249,0.00015452795,0.00005651944,0.000028957556,0.00015315435,0.00024039843,0.00009895224,0.0001723031,0.000061309205],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026038382,0.00049342937,0.04750261,0.00041824274,0.0002976256,0.0004848367,0.45463297,0.000039883416,0.002361148,0.071123034,0.015991421,0.40639442],"study_design_scores_gemma":[0.001869439,0.00012561193,0.0060304655,0.00016418075,0.000054429478,0.000037425594,0.0068973484,0.0017062143,0.0010567998,0.008055943,0.97339356,0.000608553],"about_ca_topic_score_codex":0.0004458486,"about_ca_topic_score_gemma":0.009763291,"teacher_disagreement_score":0.95740217,"about_ca_system_score_codex":0.000018255621,"about_ca_system_score_gemma":0.000028513377,"threshold_uncertainty_score":0.6301467},"labels":[],"label_agreement":null},{"id":"W3174847794","doi":"10.3138/md.64.2.br08","title":"Diana Taylor, <i>¡Presente!: The Politics of Presence</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Citizen journalism; Object (grammar); Event (particle physics); Sociology; Political science; Visual arts; History; Art; Law; Computer science; Artificial intelligence","score_opus":0.028522209776841598,"score_gpt":0.23488679736528423,"score_spread":0.20636458758844262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3174847794","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.424572,0.0073280935,0.00016195622,0.008591337,0.0012043582,0.0001825491,0.00016527975,0.000072616815,0.5577218],"genre_scores_gemma":[0.96157724,0.00010579924,0.000014150736,0.00042417413,0.00060716347,0.000008408556,0.000006614222,0.000010398179,0.037246045],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993309,0.00002943553,0.00015219224,0.000113512455,0.0001662145,0.00020775144],"domain_scores_gemma":[0.9994034,0.00010257116,0.00004072877,0.00029444936,0.00013095276,0.000027855496],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000057180172,0.00009004133,0.00013901042,0.000016983844,0.00036450403,0.000076293945,0.00016063155,0.000019420064,0.0005944763],"category_scores_gemma":[0.000023938446,0.00005771481,0.000081636936,0.000026663804,0.00031453784,0.00010606107,0.00010408432,0.000092607945,0.000039980136],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022761118,0.00021001839,0.0031800717,0.00015110771,0.0002723302,0.000024785611,0.22964342,0.00011209352,0.0004811704,0.6627637,0.081400886,0.021737643],"study_design_scores_gemma":[0.00026013944,0.00004692037,0.00031511518,0.000037640915,0.000051870873,0.000005392434,0.012329903,0.0014612406,0.0035804838,0.039968934,0.94177324,0.00016914507],"about_ca_topic_score_codex":0.00030475424,"about_ca_topic_score_gemma":0.0011325076,"teacher_disagreement_score":0.8603723,"about_ca_system_score_codex":0.0000069707844,"about_ca_system_score_gemma":0.000029096658,"threshold_uncertainty_score":0.65090984},"labels":[],"label_agreement":null},{"id":"W3175419207","doi":"10.3138/md.64.2.br04","title":"Stacie Selmon McCormick, <i>Staging Black Fugitivity</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Emancipation; Black female; Black history; History; Art; Literature; Art history; Gender studies; Sociology; Law; Political science; Politics","score_opus":0.026694129681606924,"score_gpt":0.22728936681102005,"score_spread":0.20059523712941313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3175419207","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43608743,0.0007033635,0.00024687996,0.0010847308,0.0004600926,0.000068584995,0.000046913272,0.00014694632,0.5611551],"genre_scores_gemma":[0.96001047,0.00012275201,0.00004035418,0.00078744366,0.0007135451,0.0000073034057,0.000022857472,0.000023291619,0.038271964],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908394,0.00002590799,0.00016006255,0.00023685404,0.0001718665,0.00032138178],"domain_scores_gemma":[0.9995176,0.00003859302,0.000040347735,0.0002402776,0.0001152132,0.00004797285],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007989303,0.00015818665,0.00019651835,0.000038382557,0.00042003806,0.00025170983,0.00009427226,0.000029650912,0.0013577072],"category_scores_gemma":[0.000007549645,0.00014173213,0.00009259495,0.00003338753,0.00017508418,0.00032110806,0.00009823568,0.00014586122,0.00036003726],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010064524,0.00053736486,0.006642412,0.00042808603,0.00044723955,0.00029958444,0.5310471,0.0002937003,0.003979788,0.24275681,0.044258285,0.16920899],"study_design_scores_gemma":[0.0003994382,0.000044192042,0.00027204579,0.000055858392,0.00004194261,0.000005987002,0.008723171,0.001771066,0.0039704936,0.0070510968,0.977304,0.00036074023],"about_ca_topic_score_codex":0.0000613366,"about_ca_topic_score_gemma":0.0006589401,"teacher_disagreement_score":0.9330457,"about_ca_system_score_codex":0.000025511183,"about_ca_system_score_gemma":0.000042479027,"threshold_uncertainty_score":0.9995552},"labels":[],"label_agreement":null},{"id":"W3175591960","doi":"10.3138/md.64.2.br01","title":"Christopher Bigsby. <i>Staging America: Twenty-First Century Dramatists</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Performance art; Visual arts; Art history; Literature; Art","score_opus":0.015701901619795258,"score_gpt":0.2159460812935063,"score_spread":0.20024417967371103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3175591960","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22151242,0.013161306,0.00077270577,0.0056588976,0.0035396153,0.00026355998,0.00021136651,0.0005228398,0.7543573],"genre_scores_gemma":[0.9736951,0.00075421383,0.00014897459,0.0016731102,0.0011139018,0.00002449511,0.000055890367,0.00004067383,0.022493634],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987911,0.000028062259,0.00024258877,0.00031078781,0.0002268238,0.00040060966],"domain_scores_gemma":[0.99934906,0.000043231357,0.00007689858,0.0003444639,0.00011531663,0.000071048074],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000051459945,0.00021815085,0.00027736317,0.000048154903,0.0007656605,0.0003018015,0.00015376652,0.00003643709,0.0031644958],"category_scores_gemma":[0.000010718268,0.00019355858,0.00012689488,0.000058409918,0.00021395757,0.00025132555,0.00013494087,0.00017734796,0.00050411257],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009549013,0.0007129089,0.0060866605,0.000615619,0.00061743264,0.0003513897,0.45754614,0.00032336538,0.0007685637,0.06096939,0.18225604,0.289657],"study_design_scores_gemma":[0.00030509022,0.000026138398,0.00026385364,0.000059029826,0.000035666537,0.0000057726793,0.0052765054,0.00050241005,0.00021356286,0.0014125686,0.99161583,0.0002835973],"about_ca_topic_score_codex":0.00029416397,"about_ca_topic_score_gemma":0.0008255099,"teacher_disagreement_score":0.8093598,"about_ca_system_score_codex":0.000045174187,"about_ca_system_score_gemma":0.000038626444,"threshold_uncertainty_score":0.99774677},"labels":[],"label_agreement":null},{"id":"W3176222410","doi":"10.3138/md.64.2.1154","title":"“Imagination Is Now the World”: W.B. Yeats and the Staging of Visionary Experience","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Soul; Curiosity; Poetry; Mysticism; Literature; Art; Phenomenology (philosophy); Power (physics); Aesthetics; Occult; Philosophy; Psychology; Social psychology; Epistemology","score_opus":0.018896019052451415,"score_gpt":0.25292065438286815,"score_spread":0.23402463533041673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3176222410","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86125386,0.0052462257,0.0000893555,0.014436794,0.00027067488,0.00011366614,0.000013756657,0.000022041117,0.118553616],"genre_scores_gemma":[0.9792133,0.00021102095,0.000016264465,0.000765389,0.00012906727,0.000010653614,0.0000015388356,0.0000048290185,0.019647926],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995859,0.000027130482,0.000094991265,0.000091297865,0.00011633008,0.00008430021],"domain_scores_gemma":[0.9996467,0.00008850225,0.000033857417,0.0001475101,0.000074646756,0.000008763247],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008679637,0.000059318907,0.000087505075,0.000018743802,0.00037899238,0.00008482689,0.00007675565,0.000006233876,0.00037942006],"category_scores_gemma":[0.000005660712,0.000030084007,0.000031864383,0.00002770654,0.00040628915,0.00013800619,0.00007892177,0.000059231104,0.000007681627],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003822229,0.000034586723,0.0025432387,0.000034348246,0.000050671028,0.000003262029,0.85203767,0.000013240788,0.0001824658,0.086650826,0.005268542,0.053142954],"study_design_scores_gemma":[0.0014572432,0.000039958006,0.010997912,0.00014646321,0.0000742037,0.000008292003,0.07938809,0.016469993,0.0044241124,0.050203755,0.8364832,0.00030681392],"about_ca_topic_score_codex":0.000041143292,"about_ca_topic_score_gemma":0.00024376837,"teacher_disagreement_score":0.8312146,"about_ca_system_score_codex":0.0000045194492,"about_ca_system_score_gemma":0.000010891484,"threshold_uncertainty_score":0.41543838},"labels":[],"label_agreement":null},{"id":"W3176597132","doi":"10.1177/09571558211021697","title":"<i>Incendies</i> , les sons du silence","year":2021,"lang":"fr","type":"article","venue":"French Cultural Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Humanities; Art; Philosophy; Ethnology; Sociology","score_opus":0.0543056333509514,"score_gpt":0.272411237312839,"score_spread":0.2181056039618876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3176597132","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08226403,0.7300783,0.0000023787043,0.03154334,0.00785791,0.00013763116,0.00044953194,0.00012213227,0.14754479],"genre_scores_gemma":[0.3467718,0.28760028,0.00013360182,0.0006524926,0.006485964,0.0000581595,0.000046942252,0.000024542753,0.3582262],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979257,0.000107211745,0.00043970576,0.00048056053,0.00031655087,0.00073029124],"domain_scores_gemma":[0.9984058,0.00017081747,0.00013686945,0.00025334972,0.00094011915,0.000093045586],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013278477,0.00049470743,0.00066068023,0.000033817163,0.0036937634,0.00028510633,0.00020999907,0.000100630845,0.0023075046],"category_scores_gemma":[0.00014023119,0.00036549222,0.00029609483,0.00013250062,0.001645737,0.00058879703,0.0004171846,0.00035047036,0.0006474852],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006043501,0.00013896001,0.0033919245,0.0004448003,0.00109394,0.000116122734,0.1209017,0.000011043004,0.000049096983,0.044074453,0.8065544,0.02321752],"study_design_scores_gemma":[0.00025667629,0.00010774974,0.0017272251,0.00047502515,0.00023763967,0.00003749302,0.17933975,0.00000696553,0.00033563926,0.0009961927,0.8160315,0.00044812055],"about_ca_topic_score_codex":0.0020630264,"about_ca_topic_score_gemma":0.009466945,"teacher_disagreement_score":0.44247797,"about_ca_system_score_codex":0.0001356032,"about_ca_system_score_gemma":0.000058072193,"threshold_uncertainty_score":0.9998797},"labels":[],"label_agreement":null},{"id":"W3181963692","doi":"10.1007/978-3-030-74594-3_4","title":"Transformative Complexity of Found Objects in Devised Zimbabwean Theatre","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Transformative learning; Aesthetics; Relation (database); Sociology; Art; Computer science; Pedagogy","score_opus":0.07862447783271967,"score_gpt":0.24336792016851302,"score_spread":0.16474344233579336,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3181963692","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00091578206,0.0010241928,0.0000023781854,0.00014277974,0.00024139248,0.00023882452,0.00018460533,0.00003225326,0.9972178],"genre_scores_gemma":[0.37593356,0.00068525266,0.00003892751,0.00018383897,0.00036662948,0.000008313738,0.000121009725,0.000036177997,0.6226263],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897003,0.000015008693,0.0004408782,0.00018831194,0.00018894821,0.00019680506],"domain_scores_gemma":[0.9994924,0.00006179513,0.00011373843,0.00019218327,0.00010973725,0.000030135883],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008899003,0.00029887163,0.00064516015,0.00014949245,0.00014717231,0.000040515326,0.00012648478,0.00009068186,0.013214906],"category_scores_gemma":[0.0000011750178,0.00022923165,0.0002139156,0.0000110711935,0.0006191701,0.00014275008,0.00004109845,0.0002605658,0.000069414506],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036284415,0.000026203566,0.000011521051,0.00026376234,0.00015801653,0.000006996862,0.06087099,7.6987374e-7,0.0000015084053,0.9326447,0.0010696375,0.0049096122],"study_design_scores_gemma":[0.0008214923,0.00021529497,0.000065294276,0.0008570317,0.00010948616,0.000003184476,0.018075846,0.000013607755,0.00010810423,0.0701052,0.9090424,0.00058300747],"about_ca_topic_score_codex":0.0003454875,"about_ca_topic_score_gemma":0.050109938,"teacher_disagreement_score":0.9079728,"about_ca_system_score_codex":0.00003758507,"about_ca_system_score_gemma":0.00006745548,"threshold_uncertainty_score":0.9876872},"labels":[],"label_agreement":null},{"id":"W3183330695","doi":"10.3138/ctr.187.012","title":"<i>Clean Irene</i> in the Parking Lot","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blackout; PARRY; Visual arts; Performance art; Factory (object-oriented programming); Art; Art history; Advertising; Sociology; Engineering; Computer science; Business; Artificial intelligence; Power (physics)","score_opus":0.036890849381318744,"score_gpt":0.23743564349875113,"score_spread":0.20054479411743237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3183330695","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008962809,0.298654,1.2569146e-7,0.011421105,0.00025352,0.00015874332,0.000029012144,0.0000126706045,0.68857455],"genre_scores_gemma":[0.6827254,0.25574747,0.000011690462,0.056208074,0.0009780633,0.00007299943,0.00005219021,0.00003060173,0.004173496],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916226,0.000097198754,0.00019372726,0.00014501845,0.00009432338,0.00030747638],"domain_scores_gemma":[0.9995139,0.000050456118,0.000027811162,0.00029210182,0.00003652879,0.000079157515],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00028769663,0.00012092219,0.00023344887,0.00004121555,0.00031601219,0.000081154394,0.00018837873,0.000016961154,0.0020211295],"category_scores_gemma":[0.000010197896,0.000077649725,0.00009620185,0.0001036791,0.000078735524,0.00008077195,0.000015128646,0.00013781301,0.00022711552],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000015284885,0.000023618653,0.0011753452,0.0014037362,0.000048557118,0.00022795761,0.022929193,8.6219575e-7,7.956283e-7,0.06592136,0.17956117,0.7287059],"study_design_scores_gemma":[0.000051514005,0.000009053372,0.000109010696,0.0013715833,0.000035834117,0.00001998192,0.002805106,8.757302e-7,0.0000020689174,0.00030909604,0.99517477,0.000111112495],"about_ca_topic_score_codex":0.032277975,"about_ca_topic_score_gemma":0.88705105,"teacher_disagreement_score":0.8547731,"about_ca_system_score_codex":0.00004984536,"about_ca_system_score_gemma":0.00020094366,"threshold_uncertainty_score":0.9988912},"labels":[],"label_agreement":null},{"id":"W3183903492","doi":"10.3138/ctr.187.002","title":"Breaking Ground","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Event (particle physics); Lottery; Performance art; Visual arts; Space (punctuation); History; Art history; Media studies; Art; Sociology; Computer science","score_opus":0.035408725733636036,"score_gpt":0.24142922770190614,"score_spread":0.2060205019682701,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3183903492","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000453275,0.33711258,2.932418e-7,0.004650089,0.0003835934,0.000082524144,0.00003965666,0.00002406501,0.6572539],"genre_scores_gemma":[0.55396247,0.37125194,0.00003776998,0.040795185,0.003077759,0.00006381146,0.00013280052,0.00006682967,0.030611455],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931204,0.000033556902,0.00015598898,0.00014558327,0.00007243616,0.00028040737],"domain_scores_gemma":[0.9994928,0.000021445636,0.000026630674,0.00023028646,0.00007565889,0.00015313033],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000100427766,0.00011493098,0.00023780107,0.000039898507,0.0003844845,0.00007879648,0.00009474775,0.00001720759,0.010468414],"category_scores_gemma":[0.000007565407,0.000093669405,0.00010763305,0.00005731611,0.00007074227,0.00011298921,0.000016405518,0.000085556036,0.0006535809],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.820432e-7,0.000013169882,0.00033829839,0.0023518992,0.00012401697,0.00017330456,0.0050692256,1.7280112e-7,0.000001994668,0.14775042,0.2065459,0.6376306],"study_design_scores_gemma":[0.000038300022,0.00000733526,0.00006224675,0.001450561,0.000060312894,0.000031692485,0.0006418652,4.6528783e-7,0.000002928992,0.000340351,0.99723524,0.00012871888],"about_ca_topic_score_codex":0.034986448,"about_ca_topic_score_gemma":0.6670093,"teacher_disagreement_score":0.79068935,"about_ca_system_score_codex":0.00006570056,"about_ca_system_score_gemma":0.0002542048,"threshold_uncertainty_score":0.99043614},"labels":[],"label_agreement":null},{"id":"W3183993439","doi":"10.3138/ctr.187.004","title":"SummerWorks with an Accent","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"French; Stress (linguistics); Lament; Art; Variety (cybernetics); Focus (optics); History; Visual arts; Humanities; Art history; Literature; Linguistics; Computer science","score_opus":0.03622957846003717,"score_gpt":0.2446148796343466,"score_spread":0.20838530117430942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3183993439","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014010305,0.3234996,9.142815e-7,0.006217057,0.00027185678,0.0002066587,0.00007247449,0.000040236147,0.6682902],"genre_scores_gemma":[0.45464244,0.46533877,0.00015052852,0.049070355,0.0029455319,0.00013923172,0.0003903759,0.00011835323,0.027204424],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992489,0.00004227196,0.00013748597,0.00017992913,0.00008590195,0.00030549915],"domain_scores_gemma":[0.9992778,0.000012551861,0.000027634738,0.00031994793,0.00009862328,0.00026344546],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008583498,0.00013859713,0.00025771323,0.00003694012,0.0003425839,0.00008593462,0.00011741204,0.000019133318,0.0077981097],"category_scores_gemma":[0.0000028623547,0.000095392614,0.000062113635,0.00006442474,0.00008793411,0.00016767302,0.000011838625,0.00010544177,0.00023041917],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007893343,0.000042526663,0.0011449693,0.001725335,0.00017805333,0.00024473865,0.005216986,0.0000012849134,5.97523e-7,0.06300927,0.09634552,0.8320828],"study_design_scores_gemma":[0.00006553691,0.00004769898,0.00006170388,0.0014316617,0.000081843755,0.000021513175,0.000868737,0.0000011194201,0.0000045097504,0.00008924683,0.99716663,0.00015981228],"about_ca_topic_score_codex":0.019984126,"about_ca_topic_score_gemma":0.83750045,"teacher_disagreement_score":0.9008211,"about_ca_system_score_codex":0.000055237546,"about_ca_system_score_gemma":0.0003438519,"threshold_uncertainty_score":0.99310887},"labels":[],"label_agreement":null},{"id":"W3184800137","doi":"10.3138/ctr.187.022","title":"The Possibility of New Work in the COVID Era","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Coronavirus disease 2019 (COVID-19); Futures contract; Visual arts; Pandemic; Work (physics); 2019-20 coronavirus outbreak; Key (lock); Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2); Media studies; Art; History; Art history; Aesthetics; Sociology; Engineering; Computer science; Computer security; Economics","score_opus":0.045899019678791175,"score_gpt":0.2613216065313572,"score_spread":0.21542258685256604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3184800137","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0039139953,0.69640696,1.9482273e-7,0.050440438,0.0003081726,0.00034863985,0.000041857133,0.000008061927,0.2485317],"genre_scores_gemma":[0.58831435,0.3673908,0.000017525357,0.029927181,0.0011187895,0.000062105755,0.000031310246,0.000025955926,0.013111948],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914736,0.00014251453,0.0002553921,0.00011733441,0.000099845274,0.0002375394],"domain_scores_gemma":[0.99920315,0.00016931794,0.00004613179,0.0004356437,0.00005032719,0.00009545322],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005354144,0.00009896949,0.00023006336,0.00002123067,0.00037753955,0.000059099246,0.00025319806,0.000016872516,0.0011862965],"category_scores_gemma":[0.000044448556,0.00004883796,0.000113929316,0.0001428606,0.00016520919,0.00004891682,0.000016840471,0.00014722094,0.00005433454],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008716918,0.00001876438,0.0035960875,0.0009485624,0.00006144526,0.000027339958,0.028354252,5.913719e-7,1.9419026e-7,0.047307964,0.39212182,0.5275543],"study_design_scores_gemma":[0.00005144321,0.000010652266,0.0009496596,0.0006216526,0.000032768894,0.000004998939,0.0019054967,1.2094058e-7,0.000001047754,0.0011695263,0.9951893,0.0000633527],"about_ca_topic_score_codex":0.053170435,"about_ca_topic_score_gemma":0.85869396,"teacher_disagreement_score":0.8055236,"about_ca_system_score_codex":0.00004992676,"about_ca_system_score_gemma":0.0006994867,"threshold_uncertainty_score":0.9997268},"labels":[],"label_agreement":null},{"id":"W3185209406","doi":"10.1007/978-3-030-75028-2_6","title":"When All Else Fails, Sing: Barrie Kosky’s The Women of Troy","year":2021,"lang":"en","type":"book-chapter","venue":"Global Germany in transnational dialogues","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Opera; Art; Style (visual arts); Literature; Wright; Repertoire; Context (archaeology); Performance art; Period (music); Visual arts; Wonder; Art history; Aesthetics; History; Psychology","score_opus":0.036105960305446445,"score_gpt":0.23041961033517322,"score_spread":0.19431365002972678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3185209406","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0039256494,0.0026293474,0.0000036981178,0.0050273063,0.00090014527,0.00028563957,0.002854754,0.000043796565,0.98432964],"genre_scores_gemma":[0.8742759,0.0007336429,0.000025434745,0.0010514305,0.0011458218,0.000060945724,0.0010424218,0.000037596772,0.12162676],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835986,0.000036425816,0.00053397886,0.00028434471,0.00046795438,0.0003174262],"domain_scores_gemma":[0.99925506,0.00011976488,0.00015221347,0.00021801547,0.00020262666,0.00005232397],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002046411,0.0003382247,0.00049294444,0.00008788898,0.00017256768,0.00011031991,0.0003124915,0.00014425252,0.003732936],"category_scores_gemma":[0.0000071635864,0.00025642427,0.00023591945,0.00001847172,0.0005133626,0.00021175986,0.000047891834,0.00024750392,0.000039551596],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045333778,0.000036385016,0.000023855377,0.00008523553,0.00028580514,0.000012178107,0.024175132,0.000012541343,0.0000036697256,0.9696485,0.004007608,0.0016638043],"study_design_scores_gemma":[0.0003215691,0.00005965477,0.0005420673,0.00006806453,0.00007072152,0.0000030614763,0.0010078681,0.0000041071535,0.0000049209925,0.18536684,0.81228185,0.00026926713],"about_ca_topic_score_codex":0.00006446313,"about_ca_topic_score_gemma":0.004075371,"teacher_disagreement_score":0.8703503,"about_ca_system_score_codex":0.00015913844,"about_ca_system_score_gemma":0.00014090369,"threshold_uncertainty_score":0.9999888},"labels":[],"label_agreement":null},{"id":"W3186134027","doi":"10.4000/ces.5884","title":"Bénédicte Ledent and Daria Tunca, eds., Caryl Phillips, Writing in the Key of Life","year":2013,"lang":"en","type":"article","venue":"Commonwealth Essays and Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Key (lock); Stock (firearms); Quarter (Canadian coin); Literature; Art; Classics; Philosophy; History; Computer science","score_opus":0.06282198358873849,"score_gpt":0.2726973059029603,"score_spread":0.20987532231422185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3186134027","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85860497,0.10325554,6.1588236e-7,0.0059598247,0.0002492913,0.00033745254,0.000022585462,0.000019785675,0.03154992],"genre_scores_gemma":[0.97546595,0.023172947,0.00000849231,0.00073805056,0.00033180605,0.000070753966,0.0000027411436,0.00000834757,0.00020092534],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989785,0.000079464175,0.0003842469,0.00015819258,0.00014407666,0.0002555005],"domain_scores_gemma":[0.999243,0.00034425498,0.00011224737,0.00014828246,0.00010880503,0.00004340158],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004440213,0.00016844374,0.0004281945,0.00006544696,0.0007906274,0.00009283725,0.00011470192,0.000025436562,0.000045307188],"category_scores_gemma":[0.000039558516,0.000099096054,0.00003451246,0.00003874074,0.0005850621,0.00017645991,0.00016637906,0.00016221797,0.000004933933],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045381006,0.00011580276,0.11894609,0.0008548796,0.00029657618,0.0000037696948,0.6621217,0.00000143622,0.000008297292,0.12432835,0.035189483,0.058088247],"study_design_scores_gemma":[0.002217746,0.00068782055,0.20334041,0.0006845148,0.00015332451,0.00000910579,0.54753786,0.00022085599,0.000012017225,0.019068373,0.22538021,0.0006877742],"about_ca_topic_score_codex":0.0017492495,"about_ca_topic_score_gemma":0.004392562,"teacher_disagreement_score":0.19019073,"about_ca_system_score_codex":0.000008517661,"about_ca_system_score_gemma":0.000016681175,"threshold_uncertainty_score":0.60809463},"labels":[],"label_agreement":null},{"id":"W3186310100","doi":"","title":"Nightwood Theatre, Asian Canadian women, and China Doll: the ties that bind","year":2011,"lang":"en","type":"book-chapter","venue":"Playwrights Canada Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"China; Gender studies; Genealogy; Geography; History; Sociology; Archaeology","score_opus":0.028967152479132206,"score_gpt":0.16862160301176987,"score_spread":0.13965445053263767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3186310100","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00061012973,0.0024373028,9.576238e-8,0.0002448849,0.0012838116,0.00046233917,0.0011375012,0.00004879856,0.9937751],"genre_scores_gemma":[0.19877756,0.00029752753,0.0000014925238,0.00048360208,0.00092623616,0.00006655867,0.00003505308,0.000082653285,0.79932934],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980292,0.000030107789,0.00032490492,0.0004465015,0.00040918152,0.000760139],"domain_scores_gemma":[0.9987439,0.0000586122,0.00018373436,0.00057207857,0.00006432072,0.00037737266],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000116610085,0.00067335926,0.0005789136,0.0001440521,0.0018481972,0.00029146025,0.00048059277,0.00018144955,0.001991318],"category_scores_gemma":[0.0000012391877,0.00039240698,0.000091490154,0.00000290551,0.0007521978,0.00010819322,0.00011141494,0.0005870786,0.000013595411],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037590777,0.0000036826425,0.000008924201,0.000101063706,0.00060921314,0.00008597148,0.07808916,1.7481787e-7,8.4514156e-8,0.8375507,0.0739615,0.009551965],"study_design_scores_gemma":[0.00017572133,0.00005994483,0.0000324494,0.00010628082,0.0001106908,0.00001637682,0.0008300123,0.0000011072603,0.000015163892,0.022582667,0.9754823,0.0005873001],"about_ca_topic_score_codex":0.9761126,"about_ca_topic_score_gemma":0.99963397,"teacher_disagreement_score":0.9015208,"about_ca_system_score_codex":0.0002495749,"about_ca_system_score_gemma":0.0008773483,"threshold_uncertainty_score":0.9998528},"labels":[],"label_agreement":null},{"id":"W3186621333","doi":"10.3138/ctr.187.020","title":"“I’m So Happy I’m Here Tonight”","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Cornerstone; Performing arts; Visual arts; Representation (politics); Positive Youth Development; Sociology; Media studies; Gender studies; Art; Psychology; Political science; Developmental psychology","score_opus":0.028951390913345674,"score_gpt":0.2368940278863067,"score_spread":0.20794263697296103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3186621333","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026148345,0.42193323,2.4097093e-7,0.008821981,0.00041395988,0.00011970947,0.00007734683,0.000030465635,0.56834155],"genre_scores_gemma":[0.17382118,0.66721946,0.00006868388,0.05119769,0.003491511,0.00011401925,0.00018256035,0.000095301475,0.10380959],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990571,0.00004791643,0.00021504694,0.0002043037,0.000099800825,0.00037578962],"domain_scores_gemma":[0.99924743,0.000029044299,0.000034412737,0.00034097861,0.00010634234,0.00024177197],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011201971,0.00016900703,0.00034692936,0.000046099183,0.0006130854,0.0001255249,0.00014319268,0.000029594412,0.01818068],"category_scores_gemma":[0.00001095159,0.00013255214,0.00016207447,0.000071543254,0.00013531416,0.00011979628,0.000022043887,0.00012619083,0.0015018608],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000015198026,0.000018659104,0.00030708828,0.0021738103,0.00014111427,0.00018809024,0.004607864,2.3293144e-7,0.00000218242,0.10868743,0.4794079,0.4044641],"study_design_scores_gemma":[0.000048587164,0.000013927821,0.00002017189,0.0018092495,0.00007350538,0.000024096824,0.00077377935,6.72241e-7,0.000011622915,0.00033153384,0.99670714,0.0001856851],"about_ca_topic_score_codex":0.02028664,"about_ca_topic_score_gemma":0.69491404,"teacher_disagreement_score":0.6746274,"about_ca_system_score_codex":0.000077575256,"about_ca_system_score_gemma":0.0005469609,"threshold_uncertainty_score":0.99927557},"labels":[],"label_agreement":null},{"id":"W3186967006","doi":"10.3138/ctr.187.014","title":"“Room for Failure Was Abundant”","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Parallels; Charisma; Visual arts; Accountability; Aesthetics; Sociology; Art; Media studies; Engineering; Political science; Law","score_opus":0.030119337257910522,"score_gpt":0.24213870990812983,"score_spread":0.2120193726502193,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3186967006","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00023663207,0.52283996,0.000004531762,0.029087486,0.0007821472,0.0005517108,0.0005330006,0.00005349106,0.44591102],"genre_scores_gemma":[0.17195056,0.5908575,0.00075346953,0.078769416,0.009508186,0.0008406337,0.0010825793,0.0002548209,0.14598283],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914104,0.000026848167,0.00020127269,0.00019369989,0.00007042441,0.00036671423],"domain_scores_gemma":[0.99931395,0.000045080767,0.000035657944,0.00027427787,0.00013585226,0.00019516874],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000120985394,0.00015509022,0.00034112434,0.00004571121,0.0005003542,0.00008142297,0.00012681044,0.000023412724,0.0053761117],"category_scores_gemma":[0.00001632231,0.00012341836,0.00019666288,0.00005266606,0.00006399801,0.000103942235,0.000014077114,0.0000840737,0.00033719424],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000019672548,0.00001121508,0.00006143281,0.0030425694,0.00011485049,0.00003344339,0.0022522311,2.0595424e-7,0.0000029271607,0.083437026,0.7397138,0.17132835],"study_design_scores_gemma":[0.000093619856,0.000023004995,0.00000572102,0.0013768804,0.000106846055,0.000017613404,0.00076706574,0.0000011452884,0.000017915188,0.0007511873,0.99666536,0.00017361266],"about_ca_topic_score_codex":0.006449451,"about_ca_topic_score_gemma":0.707202,"teacher_disagreement_score":0.70075256,"about_ca_system_score_codex":0.00006418127,"about_ca_system_score_gemma":0.00037045748,"threshold_uncertainty_score":0.9955331},"labels":[],"label_agreement":null},{"id":"W3188149324","doi":"10.21608/maat.2021.80053.1065","title":"بحث دراما \"لن أعیش فی جلباب أبی\" .. بین الروایة الأدبیة والمسلسل التلیفزیونی Drama \"I did not live in my father's gown\" the literary novel and the TV series بحث نقدی .. من إعداد د/ نهى مصطفى محروس إبراهیم مدرس المسرح- کلیة التربیة النوعیة – جامعة المنوفیة dnohaaglan1983@gmail.com Drama \"I did not live in my father's gown\" the literary novel and the TV seri","year":2021,"lang":"ar","type":"article","venue":"مجلة التربية النوعية و التکنولوجيا بحوث علمية و تطبيقية","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill-Queen's University Press","funders":"","keywords":"Drama; Literature; Art","score_opus":0.016751403694383965,"score_gpt":0.21773334028227892,"score_spread":0.20098193658789495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3188149324","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72000194,0.12424075,0.00013209348,0.10487087,0.008363472,0.010079068,0.0065531344,0.00089297444,0.02486568],"genre_scores_gemma":[0.9107752,0.03281564,0.00037384217,0.017832568,0.007423819,0.0019827145,0.00056032283,0.0008510872,0.027384793],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.97735345,0.0038510582,0.0054894825,0.0048195976,0.0032478585,0.00523854],"domain_scores_gemma":[0.9810045,0.008441435,0.0025224015,0.0057048593,0.0013551567,0.0009716936],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity"],"category_scores_codex":[0.0067417426,0.0050867866,0.0058234967,0.0010279984,0.008370168,0.0072519206,0.0050697825,0.0017767547,0.002816494],"category_scores_gemma":[0.0010184062,0.0029690664,0.0022868826,0.0022733104,0.01561429,0.0044487067,0.005574039,0.007235824,0.0007662717],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.014647376,0.003034235,0.008738897,0.001869631,0.004628359,0.00091109023,0.81824315,0.00029405483,0.0011861655,0.106829025,0.01797038,0.021647641],"study_design_scores_gemma":[0.037258644,0.0020390688,0.02342982,0.0054967143,0.0028432368,0.001781602,0.19400601,0.0064283996,0.0014199391,0.0149664385,0.7026704,0.007659734],"about_ca_topic_score_codex":0.00881437,"about_ca_topic_score_gemma":0.017021302,"teacher_disagreement_score":0.6847,"about_ca_system_score_codex":0.0006722838,"about_ca_system_score_gemma":0.0012234692,"threshold_uncertainty_score":0.99951917},"labels":[],"label_agreement":null},{"id":"W3190633495","doi":"10.12745/et.19.1.2908","title":"Lisa Hopkins. &lt;i&gt;Renaissance Drama on the Edge&lt;/i&gt;. Farnham: Ashgate, 2015. Pp ii, 191.","year":2016,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; The Renaissance; Art; Art history; Visual arts","score_opus":0.018292329437848562,"score_gpt":0.21634534121595445,"score_spread":0.1980530117781059,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3190633495","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2525172,0.0029897895,0.0000041806197,0.013145004,0.0015196605,0.00038717914,0.0001865189,0.00026740384,0.7289831],"genre_scores_gemma":[0.88365144,0.0013950943,0.000009460408,0.0008957719,0.0030088895,0.00008301643,0.000007727418,0.000062421095,0.110886194],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978739,0.00010720018,0.00037265336,0.00047555842,0.00044211198,0.0007285745],"domain_scores_gemma":[0.9984666,0.0003036386,0.00015121182,0.0008281799,0.00013367896,0.00011670793],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033652212,0.00046860203,0.00040871225,0.000119162425,0.0018211077,0.00025777746,0.00059204275,0.000107649816,0.008707031],"category_scores_gemma":[0.000022976814,0.00023233837,0.0002504219,0.000103167295,0.00078445795,0.0004918515,0.00019953461,0.00025450133,0.0031249684],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015372594,0.0001636994,0.0004723663,0.000022635331,0.00022968097,0.000011700689,0.030583235,0.0000018439349,0.0012424197,0.12643884,0.77885216,0.061827663],"study_design_scores_gemma":[0.0005825023,0.0005306042,0.001604409,0.00022932467,0.000048634898,0.0000034220664,0.0004396743,0.0000025289373,0.0008066893,0.0012806029,0.99404603,0.00042556797],"about_ca_topic_score_codex":0.00014468019,"about_ca_topic_score_gemma":0.0016030652,"teacher_disagreement_score":0.6311342,"about_ca_system_score_codex":0.000055580414,"about_ca_system_score_gemma":0.00005214287,"threshold_uncertainty_score":0.9994784},"labels":[],"label_agreement":null},{"id":"W3190802744","doi":"10.3389/fpsyg.2021.732233","title":"Editorial: Performance in Theatre and Everyday Life: Cognitive, Neuronal, and Applied Aspects of Acting","year":2021,"lang":"en","type":"editorial","venue":"Frontiers in Psychology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Psychology; Everyday life; Cognition; Front (military); Cognitive science; Cognitive psychology; Neuroscience; Epistemology","score_opus":0.012869533915735702,"score_gpt":0.2583786431553438,"score_spread":0.24550910923960811,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3190802744","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010003646,0.004903399,0.0000033768995,0.000066467095,0.91174245,0.00020841295,0.000094206334,0.000017424853,0.07296061],"genre_scores_gemma":[0.059415083,0.012167617,0.000057042515,0.0000891586,0.9279257,0.000047641122,0.00008942444,0.00004441627,0.00016390986],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983163,0.000086302876,0.0004500273,0.00053499575,0.00025362388,0.0003587357],"domain_scores_gemma":[0.9991229,0.00034504608,0.00020964305,0.00017796701,0.00009483437,0.00004961043],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00031088936,0.00032190184,0.0008267167,0.00035464406,0.00012940897,0.00004755727,0.00014805693,0.00043880445,0.000054541146],"category_scores_gemma":[0.00009347651,0.00030564604,0.000043267184,0.00008516092,0.0005685266,0.00013955566,0.00011051462,0.0009793871,0.0000019735687],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040207861,0.00006374998,0.0028581452,0.0003158036,0.00008969291,0.0000040218624,0.007457881,3.8771807e-7,0.0000028003706,0.00009828746,0.97233063,0.0163765],"study_design_scores_gemma":[0.0016812555,0.00020471761,0.0011093003,0.00032909124,0.0000535265,6.6373394e-7,0.004522289,0.0000028703546,0.0000057383277,0.000544225,0.9912544,0.0002919603],"about_ca_topic_score_codex":0.000058483056,"about_ca_topic_score_gemma":0.0004759409,"teacher_disagreement_score":0.072796695,"about_ca_system_score_codex":0.000022240807,"about_ca_system_score_gemma":0.000112475,"threshold_uncertainty_score":0.99993956},"labels":[],"label_agreement":null},{"id":"W3191798299","doi":"","title":"Barrie Kosky on the Contemporary Australian Stage: Affect, Post-Tragedy, Emergency","year":2021,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Affect (linguistics); Stage (stratigraphy); History; Art; Literature; Sociology; Communication; Geology","score_opus":0.06515531395450766,"score_gpt":0.25924166030139095,"score_spread":0.1940863463468833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3191798299","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006994204,0.0016618498,2.0398998e-7,0.0039716098,0.0024925892,0.00044828534,0.00074547675,0.00013352829,0.98984706],"genre_scores_gemma":[0.037045527,0.0005408193,0.00000138706,0.0012733066,0.0027907088,0.000043111,0.00036548715,0.00006413406,0.9578755],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984538,0.00008067196,0.00039795923,0.0003813837,0.00033784393,0.00034833475],"domain_scores_gemma":[0.99887896,0.00014121234,0.0001564883,0.00056009827,0.00018601574,0.0000772108],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021538575,0.000504345,0.00048529461,0.00009038041,0.0008904564,0.00017695272,0.00034102553,0.00014601025,0.14228675],"category_scores_gemma":[0.000015974756,0.00029374668,0.00038379198,0.000020608608,0.00028553634,0.00014838594,0.000112025795,0.0007109794,0.0012312067],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018294018,0.000022712584,0.000010095212,0.000117658135,0.0002460239,0.000029960866,0.009711235,2.570727e-7,0.0000019513654,0.251548,0.7379873,0.00030656063],"study_design_scores_gemma":[0.0001185787,0.0002538011,0.000029617258,0.0001618914,0.000055157496,0.0000011810423,0.00996003,3.1913837e-7,0.000036036574,0.0011244247,0.98783773,0.00042125577],"about_ca_topic_score_codex":0.00031045923,"about_ca_topic_score_gemma":0.0054402994,"teacher_disagreement_score":0.25042355,"about_ca_system_score_codex":0.000048266837,"about_ca_system_score_gemma":0.0003191526,"threshold_uncertainty_score":0.9999515},"labels":[],"label_agreement":null},{"id":"W3192175614","doi":"10.1017/9781009043632","title":"International Theatre Festivals and Twenty-First-Century Interculturalism","year":2021,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Interculturalism; Tourism; Negotiation; Context (archaeology); Destinations; Geography; Media studies; Sociology; Social science; Pedagogy; Archaeology; Multiculturalism","score_opus":0.02153233940424615,"score_gpt":0.19719336338028012,"score_spread":0.17566102397603398,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3192175614","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00044547959,0.0010850525,0.0000015255598,0.00014597112,0.0016793539,0.00018467459,0.0006297384,0.00009288159,0.99573535],"genre_scores_gemma":[0.00211528,0.0026424786,0.000008311777,0.00012464204,0.0013070863,0.000001257564,0.00025989584,0.000025772337,0.99351525],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990337,0.000032832504,0.00015434156,0.00036993064,0.00019321004,0.00021598794],"domain_scores_gemma":[0.9993506,0.000056174867,0.00012536113,0.0002262403,0.00016013414,0.000081462495],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000046069203,0.000320949,0.00035291124,0.0001102322,0.0004895557,0.00020506968,0.0003188426,0.00013066008,0.00008638447],"category_scores_gemma":[0.0000032176888,0.00029720497,0.00017012954,0.000003316927,0.00044911634,0.00017875223,0.0005243393,0.0003471729,0.00001237583],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005341507,0.000015037649,0.0000065054633,0.0001507056,0.0004863809,0.00014047585,0.008447102,2.7995114e-7,0.0000027920094,0.48582718,0.5008688,0.0040013045],"study_design_scores_gemma":[0.00036588064,0.000029302588,0.000010298857,0.0003737381,0.00019060198,0.000015836324,0.0028790603,0.000004992818,0.000012480366,0.0000048747424,0.99577314,0.00033981705],"about_ca_topic_score_codex":0.0002657929,"about_ca_topic_score_gemma":0.00007969988,"teacher_disagreement_score":0.4949043,"about_ca_system_score_codex":0.0001531605,"about_ca_system_score_gemma":0.00006160842,"threshold_uncertainty_score":0.999948},"labels":[],"label_agreement":null},{"id":"W3192371044","doi":"10.1386/scp_00042_5","title":"Spectral Characters: Genre and Materiality on the Modern Stage, Sarah Balkin (2019)","year":2021,"lang":"en","type":"article","venue":"Studies in Costume & Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Materiality (auditing); Stage (stratigraphy); Aesthetics; Literature; Art; History; Paleontology; Geology","score_opus":0.08323326310797775,"score_gpt":0.28846782449054587,"score_spread":0.20523456138256813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3192371044","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96603554,0.0048975586,2.423273e-7,0.0018688716,0.0014238753,0.0002167307,0.00006701474,0.000047800142,0.02544234],"genre_scores_gemma":[0.97252345,0.012724189,0.000009037355,0.0010121645,0.00074071996,0.00006078685,0.000011103329,0.000019285604,0.01289924],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985962,0.00007292089,0.00032383503,0.00035096862,0.0002208068,0.00043529464],"domain_scores_gemma":[0.99928063,0.00012501703,0.00008749722,0.00035470794,0.000119524404,0.00003264023],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037021496,0.00027535195,0.00038558507,0.00005616265,0.0007823391,0.00014310979,0.00016867153,0.00003418914,0.00032188385],"category_scores_gemma":[0.000027007956,0.00017923699,0.0000571256,0.000068291316,0.00082799926,0.00031211376,0.00023464626,0.00026553965,0.00009773553],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001280602,0.0007196946,0.062330607,0.0021340626,0.0016600385,0.00021459557,0.6617373,0.00008844594,0.0008061016,0.15197335,0.047708463,0.069346696],"study_design_scores_gemma":[0.0029513754,0.0010843572,0.16911963,0.001576542,0.00017201158,0.000049229933,0.12261892,0.000701307,0.0071820463,0.0055589555,0.68688685,0.0020987748],"about_ca_topic_score_codex":0.00012573929,"about_ca_topic_score_gemma":0.0015666394,"teacher_disagreement_score":0.6391784,"about_ca_system_score_codex":0.000071783616,"about_ca_system_score_gemma":0.000032073694,"threshold_uncertainty_score":0.73090726},"labels":[],"label_agreement":null},{"id":"W3194452944","doi":"10.1386/atr_00048_1","title":"Research-based theatre across disciplines: A relational approach to inquiry","year":2021,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba; University of British Columbia","funders":"","keywords":"Rehearsing; Field (mathematics); Embodied cognition; Sociology; Computer science; Visual arts; Art","score_opus":0.25389198460642487,"score_gpt":0.41504037331502264,"score_spread":0.16114838870859777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194452944","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.072572835,0.00063546636,0.00013394105,0.005142358,0.00029700657,0.0007968242,0.00013785399,0.0001400652,0.92014366],"genre_scores_gemma":[0.9883549,0.000058964622,0.0005107106,0.00023456945,0.003088051,0.000656137,0.00017474452,0.00007128471,0.0068505905],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949029,0.0004218821,0.0004053544,0.00084066414,0.0018783668,0.0015508524],"domain_scores_gemma":[0.9969874,0.0009630977,0.000032224114,0.0009045979,0.00082950876,0.00028317003],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0035765104,0.00028451416,0.0003819368,0.0004066676,0.003541919,0.0005233972,0.0005718879,0.0001317946,0.0009946068],"category_scores_gemma":[0.000026859989,0.00022161033,0.00014669409,0.00088832394,0.0020891775,0.00018662939,0.0007998179,0.0012793177,0.0017099506],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006096279,0.0010347838,0.0007336804,0.00030489307,0.00020300338,0.000031592932,0.17150481,0.0007482671,0.0006103798,0.7020017,0.06874492,0.05347235],"study_design_scores_gemma":[0.0008522271,0.00016236334,0.00052308134,0.000098086755,0.000012403626,0.000005403003,0.1794661,0.00019310867,0.0009864701,0.021733286,0.79555,0.00041746965],"about_ca_topic_score_codex":0.00019622858,"about_ca_topic_score_gemma":0.00084336364,"teacher_disagreement_score":0.9157821,"about_ca_system_score_codex":0.00017301047,"about_ca_system_score_gemma":0.00044093974,"threshold_uncertainty_score":0.99991864},"labels":[],"label_agreement":null},{"id":"W319456542","doi":"","title":"North Magnetic North Theatre Festival y el Fringe Theatre Festivasl: dos festivales de teatro en Ottawa (Canada) en junio de 2013","year":2014,"lang":"es","type":"article","venue":"ADE teatro: Revista de la Asociación de Directores de Escena de España","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Geography; Humanities; Cartography","score_opus":0.004690218599630351,"score_gpt":0.2197845043583813,"score_spread":0.21509428575875095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W319456542","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95038635,0.014039279,0.00014767777,0.0031599847,0.0004994289,0.001082823,0.00090829656,0.00071265147,0.029063497],"genre_scores_gemma":[0.982283,0.0053159096,0.0011910362,0.0011221762,0.0062851002,0.0002730285,0.00015918196,0.00044964097,0.0029209526],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9881347,0.0040814825,0.001311881,0.0013979151,0.0011068687,0.003967146],"domain_scores_gemma":[0.99255085,0.003931056,0.00067491934,0.0013445358,0.00025689768,0.0012417143],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.002472656,0.0019193997,0.0020120342,0.00036301694,0.0022458585,0.0018161011,0.0017893434,0.00080941885,0.00052752765],"category_scores_gemma":[0.0006298621,0.001801227,0.0009763116,0.00039685512,0.0014518043,0.0004933907,0.0005236327,0.0026464807,0.0001028022],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003071412,0.0004087694,0.9053025,0.0012268546,0.0008933027,0.00032125952,0.017922824,0.00027472977,0.00029563787,0.0093781,0.035404667,0.028264191],"study_design_scores_gemma":[0.0011032451,0.00040100468,0.5567705,0.0009567793,0.0011318262,0.00017932108,0.0017796274,0.00060497236,0.00014616169,0.00045086027,0.43500185,0.0014738335],"about_ca_topic_score_codex":0.11163163,"about_ca_topic_score_gemma":0.24824022,"teacher_disagreement_score":0.3995972,"about_ca_system_score_codex":0.0037863634,"about_ca_system_score_gemma":0.002719625,"threshold_uncertainty_score":0.9996545},"labels":[],"label_agreement":null},{"id":"W3197084248","doi":"10.3138/md-65-3-1217","title":"“The Point Is, You Don’t Seem to Have Learnt Anything”: Reimagining J.B. Priestley’s<i>An Inspector Calls</i>as a Brechtian<i>Lehrstück</i>for the Middle Classes","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Context (archaeology); Mode (computer interface); Aesthetics; Sociology; Point (geometry); Reflection (computer programming); Epistemology; Art; History; Philosophy; Law; Political science; Computer science","score_opus":0.046059487779809345,"score_gpt":0.25543330615495496,"score_spread":0.20937381837514563,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3197084248","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6512269,0.012287001,0.0018901763,0.2075016,0.00915261,0.00525216,0.001510179,0.0013746817,0.10980468],"genre_scores_gemma":[0.93277454,0.00014099175,0.0001193556,0.008960443,0.0014535019,0.00058119436,0.000028019793,0.000085166415,0.0558568],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979482,0.00009736492,0.00037489395,0.00046435447,0.0004658479,0.00064930954],"domain_scores_gemma":[0.9986394,0.0002982117,0.00013125145,0.0006599288,0.00015929114,0.00011189321],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0005963442,0.00031572522,0.00028766177,0.00007445327,0.006062661,0.0007852139,0.00067690585,0.00003453827,0.0006442483],"category_scores_gemma":[0.000048220205,0.00018611619,0.00017767464,0.00006721243,0.00033662945,0.0003321152,0.00044014462,0.0005685172,0.000081145285],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006037729,0.00022372822,0.0006138706,0.00007129138,0.0003464574,0.00001600563,0.8300301,0.0009800956,0.0001841074,0.03815964,0.093378134,0.03539282],"study_design_scores_gemma":[0.00038422697,0.0005065387,0.00006903567,0.000022720824,0.00006282286,0.000015682017,0.071478054,0.003947334,0.00017211889,0.0059301946,0.91708696,0.00032433443],"about_ca_topic_score_codex":0.002124556,"about_ca_topic_score_gemma":0.007069391,"teacher_disagreement_score":0.8237088,"about_ca_system_score_codex":0.00014343711,"about_ca_system_score_gemma":0.00013892015,"threshold_uncertainty_score":0.99523133},"labels":[],"label_agreement":null},{"id":"W3197132050","doi":"10.1080/14452294.2021.1974671","title":"Empowerment and a changing curriculum: keynote address NADIE conference, July 1, 1994","year":2021,"lang":"en","type":"article","venue":"NJ","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Institute for Christian Studies; University of Toronto","funders":"","keywords":"Drama; Curriculum; Empowerment; The arts; Sociology; Media studies; Political science; Library science; Pedagogy; History; Visual arts; Art; Law","score_opus":0.025403392032671994,"score_gpt":0.23865334207098535,"score_spread":0.21324995003831335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3197132050","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5296196,0.0022998364,0.000002784334,0.00046039527,0.0007095175,0.00008028435,0.00004643823,0.000053891035,0.4667273],"genre_scores_gemma":[0.97780395,0.00048541537,0.0000152418625,0.000339942,0.00051478145,0.000014352021,0.000013464532,0.0000073704814,0.020805482],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945873,0.0000119677925,0.000093420495,0.0001364994,0.00008428198,0.00021511018],"domain_scores_gemma":[0.99978167,0.0000128112615,0.000025016741,0.000093431416,0.000049029608,0.000038066948],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000049965794,0.00009569065,0.00013030086,0.000046803703,0.0003704629,0.00012048936,0.000042351432,0.000018622068,0.0011665601],"category_scores_gemma":[0.0000031369095,0.000077234916,0.00003277474,0.000026745574,0.000090119946,0.00010101551,0.00007148824,0.00007403606,0.000071083916],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035089153,0.00023486716,0.004930487,0.00033211455,0.0003405905,0.00016886472,0.50850606,0.0000024232634,0.00020876853,0.30905005,0.1009808,0.07520987],"study_design_scores_gemma":[0.00024133756,0.000055366872,0.0003008405,0.00008427925,0.000024204397,0.000007020033,0.013176913,0.000040170475,0.00019152774,0.00060961756,0.98512053,0.00014816225],"about_ca_topic_score_codex":0.00006989067,"about_ca_topic_score_gemma":0.001267055,"teacher_disagreement_score":0.8841398,"about_ca_system_score_codex":0.000008942735,"about_ca_system_score_gemma":0.000019319068,"threshold_uncertainty_score":0.9997465},"labels":[],"label_agreement":null},{"id":"W3197652621","doi":"10.3138/md.64-3-1159","title":"Black Indigeneity and Anti-Colonial Rebellion in Eugene O’Neill’s <i>The Emperor Jones</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Emperor; Indigenous; Colonialism; History; Performance art; Ancient history; Genealogy; Ethnology; Art; Art history; Archaeology; Ecology","score_opus":0.020616574360825292,"score_gpt":0.23054169061991195,"score_spread":0.20992511625908666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3197652621","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9857239,0.0014245142,0.000008547038,0.0024109692,0.0003186522,0.00011609352,0.000024053701,0.00002989503,0.009943339],"genre_scores_gemma":[0.9941168,0.00062978856,0.000010739128,0.0006467457,0.00052850763,0.000010558403,0.000010713501,0.000014249952,0.0040319334],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991826,0.00004895174,0.00017655033,0.00021562808,0.00012731703,0.00024895257],"domain_scores_gemma":[0.99963844,0.000039176695,0.000038830414,0.0001940935,0.000058898968,0.000030543124],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001447556,0.00013332041,0.00019222334,0.000041378284,0.00045733753,0.00015944161,0.00009191339,0.000046096666,0.00016875788],"category_scores_gemma":[0.000008787519,0.00009564268,0.000045895646,0.000046924448,0.00022176467,0.00014491931,0.00010321627,0.00016072232,0.000048849786],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016384224,0.0004578364,0.05837094,0.00021973487,0.00019565482,0.00015792546,0.85620725,0.00029495047,0.0038650031,0.026638202,0.00958239,0.04384624],"study_design_scores_gemma":[0.0024924178,0.00020823561,0.08042964,0.00015363259,0.0001074763,0.000034857552,0.014629447,0.0021421737,0.009970398,0.015332214,0.8735425,0.0009569967],"about_ca_topic_score_codex":0.000378648,"about_ca_topic_score_gemma":0.016917968,"teacher_disagreement_score":0.86396015,"about_ca_system_score_codex":0.000018968527,"about_ca_system_score_gemma":0.000041052605,"threshold_uncertainty_score":0.94406235},"labels":[],"label_agreement":null},{"id":"W3197900736","doi":"10.3138/md.64.3.br4","title":"David Kornhaber. <i>Theatre &amp; Knowledge</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Sociology; Media studies; Visual arts; Aesthetics; Art","score_opus":0.031658976822292975,"score_gpt":0.24978301547679588,"score_spread":0.21812403865450292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3197900736","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11504776,0.005712337,0.00009658488,0.0012248392,0.0009712827,0.000072263254,0.000046102,0.00016082631,0.876668],"genre_scores_gemma":[0.8084373,0.0001581061,0.0000717156,0.00049174204,0.0013701958,0.000017311277,0.000039151553,0.000026506752,0.189388],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991207,0.000032049003,0.00017577635,0.00024682397,0.00012327531,0.00030135218],"domain_scores_gemma":[0.9994013,0.000043945423,0.000029904208,0.00033405362,0.00013252032,0.000058280428],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006938867,0.00017055315,0.00021383919,0.000034979024,0.0004996758,0.00017918489,0.00012879733,0.000040622497,0.0030691535],"category_scores_gemma":[0.00000620303,0.00014392125,0.00011817388,0.000037193513,0.00014186229,0.00017621349,0.00010844936,0.00014298539,0.0017385161],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005808609,0.00059089187,0.002242194,0.00024049582,0.00032545748,0.00004806386,0.37843475,0.00003872679,0.001114235,0.088198975,0.2675298,0.26117834],"study_design_scores_gemma":[0.00024681925,0.000021159904,0.00006930799,0.000035766527,0.0000332244,0.000007960882,0.0013962152,0.00008355608,0.00042517952,0.006876292,0.99059707,0.0002074222],"about_ca_topic_score_codex":0.00006025108,"about_ca_topic_score_gemma":0.0050626486,"teacher_disagreement_score":0.72306734,"about_ca_system_score_codex":0.000022261584,"about_ca_system_score_gemma":0.00005606884,"threshold_uncertainty_score":0.99903876},"labels":[],"label_agreement":null},{"id":"W3198170516","doi":"10.3138/md-64-3-1116","title":"An Invitation from the Displaced: Refuge Restaged in <i>The Jungle</i> and <i>As Far as My Fingertips Take Me</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jungle; Refugee; Drama; Affordance; Sociology; Aesthetics; Media studies; Gender studies; Visual arts; Psychology; Art; Political science; History; Law; Cognitive psychology","score_opus":0.021227242771368088,"score_gpt":0.24435178514128553,"score_spread":0.22312454236991744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3198170516","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98189425,0.0020969706,0.000012365071,0.0055340165,0.00017871933,0.0001390541,0.00006232785,0.000033128134,0.010049176],"genre_scores_gemma":[0.98864913,0.00019674178,0.000017459126,0.008486486,0.00035327545,0.000022427665,0.00008218077,0.000016682161,0.0021756254],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900573,0.00017463334,0.00018357088,0.00023856378,0.00019643545,0.00020103893],"domain_scores_gemma":[0.9993057,0.00022837165,0.000049865346,0.00033803808,0.00004927709,0.0000287095],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023572666,0.00014514629,0.0001510235,0.000020743628,0.0006386264,0.00035859307,0.00017597179,0.000040229665,0.0001364091],"category_scores_gemma":[0.000038770933,0.00008726681,0.000039528673,0.000044823202,0.00015736445,0.00029585496,0.000051886644,0.00021818608,0.000043027994],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022519371,0.00028635,0.011204484,0.000052404353,0.00010591882,0.00007906198,0.8760572,0.000087428525,0.002984784,0.072534464,0.015272765,0.021109913],"study_design_scores_gemma":[0.000955513,0.00019629791,0.011683657,0.00009744912,0.00007603363,0.000009338721,0.03584236,0.0010003123,0.00059716584,0.03509013,0.91408366,0.0003680848],"about_ca_topic_score_codex":0.0008266669,"about_ca_topic_score_gemma":0.018434558,"teacher_disagreement_score":0.8988109,"about_ca_system_score_codex":0.000013597899,"about_ca_system_score_gemma":0.000029270986,"threshold_uncertainty_score":0.99947643},"labels":[],"label_agreement":null},{"id":"W3198897088","doi":"10.3138/md-64-3-1096","title":"Examining Martin Crimp’s Political Aesthetic in <i>The Country</i> and <i>The City</i>","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Capitalism; Crimp; Aesthetics; Politics; Ideology; Sociology; Creativity; Oppression; Connotation; Art; Political science; Law; Philosophy","score_opus":0.03339690356881325,"score_gpt":0.23365760147271264,"score_spread":0.2002606979038994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3198897088","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7274432,0.0018113513,0.00001426905,0.014896354,0.0002028314,0.00012912406,0.000013132978,0.000030101484,0.25545964],"genre_scores_gemma":[0.99089336,0.000063186046,0.0000068084214,0.0063856095,0.0003262715,0.000029702489,0.000005197543,0.0000112619855,0.002278582],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989997,0.000118727425,0.00019019072,0.0001705982,0.00017580015,0.00034494736],"domain_scores_gemma":[0.9995143,0.00016030489,0.000027157264,0.00022420214,0.000042464995,0.000031591368],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003559495,0.00012517086,0.00018582397,0.000023505534,0.00041582948,0.00028573268,0.00013152121,0.0000284935,0.00014592274],"category_scores_gemma":[0.00002482008,0.00007124166,0.000036483005,0.000036474798,0.0005737067,0.00010033074,0.00007665759,0.00020151149,0.000020555819],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000555087,0.000057515088,0.0033417058,0.000030034787,0.000013027764,0.000040812283,0.12541163,0.0000027833073,0.000009911935,0.86322826,0.0038497234,0.0039591077],"study_design_scores_gemma":[0.002554985,0.00009253671,0.0016956329,0.00008787855,0.000089255795,0.00017628807,0.0548881,0.0011175327,0.00006253845,0.06879313,0.870077,0.00036510386],"about_ca_topic_score_codex":0.00033166862,"about_ca_topic_score_gemma":0.0025390068,"teacher_disagreement_score":0.86622727,"about_ca_system_score_codex":0.0000124719545,"about_ca_system_score_gemma":0.00002772504,"threshold_uncertainty_score":0.3198266},"labels":[],"label_agreement":null},{"id":"W3199534604","doi":"10.3138/cjfs-2019-0015","title":"A Mode of Agitation between <i>Verfremdungseffekt</i> and Empathy: Breaking the Fourth Wall in Craig Gillespie’s <i>I, Tonya</i>","year":2021,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03401822124606458,"score_gpt":0.26404224771747503,"score_spread":0.23002402647141046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3199534604","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6523008,0.31127968,0.0000051728935,0.025359446,0.0014176205,0.00013426611,0.00030793247,0.0000029516004,0.009192168],"genre_scores_gemma":[0.97889817,0.016966151,0.00006585805,0.0008300769,0.00081215845,0.0000036691256,0.0000033173467,0.000019797119,0.0024007873],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983838,0.00013656243,0.00071014237,0.00015281871,0.00019957566,0.0004170769],"domain_scores_gemma":[0.9979327,0.00044830935,0.00039054005,0.00014648847,0.00091566786,0.00016635036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045098003,0.00023548056,0.00066293846,0.00022274329,0.000700368,0.000120206554,0.00016721523,0.0000672209,0.00006672812],"category_scores_gemma":[0.00021840494,0.0001784721,0.00015689894,0.00013912137,0.0008607305,0.0003591179,0.0000521484,0.00037409927,0.000003102782],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060302136,0.00006168331,0.097693145,0.0011014236,0.002564368,0.0005896449,0.7539006,0.0007837167,0.00002893109,0.019471271,0.06660873,0.057136204],"study_design_scores_gemma":[0.0015249442,0.0005380101,0.041259028,0.0032506536,0.00080419285,0.00017947689,0.2415088,0.00009329641,0.00027759434,0.006357868,0.703684,0.0005221637],"about_ca_topic_score_codex":0.016656194,"about_ca_topic_score_gemma":0.5348547,"teacher_disagreement_score":0.63707525,"about_ca_system_score_codex":0.00014020505,"about_ca_system_score_gemma":0.0006439083,"threshold_uncertainty_score":0.989892},"labels":[],"label_agreement":null},{"id":"W320290481","doi":"","title":"After the Flood: Resurrecting Prague's Archa Theatre","year":2008,"lang":"en","type":"article","venue":"TheatreForum","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Population; Quarter (Canadian coin); Flood myth; History; Art; Geography; Cartography; Art history; Archaeology; Sociology","score_opus":0.02580073331445536,"score_gpt":0.21633753134565722,"score_spread":0.19053679803120185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W320290481","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46100774,0.001286675,0.000004843127,0.003574076,0.0010460591,0.00022139685,0.000035898087,0.00018803158,0.5326353],"genre_scores_gemma":[0.9802288,0.00018911727,0.000017900406,0.0007518857,0.0021550904,0.00007484309,0.000005681954,0.00003276196,0.016543929],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986747,0.0000685596,0.00024458033,0.00022436859,0.00023820184,0.00054961204],"domain_scores_gemma":[0.9993173,0.000101291684,0.000059055656,0.00041870394,0.00005122272,0.00005240979],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025252928,0.00023324793,0.00022038634,0.00006734893,0.001787096,0.00006325496,0.00026047468,0.000036292517,0.0012227487],"category_scores_gemma":[0.0000054816446,0.00012057229,0.00015576919,0.000055827753,0.000582728,0.00022685183,0.0001333998,0.00027709597,0.000559076],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014581216,0.00036416607,0.054761637,0.00013379977,0.0007199316,0.00020428057,0.70135546,0.00003644913,0.000114848575,0.04865976,0.08325726,0.10893428],"study_design_scores_gemma":[0.00039346988,0.00019134143,0.004126434,0.00005987945,0.000051799325,0.00010393422,0.019033244,0.000026352467,0.00020649476,0.0025506609,0.9728961,0.00036030295],"about_ca_topic_score_codex":0.00057739805,"about_ca_topic_score_gemma":0.0024436163,"teacher_disagreement_score":0.88963884,"about_ca_system_score_codex":0.000026442223,"about_ca_system_score_gemma":0.00003218964,"threshold_uncertainty_score":0.9996903},"labels":[],"label_agreement":null},{"id":"W3203581895","doi":"10.33137/rr.v44i2.37538","title":"Jenny Ridout, project dir. Drama Online. Database.","year":2021,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Database; Online database; Art; Computer science; World Wide Web; Visual arts","score_opus":0.037619399435665765,"score_gpt":0.2623199306474724,"score_spread":0.2247005312118066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3203581895","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6306283,0.014363574,0.00005437584,0.0017067032,0.0011872533,0.00030345752,0.00042813862,0.00021821819,0.35110998],"genre_scores_gemma":[0.9871823,0.0034694108,0.00014640519,0.00038095357,0.0011233048,0.000015121591,0.0005199555,0.000011725362,0.007150815],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938774,0.000020288964,0.00018328769,0.00013039011,0.00011543324,0.00016287832],"domain_scores_gemma":[0.99964875,0.000014011813,0.00006373967,0.00015703782,0.00009176622,0.00002470856],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000797432,0.000108174645,0.00013522037,0.00005134539,0.0004354869,0.00011284579,0.00004872383,0.000026565855,0.00015223573],"category_scores_gemma":[0.000010385901,0.00007309983,0.00003494157,0.000048380625,0.00010986295,0.0007335586,0.00005142708,0.00009704986,0.000045607216],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021366031,0.00057969743,0.004066445,0.0020677473,0.0003930851,0.000051804695,0.19626424,0.000016791466,0.0020104714,0.18340275,0.3378013,0.273132],"study_design_scores_gemma":[0.00026581873,0.000040982377,0.00090674846,0.00013054376,0.00002026266,0.00001341549,0.0063712657,0.00013747509,0.0008037486,0.00021461345,0.9909423,0.0001528407],"about_ca_topic_score_codex":0.0001237855,"about_ca_topic_score_gemma":0.0010426871,"teacher_disagreement_score":0.65314096,"about_ca_system_score_codex":0.000016087934,"about_ca_system_score_gemma":0.00003851228,"threshold_uncertainty_score":0.3349457},"labels":[],"label_agreement":null},{"id":"W3205473356","doi":"","title":"In the Modern Age","year":2017,"lang":"en","type":"book","venue":"Bloomsbury Academic eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Performance studies; Art history; Politics; Media studies; History; Strategic studies; Sociology; Anthropology; Political science; Law","score_opus":0.05716693069695418,"score_gpt":0.2715165944037956,"score_spread":0.21434966370684144,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3205473356","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00035857593,0.0055558197,2.9446642e-7,0.00046311217,0.00089582574,0.00039030024,0.00007440897,0.00005482725,0.9922068],"genre_scores_gemma":[0.004296362,0.0010386831,0.0000017857059,0.0023271043,0.0064907954,0.0000877857,0.000027648475,0.000052543888,0.9856773],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99848145,0.00004829196,0.00039627473,0.00032801426,0.00033296837,0.00041301412],"domain_scores_gemma":[0.9989081,0.00012115739,0.00025248717,0.0006534707,0.000028693568,0.000036110465],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0004412795,0.00039784817,0.0004755129,0.00013635437,0.00072196446,0.00015276029,0.0012043366,0.00040350313,0.0003286865],"category_scores_gemma":[0.000011178574,0.00026007925,0.00018413605,0.0000029394353,0.00081632886,0.00014538306,0.00016873916,0.0020997038,0.0003253427],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002020227,0.000009276532,0.0000068147715,0.00012352526,0.00008423735,0.00012868822,0.08916402,2.9534874e-7,0.000004247356,0.19108114,0.6986964,0.020681163],"study_design_scores_gemma":[0.00019129334,0.000029491895,0.000005270124,0.00023917569,0.00007620756,0.000009605585,0.00022052204,0.0000021616654,0.0000035390833,0.17541045,0.82353115,0.0002811432],"about_ca_topic_score_codex":0.000075661555,"about_ca_topic_score_gemma":0.0007413277,"teacher_disagreement_score":0.12483474,"about_ca_system_score_codex":0.000048416205,"about_ca_system_score_gemma":0.000133481,"threshold_uncertainty_score":0.99998516},"labels":[],"label_agreement":null},{"id":"W3205676717","doi":"10.1080/2158379x.2021.1991697","title":"Power in modernity: a discussion among Mark Haugaard, Clarissa Hayward, and Jonathan G. Heaney of<i>Power in Modernity: agency relations and the creative destruction of the King’s two bodies</i>, by Isaac Ariail Reed, with a reply by Isaac Reed","year":2021,"lang":"en","type":"article","venue":"Journal of Political Power","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; University of Galway; Queen's University Belfast; National University of Ireland; University of Cambridge; Washington University in St. Louis","keywords":"Modernity; Agency (philosophy); Power (physics); Politics; Sociology; Aesthetics; Law; Philosophy; Political science; Social science","score_opus":0.009397576867257396,"score_gpt":0.226755260063042,"score_spread":0.2173576831957846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3205676717","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96624315,0.001464594,0.00007411218,0.007445255,0.00021443162,0.00021976561,0.00011530807,0.000005802064,0.024217576],"genre_scores_gemma":[0.99717575,0.00011900404,0.00006184461,0.0005662739,0.0000616249,0.0000058293404,0.0000036929814,0.000019401401,0.0019865818],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99794114,0.0003499626,0.00075382576,0.00020742824,0.000415274,0.00033234968],"domain_scores_gemma":[0.9987438,0.00024041231,0.00037598232,0.00024108104,0.00029338358,0.00010534372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066523964,0.0002189659,0.0005564584,0.00012582491,0.00028724587,0.00007856344,0.00012632275,0.000083586834,0.00024296122],"category_scores_gemma":[0.00024614122,0.000106004634,0.00012427547,0.000093184484,0.0013902138,0.0004414835,0.00012296671,0.0007022713,6.9987937e-7],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.006129854,0.001479999,0.358251,0.0002298218,0.0011582365,0.000101770944,0.32549685,0.000099806086,0.0013955976,0.2678751,0.036859617,0.00092231826],"study_design_scores_gemma":[0.021691281,0.002645656,0.5037403,0.0038749299,0.0010561211,0.0005409854,0.17025349,0.0010523597,0.0016745739,0.2173008,0.0747084,0.0014610847],"about_ca_topic_score_codex":0.0019142024,"about_ca_topic_score_gemma":0.0024868732,"teacher_disagreement_score":0.15524335,"about_ca_system_score_codex":0.00007634662,"about_ca_system_score_gemma":0.00010932157,"threshold_uncertainty_score":0.5122301},"labels":[],"label_agreement":null},{"id":"W3206056605","doi":"10.15353/cjds.v10i2.807","title":"Contributing to VIBE, and Crip Arts Before and Since","year":2021,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The arts; Political science; Visual arts; Art","score_opus":0.041723511238970314,"score_gpt":0.271374826136595,"score_spread":0.22965131489762472,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3206056605","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9671486,0.0124312835,0.0000010044133,0.017474089,0.00046680815,0.000057300407,0.000061562976,0.000003802239,0.0023555357],"genre_scores_gemma":[0.9985297,0.00018289672,0.000035628695,0.0004995185,0.00045358387,0.0000016939673,6.482894e-7,0.0000050526073,0.00029132547],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992417,0.000026345924,0.00025193577,0.00011503276,0.000075247626,0.00028973306],"domain_scores_gemma":[0.9991047,0.00011283431,0.000059941955,0.000082631545,0.00038839754,0.00025149353],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003021766,0.00010607643,0.00030701343,0.000036821624,0.0007940725,0.00010793398,0.00004580472,0.00001567995,0.000051288745],"category_scores_gemma":[0.00041474056,0.000081763865,0.000043826432,0.000032199492,0.0007658486,0.00015884916,0.000047668007,0.00010194971,0.0000020365112],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038233436,0.000039221475,0.58004117,0.00032115952,0.0006794215,0.0001229787,0.31879532,0.000005548037,0.000016856904,0.05080878,0.010671469,0.03845982],"study_design_scores_gemma":[0.0006607258,0.00052309904,0.21159276,0.00042142754,0.00019067245,0.00012650211,0.31105673,0.0000034632221,0.00013273404,0.01230237,0.46263766,0.00035184636],"about_ca_topic_score_codex":0.0010753659,"about_ca_topic_score_gemma":0.50724226,"teacher_disagreement_score":0.50616693,"about_ca_system_score_codex":0.00008946929,"about_ca_system_score_gemma":0.00011090534,"threshold_uncertainty_score":0.6107444},"labels":[],"label_agreement":null},{"id":"W3206454430","doi":"10.29173/cons29454","title":"An Age of Transition: Restaging Brecht’s Encounter with Beijing Opera","year":2021,"lang":"en","type":"article","venue":"Constellations","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Beijing; Opera; Narrative; Alienation; Realism; Aesthetics; Art; Literature; China; History; Law; Political science","score_opus":0.029763525168717806,"score_gpt":0.24247458693955712,"score_spread":0.21271106177083932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3206454430","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39040127,0.00041812257,0.0007495347,0.0006332631,0.00027509136,0.0000852273,0.00006518617,0.000053064126,0.60731924],"genre_scores_gemma":[0.9977884,0.000030691266,0.00021398194,0.00016553757,0.00020014655,0.000002515918,0.00005094845,0.0000069564203,0.0015407751],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999603,0.000019949688,0.00012198509,0.00009545857,0.000072660274,0.00008696169],"domain_scores_gemma":[0.9996386,0.000035080564,0.00002395926,0.00013361801,0.00014795655,0.000020743713],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000041529012,0.00006270723,0.00010460604,0.00003914073,0.00031161145,0.000063841646,0.00003647266,0.000012660735,0.0016339008],"category_scores_gemma":[0.0000016314856,0.000051362535,0.00002479336,0.000041627725,0.00020000369,0.00021340504,0.000006745823,0.000052312364,0.000008955337],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008206687,0.0003266384,0.017351389,0.0002591738,0.0004248551,0.00014299454,0.63872856,0.0027733352,0.005812446,0.30941477,0.0033416357,0.021342115],"study_design_scores_gemma":[0.0012682396,0.000340898,0.0018954609,0.0006054606,0.00027993837,0.00007102643,0.16645338,0.0011689306,0.0036137798,0.0010556144,0.82257795,0.00066934625],"about_ca_topic_score_codex":0.000034938577,"about_ca_topic_score_gemma":0.0015867521,"teacher_disagreement_score":0.8192363,"about_ca_system_score_codex":0.000006368726,"about_ca_system_score_gemma":0.00005155396,"threshold_uncertainty_score":0.9992787},"labels":[],"label_agreement":null},{"id":"W3206521062","doi":"10.15353/cjds.v10i2.806","title":"I AM A GENIUS DOES ANYONE HERE KNOW ME?","year":2021,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Genius; Art; Art history; Visual arts","score_opus":0.03649874153702371,"score_gpt":0.25898576584427013,"score_spread":0.22248702430724643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3206521062","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9019956,0.06243512,6.0135943e-7,0.01217432,0.002775774,0.0000843379,0.00012841418,0.000013462594,0.020392379],"genre_scores_gemma":[0.9930154,0.0012304122,0.000031157706,0.0002927643,0.0015080092,0.000003974317,0.0000018446808,0.000011649433,0.003904792],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988561,0.000069329675,0.00042736647,0.00015145428,0.00015405734,0.00034165604],"domain_scores_gemma":[0.99867606,0.00013123402,0.0001254539,0.00020565091,0.00061803614,0.00024358676],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023132682,0.00017233031,0.00046363063,0.0000537813,0.00074765907,0.000115994604,0.00015063389,0.00002912951,0.0011320121],"category_scores_gemma":[0.00023804235,0.00011134154,0.00021441051,0.000061419414,0.0013211765,0.00025895637,0.000034718854,0.00019932118,0.000025910955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007275134,0.00024276471,0.43343657,0.0006402049,0.0032536364,0.0004014257,0.38716862,0.000016485239,0.000044294633,0.025131034,0.110627525,0.0389647],"study_design_scores_gemma":[0.00035816606,0.0001577862,0.009733763,0.00016238897,0.00016583243,0.00004299754,0.33551115,9.0482223e-7,0.00019136694,0.006026896,0.6473985,0.00025027152],"about_ca_topic_score_codex":0.0023297265,"about_ca_topic_score_gemma":0.6585565,"teacher_disagreement_score":0.6562268,"about_ca_system_score_codex":0.00023438473,"about_ca_system_score_gemma":0.0003222106,"threshold_uncertainty_score":0.9997811},"labels":[],"label_agreement":null},{"id":"W3208147921","doi":"10.3138/ctr.188.009","title":"Theatre as Service … My Experience During the Global Pandemic in Canada","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Injustice; Scholarship; Indigenous; Power (physics); Pandemic; Sociology; Media studies; Identity (music); Gender studies; Political science; Public relations; Environmental ethics; Aesthetics; Law; Coronavirus disease 2019 (COVID-19); Art","score_opus":0.022284660296232675,"score_gpt":0.2380819785183329,"score_spread":0.21579731822210024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3208147921","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24460033,0.33425182,3.1418224e-8,0.013265866,0.00063455786,0.00038125998,0.00020773461,0.000027440125,0.40663096],"genre_scores_gemma":[0.9224021,0.059390772,0.0000013099576,0.016726058,0.00031096602,0.00006870385,0.000015361893,0.000015103516,0.0010696421],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986785,0.000085765525,0.00029325535,0.00025272096,0.00017232232,0.00051741535],"domain_scores_gemma":[0.9992074,0.00004081141,0.000047495007,0.00041977863,0.0000799066,0.00020463027],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010888438,0.000208211,0.00034151826,0.000023429786,0.00049594475,0.00006545712,0.0003227337,0.000023977693,0.0030303977],"category_scores_gemma":[0.0000094261895,0.00014099304,0.00007543682,0.00022697246,0.00007402121,0.00012574292,0.000051690207,0.00017631592,0.00015346165],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003569166,0.000059132086,0.41943672,0.01057702,0.00043123533,0.0020217781,0.074379474,0.000045483896,0.000009969775,0.03642547,0.041147772,0.41543028],"study_design_scores_gemma":[0.000105513405,0.000004866811,0.00305278,0.0015233739,0.000032201162,0.00009291417,0.011056955,0.0000024285218,0.0000046720697,0.00016474108,0.98375326,0.00020627762],"about_ca_topic_score_codex":0.99502796,"about_ca_topic_score_gemma":0.9999793,"teacher_disagreement_score":0.9426055,"about_ca_system_score_codex":0.0010498775,"about_ca_system_score_gemma":0.0033439407,"threshold_uncertainty_score":0.997881},"labels":[],"label_agreement":null},{"id":"W3208873795","doi":"","title":"Circus, In Crisis: Examining Care and Community in Circus Training","year":2021,"lang":"en","type":"article","venue":"Performance paradigm","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Kindness; Conceptualization; Accountability; Psychology; Social psychology; Sociology; Public relations; Aesthetics; Political science; Art; Law","score_opus":0.07839720621850668,"score_gpt":0.25565661138547446,"score_spread":0.17725940516696778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3208873795","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9301181,0.0045543206,6.692865e-7,0.00012103482,0.00024022385,0.00007996734,0.000011665642,0.000035213416,0.0648388],"genre_scores_gemma":[0.99798006,0.0013915584,0.000019602123,0.00021942273,0.00018463144,0.00003831332,0.000021676276,0.000016536227,0.00012822157],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989026,0.000117132215,0.00029480987,0.00019048604,0.00011583555,0.00037911983],"domain_scores_gemma":[0.9995436,0.000098281416,0.00004798416,0.00023322848,0.000033039072,0.000043864628],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031396234,0.00017679486,0.00031235738,0.00015674166,0.00059497746,0.000103940314,0.00012255608,0.000045224042,0.00019228068],"category_scores_gemma":[0.000014838107,0.0001727071,0.000028346018,0.000109351655,0.00013962574,0.00054269965,0.000079645964,0.00058094907,0.000022059474],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017610913,0.000055053082,0.13376838,0.0002734406,0.000017702421,0.000020687396,0.8241927,0.00007503451,0.000019068166,0.0019572896,0.000064970794,0.039538093],"study_design_scores_gemma":[0.0013628866,0.00027221302,0.21943563,0.0005271559,0.000024413324,0.00003367988,0.7272513,0.00042846703,0.00020170386,0.00061741803,0.04928126,0.00056388095],"about_ca_topic_score_codex":0.0008130061,"about_ca_topic_score_gemma":0.014314431,"teacher_disagreement_score":0.09694138,"about_ca_system_score_codex":0.00005844871,"about_ca_system_score_gemma":0.000060935807,"threshold_uncertainty_score":0.79877883},"labels":[],"label_agreement":null},{"id":"W3210826221","doi":"","title":"Performing Femininity: Exploring Onnagata Kabuki in Japanese Theater","year":2020,"lang":"en","type":"article","venue":"Footnotes","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Kabuki; Femininity; Art; Visual arts; Gender studies; Sociology","score_opus":0.17149477241668373,"score_gpt":0.2404785994628833,"score_spread":0.06898382704619957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3210826221","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92391336,0.000491257,5.948976e-7,0.0017378201,0.000323231,0.000095504,0.00001263775,0.00009753909,0.07332805],"genre_scores_gemma":[0.997435,0.00016140699,0.000019873727,0.00067178527,0.0012363559,0.000042159747,0.0000084805315,0.000019930185,0.00040500832],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920046,0.000016683189,0.00019343446,0.000193509,0.00011862295,0.00027726198],"domain_scores_gemma":[0.99969685,0.00007171128,0.000031107465,0.00012487728,0.000020127405,0.00005535466],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009389132,0.00015180629,0.00020433581,0.00006034401,0.00024607187,0.000088970686,0.0001455091,0.00002217712,0.0010138318],"category_scores_gemma":[0.000025191786,0.00011837464,0.000055437617,0.00004768422,0.00009754476,0.00041592494,0.000096141936,0.00016547224,0.00028942776],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012224245,0.00005615337,0.020912666,0.00016485597,0.00005815435,0.00002469766,0.93215585,0.000016310247,0.00027141065,0.006372954,0.0018376427,0.038007073],"study_design_scores_gemma":[0.0010005152,0.0005928276,0.004156642,0.00035410977,0.000043005988,0.0000037181926,0.1431573,0.0003882681,0.0019550268,0.0005837142,0.8470284,0.0007364817],"about_ca_topic_score_codex":0.00023657273,"about_ca_topic_score_gemma":0.00079291646,"teacher_disagreement_score":0.84519076,"about_ca_system_score_codex":0.0000128481615,"about_ca_system_score_gemma":0.000008411803,"threshold_uncertainty_score":0.9998994},"labels":[],"label_agreement":null},{"id":"W3210873302","doi":"10.3138/ctr.188.012","title":"The Pedagogy of Grief: Lessons from Making Zoom Theatre During a Pandemic","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Grief; Indigenous; Sociology; Outrage; Honour; Media studies; Psychology; Political science; Politics; Law; Psychotherapist","score_opus":0.04891568943340561,"score_gpt":0.29741027016256893,"score_spread":0.24849458072916333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3210873302","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018375637,0.7158173,5.242455e-7,0.00976721,0.0005709325,0.0002545986,0.00043549086,0.000039696915,0.25473866],"genre_scores_gemma":[0.7156994,0.2792496,0.000009768383,0.0013961382,0.000776871,0.000034397603,0.000029005323,0.000031950014,0.0027729175],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986954,0.00011368247,0.00038046486,0.00023701158,0.00013952632,0.00043394277],"domain_scores_gemma":[0.99899036,0.00016214505,0.000111857495,0.00050450646,0.00010475128,0.00012639641],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019444857,0.00020323339,0.0004589782,0.000046531295,0.0009222151,0.000078530284,0.0002715852,0.000041098527,0.0022560023],"category_scores_gemma":[0.000017993258,0.0001337397,0.00022346206,0.00008085966,0.00021682229,0.000096443335,0.000056517507,0.0002006382,0.00009339961],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016085403,0.000025422616,0.005557103,0.0024526888,0.00054331444,0.000101925485,0.015590617,0.0000019555102,0.000056659723,0.036358535,0.013661417,0.92563426],"study_design_scores_gemma":[0.000109757406,0.00001202556,0.00062184007,0.002860896,0.0001683253,0.00001807685,0.0032845696,0.00000117169,0.000028561448,0.0011279115,0.9915912,0.00017565215],"about_ca_topic_score_codex":0.032010056,"about_ca_topic_score_gemma":0.77564836,"teacher_disagreement_score":0.9779298,"about_ca_system_score_codex":0.00008840065,"about_ca_system_score_gemma":0.0005125556,"threshold_uncertainty_score":0.9986561},"labels":[],"label_agreement":null},{"id":"W3212259532","doi":"10.3138/tric.42.2.f03","title":"Reflections on a Verbatim Approach to Staging Age","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.20731985874366582,"score_gpt":0.3911562395530729,"score_spread":0.18383638080940706,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3212259532","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01625568,0.0052626575,0.0000028207965,0.017698102,0.0011700221,0.00028266438,0.0002634951,0.000014791922,0.95904976],"genre_scores_gemma":[0.94922495,0.001766487,0.00011575353,0.00081326545,0.0015486666,0.00010469489,0.00003009635,0.00004279902,0.04635331],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969006,0.0004500519,0.0002752218,0.00042815352,0.00083201134,0.0011139719],"domain_scores_gemma":[0.99869394,0.00042062547,0.000019304507,0.00045797817,0.0001568923,0.00025124266],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071730185,0.00020561658,0.0003027707,0.00028534463,0.0011256321,0.00021581883,0.00024425567,0.00004690568,0.00085483486],"category_scores_gemma":[0.000011919805,0.00019899258,0.0000560984,0.0005814182,0.00024291709,0.00011624551,0.0001908882,0.00094482285,0.00012016672],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002460558,0.0007338175,0.00087708316,0.0010492816,0.000312823,0.0018683512,0.057342973,0.003167754,0.000075900505,0.2180808,0.36202797,0.35421717],"study_design_scores_gemma":[0.00022200719,0.00013309038,0.0001552346,0.00039378152,0.000008945143,0.00000824128,0.051532824,0.00009490648,0.00011816766,0.0014720311,0.94564915,0.0002116283],"about_ca_topic_score_codex":0.9838819,"about_ca_topic_score_gemma":0.9977058,"teacher_disagreement_score":0.9329693,"about_ca_system_score_codex":0.0023914217,"about_ca_system_score_gemma":0.0039231735,"threshold_uncertainty_score":0.9359842},"labels":[],"label_agreement":null},{"id":"W3213427121","doi":"10.3138/tric.42.2.f04","title":"Developing <i>rochdale</i>: An Interview with David Yee and Nina Lee Aquino","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Humanities; Art","score_opus":0.1403098257133964,"score_gpt":0.3312030902407449,"score_spread":0.1908932645273485,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3213427121","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31990764,0.19302844,0.000011510679,0.069388665,0.0012139602,0.0005393759,0.00034831,0.00003147756,0.41553062],"genre_scores_gemma":[0.9615855,0.028224092,0.00018030807,0.0008656898,0.0009833324,0.000051521743,0.00003884665,0.000057628673,0.008013083],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967985,0.0006411663,0.00033176536,0.0004760784,0.00067470426,0.0010777425],"domain_scores_gemma":[0.99871176,0.0003388675,0.00003988629,0.00041083965,0.000257145,0.00024148062],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009947636,0.0002800025,0.00043492427,0.00014475221,0.00085313513,0.00027540748,0.0002779506,0.000057716334,0.000831996],"category_scores_gemma":[0.000004968111,0.00023464473,0.00003004917,0.00029917786,0.0006935496,0.0004071046,0.00031348006,0.00075205154,0.000019427487],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014997624,0.00012049252,0.013582364,0.0028252725,0.00026151925,0.0020208699,0.017464224,0.000018310986,0.000024577603,0.03372032,0.014985966,0.9148261],"study_design_scores_gemma":[0.0004631402,0.00028883724,0.0012098057,0.0021264814,0.000023134504,0.00010977304,0.04122047,0.00005069032,0.00021358748,0.0013822297,0.95255786,0.00035399135],"about_ca_topic_score_codex":0.94625807,"about_ca_topic_score_gemma":0.9989071,"teacher_disagreement_score":0.9375719,"about_ca_system_score_codex":0.0009157276,"about_ca_system_score_gemma":0.005894636,"threshold_uncertainty_score":0.999741},"labels":[],"label_agreement":null},{"id":"W3214217659","doi":"10.3138/tric.42.2.02.fr","title":"Mot de la rédaction","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Redaction; Philosophy; Theology","score_opus":0.06606511700033511,"score_gpt":0.338759712279088,"score_spread":0.2726945952787529,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3214217659","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11267333,0.03497358,8.5002443e-7,0.016290676,0.0010412218,0.000098316144,0.00014128347,0.000009762442,0.834771],"genre_scores_gemma":[0.9607711,0.012909367,0.000015610405,0.00016563121,0.001439809,0.000021669382,0.000010423446,0.000023686815,0.024642738],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972775,0.00088864716,0.00020264107,0.00022539403,0.00053007103,0.0008757362],"domain_scores_gemma":[0.9985577,0.000892832,0.000019590596,0.00025445272,0.00012827605,0.00014714953],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012130247,0.00013716125,0.00020368461,0.00011707639,0.0006146096,0.00016706373,0.00015283469,0.00006782585,0.0031091422],"category_scores_gemma":[0.000010896997,0.00013607657,0.000046075456,0.00021048433,0.0004938135,0.00014517039,0.000110715424,0.0008707559,0.00006275738],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009472366,0.0001930895,0.013816568,0.00071061484,0.00016224799,0.0022786837,0.012790203,0.00025836262,0.00009364294,0.055296052,0.20278214,0.71152365],"study_design_scores_gemma":[0.00023530179,0.00004036413,0.00092986913,0.00027473317,0.000009591642,0.00004610123,0.024065575,0.00017654257,0.0003804813,0.005539363,0.96816236,0.00013973395],"about_ca_topic_score_codex":0.995718,"about_ca_topic_score_gemma":0.9989583,"teacher_disagreement_score":0.84809774,"about_ca_system_score_codex":0.0030683137,"about_ca_system_score_gemma":0.0076506524,"threshold_uncertainty_score":0.99797505},"labels":[],"label_agreement":null},{"id":"W3214385999","doi":"10.3138/tric.42.2.f05","title":"Creativity Has No Expiry Date: Directing <i>Escaped Alone</i> at Western Gold Theatre","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Regina","funders":"","keywords":"Humanities; Art","score_opus":0.11015764298950016,"score_gpt":0.3160462031168925,"score_spread":0.20588856012739237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3214385999","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23445371,0.045810014,2.807206e-7,0.01680618,0.0024702433,0.00040146697,0.00084186473,0.000041960615,0.6991743],"genre_scores_gemma":[0.9000385,0.010290484,0.000019311341,0.00041433715,0.0029496609,0.00008295184,0.000103689184,0.00009703001,0.08600406],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9935134,0.0013044078,0.00068656553,0.00088966836,0.0014242937,0.0021816639],"domain_scores_gemma":[0.9962455,0.001841372,0.000105574385,0.0009809402,0.00041469565,0.00041188917],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0015767514,0.0005497853,0.0008707387,0.00020498673,0.0020417154,0.0005011875,0.00054600893,0.00015513935,0.0045126],"category_scores_gemma":[0.00002661076,0.00051358284,0.0001659096,0.00046620637,0.0010533906,0.00050191046,0.0009591328,0.0014787613,0.000487888],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006476298,0.00060444645,0.14845142,0.00226663,0.00068929687,0.0043150256,0.020511756,0.00013331263,0.0005197103,0.0009764484,0.34346086,0.47742346],"study_design_scores_gemma":[0.00080512033,0.00013297959,0.0008245449,0.0010894352,0.000044770874,0.000065650645,0.014756292,0.00013368361,0.0014503411,0.00019324683,0.97995317,0.00055078545],"about_ca_topic_score_codex":0.9845926,"about_ca_topic_score_gemma":0.9992059,"teacher_disagreement_score":0.66558474,"about_ca_system_score_codex":0.002402092,"about_ca_system_score_gemma":0.005362203,"threshold_uncertainty_score":0.9997316},"labels":[],"label_agreement":null},{"id":"W3215052481","doi":"10.82308/14534","title":"A countercultural movement: examining Carlee Scheemann's kinetic theatre between 1963 and 1970","year":2014,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Movement (music); Aesthetics; Art","score_opus":0.027850056790445873,"score_gpt":0.21413025792643833,"score_spread":0.18628020113599247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215052481","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75339353,0.00031017547,1.10946274e-7,0.000060241528,0.00036561326,0.00021844024,0.00035245897,0.00016840958,0.24513103],"genre_scores_gemma":[0.9955049,0.00014769546,0.00007014623,0.0007597278,0.0005047255,0.000048684993,0.000046106943,0.00006574094,0.0028522853],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99767137,0.00015979678,0.00049694104,0.00059273606,0.00040925835,0.0006699301],"domain_scores_gemma":[0.9988794,0.00020959212,0.00016799962,0.00040652408,0.00013856124,0.00019793076],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00057398685,0.00049635884,0.0005543945,0.00015450265,0.0020785122,0.00025419376,0.00031671746,0.00012174416,0.00039793394],"category_scores_gemma":[0.00005303182,0.00040044944,0.00012653989,0.00008227834,0.0003242423,0.0008537711,0.00026653096,0.00052039325,0.00021656582],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011706046,0.00015610822,0.008479702,0.0004759045,0.0008436957,0.000022248925,0.002725205,0.000024649731,0.0047173183,0.48681602,0.00010688792,0.4955152],"study_design_scores_gemma":[0.0014637004,0.00063273846,0.006594288,0.0003013873,0.00029200033,0.000010657209,0.0036712934,0.000052829342,0.0023585565,0.013305832,0.97027,0.0010467656],"about_ca_topic_score_codex":0.0008234702,"about_ca_topic_score_gemma":0.0017531579,"teacher_disagreement_score":0.97016305,"about_ca_system_score_codex":0.00010234867,"about_ca_system_score_gemma":0.000006089701,"threshold_uncertainty_score":0.99984473},"labels":[],"label_agreement":null},{"id":"W3215932582","doi":"10.1515/jcde-2021-0034","title":"Jenn Stephenson. <i>Insecurity: Perils and Products of Theatres of the Real</i>. Toronto, Buffalo, and London: U of Toronto P, 2019, viii + 286 pp., $75.75 (hardback), $57.75 (ebook).","year":2021,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Media studies; Art; Sociology; Literature","score_opus":0.013897946265939641,"score_gpt":0.21670956773022387,"score_spread":0.20281162146428422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215932582","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7139138,0.20492803,2.509763e-7,0.00028474993,0.0010299876,0.00025117263,0.00012345838,0.000009802023,0.07945874],"genre_scores_gemma":[0.97282773,0.02493874,0.00004815752,0.0000761078,0.0009762656,0.0000038862145,0.0000038671365,0.000024403082,0.0011008689],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99773425,0.00022278221,0.0011492992,0.00022773516,0.00043039036,0.00023557247],"domain_scores_gemma":[0.99738187,0.00021235191,0.000875869,0.0003823772,0.0010693057,0.00007824406],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067755877,0.00027040287,0.0009479611,0.000041740615,0.00014181904,0.00007826379,0.00026810754,0.00009020462,0.00023864371],"category_scores_gemma":[0.0001363738,0.0001862962,0.00019187681,0.00004567821,0.0005654217,0.0011404962,0.00017332008,0.00026399107,2.1903561e-7],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002995029,0.0014972711,0.10749364,0.0035445585,0.0017290973,0.00012423126,0.692731,0.00001495204,0.008711223,0.03160071,0.12944593,0.020112371],"study_design_scores_gemma":[0.005198679,0.001848088,0.028846182,0.0023602324,0.00028869984,0.00005978844,0.11557288,0.000013319287,0.015434278,0.0011035356,0.828636,0.0006383275],"about_ca_topic_score_codex":0.0063982974,"about_ca_topic_score_gemma":0.009654468,"teacher_disagreement_score":0.6991901,"about_ca_system_score_codex":0.000052681728,"about_ca_system_score_gemma":0.00023244462,"threshold_uncertainty_score":0.96723545},"labels":[],"label_agreement":null},{"id":"W3217641267","doi":"10.4324/9780203419717-5","title":"OUT OF THE SILENCE : Headlines Theatre and Power Plays","year":2002,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Power (physics); Silence; Prison; Work (physics); Media studies; Public relations; Sociology; Political science; Engineering; Criminology; Art; Aesthetics","score_opus":0.0316481413099533,"score_gpt":0.21269971834809873,"score_spread":0.18105157703814542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3217641267","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31353405,0.0010128074,5.22663e-7,0.0013100681,0.00028865584,0.000048720012,0.0000106247135,0.000016103972,0.68377846],"genre_scores_gemma":[0.97219354,0.00017537005,0.0000048736197,0.0002468862,0.00013547517,0.0000018975437,1.1883173e-7,0.0000032978185,0.027238563],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997071,0.00000685564,0.000084409374,0.00005908887,0.000061187355,0.000081339014],"domain_scores_gemma":[0.99981475,0.000027482884,0.000021405014,0.000102895654,0.00002281454,0.000010624265],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00002726029,0.00005838822,0.00007976862,0.000012268803,0.00018939488,0.00001864871,0.000064141386,0.000010103511,0.0036778525],"category_scores_gemma":[0.0000020499197,0.000027840131,0.000031341915,0.000008760422,0.00021556996,0.00007217481,0.00003758732,0.000037575275,0.00003399908],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025177007,0.00016029931,0.031073036,0.00010914569,0.00012218731,0.0000012612505,0.58869827,0.0000045010643,0.00027680842,0.19444469,0.15868261,0.026402043],"study_design_scores_gemma":[0.00029064697,0.00015137969,0.0037765866,0.00006726657,0.000029273604,0.0000025196246,0.033237707,0.000117138836,0.0007733636,0.0014106188,0.9599519,0.00019159618],"about_ca_topic_score_codex":0.000059754977,"about_ca_topic_score_gemma":0.0007239724,"teacher_disagreement_score":0.8012693,"about_ca_system_score_codex":0.0000014778453,"about_ca_system_score_gemma":0.0000015534727,"threshold_uncertainty_score":0.9972329},"labels":[],"label_agreement":null},{"id":"W327824824","doi":"","title":"International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker","year":2008,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Art; Aesthetics; Literature; History","score_opus":0.02902451898589623,"score_gpt":0.20404070488219167,"score_spread":0.17501618589629545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W327824824","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.873334,0.00025340696,0.00017089696,0.0010129685,0.000102594946,0.00009891418,0.0000864893,0.000012345196,0.12492839],"genre_scores_gemma":[0.99892294,0.00034078205,0.00005909933,0.00003506235,0.000055089815,3.6116066e-7,0.000032610882,0.000003278935,0.0005508006],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9995401,0.000027355081,0.00011514382,0.0000759386,0.00015152061,0.00008996819],"domain_scores_gemma":[0.9997282,0.000061129824,0.00005772596,0.00008329036,0.000055673336,0.00001399835],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011086525,0.00007211512,0.00012830256,0.000108349275,0.0003504482,0.000015760043,0.00013662431,0.000029423565,0.00038613583],"category_scores_gemma":[0.0000016682227,0.000060857983,0.00007040922,0.000050792692,0.0004344766,0.0004180773,0.000011619487,0.00008450122,0.000007331886],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010615041,0.00009816507,0.005808074,0.00005226621,0.00010559628,0.0000043836867,0.5012028,0.000031981042,0.0000035454505,0.4899198,0.0013799118,0.0012872986],"study_design_scores_gemma":[0.0013777694,0.00013047516,0.01383298,0.000041599927,0.0000798239,0.000022796026,0.1357621,0.00048438073,0.0000010530025,0.7398351,0.10823535,0.00019657602],"about_ca_topic_score_codex":0.0003969002,"about_ca_topic_score_gemma":0.0062034815,"teacher_disagreement_score":0.36544073,"about_ca_system_score_codex":0.000009703924,"about_ca_system_score_gemma":0.000014546488,"threshold_uncertainty_score":0.42279163},"labels":[],"label_agreement":null},{"id":"W335135092","doi":"10.3138/jcs.48.2.122","title":"Queer Embodied Absence: HIV/AIDS and the Creation of Cultural Memory in Gordon Armstrong’s <i>Blue Dragons</i> and Daniel Maclvor’s <i>The Soldier Dreams</i>","year":2014,"lang":"en","type":"article","venue":"Journal of Canadian Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Embodied cognition; Politics; Shadow (psychology); Historiography; Sociology; Gender studies; History; Art history; Aesthetics; Psychoanalysis; Law; Art; Psychology; Philosophy; Political science; Epistemology","score_opus":0.016316804306736578,"score_gpt":0.23363864003424883,"score_spread":0.21732183572751226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W335135092","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80688274,0.02298026,0.0000036584356,0.013469535,0.0007819802,0.0002942155,0.000041875493,0.0000069169832,0.15553883],"genre_scores_gemma":[0.9899468,0.004886904,0.000021243735,0.00053934514,0.00056281884,0.000006633393,6.296113e-7,0.000007830508,0.0040278025],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904287,0.00009559045,0.00039326624,0.00008893396,0.00016661876,0.00021273019],"domain_scores_gemma":[0.9991415,0.00023811674,0.00022873512,0.00008688839,0.0002363435,0.00006838697],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070919556,0.00014705448,0.0004072336,0.00019554369,0.0004788466,0.00007434452,0.00011715591,0.000027316415,0.000016840017],"category_scores_gemma":[0.00008197549,0.000071816954,0.000069248235,0.00006358662,0.0011546582,0.00023107044,0.000038743663,0.00020272148,0.0000010433916],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003633135,0.00003122208,0.010775886,0.00017926896,0.00092782837,0.000014377819,0.65876806,0.00009642436,0.000052456187,0.120675,0.1949078,0.013208366],"study_design_scores_gemma":[0.0025278234,0.000291391,0.0044702007,0.00029169515,0.00027908833,0.000066179484,0.38491073,0.000053749023,0.000086680426,0.0034387922,0.60333234,0.00025134627],"about_ca_topic_score_codex":0.015576775,"about_ca_topic_score_gemma":0.37568855,"teacher_disagreement_score":0.40842453,"about_ca_system_score_codex":0.00003995804,"about_ca_system_score_gemma":0.000059213537,"threshold_uncertainty_score":0.9909786},"labels":[],"label_agreement":null},{"id":"W336685840","doi":"","title":"Fragments de vie — Oeuvres choisies : Collection du Cirque du soleil Oeuvres choisies, Collection du Cirque du Soleil Ateliers du Siège social international du Cirque du Soleil 8400, 2e Avenue Montréal Du 23 septembre au 29 octobre 2004 Oeuvres choisies, Collection du Cirque du Soleil Ateliers du Siège social international du Cirque du Soleil 8400, 2e Avenue Montréal Du 23 septembre au 29 octobre 2004","year":2005,"lang":"fr","type":"article","venue":"Vie des arts","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cirque; Humanities; Art; Geology; Geomorphology","score_opus":0.011354058289740641,"score_gpt":0.22067762183935505,"score_spread":0.2093235635496144,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W336685840","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8238773,0.01695283,0.0036603257,0.061754458,0.044261076,0.0061859186,0.0082857665,0.0017967388,0.0332256],"genre_scores_gemma":[0.8707487,0.03334522,0.00018574035,0.0033376836,0.06955018,0.0020404868,0.003187144,0.0010174325,0.016587382],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9782092,0.0022523059,0.005596675,0.004469538,0.0040845703,0.005387727],"domain_scores_gemma":[0.98672587,0.0015759392,0.0040568504,0.0015219515,0.0044987523,0.0016206185],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"category_scores_codex":[0.0037499915,0.0050513046,0.004555271,0.002963845,0.030492598,0.0058309254,0.003065729,0.0031951217,0.003035755],"category_scores_gemma":[0.0016601151,0.005682557,0.0033213447,0.0021669588,0.006780358,0.0057476093,0.0019217631,0.0038707906,0.0011963566],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00546176,0.0056742877,0.111372404,0.0011811507,0.0071377032,0.0012928674,0.13147937,0.011621557,0.0012750343,0.00419166,0.7095168,0.009795414],"study_design_scores_gemma":[0.01704821,0.0017468949,0.06911313,0.0017570375,0.0017421374,0.002033405,0.015462219,0.016721386,0.0015425768,0.0019764306,0.8652676,0.0055890195],"about_ca_topic_score_codex":0.07377747,"about_ca_topic_score_gemma":0.31164363,"teacher_disagreement_score":0.23786618,"about_ca_system_score_codex":0.01314404,"about_ca_system_score_gemma":0.0055773174,"threshold_uncertainty_score":0.99958134},"labels":[],"label_agreement":null},{"id":"W341980303","doi":"","title":"Performing identity in Canadian metadrama (第25回カナダ文学会年次大会シンポジウム)","year":2007,"lang":"ja","type":"article","venue":"カナダ文学研究","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Identity (music); Aesthetics; Art","score_opus":0.02335994420260903,"score_gpt":0.2651456384427027,"score_spread":0.2417856942400937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W341980303","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63466156,0.005131193,0.0000039585416,0.0005802477,0.0020337321,0.00025276898,0.00007847994,0.000041515814,0.35721654],"genre_scores_gemma":[0.980289,0.00076148775,0.000036101468,0.00071140757,0.00201922,0.000009590015,0.000024431669,0.000046223962,0.016102526],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967565,0.00004694557,0.0006979,0.0004308734,0.00037895178,0.0016888436],"domain_scores_gemma":[0.99880433,0.00010780198,0.00012480696,0.00039299854,0.00012952788,0.00044053965],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0017251632,0.00041890363,0.0005274382,0.00080203515,0.0012301432,0.00045651343,0.0004065705,0.0001838322,0.005369714],"category_scores_gemma":[0.000050073657,0.0004026314,0.00020237699,0.00030549723,0.0003387681,0.0013282822,0.00011462261,0.00057997147,0.0015516924],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023375297,0.00036359596,0.16923471,0.0007171321,0.00060931075,0.0008834929,0.38962135,0.00003318865,0.00009310647,0.35667998,0.012548448,0.06898195],"study_design_scores_gemma":[0.00064774463,0.00013434059,0.05589153,0.0002455622,0.000101095575,0.000014704657,0.03266559,0.000099701676,0.00014163318,0.0008948171,0.90848714,0.00067612494],"about_ca_topic_score_codex":0.6982674,"about_ca_topic_score_gemma":0.99421394,"teacher_disagreement_score":0.8959387,"about_ca_system_score_codex":0.00051466265,"about_ca_system_score_gemma":0.00030746593,"threshold_uncertainty_score":0.9998426},"labels":[],"label_agreement":null},{"id":"W3566462","doi":"10.3138/ctr.106.003","title":"Youth Arts Festivals and the Politics of Participation","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The arts; Presentation (obstetrics); Government (linguistics); Performing arts; Politics; Visual arts; Population; Census; Media studies; Public relations; Sociology; Advertising; Political science; Art; Business; Medicine; Demography","score_opus":0.0635022102720201,"score_gpt":0.26937145079068436,"score_spread":0.20586924051866426,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3566462","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033279188,0.3692034,0.0000010611419,0.012488074,0.00023410314,0.0005417153,0.00012116132,0.000019187633,0.5841121],"genre_scores_gemma":[0.91277236,0.08307753,0.0000021505807,0.002091849,0.0002474072,0.00001577091,0.000008612177,0.0000072614075,0.0017770774],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994489,0.000045221354,0.00018698123,0.000071716444,0.00006021937,0.0001869537],"domain_scores_gemma":[0.9996022,0.000053341922,0.000051170035,0.00015113011,0.000047995007,0.00009417874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021686556,0.000082993894,0.00023626971,0.00003378564,0.00027926307,0.000021590786,0.00006345513,0.000012249429,0.0004269591],"category_scores_gemma":[0.000017975604,0.00004713879,0.000053658605,0.00003364603,0.00032002968,0.000057702884,0.00000940948,0.000046832152,0.000024833924],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016777105,0.000019723613,0.0031344504,0.0017592653,0.00015301531,0.0000070617166,0.06408771,0.0000010306627,4.2649052e-7,0.66296244,0.019610276,0.24824785],"study_design_scores_gemma":[0.00016959799,0.000020568132,0.00019289606,0.0009179301,0.00017895395,0.00000429484,0.0016459129,0.0000035900944,0.0000017471802,0.0014514687,0.99533534,0.000077708835],"about_ca_topic_score_codex":0.035521492,"about_ca_topic_score_gemma":0.14659916,"teacher_disagreement_score":0.97572505,"about_ca_system_score_codex":0.000016692473,"about_ca_system_score_gemma":0.00005782657,"threshold_uncertainty_score":0.9709011},"labels":[],"label_agreement":null},{"id":"W360210731","doi":"","title":"Theatre and Performance in Toronto: Critical Perspectives on Canadian Theatre in English ed. by Laura Levin (review)","year":2013,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Media studies; Sociology","score_opus":0.0058813591032210455,"score_gpt":0.1941765706268457,"score_spread":0.18829521152362466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W360210731","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41698667,0.056083303,2.2241427e-7,0.0008849295,0.00016794319,0.00033939842,0.00008492877,0.000027880547,0.5254247],"genre_scores_gemma":[0.9808205,0.018120859,0.000013301876,0.00010602089,0.00008959537,0.0000017629014,0.0000061849705,0.0000074107675,0.0008344123],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99920017,0.000049610644,0.00013732095,0.00021434728,0.00010568023,0.00029286678],"domain_scores_gemma":[0.9995691,0.00005726938,0.000030449308,0.00015557323,0.00008766298,0.000099898156],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009734539,0.00015556597,0.00027345621,0.000034655528,0.00018433054,0.000026020456,0.00015632395,0.000047116482,0.0054778224],"category_scores_gemma":[0.0000039681586,0.00014786537,0.000048115133,0.000012056299,0.000248161,0.0009488804,0.000013667493,0.000109667155,0.000027574108],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000109237866,0.0002790536,0.014081418,0.0005371812,0.00006268475,0.000014635914,0.7281103,4.782272e-7,0.000008129627,0.012805899,0.07686858,0.16712241],"study_design_scores_gemma":[0.0006700004,0.001229016,0.02771238,0.00077926234,0.000027672144,0.0000011566867,0.75179607,0.000044145363,0.0000015029108,0.0000377589,0.21736042,0.00034063184],"about_ca_topic_score_codex":0.8147409,"about_ca_topic_score_gemma":0.9756005,"teacher_disagreement_score":0.5638338,"about_ca_system_score_codex":0.000461127,"about_ca_system_score_gemma":0.00004177228,"threshold_uncertainty_score":0.9954313},"labels":[],"label_agreement":null},{"id":"W368758907","doi":"10.1007/978-94-6091-332-7_31","title":"Looking for Shakespeare","year":2011,"lang":"en","type":"book-chapter","venue":"SensePublishers eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Improvisation; Meaning (existential); Perspective (graphical); The arts; Visual arts; Art; Perception; Aesthetics; Performing arts; Psychology; Pedagogy; Literature","score_opus":0.054955783484030137,"score_gpt":0.21566778259298808,"score_spread":0.16071199910895795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W368758907","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000019595305,0.00046822985,0.00000555108,0.00009663402,0.0021608823,0.0004753114,0.00023799138,0.00021536263,0.9963204],"genre_scores_gemma":[0.0031813898,0.000018114606,0.000041847594,0.00057600753,0.0034943817,0.000031825617,0.00009160181,0.0001439496,0.99242085],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986496,0.000006274943,0.00034366333,0.00040017453,0.00019801132,0.00040226942],"domain_scores_gemma":[0.9989863,0.00006223911,0.00020484757,0.00038294526,0.0002815322,0.000082143735],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001450157,0.00044931736,0.000474473,0.00020069903,0.000552778,0.00044909277,0.00024149817,0.00021412314,0.0050070984],"category_scores_gemma":[0.000008457844,0.00038930474,0.00037568907,0.000002300133,0.00043268866,0.00020596996,0.00008421262,0.00033672588,0.00020078456],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043740743,0.000003678321,8.5408857e-7,0.000108926855,0.0002385391,0.0000066865905,0.022656264,4.949893e-8,6.663748e-7,0.7084807,0.23463115,0.033828717],"study_design_scores_gemma":[0.00023811845,0.00012578799,4.3316663e-7,0.00015698286,0.00013920708,0.0000035033706,0.0007277323,0.0000010044383,0.000009904173,0.07563257,0.92249477,0.00046997322],"about_ca_topic_score_codex":0.00008002127,"about_ca_topic_score_gemma":0.0014599999,"teacher_disagreement_score":0.68786365,"about_ca_system_score_codex":0.00004374993,"about_ca_system_score_gemma":0.00007035735,"threshold_uncertainty_score":0.9998559},"labels":[],"label_agreement":null},{"id":"W40090748","doi":"","title":"Fully engaged : a senior performer on the Fringe theatre circuit","year":2004,"lang":"en","type":"dissertation","venue":"Summit (Simon Fraser University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performing arts; Visual arts; Art","score_opus":0.023767908525750763,"score_gpt":0.20133455576187734,"score_spread":0.17756664723612658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W40090748","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4245117,0.00018245263,4.477279e-7,0.00023027492,0.0009125947,0.00029383617,0.00011895255,0.000096575975,0.57365316],"genre_scores_gemma":[0.7961902,0.00028847612,0.0000012002746,0.00019637914,0.0006784457,0.000004513749,0.00026812608,0.000045233104,0.20232743],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845004,0.00015637367,0.00019764902,0.0004265457,0.00033852705,0.00043088352],"domain_scores_gemma":[0.9989574,0.00022232688,0.00016423826,0.0004368802,0.0001417863,0.00007739875],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021808519,0.00046936903,0.00037937588,0.00038391713,0.0029305564,0.00014908105,0.0005323992,0.0001936911,0.004498839],"category_scores_gemma":[0.00001610384,0.00034781726,0.00032568022,0.00014593596,0.0001841782,0.00026416022,0.000042850814,0.0014064782,0.00076172635],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0027071922,0.000977905,0.024913413,0.0014357157,0.0032810874,0.00061940606,0.21488258,0.000114855786,0.000017103486,0.4212726,0.28614733,0.043630775],"study_design_scores_gemma":[0.00037926764,0.00013382199,0.00015798141,0.00019666617,0.00018907101,3.640248e-9,0.37498936,0.0000015133803,0.00015810305,0.00033808567,0.6231104,0.00034572245],"about_ca_topic_score_codex":0.0006470636,"about_ca_topic_score_gemma":0.26583427,"teacher_disagreement_score":0.42093453,"about_ca_system_score_codex":0.00018650829,"about_ca_system_score_gemma":0.00016589524,"threshold_uncertainty_score":0.99989736},"labels":[],"label_agreement":null},{"id":"W406548721","doi":"","title":"Performing bodies : narrative, representation, and children's storytelling","year":2003,"lang":"en","type":"book","venue":"QUT ePrints (Queensland University of Technology)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Storytelling; Instinct; Narrative; Representation (politics); Art; Aesthetics; Psychology; Literature; Politics; Visual arts; Law; Ecology; Political science","score_opus":0.012060032349617741,"score_gpt":0.19312230395051555,"score_spread":0.1810622716008978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W406548721","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19568546,0.0017833485,0.000018560391,0.000520848,0.00027067508,0.00031693347,0.00007953943,0.00018632779,0.8011383],"genre_scores_gemma":[0.08508429,0.0038973365,0.00037227763,0.00002309748,0.00014784154,7.4662836e-7,0.000043404412,0.000028308314,0.9104027],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912506,0.000016516102,0.00017376766,0.0003575741,0.00012539404,0.00020170277],"domain_scores_gemma":[0.99925333,0.000029545805,0.00023562791,0.0002930774,0.00015622412,0.000032185657],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000086307686,0.0002478528,0.0004569523,0.00045920597,0.0007787946,0.000019204525,0.00022428315,0.00024129105,0.00083317026],"category_scores_gemma":[0.00001203622,0.00025469044,0.00009741209,0.00003009023,0.0012336677,0.0001497019,0.00017281994,0.00040158993,0.000039633607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003165196,0.00019637975,0.07942309,0.00072361215,0.0033365216,0.00012430729,0.28408754,0.000020764239,0.000026831318,0.3380498,0.21761535,0.07607928],"study_design_scores_gemma":[0.00058145274,0.00012423107,0.0014616745,0.000295574,0.00021335315,0.000016160524,0.02400437,0.0000049002792,0.00007045,0.012093195,0.960672,0.00046260722],"about_ca_topic_score_codex":0.00012225825,"about_ca_topic_score_gemma":0.00066496746,"teacher_disagreement_score":0.74305665,"about_ca_system_score_codex":0.000054685937,"about_ca_system_score_gemma":0.00008111216,"threshold_uncertainty_score":0.9999905},"labels":[],"label_agreement":null},{"id":"W4068132","doi":"","title":"Evolution of life drama program","year":2013,"lang":"en","type":"article","venue":"The Journal of Otolaryngology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Experiential learning; Government (linguistics); Participatory action research; Sociology; Citizen journalism; Public relations; Political science; Pedagogy; Art; Anthropology; Visual arts","score_opus":0.016895423840624098,"score_gpt":0.23108980362182208,"score_spread":0.21419437978119799,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4068132","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.981277,0.0011889942,0.000016011352,0.0011290059,0.00042578182,0.00014098619,0.0000010712336,0.000009594055,0.01581158],"genre_scores_gemma":[0.99859846,0.000117748365,0.000049470545,0.00012364078,0.00063431007,0.000004675965,2.4320758e-7,0.0000051857933,0.00046624572],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936754,0.00007580833,0.0003045869,0.000028986504,0.0000960363,0.00012703809],"domain_scores_gemma":[0.99926704,0.00009105046,0.00027462677,0.00009421199,0.0002433391,0.00002973658],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025315987,0.00006425973,0.000198518,0.00006693854,0.00013662307,0.000014670589,0.00017943482,0.00002512395,0.0012040882],"category_scores_gemma":[0.000033673077,0.000033592212,0.000073498995,0.000024317796,0.00033371875,0.00019771043,0.00003068496,0.00015064354,0.00008312121],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013845346,0.0017933168,0.15831275,0.0005478257,0.002264342,0.000015534242,0.2697886,0.00025350513,0.0051778117,0.30953208,0.16167256,0.089257136],"study_design_scores_gemma":[0.0023846643,0.007093877,0.34631225,0.00016327796,0.00046064844,0.00027783067,0.028458329,0.0005112856,0.0005679584,0.027063668,0.5862756,0.00043060523],"about_ca_topic_score_codex":0.00028794244,"about_ca_topic_score_gemma":0.00010399716,"teacher_disagreement_score":0.42460304,"about_ca_system_score_codex":0.000012218332,"about_ca_system_score_gemma":0.000041172312,"threshold_uncertainty_score":0.99970895},"labels":[],"label_agreement":null},{"id":"W418229321","doi":"","title":"Community Engaged Theatre and Performance ed. by Julie Salverson (review)","year":2013,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Media studies; History; Sociology; Visual arts; Art","score_opus":0.012463406018744214,"score_gpt":0.18316408190601446,"score_spread":0.17070067588727025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W418229321","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7642747,0.018369008,0.0000031319205,0.00049870746,0.00013089394,0.00026032556,0.000057261987,0.000060127404,0.21634586],"genre_scores_gemma":[0.98042905,0.014275419,0.000027718397,0.00015622073,0.000048013146,6.000848e-7,0.000015969326,0.0000059365498,0.005041076],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936455,0.00020924702,0.00009374812,0.00009186737,0.00008975584,0.00015082737],"domain_scores_gemma":[0.999547,0.000079057805,0.00006709113,0.00018920096,0.00006746257,0.00005019261],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022797633,0.00011825821,0.00021295027,0.000011233287,0.0013252287,0.00001789321,0.00017836217,0.000026538268,0.0047936286],"category_scores_gemma":[0.0000019586573,0.00011030871,0.000056380446,0.0000060402895,0.00027211747,0.0006997136,0.00002912921,0.00026368976,0.000091481685],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003278173,0.00009660009,0.0008354545,0.00055229745,0.000093955874,5.543198e-7,0.22909468,5.2154412e-8,0.00007333041,0.0002620024,0.5969953,0.17196302],"study_design_scores_gemma":[0.0005809763,0.0013006922,0.0061417343,0.00032407543,0.00009581948,0.00000158977,0.22990763,0.00003703588,0.00001629018,0.000025822972,0.76130277,0.0002655445],"about_ca_topic_score_codex":0.048394512,"about_ca_topic_score_gemma":0.016461533,"teacher_disagreement_score":0.21615435,"about_ca_system_score_codex":0.00003685146,"about_ca_system_score_gemma":0.000008918076,"threshold_uncertainty_score":0.9999749},"labels":[],"label_agreement":null},{"id":"W4200057669","doi":"10.1093/obo/9780199791231-0243","title":"Theater for Children and Young People","year":2021,"lang":"en","type":"reference-entry","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conceptualization; Mirroring; Ethos; Period (music); Professionalization; Psychology; Vitality; Citizen journalism; Aesthetics; Gender studies; Sociology; Developmental psychology; Social psychology; Art; Social science; Political science","score_opus":0.02292739147869202,"score_gpt":0.22989739803273118,"score_spread":0.20697000655403916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200057669","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003564805,0.010632899,0.000003971805,0.00026404267,0.0017353332,0.0002715068,0.0007966955,0.000049655337,0.9826811],"genre_scores_gemma":[0.019815933,0.056843273,0.000029155884,0.00015909466,0.0042859796,0.00007103232,0.0010871826,0.000032398464,0.917676],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993314,0.000008849782,0.00014142145,0.0002229274,0.00008493603,0.00021046094],"domain_scores_gemma":[0.99969906,0.00003166104,0.000038548624,0.00013517008,0.000068220106,0.000027330943],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000406082,0.00020462013,0.000344353,0.000048210622,0.00037422447,0.00021205649,0.00007444295,0.00007795409,0.0034292433],"category_scores_gemma":[0.0000026603977,0.0001334495,0.000101120844,0.000008754549,0.000069756854,0.000076069846,0.00007610273,0.00012402315,0.000026654117],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009054409,0.00001839868,0.0012330242,0.00020187514,0.00024099603,2.4881916e-7,0.015787793,1.4997093e-8,2.1503194e-8,0.013481075,0.94727,0.021757519],"study_design_scores_gemma":[0.00020895015,0.00006006455,0.0017029773,0.0001240805,0.00012322112,0.000005641525,0.0022644652,0.0000010499895,0.0000031783893,0.00044743659,0.99481094,0.00024800448],"about_ca_topic_score_codex":0.00073427905,"about_ca_topic_score_gemma":0.020993989,"teacher_disagreement_score":0.06500514,"about_ca_system_score_codex":0.000008938183,"about_ca_system_score_gemma":0.000033013777,"threshold_uncertainty_score":0.99748176},"labels":[],"label_agreement":null},{"id":"W4200192606","doi":"10.12745/et.24.2.4975","title":"Editorial","year":2021,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McMaster University; University of Victoria","funders":"","keywords":"Art; Visual arts; Content (measure theory); Media studies; Political science; Sociology; Mathematics","score_opus":0.009680050856242255,"score_gpt":0.22092898169546935,"score_spread":0.21124893083922708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200192606","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00004428549,0.0013073366,1.079231e-7,0.00007938074,0.72722155,0.000079676865,0.00048461586,0.00011222437,0.27067083],"genre_scores_gemma":[0.00017285808,0.00043980574,0.0000049868904,0.00002240996,0.9321542,0.000029035984,0.00043240996,0.00006997065,0.06667433],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980066,0.00005483165,0.00028980876,0.00040040986,0.0008367981,0.00041156006],"domain_scores_gemma":[0.99870497,0.00029505714,0.00011411029,0.00044106258,0.00037677755,0.000068029],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016621074,0.00039472384,0.00053512445,0.00008429888,0.00052622735,0.00050725543,0.0003314008,0.00047556675,0.0036971257],"category_scores_gemma":[0.000042671392,0.0003189923,0.00027836693,0.000033541717,0.00021663788,0.00020916053,0.00014345253,0.0010070438,0.0010082633],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003108483,0.000028673396,0.00000424234,0.00005866067,0.00015555466,0.00000735325,0.012741482,1.3756964e-7,6.5298997e-7,0.0006100637,0.9843339,0.0020282094],"study_design_scores_gemma":[0.0002970682,0.00013698805,7.136635e-7,0.00013608209,0.00010682908,1.5320751e-7,0.0009413668,1.1957674e-7,0.0000036100557,0.00034255837,0.9976472,0.00038725795],"about_ca_topic_score_codex":0.0010647608,"about_ca_topic_score_gemma":0.0019704488,"teacher_disagreement_score":0.20493264,"about_ca_system_score_codex":0.000048582115,"about_ca_system_score_gemma":0.00024973793,"threshold_uncertainty_score":0.9999262},"labels":[],"label_agreement":null},{"id":"W4200243917","doi":"10.3138/ctr.188.008","title":"Colouring In","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; Art; Visual arts; Performance art; Aesthetics; Literature; Art history","score_opus":0.03157448671797353,"score_gpt":0.23648235513331275,"score_spread":0.20490786841533923,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200243917","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020593319,0.3298444,4.5595584e-8,0.00515909,0.00023224138,0.00009772249,0.000021267293,0.000012403449,0.6625735],"genre_scores_gemma":[0.6105388,0.3521472,0.000022660006,0.017586283,0.0008997752,0.000066695546,0.000041987187,0.000033373835,0.01866324],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943584,0.000029917488,0.00014385083,0.00011043152,0.000046027755,0.0002339328],"domain_scores_gemma":[0.9996854,0.000017005157,0.0000157938,0.0001487071,0.000034444736,0.00009864214],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010259365,0.000080319456,0.00020555744,0.000053032516,0.00013815437,0.000031020576,0.00006863812,0.000013782486,0.0052711475],"category_scores_gemma":[0.000008080653,0.00006837062,0.00005719953,0.00006201947,0.000041174382,0.00006793297,0.000012115858,0.00008263247,0.0003349903],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000026008784,0.00003568459,0.004926216,0.0046909708,0.00008913791,0.0006374769,0.013051939,0.0000018534591,0.0000037329307,0.1355038,0.17748946,0.6635671],"study_design_scores_gemma":[0.000049550756,0.0000056785734,0.00013141037,0.0017034496,0.000015920381,0.000008530433,0.00049764983,7.2673146e-7,0.000005540907,0.00022786249,0.99726325,0.00009042337],"about_ca_topic_score_codex":0.027817158,"about_ca_topic_score_gemma":0.89141595,"teacher_disagreement_score":0.86359876,"about_ca_system_score_codex":0.00007440592,"about_ca_system_score_gemma":0.00023450404,"threshold_uncertainty_score":0.9956382},"labels":[],"label_agreement":null},{"id":"W4200347286","doi":"10.7592/methis.v22i27/28.18444","title":"Space as an Active Agent. On Performative Space in Estonian Contemporary Performing Arts / Ruum kui aktiivne agent. Performatiivsest ruumist Eesti nüüdisaegsetes etenduskunstides","year":2021,"lang":"et","type":"article","venue":"Methis Studia humaniora Estonica","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Performing arts; Space (punctuation); Art; Aesthetics; Visual arts; Philosophy; Linguistics","score_opus":0.07628668550306551,"score_gpt":0.3105257601435335,"score_spread":0.234239074640468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200347286","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7228614,0.008744686,0.0000030196409,0.002626235,0.002367415,0.0013311519,0.0005708769,0.00026269394,0.2612325],"genre_scores_gemma":[0.97523475,0.006074206,0.00037657734,0.001277959,0.0016518012,0.0003307198,0.00045600266,0.00027980405,0.014318194],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9901684,0.0013954596,0.0022112515,0.0021086922,0.0017199181,0.002396266],"domain_scores_gemma":[0.9938736,0.0012774786,0.0012373059,0.0019540435,0.00093164813,0.00072590855],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0022353986,0.0022254034,0.002782942,0.0009899385,0.006147671,0.0013180318,0.0011632144,0.0006449424,0.0048194416],"category_scores_gemma":[0.0005733624,0.00210911,0.00078976364,0.0007243182,0.0020737601,0.003580945,0.00096545776,0.004007563,0.0020053906],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002212032,0.006132667,0.012266558,0.0020971613,0.0028727464,0.0020161206,0.81651574,0.0005503579,0.00096823566,0.110304795,0.027809924,0.01625365],"study_design_scores_gemma":[0.0062036845,0.00635834,0.019154513,0.0036457765,0.00096163736,0.00017463141,0.34956816,0.00069937576,0.010004316,0.001189761,0.59737694,0.0046628555],"about_ca_topic_score_codex":0.0035123788,"about_ca_topic_score_gemma":0.014382403,"teacher_disagreement_score":0.569567,"about_ca_system_score_codex":0.0013241519,"about_ca_system_score_gemma":0.002088933,"threshold_uncertainty_score":0.99971867},"labels":[],"label_agreement":null},{"id":"W4200347637","doi":"10.4324/9780429321672-7","title":"Running Away with Cirque du Soleil1","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cirque; Geology; Geomorphology; Glacier","score_opus":0.02243268140063425,"score_gpt":0.18259827815916083,"score_spread":0.16016559675852657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200347637","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008880937,0.0012579176,0.0000074926193,0.00032849202,0.00040175428,0.00007840986,0.000021752852,0.000079298225,0.9977361],"genre_scores_gemma":[0.016209068,0.0004779808,0.000030552495,0.0005395752,0.0024555833,0.000006845703,0.00004614653,0.000049838665,0.98018444],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992855,0.000002190689,0.00016090107,0.00022111836,0.00015257362,0.00017770576],"domain_scores_gemma":[0.9995524,0.000021313137,0.00006821836,0.00019943537,0.00012475115,0.000033854187],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000040090898,0.0002703481,0.0003303606,0.0000622835,0.0005243899,0.0001965304,0.00008713662,0.000069049354,0.029415805],"category_scores_gemma":[6.906257e-7,0.00017880902,0.00010197412,0.0000032923713,0.00028489853,0.00009481079,0.000066271554,0.00022168503,0.00039544885],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010679811,0.0000056045146,0.000027162461,0.000050726107,0.00021047815,0.000040068793,0.0086372085,8.0086005e-7,6.47416e-7,0.9620828,0.026896613,0.002037196],"study_design_scores_gemma":[0.0001272433,0.00008614658,0.000006626292,0.00023660655,0.00007280626,0.0000092523715,0.0015740263,0.0000017151701,0.000011591474,0.0015415219,0.9960202,0.00031225118],"about_ca_topic_score_codex":0.00012485195,"about_ca_topic_score_gemma":0.0049645742,"teacher_disagreement_score":0.9691236,"about_ca_system_score_codex":0.000016948372,"about_ca_system_score_gemma":0.00005500722,"threshold_uncertainty_score":0.9714714},"labels":[],"label_agreement":null},{"id":"W4200387840","doi":"10.3138/utq.90.3.04.en","title":"Drama","year":2021,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Drama; History; Literature; Art","score_opus":0.011241906619460925,"score_gpt":0.18255860951181765,"score_spread":0.17131670289235673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200387840","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19998239,0.00090910256,0.000023373817,0.00028970395,0.00030596767,0.000026966614,0.000026821263,0.000034449306,0.79840124],"genre_scores_gemma":[0.9537857,0.00006719993,0.00008856355,0.000032547312,0.00013250124,2.7124566e-8,0.0000058275764,0.0000026579198,0.045884944],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997297,0.000011881164,0.00004369758,0.00007442318,0.000059216876,0.00008109696],"domain_scores_gemma":[0.99975604,0.000011263154,0.000024844385,0.00010225879,0.00008480412,0.000020769121],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000019679796,0.00004556154,0.00009160634,0.000005997534,0.00017835487,0.0000133624035,0.00006847094,0.000013424456,0.011398851],"category_scores_gemma":[6.1443166e-7,0.000049026585,0.00005826407,0.0000039575284,0.00009954494,0.00023673811,0.000011100424,0.000022318845,0.00006812862],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054614386,0.000125413,0.00058857823,0.000050633636,0.00016004933,0.000045991266,0.7042894,5.6913154e-7,0.00022812221,0.17044759,0.035208765,0.088800296],"study_design_scores_gemma":[0.00022259844,0.0001613466,0.0009669229,0.000011425517,0.000022354552,9.555474e-7,0.16926648,0.0000067287197,0.00003363479,0.00022151909,0.82901376,0.0000723044],"about_ca_topic_score_codex":0.00919432,"about_ca_topic_score_gemma":0.14391676,"teacher_disagreement_score":0.79380494,"about_ca_system_score_codex":0.000024069492,"about_ca_system_score_gemma":0.000019442676,"threshold_uncertainty_score":0.99740356},"labels":[],"label_agreement":null},{"id":"W4200393752","doi":"10.7592/methis.v22i27/28.18437","title":"Performativity, Performance and Perception / Performatiivsus, etendus ja taju","year":2021,"lang":"en","type":"article","venue":"Methis Studia humaniora Estonica","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"European Regional Development Fund; Tartu Ülikool; University of Toronto; Northwestern University; Harvard University; Eesti Teadusagentuur","keywords":"Performativity; Perception; Psychology; Sociology; Gender studies","score_opus":0.039521727291908317,"score_gpt":0.2517479608273649,"score_spread":0.21222623353545658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200393752","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74667406,0.0024135548,0.0000062431595,0.0006773123,0.00078612735,0.00022101452,0.00003146897,0.00017442323,0.2490158],"genre_scores_gemma":[0.981269,0.0058807563,0.00042203884,0.00056365936,0.0007732157,0.000079827005,0.000042447595,0.000047182955,0.010921885],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99762845,0.00016424393,0.0005729668,0.0005068408,0.00047854803,0.00064893696],"domain_scores_gemma":[0.9986563,0.00013755045,0.00018084179,0.0005154455,0.0003756638,0.0001342253],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006740307,0.0004553062,0.0006146659,0.00017060128,0.0025981392,0.00037650618,0.00025302527,0.00011417538,0.003999954],"category_scores_gemma":[0.00004987708,0.00039346475,0.00016275798,0.00012315075,0.0006796745,0.0012402141,0.0004344683,0.00064706354,0.0005688894],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001850007,0.0008485038,0.024927894,0.0015096613,0.0008537512,0.000060748775,0.5429293,0.000038380564,0.0009011407,0.11899931,0.038426194,0.27032012],"study_design_scores_gemma":[0.0010956007,0.0005306854,0.03337177,0.0001520442,0.0002292802,0.0000793856,0.030066347,0.00054726866,0.00023232667,0.00030592878,0.9325097,0.00087964325],"about_ca_topic_score_codex":0.00013383571,"about_ca_topic_score_gemma":0.0010224403,"teacher_disagreement_score":0.8940835,"about_ca_system_score_codex":0.0001189491,"about_ca_system_score_gemma":0.00016338407,"threshold_uncertainty_score":0.9998517},"labels":[],"label_agreement":null},{"id":"W4200411581","doi":"10.33171/dtcfjournal.2021.61.2.17","title":"FROM ECOPHOBIA TO ECOSOPHY IN CHANTAL BILODEAU’S SILA","year":2021,"lang":"en","type":"article","venue":"Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology; Subjectivity; Aesthetics; Politics; Postmodern theatre; Scholarship; Theatre studies; The arts; Ideology; Environmental ethics; Social science; Epistemology; Postmodernism; Art; Visual arts; Philosophy; Political science; Law","score_opus":0.015903176998265975,"score_gpt":0.20579010865488076,"score_spread":0.1898869316566148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200411581","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8434184,0.001655346,0.000011488542,0.0022780767,0.0014115841,0.0003020351,0.00053880556,0.00018533658,0.15019892],"genre_scores_gemma":[0.9853606,0.00035474345,0.00030876644,0.0029862921,0.0015204008,0.000024435354,0.0003030563,0.00005925955,0.009082426],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973028,0.000105302766,0.0004732658,0.00087195734,0.00040858123,0.0008381476],"domain_scores_gemma":[0.9985157,0.00029657612,0.00011679182,0.0005812504,0.00025051116,0.00023916605],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001394029,0.00051804085,0.0006711252,0.00041356884,0.0006696487,0.00029293337,0.00045341093,0.00014283792,0.0075024907],"category_scores_gemma":[0.00004203543,0.0005399319,0.00028415982,0.00034224446,0.00020548448,0.0008251635,0.00039244827,0.0003964041,0.002512428],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001217662,0.0022820497,0.045790795,0.0003166301,0.0016300415,0.0066217184,0.56484014,0.0006785908,0.0077961525,0.10971962,0.24427742,0.014829186],"study_design_scores_gemma":[0.0028917757,0.00049744855,0.015084021,0.0003449698,0.00023436644,0.00002584944,0.05894573,0.00019789896,0.0060364385,0.008994595,0.9048208,0.0019261301],"about_ca_topic_score_codex":0.00432779,"about_ca_topic_score_gemma":0.021235267,"teacher_disagreement_score":0.6605434,"about_ca_system_score_codex":0.00021150899,"about_ca_system_score_gemma":0.00016347566,"threshold_uncertainty_score":0.9997052},"labels":[],"label_agreement":null},{"id":"W4200435813","doi":"10.1017/9781108779210","title":"Brecht and Tragedy","year":2021,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Tragedy (event); Comedy; Naturalism; Literature; Art; Politics; Creativity; Relation (database); Philosophy; Epistemology; Law","score_opus":0.025714851646211335,"score_gpt":0.18010417266643505,"score_spread":0.1543893210202237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200435813","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00030321834,0.0012651194,0.0000028855982,0.000021450353,0.00042746178,0.00013995518,0.00036856328,0.00008788523,0.9973835],"genre_scores_gemma":[0.0006162747,0.0005443413,0.000006220729,0.00008976909,0.000707057,5.559071e-7,0.0000727313,0.000024255387,0.9979388],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992546,0.000030043157,0.000101543745,0.00029150586,0.00012244293,0.00019989813],"domain_scores_gemma":[0.9994825,0.000045715424,0.00007522582,0.00022869732,0.00009750731,0.000070352],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00004570244,0.00024617324,0.00033328164,0.000084221,0.0004854129,0.000107952044,0.00016023217,0.00011964077,0.000040501058],"category_scores_gemma":[0.0000019308434,0.0002587635,0.00011840795,0.000002325373,0.0004317191,0.00009001918,0.00021821448,0.0003264597,0.000010568886],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000179282,0.0000052160826,8.337646e-7,0.00013112299,0.00014160307,0.000110555586,0.0025049497,4.872376e-8,0.0000012970061,0.59718233,0.39778978,0.002114321],"study_design_scores_gemma":[0.00026649964,0.00003770951,0.0000056332474,0.00014167049,0.00020708366,0.000008145798,0.001087026,0.000002329778,0.00002358138,0.0000064624533,0.997915,0.00029881345],"about_ca_topic_score_codex":0.00016847259,"about_ca_topic_score_gemma":0.000077581586,"teacher_disagreement_score":0.60012525,"about_ca_system_score_codex":0.000067146466,"about_ca_system_score_gemma":0.00011088851,"threshold_uncertainty_score":0.99998647},"labels":[],"label_agreement":null},{"id":"W4200455290","doi":"10.12745/et.24.2.4891","title":"Staging Arthur","year":2021,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Gray (unit); Chapel; Literature; Performance art; Art; Visual arts; History; Art history","score_opus":0.0204249807819455,"score_gpt":0.2131259398519203,"score_spread":0.1927009590699748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200455290","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44955269,0.0007448053,0.0000023501368,0.0008125895,0.00046777472,0.000025452919,0.000015590422,0.00006995575,0.5483088],"genre_scores_gemma":[0.9614014,0.000068394875,0.000023176317,0.00033473872,0.0011774278,0.000004561339,0.000006835896,0.000012146034,0.036971305],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946845,0.000018381132,0.00009720893,0.00012707103,0.00009902818,0.00018985588],"domain_scores_gemma":[0.9997106,0.000023208473,0.0000184539,0.00016467828,0.00005302835,0.000029999454],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000047778198,0.00008963856,0.000112381334,0.000026768743,0.00032885757,0.00013429628,0.00006115034,0.0000146758,0.0043670563],"category_scores_gemma":[0.0000021329292,0.0000718553,0.00006448544,0.000025866988,0.00007587961,0.0001700199,0.000040837596,0.00008954096,0.00065539597],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044536115,0.00016662243,0.036782693,0.00008820711,0.00032633587,0.0001708224,0.322305,0.000009967935,0.0004153441,0.38706723,0.05877205,0.19385119],"study_design_scores_gemma":[0.00018346208,0.000039287977,0.0023130511,0.000029396491,0.000018392537,0.000003273399,0.008181099,0.0000044903027,0.0005750554,0.0031931405,0.98530877,0.00015060481],"about_ca_topic_score_codex":0.00008386413,"about_ca_topic_score_gemma":0.00062198716,"teacher_disagreement_score":0.9265367,"about_ca_system_score_codex":0.000007457397,"about_ca_system_score_gemma":0.000022340686,"threshold_uncertainty_score":0.9965431},"labels":[],"label_agreement":null},{"id":"W4200461086","doi":"10.3828/qs.2021.16","title":"Deirdre Kinahan’s <i>Unmanageable Sisters</i> : Michel Tremblay’s <i>Belles-sœurs</i> on the Irish Stage","year":2021,"lang":"en","type":"article","venue":"Quebec Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Irish; Intersectionality; Oppression; Gender studies; Sociology; Art; Political science; Politics; Law; Linguistics; Philosophy","score_opus":0.06801986338635431,"score_gpt":0.27008241973330605,"score_spread":0.20206255634695175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200461086","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18971951,0.032183062,0.000003977063,0.04447137,0.0027588971,0.00047410917,0.00025826046,0.00031959033,0.72981125],"genre_scores_gemma":[0.44718155,0.003200786,0.000013051792,0.0072415327,0.0010447555,0.000111630674,0.000023217848,0.000045535115,0.54113793],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99829084,0.000110475055,0.00034023274,0.00042796272,0.0003106992,0.0005197709],"domain_scores_gemma":[0.9985937,0.00044305742,0.00012103502,0.0005357666,0.0002572144,0.00004922934],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023846446,0.00037772706,0.00049236586,0.00006110962,0.001770283,0.00024575795,0.0002721473,0.0000440109,0.0012367852],"category_scores_gemma":[0.00006960884,0.00023898957,0.00023900956,0.000102093174,0.00061291276,0.00021842806,0.00027759722,0.0002633446,0.0004965038],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000405846,0.00011647481,0.00035260225,0.0001700094,0.00071249536,0.000053017327,0.044583913,0.000010580372,0.000031598876,0.04494371,0.9060632,0.0029218039],"study_design_scores_gemma":[0.00030231886,0.0000889219,0.0002438748,0.0001407676,0.00010550961,0.00000210149,0.13736983,0.000008095669,0.0009990117,0.00043287085,0.85999876,0.00030795674],"about_ca_topic_score_codex":0.0028824098,"about_ca_topic_score_gemma":0.15638721,"teacher_disagreement_score":0.25746202,"about_ca_system_score_codex":0.0001300486,"about_ca_system_score_gemma":0.00006302135,"threshold_uncertainty_score":0.9996762},"labels":[],"label_agreement":null},{"id":"W4200582952","doi":"10.7592/methis.v22i27/28.18445","title":"The Condition of Instability: Performative Turn and Contemporary Lithuanian Theatre / Ebastabiilsuse seisund: performatiivne pööre ja Leedu nüüdisteater","year":2021,"lang":"et","type":"article","venue":"Methis Studia humaniora Estonica","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lithuanian; Performative utterance; Humanities; Performativity; Theology; Sociology; Art; Philosophy; Aesthetics; Gender studies; Linguistics","score_opus":0.036767316652557926,"score_gpt":0.26893707872320743,"score_spread":0.23216976207064952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200582952","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6979741,0.050365448,0.0000034795994,0.0035365717,0.001322518,0.0009923563,0.0011002609,0.00009604285,0.24460922],"genre_scores_gemma":[0.9837915,0.010188791,0.000046021396,0.00038067772,0.000554391,0.0001146417,0.00014546535,0.000079341495,0.0046991888],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99492145,0.001087694,0.0016221689,0.0007419061,0.00075331033,0.00087349577],"domain_scores_gemma":[0.9957743,0.0011762079,0.0007836111,0.0010977493,0.0009739304,0.0001941574],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0020090558,0.00085271196,0.0014126291,0.00017788305,0.0054764203,0.00070627895,0.0004915315,0.00025288542,0.0012412061],"category_scores_gemma":[0.00012783693,0.00059585244,0.0004352005,0.00022004922,0.0031817155,0.0012442005,0.00078681356,0.0013783739,0.00010425323],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00090676954,0.0012778494,0.0121679725,0.0032219,0.0033545424,0.00007399401,0.80841196,0.000009988772,0.00032444674,0.12418078,0.012507351,0.033562478],"study_design_scores_gemma":[0.0022300556,0.0011384697,0.006539329,0.0005868586,0.0006077671,0.000040596755,0.25823072,0.00010216861,0.0011945821,0.0017334895,0.7267012,0.0008947999],"about_ca_topic_score_codex":0.0006355905,"about_ca_topic_score_gemma":0.004533476,"teacher_disagreement_score":0.7141938,"about_ca_system_score_codex":0.00020714231,"about_ca_system_score_gemma":0.0008418207,"threshold_uncertainty_score":0.9996718},"labels":[],"label_agreement":null},{"id":"W4200601536","doi":"10.1386/atr_00051_1","title":"Theorizing ethical questioning for applied theatre practice","year":2021,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Reflexivity; Sociology; Morality; Construct (python library); Resistance (ecology); Individualism; Action (physics); Politics; Pedagogy; Epistemology; Political science; Social science; Law; Philosophy","score_opus":0.0894236831791237,"score_gpt":0.378151492530355,"score_spread":0.2887278093512313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200601536","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020884208,0.0010219513,0.00026738876,0.010567116,0.0003286369,0.000706769,0.000039333496,0.00017591356,0.98480445],"genre_scores_gemma":[0.99101335,0.0004139099,0.001184955,0.0011337921,0.002960808,0.00061629195,0.00007131343,0.00007268825,0.0025329178],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971944,0.00022977003,0.0003512049,0.00057599373,0.00073733175,0.00091128267],"domain_scores_gemma":[0.9955134,0.0032245659,0.00006519865,0.00052265864,0.0005472992,0.00012690834],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.002872183,0.00025707282,0.0003663287,0.00016267304,0.002416346,0.000489842,0.0003164069,0.00020918809,0.00072420033],"category_scores_gemma":[0.00009371537,0.00020886445,0.00013119855,0.00020517582,0.00063231547,0.00016657183,0.00026279723,0.001432151,0.00039687083],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033231595,0.00010592457,0.000010294578,0.00011199993,0.00014340262,0.000008554068,0.01833211,0.000011694366,0.0012064489,0.8735413,0.0070132534,0.09918269],"study_design_scores_gemma":[0.0006358956,0.0000935325,0.0000054536513,0.000057961704,0.000053412197,0.000009830761,0.053158946,0.000029915973,0.0031212217,0.07158933,0.87097865,0.00026587496],"about_ca_topic_score_codex":0.00012457045,"about_ca_topic_score_gemma":0.00039986667,"teacher_disagreement_score":0.9889249,"about_ca_system_score_codex":0.00008956222,"about_ca_system_score_gemma":0.0002532695,"threshold_uncertainty_score":0.99888235},"labels":[],"label_agreement":null},{"id":"W420260596","doi":"","title":"Stratford Festival of Canada","year":2005,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; History","score_opus":0.005878143721703849,"score_gpt":0.14282984966692647,"score_spread":0.13695170594522263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W420260596","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47059754,0.15299872,0.0000069128887,0.07356237,0.0010139997,0.00013916813,0.000526165,0.00003364253,0.30112147],"genre_scores_gemma":[0.5134176,0.007745543,0.00007495195,0.00017445348,0.0007992423,9.1465034e-7,0.000008706467,0.000014890259,0.47776368],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902713,0.000022747707,0.00016914394,0.00015557984,0.00020146785,0.00042394755],"domain_scores_gemma":[0.99944913,0.000052058374,0.00011438415,0.00017698196,0.00008890225,0.000118559365],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000070409726,0.00018684949,0.0002555447,0.000059277503,0.0009129795,0.000012524664,0.00016747988,0.000063565356,0.0018919047],"category_scores_gemma":[0.0000040256887,0.0001999104,0.00010105512,0.000052216208,0.00023398739,0.00021825114,0.00010621171,0.00014448537,0.000042980384],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011684301,0.000077073055,0.0004541857,0.00011260597,0.0002556949,0.0002522286,0.0059711547,0.00042690345,0.000029118686,0.28929913,0.6112027,0.09180234],"study_design_scores_gemma":[0.00042382162,0.00011044947,0.00061269145,0.00006987549,0.0001232443,0.00004857826,0.006500197,0.00018729868,0.00019091695,0.00021854466,0.99130315,0.00021123215],"about_ca_topic_score_codex":0.84156865,"about_ca_topic_score_gemma":0.99849653,"teacher_disagreement_score":0.38010043,"about_ca_system_score_codex":0.0035268255,"about_ca_system_score_gemma":0.00024295747,"threshold_uncertainty_score":0.9990205},"labels":[],"label_agreement":null},{"id":"W4205137348","doi":"10.1093/oso/9780198861072.003.0008","title":"‘Illuminated by the light of the sun’","year":2022,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Style (visual arts); Chorus; Dance; Art; Visual arts; Art history; History; Literature","score_opus":0.019759505990653802,"score_gpt":0.17137597486817938,"score_spread":0.15161646887752558,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205137348","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017563219,0.00029541852,1.7614663e-7,0.00021914681,0.00042140504,0.00023324505,0.0005171567,0.00003247189,0.99810535],"genre_scores_gemma":[0.007882719,0.00025807437,4.4045476e-7,0.0000748663,0.000116324016,9.622329e-7,0.000015990621,0.000019658119,0.991631],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933624,0.000027618233,0.00011960756,0.00015702262,0.00021449715,0.00014498533],"domain_scores_gemma":[0.9993126,0.000036797526,0.0001863378,0.00038052743,0.00006413843,0.000019642835],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000059598427,0.00019282264,0.00021742299,0.00003909191,0.001045024,0.000023882956,0.00061680446,0.00006239244,0.0013014213],"category_scores_gemma":[0.000001047943,0.00011914177,0.0002079535,0.0000031057662,0.0005660991,0.000052786727,0.0005194932,0.00034874177,8.320933e-7],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000374033,0.00000588466,0.0000016265873,0.000030476589,0.00017784732,0.0000029551275,0.010175104,5.1374883e-7,0.0000032822527,0.92558146,0.062493496,0.001489932],"study_design_scores_gemma":[0.0001511954,0.000046638892,0.0000012409009,0.00003628666,0.00018021972,0.0000011015062,0.001354629,0.0000012079718,0.00007018578,0.0003450875,0.99765944,0.00015273415],"about_ca_topic_score_codex":0.00025853826,"about_ca_topic_score_gemma":0.0003748264,"teacher_disagreement_score":0.935166,"about_ca_system_score_codex":0.000043238513,"about_ca_system_score_gemma":0.000030194258,"threshold_uncertainty_score":0.9996115},"labels":[],"label_agreement":null},{"id":"W4205406906","doi":"10.12745/et.23.2.4537","title":"Editorial","year":2021,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McMaster University; University of Victoria","funders":"","keywords":"Art; State (computer science); Visual arts; Media studies; Political science; Sociology; Computer science","score_opus":0.009680050856242255,"score_gpt":0.22092898169546935,"score_spread":0.21124893083922708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205406906","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00004428549,0.0013073366,1.079231e-7,0.00007938074,0.72722155,0.000079676865,0.00048461586,0.00011222437,0.27067083],"genre_scores_gemma":[0.00017285808,0.00043980574,0.0000049868904,0.00002240996,0.9321542,0.000029035984,0.00043240996,0.00006997065,0.06667433],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980066,0.00005483165,0.00028980876,0.00040040986,0.0008367981,0.00041156006],"domain_scores_gemma":[0.99870497,0.00029505714,0.00011411029,0.00044106258,0.00037677755,0.000068029],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016621074,0.00039472384,0.00053512445,0.00008429888,0.00052622735,0.00050725543,0.0003314008,0.00047556675,0.0036971257],"category_scores_gemma":[0.000042671392,0.0003189923,0.00027836693,0.000033541717,0.00021663788,0.00020916053,0.00014345253,0.0010070438,0.0010082633],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003108483,0.000028673396,0.00000424234,0.00005866067,0.00015555466,0.00000735325,0.012741482,1.3756964e-7,6.5298997e-7,0.0006100637,0.9843339,0.0020282094],"study_design_scores_gemma":[0.0002970682,0.00013698805,7.136635e-7,0.00013608209,0.00010682908,1.5320751e-7,0.0009413668,1.1957674e-7,0.0000036100557,0.00034255837,0.9976472,0.00038725795],"about_ca_topic_score_codex":0.0010647608,"about_ca_topic_score_gemma":0.0019704488,"teacher_disagreement_score":0.20493264,"about_ca_system_score_codex":0.000048582115,"about_ca_system_score_gemma":0.00024973793,"threshold_uncertainty_score":0.9999262},"labels":[],"label_agreement":null},{"id":"W4205581862","doi":"10.3138/utq.82.3.4","title":"Drama","year":2013,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; History; Art; Literature","score_opus":0.009274965767861099,"score_gpt":0.17128673834805253,"score_spread":0.16201177258019142,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205581862","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35892463,0.0002260517,0.000013007924,0.00024245013,0.00018454847,0.00007446396,0.00000943474,0.000038617956,0.6402868],"genre_scores_gemma":[0.9705332,0.000021851123,0.000060843475,0.0000257671,0.00010691933,1.1303115e-7,0.000002072905,0.0000025969148,0.029246643],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997319,0.000008027186,0.00004652585,0.0000638394,0.000056198503,0.00009352525],"domain_scores_gemma":[0.99977773,0.00001026156,0.000030140887,0.00009221259,0.00006440996,0.000025264537],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000017145872,0.000051150168,0.00008704344,0.000009249024,0.00017304921,0.000018229186,0.00010022814,0.00001377711,0.024330808],"category_scores_gemma":[3.1725887e-7,0.000049447986,0.000047977275,0.000002704277,0.00013262338,0.00048949866,0.000008716969,0.000021470618,0.00041075956],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027790462,0.00008424918,0.00077105075,0.00003555716,0.00010947009,0.0000025497418,0.6727884,3.366817e-7,0.00012783876,0.07644588,0.10282008,0.14678682],"study_design_scores_gemma":[0.0002992704,0.00046226307,0.0050194776,0.000012734529,0.000020880176,3.5522902e-7,0.20571414,0.00002926092,0.0000075350317,0.0006021547,0.7877096,0.00012231065],"about_ca_topic_score_codex":0.07795794,"about_ca_topic_score_gemma":0.06987612,"teacher_disagreement_score":0.68488955,"about_ca_system_score_codex":0.000022686094,"about_ca_system_score_gemma":0.00000631999,"threshold_uncertainty_score":0.97656107},"labels":[],"label_agreement":null},{"id":"W4205720722","doi":"10.1353/mdr.0.0092","title":"Middlebrowing the Avant-Garde: Equus on the West End","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spectacle; Narrative; Commodification; Middlebrow; Aesthetics; Context (archaeology); Avant garde; History; Literature; Art; Sociology; Art history; Political science; Law; Economy","score_opus":0.04020671528692433,"score_gpt":0.2291297608235215,"score_spread":0.18892304553659717,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205720722","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21352527,0.0007470454,0.000018812918,0.024949046,0.00061061827,0.00018786827,0.000016585522,0.00009871509,0.75984603],"genre_scores_gemma":[0.9672869,0.00005386446,0.0000029152682,0.0053556166,0.0010288594,0.000010205176,0.000002457237,0.000010509363,0.0262487],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992689,0.000031883697,0.00012473331,0.00013616006,0.00018211026,0.0002562438],"domain_scores_gemma":[0.99950475,0.00011221849,0.000035185414,0.00029680532,0.000030051127,0.000020973534],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015293881,0.00014012153,0.00011539576,0.000023152661,0.0011344744,0.00022758782,0.00024363602,0.000022199165,0.0017950262],"category_scores_gemma":[0.000010199091,0.00006433426,0.00008532016,0.000007071249,0.00016846968,0.00009593284,0.000032471806,0.00018792744,0.00059597555],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000797319,0.00013924389,0.00014175892,0.0000142088065,0.000122708,0.000011094162,0.4468811,0.00014877018,0.00016387583,0.28764173,0.044176724,0.22047907],"study_design_scores_gemma":[0.0002515941,0.00023101778,0.0024019603,0.000058401034,0.000040681756,0.00000391929,0.0054136002,0.000887214,0.00026711964,0.02946108,0.9607348,0.0002486318],"about_ca_topic_score_codex":0.00007455203,"about_ca_topic_score_gemma":0.0011354022,"teacher_disagreement_score":0.9165581,"about_ca_system_score_codex":0.0000140470465,"about_ca_system_score_gemma":0.000010323146,"threshold_uncertainty_score":0.9991175},"labels":[],"label_agreement":null},{"id":"W4205773669","doi":"10.3138/ctr.187.023","title":"SummerWorks Leaders Interviews","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Compendium; Liveness; Event (particle physics); Inclusion (mineral); CLARITY; Media studies; Performance art; Sociology; Public relations; Visual arts; Political science; Art; History; Art history; Social science; Computer science","score_opus":0.07385830592954681,"score_gpt":0.2692063837873026,"score_spread":0.1953480778577558,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205773669","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009919156,0.47632673,7.295088e-7,0.011672348,0.00047870816,0.00011272348,0.00003749421,0.000022899178,0.5112492],"genre_scores_gemma":[0.13052796,0.75211364,0.000036439764,0.06543832,0.0020410824,0.00009211457,0.00016577437,0.00006766299,0.049516987],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991008,0.00006247558,0.00023084295,0.00018402621,0.00007610482,0.00034573776],"domain_scores_gemma":[0.99934816,0.000023183557,0.000034479915,0.00031018615,0.000079684745,0.0002042826],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014524536,0.00015500055,0.00034069654,0.000053028743,0.00029642595,0.00006256362,0.00014549102,0.000026818367,0.014379514],"category_scores_gemma":[0.0000104304945,0.00012282953,0.00018065734,0.00007399113,0.0001545863,0.00011203918,0.00002163955,0.0001449756,0.0011642519],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.142341e-7,0.000008873873,0.00010933961,0.0015138891,0.000079548605,0.00005377991,0.0062821126,1.5419492e-7,5.3918836e-7,0.017264992,0.46901897,0.5056671],"study_design_scores_gemma":[0.000047988062,0.000011306761,0.000009866252,0.002529832,0.00007250136,0.000013740498,0.0027321954,7.7888535e-7,0.000005322551,0.0001544636,0.9942625,0.00015949336],"about_ca_topic_score_codex":0.015709372,"about_ca_topic_score_gemma":0.72332203,"teacher_disagreement_score":0.7076127,"about_ca_system_score_codex":0.00006785301,"about_ca_system_score_gemma":0.00024192545,"threshold_uncertainty_score":0.99961346},"labels":[],"label_agreement":null},{"id":"W4205823087","doi":"10.7202/041534ar","title":"Revue des revues de langue anglaise","year":2003,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Art","score_opus":0.033835280605154894,"score_gpt":0.2459818239262914,"score_spread":0.2121465433211365,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205823087","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1304001,0.029129488,0.000030502255,0.014785371,0.0030358175,0.0008566937,0.0008120785,0.00056422985,0.8203857],"genre_scores_gemma":[0.6466331,0.017852044,0.0011896061,0.00076092925,0.003960056,0.00016279277,0.00008183055,0.00025076323,0.32910892],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99456215,0.0005125771,0.0012108377,0.0010970824,0.00038307425,0.0022343018],"domain_scores_gemma":[0.9969976,0.0004378436,0.00044193174,0.0010972909,0.0004004441,0.0006248883],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009437101,0.0012609595,0.0013659658,0.0003612301,0.0020358227,0.00051243405,0.00082847395,0.0005287504,0.002707352],"category_scores_gemma":[0.00032000398,0.0012872962,0.0009403964,0.00035238784,0.001966391,0.0013143219,0.00013879349,0.0010227216,0.00058621285],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001767547,0.00066663325,0.0024816007,0.0035513365,0.0005859963,0.00053241715,0.05966204,0.0001719659,0.00017292376,0.85963225,0.065524206,0.006841881],"study_design_scores_gemma":[0.0004015065,0.0006418898,0.0011515378,0.003102446,0.00066431816,0.00069746823,0.0052685067,0.000054037864,0.00054163364,0.0052423216,0.9807203,0.0015140638],"about_ca_topic_score_codex":0.003533259,"about_ca_topic_score_gemma":0.1394147,"teacher_disagreement_score":0.91519606,"about_ca_system_score_codex":0.0005056968,"about_ca_system_score_gemma":0.00044825466,"threshold_uncertainty_score":0.9992634},"labels":[],"label_agreement":null},{"id":"W4205993710","doi":"10.1353/ctr.2012.0053","title":"Highway to the Valley","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Institution; Event (particle physics); Performance art; History; Art history; Archaeology; Visual arts; Art; Sociology; Social science","score_opus":0.03794427428853081,"score_gpt":0.2418769298349923,"score_spread":0.20393265554646148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205993710","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026618087,0.33502874,5.0297604e-7,0.029918548,0.00097343454,0.00037293945,0.000055419972,0.000031155218,0.63335305],"genre_scores_gemma":[0.778068,0.10373348,0.00002259563,0.082812235,0.0073603564,0.00022163385,0.000028558914,0.000054810756,0.027698344],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919,0.000041404266,0.00014381304,0.00008994014,0.000085249834,0.00044964202],"domain_scores_gemma":[0.9992758,0.000027941553,0.000022348971,0.0002999876,0.000045382316,0.0003285626],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029942644,0.00012562788,0.00019429586,0.00004585318,0.0005209958,0.00004234089,0.00021035792,0.000014331527,0.004807254],"category_scores_gemma":[0.000010592439,0.0000691468,0.00007946201,0.00007200667,0.000058645164,0.00011540888,0.00002188952,0.00008631017,0.00456641],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[6.8689826e-7,0.000005118938,0.00021605068,0.0002450026,0.000033248612,8.744703e-7,0.007970721,1.4938239e-7,1.3755354e-7,0.04627418,0.7891004,0.15615344],"study_design_scores_gemma":[0.000020142546,0.000013766679,0.00012427126,0.00045054866,0.000050793537,0.0000039915717,0.00040758052,1.4704254e-7,0.000001059374,0.000036915815,0.9987771,0.000113715614],"about_ca_topic_score_codex":0.029083407,"about_ca_topic_score_gemma":0.44811848,"teacher_disagreement_score":0.7778018,"about_ca_system_score_codex":0.000059122223,"about_ca_system_score_gemma":0.000082464714,"threshold_uncertainty_score":0.99620867},"labels":[],"label_agreement":null},{"id":"W4206103888","doi":"10.3138/ctr.187.009","title":"Intensive Connections","year":2021,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Performance art; Media studies; Sociology; History; Aesthetics; Art; Art history","score_opus":0.038952850058698446,"score_gpt":0.24583733814840414,"score_spread":0.2068844880897057,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206103888","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00022723664,0.299022,4.8899585e-7,0.018686157,0.00064007257,0.00011205524,0.00008755924,0.000029196695,0.68119526],"genre_scores_gemma":[0.3123248,0.50447035,0.000031427535,0.11505767,0.0026689484,0.00011760295,0.0001959271,0.00006279713,0.06507048],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994328,0.00003053081,0.00013750399,0.00012885574,0.00004916434,0.00022117079],"domain_scores_gemma":[0.999304,0.000027466327,0.0000221679,0.0002031105,0.0002914274,0.00015183279],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000060647282,0.00009812825,0.00021997876,0.00004353468,0.0003856847,0.000043620326,0.00006642059,0.000015612122,0.012071614],"category_scores_gemma":[0.00002970341,0.000079688565,0.000106259235,0.000059917806,0.0000885775,0.00007576007,0.000013004463,0.000089350295,0.0009785639],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.1219804e-7,0.000007975696,0.00013102594,0.0008857996,0.0001266754,0.00009179387,0.0051233466,2.1655762e-7,0.0000017287518,0.15577883,0.68372786,0.15412395],"study_design_scores_gemma":[0.00003797836,0.000010546179,0.000016052156,0.0009886395,0.000068572524,0.00003388386,0.0025728014,5.5896373e-7,0.000007396745,0.00039147443,0.9957641,0.000108048036],"about_ca_topic_score_codex":0.021165848,"about_ca_topic_score_gemma":0.710443,"teacher_disagreement_score":0.6892772,"about_ca_system_score_codex":0.000055398807,"about_ca_system_score_gemma":0.00028146047,"threshold_uncertainty_score":0.9997993},"labels":[],"label_agreement":null},{"id":"W4206571016","doi":"10.4324/9780367809058","title":"Barrie Kosky on the Contemporary Australian Stage","year":2021,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); History; Geology; Paleontology","score_opus":0.09865357572090189,"score_gpt":0.24570909408416053,"score_spread":0.14705551836325864,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206571016","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000060521856,0.0006717917,9.0535806e-8,0.0033698385,0.0009299581,0.00019236008,0.00032930504,0.00007622591,0.9943699],"genre_scores_gemma":[0.00831487,0.00014880863,0.0000011452516,0.0025462979,0.0022842481,0.000018995064,0.00014823563,0.0000329289,0.9865045],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991566,0.000027430582,0.00021186327,0.0002135856,0.00020106568,0.00018946646],"domain_scores_gemma":[0.99932355,0.00012638632,0.0000802783,0.00036441986,0.00006680071,0.00003855167],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010873314,0.00027665586,0.00030376593,0.000044393044,0.00052102597,0.00020903554,0.00020003036,0.00008428872,0.07023388],"category_scores_gemma":[0.0000047760595,0.00014930696,0.00018201319,0.000007519263,0.0003052245,0.000074565614,0.0000700246,0.00038760251,0.0011158524],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000053768445,0.00000586722,0.0000014740789,0.000029590465,0.00009256287,0.000011751849,0.005102814,9.394791e-8,1.13272264e-7,0.41059804,0.5839782,0.00017412181],"study_design_scores_gemma":[0.00007984953,0.00008163981,0.0000023224786,0.00014134933,0.000020824767,3.8272748e-7,0.007545284,2.576991e-7,0.000018573264,0.001930998,0.98995775,0.00022076145],"about_ca_topic_score_codex":0.0001034697,"about_ca_topic_score_gemma":0.0014708159,"teacher_disagreement_score":0.40866703,"about_ca_system_score_codex":0.000033252574,"about_ca_system_score_gemma":0.00023153462,"threshold_uncertainty_score":0.9996619},"labels":[],"label_agreement":null},{"id":"W4206588530","doi":"10.5325/thorntonwilderj.2.2.0233","title":"The Seven Deadly Sins, Quintessence Theatre Group, Philadelphia, Pennsylvania","year":2021,"lang":"en","type":"article","venue":"Thornton Wilder Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quintessence; Group (periodic table); History; Art; Physics; Astronomy","score_opus":0.019840580151183982,"score_gpt":0.2386065142403613,"score_spread":0.21876593408917733,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206588530","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23040865,0.05771529,0.000359994,0.078070566,0.01085099,0.000486032,0.00009645473,0.00035353622,0.6216585],"genre_scores_gemma":[0.9803283,0.0039050938,0.000091510665,0.00086946064,0.004016337,0.00000760964,0.000007117365,0.000033310123,0.010741218],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984034,0.00014383183,0.00038158568,0.00020461807,0.00036271187,0.0005038886],"domain_scores_gemma":[0.99900085,0.00018512196,0.00014985794,0.00029516162,0.00025267317,0.00011633319],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00049233186,0.00023236914,0.00024185052,0.000047591246,0.002940855,0.0008121051,0.00036428685,0.000043353542,0.0015851163],"category_scores_gemma":[0.000023699153,0.0001403346,0.00019366319,0.00006711875,0.0003432789,0.0004569527,0.000117433214,0.00058532384,0.00020489564],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037949916,0.00048186647,0.0042438745,0.00011845638,0.0011616576,0.0006089116,0.24993055,0.000045261088,0.0017990519,0.16477431,0.34928071,0.22717586],"study_design_scores_gemma":[0.00032777415,0.000109831664,0.0006278805,0.000111934896,0.00007408068,0.00056064135,0.03560421,0.000030798048,0.00020496486,0.009309761,0.95277584,0.00026231544],"about_ca_topic_score_codex":0.000049272545,"about_ca_topic_score_gemma":0.003419686,"teacher_disagreement_score":0.7499197,"about_ca_system_score_codex":0.00004542951,"about_ca_system_score_gemma":0.000104686536,"threshold_uncertainty_score":0.99932754},"labels":[],"label_agreement":null},{"id":"W4206646252","doi":"10.5040/9781350163898","title":"Applied Theatre: Ethics","year":2022,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology","score_opus":0.05395068541643067,"score_gpt":0.2346633955343016,"score_spread":0.18071271011787093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206646252","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000027487817,0.0019219811,0.0000012185399,0.0010572483,0.0036221761,0.00052331894,0.00053851365,0.000638643,0.9916694],"genre_scores_gemma":[0.0014432597,0.0001617971,0.000025996731,0.003899134,0.0069758845,0.00022876648,0.0007134641,0.00021113164,0.9863406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99656403,0.00010519875,0.0006616461,0.000755809,0.0011741921,0.0007391007],"domain_scores_gemma":[0.9977972,0.000573423,0.00041097356,0.00088671036,0.00018401047,0.00014766556],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013048887,0.0007325119,0.0008147797,0.00042169268,0.0026703328,0.0033425526,0.001245213,0.0003599146,0.010415458],"category_scores_gemma":[0.0000488821,0.000666494,0.00038205742,0.000025119174,0.00068292033,0.00063546136,0.00085915194,0.0049398723,0.00024131265],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027746204,0.000021425352,0.0000017484767,0.00019272535,0.00024484983,0.000022655884,0.030869547,0.0000021100625,8.1525593e-7,0.4300874,0.5249015,0.013627452],"study_design_scores_gemma":[0.00038683534,0.00008829141,9.429653e-7,0.00011363191,0.00022972647,0.00001157998,0.0028682519,0.000001456052,0.000004747713,0.035542604,0.95997685,0.0007751022],"about_ca_topic_score_codex":0.00022469215,"about_ca_topic_score_gemma":0.0013562595,"teacher_disagreement_score":0.4350753,"about_ca_system_score_codex":0.00025808727,"about_ca_system_score_gemma":0.00097006006,"threshold_uncertainty_score":0.99957865},"labels":[],"label_agreement":null},{"id":"W4206791515","doi":"10.1353/ctr.0.0025","title":"Private Acts: Devising Clark and I from Found Memories","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Deed; Settlement (finance); Process (computing); Performance art; History; Art; Law; Art history; Visual arts; Aesthetics; Political science; Computer science","score_opus":0.022711326072995273,"score_gpt":0.23416876762728667,"score_spread":0.2114574415542914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206791515","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10097917,0.40229642,9.601557e-7,0.008029986,0.0018386849,0.0005638185,0.00030551894,0.000088005676,0.48589742],"genre_scores_gemma":[0.8617884,0.12418777,0.00018489514,0.00866339,0.0029550612,0.00003772835,0.0000786363,0.000056760546,0.002047381],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921286,0.000024800791,0.0001976665,0.00018972845,0.00007656972,0.00029834727],"domain_scores_gemma":[0.9993581,0.000056713274,0.0000497739,0.0002691257,0.000040568753,0.00022567814],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015557701,0.0001740309,0.00031708178,0.00005576202,0.00055609574,0.00016196811,0.00013522654,0.000038788028,0.0025958568],"category_scores_gemma":[0.000019095372,0.00013169642,0.00006193369,0.00003599721,0.00023897122,0.00022311076,0.000026542697,0.00021480833,0.00015912132],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006972893,0.000013054302,0.0036379886,0.0020026176,0.00023521665,0.00003489484,0.013243486,5.222672e-8,0.000046289824,0.12756164,0.035224162,0.81799364],"study_design_scores_gemma":[0.00006577509,0.000013436791,0.00033010208,0.0009392434,0.0000930937,0.0000057409297,0.00028634936,9.4929544e-7,0.000010176138,0.0018216319,0.996254,0.00017948526],"about_ca_topic_score_codex":0.027883837,"about_ca_topic_score_gemma":0.69972855,"teacher_disagreement_score":0.9610298,"about_ca_system_score_codex":0.000025847658,"about_ca_system_score_gemma":0.000105845655,"threshold_uncertainty_score":0.99831593},"labels":[],"label_agreement":null},{"id":"W4210301656","doi":"10.4000/samaj.7632","title":"“Change the World One Play at a Time”: Playwright and Activist Rahul Varma on Socially-engaged, Diasporic Theatre in Canada","year":2021,"lang":"en","type":"article","venue":"South Asia Multidisciplinary Academic Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Bloody; Wife; Sociology; Criminology; Law; Art; Aesthetics; History; Literature; Political science","score_opus":0.04397767618252527,"score_gpt":0.2514999547640557,"score_spread":0.2075222785815304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210301656","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9651395,0.0046956823,5.768609e-7,0.007467202,0.0008101462,0.00027779254,0.00016373763,0.000025470303,0.021419862],"genre_scores_gemma":[0.9870433,0.0010142297,0.000011944208,0.00036327002,0.0028708784,0.000032901466,0.00001639445,0.000036702055,0.008610366],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99760324,0.0005254714,0.00047570243,0.00032234192,0.00044901026,0.00062423013],"domain_scores_gemma":[0.99869716,0.0006410306,0.00024547832,0.00018793534,0.00006019435,0.00016817251],"candidate_categories":["sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008939847,0.0003293094,0.00042246547,0.00014944277,0.0035091196,0.00008012201,0.00028062213,0.00008375918,0.0012563342],"category_scores_gemma":[0.00003213473,0.00021855897,0.00010927965,0.00014813214,0.00023892248,0.00033237328,0.00029716876,0.003554911,0.000064821674],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00086210563,0.00016536296,0.069225006,0.00008974102,0.00044493002,0.0006446993,0.8869311,0.000069543144,0.0002211653,0.002094132,0.013168643,0.026083551],"study_design_scores_gemma":[0.0058256574,0.00035049228,0.39096555,0.0014377575,0.00042368931,0.0005604873,0.48684943,0.0005874375,0.0008114887,0.0032795076,0.10701347,0.0018950091],"about_ca_topic_score_codex":0.009226374,"about_ca_topic_score_gemma":0.62841284,"teacher_disagreement_score":0.6191865,"about_ca_system_score_codex":0.0005282486,"about_ca_system_score_gemma":0.0006589992,"threshold_uncertainty_score":0.9996567},"labels":[],"label_agreement":null},{"id":"W4210417002","doi":"10.3138/ctr.189.015","title":"On Being a Walking Body: Dramaturgies of Participatory Pandemic Theatre","year":2022,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Liveness; Pandemic; Citizen journalism; Aesthetics; Sociology; Psychology; Coronavirus disease 2019 (COVID-19); Art; Medicine; Political science; Computer science","score_opus":0.03797626420713703,"score_gpt":0.25740928150959697,"score_spread":0.21943301730245993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210417002","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.058939833,0.26857588,2.8153266e-7,0.0026257772,0.001032775,0.00076780893,0.0003425435,0.00011992181,0.66759515],"genre_scores_gemma":[0.97919536,0.016117966,0.000002302391,0.0032214886,0.00022185761,0.00013760492,0.000022695567,0.000029290873,0.0010514418],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99863464,0.00015020721,0.00035171883,0.00021011152,0.00022226678,0.00043103908],"domain_scores_gemma":[0.99923575,0.00012233638,0.000110250134,0.00034805582,0.000036176247,0.00014745681],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045883982,0.00020151699,0.00047401668,0.00016135546,0.000887212,0.000029146173,0.00025908,0.000020820205,0.0057083685],"category_scores_gemma":[0.00001092451,0.00016368857,0.0001964887,0.00009842791,0.00014988484,0.00011467359,0.000059719852,0.00026990313,0.00006519453],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000452056,0.00009220007,0.0026558237,0.0049310033,0.00044034334,0.00007477192,0.048960667,0.000036177265,0.000019411751,0.3539598,0.08512184,0.50366277],"study_design_scores_gemma":[0.000109484936,0.000120071636,0.000060896888,0.0014177455,0.00012952581,0.000009054779,0.0023896373,0.0000063510993,0.000005648892,0.002156628,0.9933894,0.00020555298],"about_ca_topic_score_codex":0.012039607,"about_ca_topic_score_gemma":0.058334038,"teacher_disagreement_score":0.92025554,"about_ca_system_score_codex":0.00017466916,"about_ca_system_score_gemma":0.00023658715,"threshold_uncertainty_score":0.9952006},"labels":[],"label_agreement":null},{"id":"W4210543963","doi":"10.1353/mlr.2008.0291","title":"The Novel as Investigation: Leonardo Sciascia, Dacia Maraini, and Antonio Tabucchi by JoAnn Cannon","year":2008,"lang":"en","type":"article","venue":"The Modern Language Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Romance; Opera; Period (music); Art; Sicilian; History; Creativity; Humanities; Literature; Art history; Aesthetics; Political science; Law; Linguistics; Philosophy","score_opus":0.030643290563446102,"score_gpt":0.2465104228332239,"score_spread":0.2158671322697778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210543963","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.043980096,0.8802676,0.000015207979,0.012875373,0.00022016963,0.00050793285,0.00007749989,0.00006727293,0.061988834],"genre_scores_gemma":[0.40722275,0.5420673,0.000036428453,0.010077501,0.0011740996,0.00011961153,0.00004747419,0.000045590295,0.039209235],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911344,0.000061772815,0.0002220125,0.00016417849,0.0002032576,0.00023533795],"domain_scores_gemma":[0.9993927,0.000095339485,0.00009628497,0.00031699907,0.000050291757,0.000048407797],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00039741962,0.00017296967,0.00025347163,0.000014501684,0.0015670959,0.00008116598,0.00022820062,0.000020029718,0.00024879034],"category_scores_gemma":[0.00002949839,0.00008533442,0.00006805738,0.000044930104,0.0006721616,0.00013385373,0.00008064305,0.0001467556,0.00006552685],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045529614,0.00008043401,0.00026192164,0.0018584544,0.0004225229,0.000037471797,0.4591631,0.000011248208,0.00026507597,0.030599324,0.20780908,0.29944584],"study_design_scores_gemma":[0.00019627991,0.00005149265,0.00009796224,0.00071812514,0.00009765831,0.00009091753,0.002585975,0.00015487424,0.000029171299,0.0006936772,0.99504435,0.00023953957],"about_ca_topic_score_codex":0.0007817092,"about_ca_topic_score_gemma":0.0011387657,"teacher_disagreement_score":0.78723526,"about_ca_system_score_codex":0.000014722686,"about_ca_system_score_gemma":0.00004574589,"threshold_uncertainty_score":0.99973273},"labels":[],"label_agreement":null},{"id":"W4210630043","doi":"10.1108/978-1-80262-365-920221002","title":"Probing the Frame: Immersion is Not Interaction","year":2022,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Thompson Rivers University","funders":"","keywords":"Immersion (mathematics); Computer science; Human–computer interaction; Mathematics; Geometry","score_opus":0.04704464236702756,"score_gpt":0.2386237750268869,"score_spread":0.19157913265985932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210630043","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008397478,0.00029178217,8.6592723e-7,0.0028339936,0.0015598342,0.00016097954,0.000038911076,0.00004856602,0.9949811],"genre_scores_gemma":[0.02830905,0.00068243826,0.0000020797454,0.00247003,0.0011136582,0.000016797061,0.000027845503,0.000026530442,0.96735156],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994014,0.0000057014176,0.0001565979,0.00015657421,0.00016820016,0.000111521695],"domain_scores_gemma":[0.99963427,0.00004550783,0.00009555366,0.00017860509,0.00003442019,0.000011663627],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000070262045,0.0001703051,0.00015104674,0.000058143425,0.0009489427,0.00009369162,0.00012313359,0.000039994597,0.16617972],"category_scores_gemma":[6.4611436e-7,0.000099495956,0.00013654857,0.0000032028943,0.00010209502,0.00014303993,0.00013808557,0.00042914192,0.0008126142],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025995823,0.0000049936552,8.4716623e-7,0.000025486126,0.000109967696,0.0000010394194,0.03895469,7.48798e-7,0.000002380499,0.7673559,0.17928645,0.014231468],"study_design_scores_gemma":[0.00004520251,0.000062425854,5.304216e-7,0.000041386873,0.000049606726,0.0000017923611,0.0060619023,0.0000075503535,0.000019475488,0.0017551288,0.9918062,0.00014876854],"about_ca_topic_score_codex":0.0002302171,"about_ca_topic_score_gemma":0.00026324432,"teacher_disagreement_score":0.8125198,"about_ca_system_score_codex":0.000042443164,"about_ca_system_score_gemma":0.00001231795,"threshold_uncertainty_score":0.99996537},"labels":[],"label_agreement":null},{"id":"W4210715575","doi":"10.1353/ctr.2013.0014","title":"My Life in Jewish Theatre: A Coming-Out Story","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Judaism; Art; Visual arts; Coming out; Performance art; Aesthetics; Art history; History; Archaeology; Humanities","score_opus":0.03147268172127457,"score_gpt":0.22916814070389963,"score_spread":0.19769545898262506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210715575","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0029837438,0.41240305,2.1994117e-7,0.014267753,0.00058884267,0.00081862137,0.000059418944,0.00005204298,0.5688263],"genre_scores_gemma":[0.8476694,0.110001646,0.000017886154,0.029430455,0.0015712661,0.0004526354,0.000046780024,0.0000801564,0.01072974],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99858755,0.000112623624,0.00034994504,0.00024954407,0.00012656824,0.0005737751],"domain_scores_gemma":[0.99901086,0.00007238099,0.00006811213,0.00038434705,0.00006375661,0.00040053544],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003002695,0.00025776052,0.0005539112,0.00017522044,0.00036303623,0.00010066627,0.0002758925,0.000049152903,0.009477787],"category_scores_gemma":[0.000017492075,0.00020074984,0.00015250011,0.000077035715,0.0001952256,0.00028358607,0.000029432522,0.00028593984,0.002971961],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000020987413,0.000023651724,0.0026163773,0.0014921643,0.000075249205,0.000015949028,0.010368447,4.5082388e-7,8.700185e-7,0.0062522655,0.54586667,0.4332858],"study_design_scores_gemma":[0.00015068702,0.000031383213,0.0003297417,0.0018789772,0.00004704173,0.000003182782,0.0012222903,0.0000041609023,5.0526944e-7,0.00045355264,0.9956136,0.00026489864],"about_ca_topic_score_codex":0.09218298,"about_ca_topic_score_gemma":0.73939043,"teacher_disagreement_score":0.8446857,"about_ca_system_score_codex":0.00016917077,"about_ca_system_score_gemma":0.00035122666,"threshold_uncertainty_score":0.99780434},"labels":[],"label_agreement":null},{"id":"W4210747191","doi":"10.1353/tj.2021.0132","title":"The Interdisciplinary Theatre of Ping Chong: Exploring Curiosity and Otherness on Stage by Yuko Kurahashi","year":2021,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Curiosity; Ping (video games); Art; Art history; Aesthetics; Visual arts; Literature; Psychology; Computer science","score_opus":0.044798055096691686,"score_gpt":0.26068363095519936,"score_spread":0.21588557585850768,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210747191","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90614724,0.006968622,0.00001341065,0.0026671968,0.00092024036,0.00007123727,0.00004658086,0.000026633475,0.08313885],"genre_scores_gemma":[0.99278575,0.0025442268,0.000007737518,0.00009957333,0.00093019515,0.0000056329136,0.0000021052626,0.00002187581,0.0036029015],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989688,0.00009562765,0.0003015026,0.00014486289,0.00021657324,0.00027264628],"domain_scores_gemma":[0.9993321,0.00018174492,0.00013866449,0.00020172105,0.000079787336,0.00006599616],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00034205476,0.00017549904,0.00024777706,0.000045738598,0.0016851352,0.00023892736,0.00017479104,0.000025283063,0.00036417172],"category_scores_gemma":[0.0000046892324,0.00010320352,0.00011479619,0.000036144003,0.00026309604,0.0003079755,0.00018328297,0.00036259776,0.000010218372],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010493548,0.00047866494,0.007125711,0.00030028383,0.001024661,0.0001170768,0.40130076,0.00005739084,0.0028148047,0.017019633,0.024658483,0.5440532],"study_design_scores_gemma":[0.0017823842,0.000978601,0.0020351268,0.0012977025,0.00018488827,0.00020724729,0.33484054,0.000102559876,0.008966912,0.008334646,0.6405766,0.0006927908],"about_ca_topic_score_codex":0.000029646657,"about_ca_topic_score_gemma":0.00039093097,"teacher_disagreement_score":0.6159181,"about_ca_system_score_codex":0.000029849141,"about_ca_system_score_gemma":0.000033352007,"threshold_uncertainty_score":0.99961454},"labels":[],"label_agreement":null},{"id":"W4210850443","doi":"10.1353/mdr.0.0132","title":"Popular Bodies, Canonical Voices: Paula Vogel's Hot 'n' Throbbing as Performative Burlesque","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Burlesque; Performative utterance; Spectacle; Literature; Art; Embodied cognition; Human sexuality; Aesthetics; Exoticism; Sociology; Gender studies; Philosophy; Epistemology; Law","score_opus":0.025425403383295544,"score_gpt":0.2498011734951975,"score_spread":0.22437577011190196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210850443","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68493396,0.002278871,0.000108338216,0.0016174854,0.0004864092,0.00025618597,0.000048295562,0.0002398419,0.3100306],"genre_scores_gemma":[0.9874718,0.0002048699,0.00006231384,0.0015162554,0.0009613575,0.00001652326,0.000036320085,0.000022532782,0.009708021],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985475,0.000052439053,0.00032572352,0.00028383482,0.00028211978,0.0005084021],"domain_scores_gemma":[0.9993662,0.000039084076,0.00009514973,0.00030054405,0.00010711097,0.00009190204],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018442128,0.00029186346,0.0003574084,0.00008102589,0.0011753587,0.00027378058,0.000242514,0.00007728411,0.0007377196],"category_scores_gemma":[0.000019271543,0.00022940816,0.00014296985,0.00002729646,0.00020520415,0.00056295976,0.00006633029,0.0003578926,0.00037274897],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027485937,0.00033058407,0.0009475604,0.00012504675,0.00030143268,0.000071016315,0.75304425,0.00028208317,0.00019675733,0.1514977,0.013299996,0.07962872],"study_design_scores_gemma":[0.0012124393,0.000966038,0.0013132868,0.00027166534,0.0001494809,0.000037159574,0.025423577,0.003492475,0.00055768876,0.041318506,0.9241505,0.0011071335],"about_ca_topic_score_codex":0.0010390397,"about_ca_topic_score_gemma":0.0034090225,"teacher_disagreement_score":0.9108505,"about_ca_system_score_codex":0.00007865994,"about_ca_system_score_gemma":0.00006413861,"threshold_uncertainty_score":0.93549937},"labels":[],"label_agreement":null},{"id":"W421095563","doi":"","title":"Review of: Political Theatre in Post-Thatcher Britain: New Writing 1995-2005 by Amelia Howe Kritzer","year":2010,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; History; Art history; Political science; Law","score_opus":0.013261806762718624,"score_gpt":0.22197365041499365,"score_spread":0.20871184365227502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W421095563","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9087787,0.009977199,0.000019171748,0.0042404453,0.00029991547,0.00022926746,0.00020282321,0.000049930615,0.07620254],"genre_scores_gemma":[0.9907087,0.0018094933,0.00013635869,0.00086558086,0.00037088318,4.2891497e-7,0.00005339669,0.000018962317,0.0060361708],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99872273,0.00005083227,0.00026541803,0.00024643258,0.00023430833,0.00048026445],"domain_scores_gemma":[0.9991547,0.00010401879,0.0001432956,0.00028585072,0.0001661909,0.0001459482],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031796502,0.00020075576,0.00047556157,0.00013169913,0.00030369227,0.000040178245,0.00031788426,0.00009420425,0.0029528325],"category_scores_gemma":[0.000029816732,0.00021190282,0.00021774018,0.00008481005,0.0006296294,0.00045203452,0.0001280805,0.00036542784,0.00008023344],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051464263,0.00013869318,0.00709747,0.0012990206,0.000120684366,0.000009066445,0.014251741,2.3633454e-7,0.00004849364,0.9276959,0.048301253,0.000986005],"study_design_scores_gemma":[0.000987397,0.00016059255,0.001910152,0.0013097243,0.00016488395,0.000011099497,0.055257805,0.000007424883,0.000004685863,0.697409,0.24229743,0.00047986122],"about_ca_topic_score_codex":0.011055329,"about_ca_topic_score_gemma":0.032605805,"teacher_disagreement_score":0.23028693,"about_ca_system_score_codex":0.00004575959,"about_ca_system_score_gemma":0.000108207154,"threshold_uncertainty_score":0.9979586},"labels":[],"label_agreement":null},{"id":"W4213097763","doi":"10.4324/9781003009726-42","title":"Seussical","year":2022,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science","score_opus":0.03946023214569806,"score_gpt":0.21232893070276232,"score_spread":0.17286869855706427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4213097763","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000002491762,0.00045554255,1.399079e-7,0.0005023501,0.0010504022,0.0000548946,0.000050587656,0.00008992255,0.9977937],"genre_scores_gemma":[0.00078410615,0.0003000007,0.0000033909105,0.0005146233,0.0017271588,0.000006477359,0.00003689119,0.000024944206,0.9966024],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995391,0.0000018698912,0.00010666797,0.00012159862,0.00013200304,0.00009878618],"domain_scores_gemma":[0.999788,0.000017942815,0.000031147723,0.00012701079,0.000016464233,0.000019474732],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000027881637,0.00013919368,0.0001694967,0.000045484583,0.00036225683,0.00003562326,0.00008792478,0.000028645973,0.45273966],"category_scores_gemma":[4.386307e-7,0.00010174771,0.000108014276,0.00000104597,0.00012696163,0.000048044723,0.000100478115,0.00021343947,0.001583861],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000030965648,0.0000024775234,3.57741e-7,0.0000074088875,0.000041239047,0.0000035954815,0.0025061297,5.8390015e-8,1.5660735e-8,0.7838451,0.20937908,0.0042114155],"study_design_scores_gemma":[0.000038577018,0.000056017154,3.6418814e-7,0.0000069805046,0.000027204058,0.0000011360648,0.00023229735,5.0824843e-7,1.676477e-7,0.021459237,0.97802323,0.00015425256],"about_ca_topic_score_codex":0.00003860612,"about_ca_topic_score_gemma":0.0005186318,"teacher_disagreement_score":0.7686442,"about_ca_system_score_codex":0.000017440474,"about_ca_system_score_gemma":0.00001428853,"threshold_uncertainty_score":0.99919355},"labels":[],"label_agreement":null},{"id":"W4213108840","doi":"10.26226/morressier.5c76c8bde2ea5a72376127f7","title":"The Reflection Room: Participatory Art Installations to Move us from Death-denying to Death-discussing","year":2019,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Reflection (computer programming); Sociology; Visual arts; Aesthetics; Political science; Art; Law; Computer science","score_opus":0.12401859406613341,"score_gpt":0.3223336651551661,"score_spread":0.19831507108903268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4213108840","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47173685,0.00041733778,0.00064963667,0.0023636927,0.0037126068,0.0007504959,0.00010781321,0.00021297872,0.52004856],"genre_scores_gemma":[0.93473804,0.00008313004,0.00024489162,0.001057899,0.0017955467,0.00018525927,0.00004504525,0.000039885224,0.061810285],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99846923,0.000058446276,0.0003948733,0.00042722787,0.0002510715,0.00039912894],"domain_scores_gemma":[0.9989596,0.00013505518,0.000103624756,0.0005635221,0.00013394134,0.00010425312],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021479577,0.0003050185,0.00031677628,0.00012371421,0.0014829,0.0007547044,0.00024625263,0.000096558375,0.00090145535],"category_scores_gemma":[0.000026838947,0.0001915165,0.00015127526,0.000036351455,0.00004017995,0.00016653583,0.000569385,0.00036486174,0.0015884619],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005288016,0.00025268592,0.046995897,0.00024531773,0.0020337836,0.000010594024,0.50795287,0.037119202,0.0004034356,0.15168703,0.17580955,0.07696083],"study_design_scores_gemma":[0.000120780125,0.00006446051,0.012465855,0.00023009902,0.00011585619,3.7373024e-7,0.0060008457,0.0004895633,0.00016328122,0.004623684,0.97525984,0.0004653664],"about_ca_topic_score_codex":0.0027939908,"about_ca_topic_score_gemma":0.028306307,"teacher_disagreement_score":0.7994503,"about_ca_system_score_codex":0.00015143873,"about_ca_system_score_gemma":0.00008786974,"threshold_uncertainty_score":0.999817},"labels":[],"label_agreement":null},{"id":"W4213297956","doi":"10.1386/jptv_00007_5","title":"Reviews","year":2019,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Medicine","score_opus":0.031098291121289517,"score_gpt":0.2563907012880713,"score_spread":0.22529241016678178,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4213297956","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9486881,0.020783493,0.000015479096,0.0013877209,0.0016092089,0.00016790467,0.0000014842428,0.000008581264,0.027338035],"genre_scores_gemma":[0.9879448,0.0047597783,0.000026330079,0.00029286675,0.0009884433,2.4200753e-7,4.4008692e-7,0.0000070634337,0.005980045],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993619,0.00007257293,0.00029406828,0.000030423462,0.00014970683,0.0000913264],"domain_scores_gemma":[0.99952334,0.000021250238,0.00022859414,0.0001401454,0.00006757545,0.000019104082],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008235892,0.000067690016,0.00019659085,0.000040860064,0.00014547353,0.000027425607,0.00017950374,0.000011174455,0.0014175933],"category_scores_gemma":[0.00001723781,0.000029787836,0.00010767708,0.000019103583,0.00003979151,0.000177703,0.000027559992,0.00013941276,0.0005393398],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006644674,0.00017563149,0.012146745,0.00032888976,0.00024478132,0.000012419102,0.16030154,0.000055946184,0.0020190475,0.050901007,0.312881,0.46026856],"study_design_scores_gemma":[0.00013653307,0.00027848635,0.00028962194,0.0001348851,0.00003597923,0.00001904596,0.0018108904,0.000005697527,0.00003527303,0.0005453966,0.99666,0.000048193095],"about_ca_topic_score_codex":0.000014759749,"about_ca_topic_score_gemma":0.00003313422,"teacher_disagreement_score":0.683779,"about_ca_system_score_codex":0.000009338493,"about_ca_system_score_gemma":0.000006308899,"threshold_uncertainty_score":0.99949527},"labels":[],"label_agreement":null},{"id":"W4214755784","doi":"10.1353/ctr.2011.0083","title":"The Bridge: Toward Relational Aesthetic Inquiry in the Montreal Life Stories Project","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bridge (graph theory); Adaptation (eye); Performance art; Visual arts; Aesthetics; Sociology; Art; Media studies; Art history; Psychology; Medicine","score_opus":0.13831649403429883,"score_gpt":0.27522548118572865,"score_spread":0.13690898715142982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4214755784","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004154446,0.41834506,5.4233345e-7,0.01575237,0.00084018067,0.0010920324,0.00006811047,0.00003583216,0.55971146],"genre_scores_gemma":[0.8580938,0.13225935,0.000007111945,0.0066564865,0.0009836067,0.0002795877,0.000026116297,0.000028297332,0.0016656428],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998915,0.00016059705,0.0002784775,0.00014774487,0.00015061793,0.0003475426],"domain_scores_gemma":[0.99941015,0.00007529788,0.0000624299,0.00031504186,0.000053439355,0.00008361687],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000573948,0.00016235329,0.00022365394,0.00006378224,0.0007188101,0.000066915076,0.00032877,0.000027968545,0.00032983298],"category_scores_gemma":[0.000024620665,0.00008098118,0.000105163694,0.00009668646,0.00036047274,0.00013892846,0.000018177017,0.00019993531,0.00013890797],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017650902,0.000026828626,0.002046739,0.00045186092,0.000059300157,0.000030922027,0.29655322,3.00257e-7,1.0362089e-8,0.17448883,0.27964282,0.24668151],"study_design_scores_gemma":[0.000071028,0.000042777978,0.004629445,0.00041413156,0.000047333062,0.000017333896,0.0062556737,0.000001191161,4.4367383e-8,0.00087027985,0.98752713,0.00012365417],"about_ca_topic_score_codex":0.17236598,"about_ca_topic_score_gemma":0.7657496,"teacher_disagreement_score":0.85393935,"about_ca_system_score_codex":0.00006825731,"about_ca_system_score_gemma":0.00044325335,"threshold_uncertainty_score":0.8331453},"labels":[],"label_agreement":null},{"id":"W4214829868","doi":"10.1386/atr.2.1.77_1","title":"Misperformance ethnography","year":2014,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Ethnography; Performing arts; Relation (database); Aesthetics; Contingency; Sociology; Affect (linguistics); Value (mathematics); Poetics; Epistemology; Visual arts; Art; Computer science; Communication; Anthropology; Philosophy; Literature","score_opus":0.08082933976843121,"score_gpt":0.3201804743601204,"score_spread":0.23935113459168922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4214829868","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07543295,0.0002624837,0.000011941561,0.00062711834,0.00020104345,0.00020615816,0.000005850777,0.00012112178,0.92313135],"genre_scores_gemma":[0.99518186,0.00018649617,0.000048900296,0.0001879494,0.001619974,0.000095716176,0.000008176039,0.000026614813,0.0026442956],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983119,0.00007218047,0.00018195515,0.00027065317,0.00050868455,0.0006546228],"domain_scores_gemma":[0.9991222,0.0002431681,0.000024933726,0.00040945807,0.00011039362,0.00008983989],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0012166825,0.00015549753,0.00019717078,0.00028432987,0.0012283995,0.0001549803,0.00034062224,0.000048400565,0.0012683795],"category_scores_gemma":[0.0000043449254,0.00011516963,0.00007715312,0.0001703013,0.0007892774,0.00011852463,0.0001243048,0.0004536145,0.0018913221],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008346189,0.00007492031,0.0005813071,0.00007940995,0.00006205417,7.8217676e-7,0.022115193,0.0000047396347,0.00028590614,0.64014196,0.026736407,0.30983385],"study_design_scores_gemma":[0.0002730531,0.000115366885,0.00012777193,0.00001860283,0.0000064857963,7.156438e-7,0.0043417737,0.00006258473,0.0007411224,0.013582624,0.9805637,0.00016621547],"about_ca_topic_score_codex":0.00016166105,"about_ca_topic_score_gemma":0.00039712546,"teacher_disagreement_score":0.95382726,"about_ca_system_score_codex":0.00001817884,"about_ca_system_score_gemma":0.000020084583,"threshold_uncertainty_score":0.9996446},"labels":[],"label_agreement":null},{"id":"W4220859482","doi":"10.3138/md-65-1-br1","title":"Catherine Cole. <i>Performance and the Afterlives of Injustice</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Injustice; Politics; Sociology; Gender studies; Aesthetics; Political science; Psychology; Art; Social psychology; Law","score_opus":0.012729613577019133,"score_gpt":0.19695907291095494,"score_spread":0.1842294593339358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4220859482","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95473933,0.0020153995,0.0000061797064,0.0005536409,0.00018762067,0.00012595566,0.000036829948,0.000020970512,0.04231404],"genre_scores_gemma":[0.9935367,0.0002976428,0.000008688453,0.00033526012,0.00013774434,0.0000411349,0.0000022987367,0.000008361339,0.0056321616],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953336,0.000028978538,0.00012242299,0.000084415624,0.000119461445,0.00011135416],"domain_scores_gemma":[0.999736,0.000047872043,0.000051543775,0.00012787654,0.000024350466,0.000012317565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014339069,0.0000747785,0.00013783075,0.000021519445,0.0005785891,0.000027775082,0.000112604495,0.0000060629986,0.0003822678],"category_scores_gemma":[0.0000023363693,0.000047450754,0.000031197203,0.000018539089,0.00042057392,0.000078272315,0.00015978397,0.000092707174,0.000004239992],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010535065,0.00013046456,0.003381656,0.00022485032,0.00016463366,0.0000023783382,0.84990996,0.0006654148,0.00008529341,0.057792913,0.003634059,0.08295486],"study_design_scores_gemma":[0.0030372338,0.0006876106,0.002367978,0.000035185993,0.00015365513,0.000010244199,0.05014075,0.013932865,0.00020112043,0.005365198,0.9237045,0.00036364017],"about_ca_topic_score_codex":0.00018238217,"about_ca_topic_score_gemma":0.00016063973,"teacher_disagreement_score":0.92007047,"about_ca_system_score_codex":0.0000072867983,"about_ca_system_score_gemma":0.000009633136,"threshold_uncertainty_score":0.4450098},"labels":[],"label_agreement":null},{"id":"W4220925301","doi":"10.3138/md-65-1-1148","title":"Alice Brown Takes on Social Insecurity: <i>Joint Owners in Spain</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Depiction; Solidarity; Servant; Sociology; Aristocracy (class); Alice (programming language); Gender studies; Amateur; History; Aesthetics; Art; Literature; Art history; Political science; Politics; Law","score_opus":0.046778557751402765,"score_gpt":0.2359469949061576,"score_spread":0.18916843715475481,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4220925301","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7109397,0.00026113004,0.0000032967957,0.0035980847,0.00056811265,0.00016755129,0.00009830279,0.00010033545,0.2842635],"genre_scores_gemma":[0.9914359,0.000014161306,0.0000041220637,0.0022614116,0.00061241724,0.00007324325,0.00001823072,0.000019774103,0.0055607795],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990378,0.00006345107,0.00017903653,0.00019764953,0.00024493274,0.0002771394],"domain_scores_gemma":[0.99975795,0.000025921809,0.00005178041,0.0001211142,0.000019822059,0.0000233905],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017717117,0.00013858419,0.0001924738,0.000105740684,0.0009123552,0.00008092359,0.00013489582,0.000021009166,0.0012080647],"category_scores_gemma":[0.0000041877124,0.000121971854,0.00008152341,0.00004170385,0.000114139555,0.00010579122,0.000086048916,0.00027571246,0.00004998192],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000253953,0.00048943894,0.00082640507,0.00007223673,0.00008801502,0.000053818218,0.7308782,0.0004847103,0.00013375847,0.15322495,0.04719985,0.066294685],"study_design_scores_gemma":[0.0006513321,0.00018704927,0.00085119065,0.000015957321,0.000013574669,0.0000013370869,0.023276959,0.0006742416,0.0000667436,0.006490881,0.9674657,0.0003050362],"about_ca_topic_score_codex":0.0008129505,"about_ca_topic_score_gemma":0.002931358,"teacher_disagreement_score":0.92026585,"about_ca_system_score_codex":0.00007871889,"about_ca_system_score_gemma":0.000024774668,"threshold_uncertainty_score":0.99970496},"labels":[],"label_agreement":null},{"id":"W4220960476","doi":"10.3138/md-65-1-br8","title":"Lisa Woynarski. <i>Ecodramaturgies: Theatre, Performance and Climate Change</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Climate change; Range (aeronautics); History; Aesthetics; Art; Geology; Engineering; Oceanography","score_opus":0.026080719362764338,"score_gpt":0.2162788648324639,"score_spread":0.19019814546969954,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4220960476","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69311535,0.0033931143,0.0000026594435,0.0013387962,0.00093469897,0.0003100478,0.000206297,0.00022356599,0.30047545],"genre_scores_gemma":[0.99111897,0.0014309933,0.000016146429,0.0013659493,0.00071271433,0.00023028902,0.000022452748,0.000032319662,0.0050701853],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886215,0.000033935816,0.00019084936,0.00025916658,0.00022903149,0.00042484663],"domain_scores_gemma":[0.99958384,0.000034995297,0.00006737027,0.00023444151,0.000027558992,0.000051815077],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017944626,0.00020103467,0.00022514518,0.00008531168,0.0018761506,0.00016458545,0.00018122174,0.000022248809,0.0021264032],"category_scores_gemma":[0.0000013191086,0.0001723493,0.00006279825,0.000040260857,0.00017636071,0.00040616834,0.00037676128,0.00024069188,0.00005827067],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003940013,0.00029269367,0.015840752,0.00044463394,0.00017577164,0.000026974176,0.4840343,0.00021925612,0.000039111223,0.04489808,0.026160741,0.4274737],"study_design_scores_gemma":[0.00052639085,0.00030772446,0.00084043096,0.00003203822,0.000039383922,0.000021603379,0.0089765545,0.0050444715,0.00001961414,0.00083614874,0.9829791,0.00037653078],"about_ca_topic_score_codex":0.0000923617,"about_ca_topic_score_gemma":0.00018367585,"teacher_disagreement_score":0.95681834,"about_ca_system_score_codex":0.000032783842,"about_ca_system_score_gemma":0.0000108990525,"threshold_uncertainty_score":0.99942327},"labels":[],"label_agreement":null},{"id":"W4221128981","doi":"10.3138/md-65-1-br3","title":"Hélène Lecossois. <i>Performance, Modernity and the Plays of J.M. Synge</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernity; Embodied cognition; Commodity; Aesthetics; Relation (database); Sociology; Art; Philosophy; Epistemology; Economics; Computer science; Market economy","score_opus":0.017905742202700435,"score_gpt":0.19706863869638075,"score_spread":0.1791628964936803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4221128981","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89523625,0.0014679094,0.00002412522,0.00066823617,0.00024926307,0.00018064764,0.000119166994,0.00004039555,0.10201403],"genre_scores_gemma":[0.99331844,0.00023913693,0.0000076267875,0.00041105022,0.00017236412,0.00007140244,0.000009199749,0.000014208156,0.0057566008],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991826,0.000051761166,0.00020196289,0.0001452485,0.00021947238,0.00019899945],"domain_scores_gemma":[0.99956,0.00007396571,0.00008597239,0.00021583035,0.00004084364,0.000023394365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028604298,0.0001246491,0.0002355408,0.000045665325,0.0012036754,0.00005009995,0.00019055707,0.000014056625,0.0005428895],"category_scores_gemma":[0.000004371518,0.00008239502,0.00006588106,0.000028625842,0.000492072,0.00014668635,0.00026282953,0.00020383859,0.000009717078],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0024695238,0.0004810323,0.012984569,0.00048288316,0.0006456027,0.000007712324,0.53397405,0.00584066,0.00015734717,0.34271908,0.0250802,0.07515734],"study_design_scores_gemma":[0.0075738146,0.00088343245,0.003362424,0.000056423793,0.00028677488,0.000045260884,0.015807122,0.11269628,0.0007471922,0.039205343,0.8184031,0.0009328201],"about_ca_topic_score_codex":0.00018327426,"about_ca_topic_score_gemma":0.00022360383,"teacher_disagreement_score":0.7933229,"about_ca_system_score_codex":0.000015851268,"about_ca_system_score_gemma":0.000019003173,"threshold_uncertainty_score":0.92578197},"labels":[],"label_agreement":null},{"id":"W4223464350","doi":"10.3138/tric.43.1.a02","title":"Une lecture intra-active des dramaturgies robotiques","year":2022,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Creatures; Reading (process); Sociology; Ideology; Action (physics); Relation (database); Aesthetics; Focus (optics); Underpinning; Epistemology; Realism; Philosophy; Computer science; History; Politics; Linguistics; Natural (archaeology); Engineering; Political science","score_opus":0.06720743882569599,"score_gpt":0.3047040695328313,"score_spread":0.2374966307071353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4223464350","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2749952,0.0031460326,9.5104895e-7,0.006851023,0.00051588326,0.00034150598,0.00022335317,0.000049052785,0.71387696],"genre_scores_gemma":[0.998479,0.00028669235,0.000010987814,0.00016501088,0.00029225892,0.00012060859,0.000016227445,0.000019510868,0.00060966687],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99809164,0.00028487275,0.00016244556,0.00020332195,0.00063140906,0.0006263049],"domain_scores_gemma":[0.9993506,0.00027818768,0.000023698272,0.00020302179,0.000075140844,0.000069368165],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044492062,0.0001324165,0.0002032086,0.00018382334,0.001467342,0.000075544194,0.0003020035,0.000014018239,0.0023621796],"category_scores_gemma":[0.0000038420185,0.00010897874,0.000034245917,0.00026020198,0.00040848253,0.00014528878,0.0002175847,0.000768072,0.0000072640137],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005459034,0.00012441479,0.003317277,0.0002126374,0.00019764545,0.0003372869,0.12464827,0.0035839938,0.00006917171,0.017618446,0.08462491,0.76472],"study_design_scores_gemma":[0.00022416908,0.00018468889,0.00042535824,0.000037429687,0.0000048887205,0.000009003735,0.09811091,0.000074629956,0.00027581185,0.021437572,0.8790156,0.00019992502],"about_ca_topic_score_codex":0.9901388,"about_ca_topic_score_gemma":0.99889684,"teacher_disagreement_score":0.7943907,"about_ca_system_score_codex":0.0013412774,"about_ca_system_score_gemma":0.0013146804,"threshold_uncertainty_score":0.99983263},"labels":[],"label_agreement":null},{"id":"W4224979327","doi":"10.3138/ctr.190.013","title":"Crip, Arts: Community Trajectories and Agendas","year":2022,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Narrative; Community work; Bridging (networking); Work (physics); Disabled people; Sociology; Visual arts; Public relations; Political science; Engineering; Art; Computer science","score_opus":0.05812156499653719,"score_gpt":0.25279912280156086,"score_spread":0.19467755780502366,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4224979327","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010375985,0.4530695,1.3694759e-7,0.006932403,0.00065819407,0.00037970985,0.00062281167,0.00005973348,0.52790153],"genre_scores_gemma":[0.9022914,0.07758584,0.000006934282,0.0129066305,0.000439951,0.0001672241,0.000084807114,0.000032628675,0.0064845877],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992161,0.00016732227,0.00016355759,0.00010366518,0.00009243587,0.0002569196],"domain_scores_gemma":[0.99948204,0.00004804674,0.000035954377,0.0002552719,0.000025941268,0.00015275426],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035035604,0.0001338521,0.00026668166,0.00007000062,0.002614243,0.00005160023,0.00017050402,0.000009881455,0.0068114754],"category_scores_gemma":[0.0000071933996,0.00011427576,0.0000676117,0.000051156385,0.00017317824,0.000097327145,0.00006336857,0.0003084559,0.000040477746],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000092316095,0.000048956153,0.0008670863,0.0034935838,0.0001940044,0.000039994764,0.09037836,0.0000012548747,0.0000020674609,0.10513704,0.38831517,0.41151324],"study_design_scores_gemma":[0.000055750163,0.000066774744,0.00007847237,0.00020154308,0.000059221802,0.000019060066,0.0077763167,6.4423415e-7,7.385025e-7,0.0005699792,0.99102944,0.00014204037],"about_ca_topic_score_codex":0.120191656,"about_ca_topic_score_gemma":0.5759173,"teacher_disagreement_score":0.8919154,"about_ca_system_score_codex":0.000091701346,"about_ca_system_score_gemma":0.00012050945,"threshold_uncertainty_score":0.9986842},"labels":[],"label_agreement":null},{"id":"W4224984686","doi":"10.3138/ctr.190.018","title":"A Round Table Conversation on the State of Hiring and Labour in Theatre and Performance Studies in Canada","year":2022,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Round table; Conversation; Table (database); Face (sociological concept); State (computer science); Table of contents; Field (mathematics); Task (project management); Media studies; Sociology; Public relations; Political science; Management; Library science; Social science; Computer science; Advertising; Session (web analytics); Business","score_opus":0.03759353679706445,"score_gpt":0.2269300683478737,"score_spread":0.18933653155080923,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4224984686","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81404394,0.17506492,5.087315e-9,0.0032074724,0.00011859997,0.00033597078,0.000112832924,0.0000026801101,0.00711357],"genre_scores_gemma":[0.89964426,0.09852257,4.7759227e-7,0.001475997,0.000021250327,0.000056932196,0.0000028579918,0.0000068546287,0.00026877932],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992658,0.00008102904,0.00021361394,0.00012435642,0.00010285424,0.00021236198],"domain_scores_gemma":[0.9996591,0.00010090339,0.000057004494,0.00011678951,0.000023058452,0.000043139225],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036730414,0.00011012943,0.00028121693,0.00008803488,0.00028322364,0.000013417517,0.00007942252,0.000004886678,0.00019271276],"category_scores_gemma":[0.000006142071,0.00007628454,0.000013484771,0.0001027082,0.00010381026,0.00008592206,0.00004001214,0.00014637776,9.1941644e-7],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008568582,0.000037337963,0.12673084,0.011910023,0.0002740238,0.00007948155,0.13498434,0.00038241973,0.0000027179206,0.014282226,0.013627837,0.69760305],"study_design_scores_gemma":[0.00041400263,0.00018475886,0.009807973,0.0034840486,0.0000467456,0.000013302626,0.047857143,0.00016325212,0.00000740653,0.0005481468,0.93716073,0.00031249583],"about_ca_topic_score_codex":0.94348323,"about_ca_topic_score_gemma":0.9985152,"teacher_disagreement_score":0.9235329,"about_ca_system_score_codex":0.0004013846,"about_ca_system_score_gemma":0.00046607462,"threshold_uncertainty_score":0.31107932},"labels":[],"label_agreement":null},{"id":"W4225318183","doi":"10.24908/iqurcp15519","title":"Why Theatre? Examining Transferable Skills from Theatre Degrees to Non-Creative Professions","year":2022,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Drama; Presentation (obstetrics); Creativity; Psychology; Medical education; Pedagogy; Public relations; Visual arts; Political science; Art; Medicine; Social psychology","score_opus":0.11751745894246543,"score_gpt":0.3428234483746635,"score_spread":0.22530598943219807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4225318183","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.559134,0.0002523139,0.00027784894,0.05937011,0.0010416346,0.002323526,0.00041694447,0.00038700685,0.37679663],"genre_scores_gemma":[0.9863388,0.00033180334,0.00017819583,0.0007676991,0.0009669575,0.0013139825,0.000056636938,0.000074699674,0.009971207],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99556935,0.00022082179,0.000511986,0.0009028353,0.0014892089,0.0013057878],"domain_scores_gemma":[0.99787486,0.00044968218,0.000094370815,0.00032021184,0.0009283838,0.0003324913],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013005835,0.0004564425,0.00058612786,0.0006488397,0.0045433817,0.00073336845,0.0009987406,0.00007681912,0.003047603],"category_scores_gemma":[0.000053824024,0.00037508862,0.00012594163,0.00052431005,0.0009233382,0.0008771094,0.0008085895,0.0014050332,0.00019543337],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005134355,0.000562604,0.0049520764,0.00014354667,0.00040985708,0.000025598016,0.7271698,0.00003272284,0.0022375158,0.0606315,0.18008596,0.023235362],"study_design_scores_gemma":[0.0010088349,0.0018671154,0.0006829146,0.0005458906,0.00006882249,0.0000054588004,0.485357,0.00030487654,0.001562735,0.046499405,0.46121493,0.0008820432],"about_ca_topic_score_codex":0.0079260105,"about_ca_topic_score_gemma":0.0014477448,"teacher_disagreement_score":0.42720482,"about_ca_system_score_codex":0.00027575358,"about_ca_system_score_gemma":0.00036936885,"threshold_uncertainty_score":0.9998701},"labels":[],"label_agreement":null},{"id":"W4225329309","doi":"10.24908/iqurcp15510","title":"Resistance Breeds Revolution: A Study of Refusing the Invitation in Participatory Theatre","year":2022,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Resistance (ecology); Silence; Meaning (existential); Power (physics); Politics; Citizen journalism; Media studies; Sociology; Variety (cybernetics); Social media; Aesthetics; Space (punctuation); Persona; Public relations; Political science; Psychology; Law; Art; Humanities; Computer science","score_opus":0.20946179152453792,"score_gpt":0.3685864107456606,"score_spread":0.1591246192211227,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4225329309","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9515533,0.0003433368,0.0000041199364,0.0161586,0.00023059417,0.00094852754,0.000010968776,0.000049242546,0.030701341],"genre_scores_gemma":[0.9971729,0.00015455329,0.000008326866,0.00007275128,0.00024026536,0.0005958851,0.000003397478,0.000019937423,0.0017319832],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99710965,0.0003335074,0.00049811817,0.0003629916,0.001149695,0.00054604077],"domain_scores_gemma":[0.99860865,0.00023543832,0.00016585217,0.00022280899,0.00071590743,0.000051328618],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0029341013,0.00016901812,0.00027878958,0.0004150972,0.0017851419,0.00017882165,0.00051079126,0.000025820831,0.00014047917],"category_scores_gemma":[0.000081128695,0.00012907332,0.000048737063,0.0005689567,0.0009542841,0.00046988772,0.00042951613,0.0007788658,0.00000918894],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048942526,0.0006151263,0.018346447,0.0001983639,0.00007222077,0.000008271989,0.70465165,0.000028683908,0.0002172067,0.2593267,0.0141555425,0.0018903547],"study_design_scores_gemma":[0.0009936206,0.0012622136,0.0030556768,0.00019012752,0.000031019732,0.0000023711652,0.8589987,0.00027907,0.0000825921,0.06714634,0.06767159,0.00028664892],"about_ca_topic_score_codex":0.0016007865,"about_ca_topic_score_gemma":0.0055105863,"teacher_disagreement_score":0.19218035,"about_ca_system_score_codex":0.00023038224,"about_ca_system_score_gemma":0.00019495904,"threshold_uncertainty_score":0.9995144},"labels":[],"label_agreement":null},{"id":"W4226106436","doi":"10.18357/sremd31201920639","title":"Little Did We Know!","year":2022,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Social justice; Focus (optics); Taste; Context (archaeology); Aesthetics; Sociology; History; Criminology; Political science; Psychology; Law; Art","score_opus":0.05041030048771619,"score_gpt":0.26358588011021783,"score_spread":0.21317557962250164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4226106436","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13514778,0.54405636,0.00003912361,0.0024138722,0.0015899243,0.0009815915,0.0002012541,0.00013076165,0.3154393],"genre_scores_gemma":[0.9079299,0.05978176,0.00011114907,0.00021331999,0.0007214176,0.0001452463,0.000015326306,0.00003398319,0.031047909],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890655,0.00009188941,0.0003828942,0.00018507385,0.00020814537,0.00022543644],"domain_scores_gemma":[0.99939835,0.000029629336,0.00016312452,0.00031899603,0.000051475232,0.000038433955],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003246051,0.00014944923,0.0004345312,0.00006633467,0.00048030232,0.000042644242,0.00025876044,0.0000142267545,0.00511496],"category_scores_gemma":[0.0000109032635,0.00011821254,0.00021093135,0.00004886625,0.0001252769,0.00015882979,0.0001890835,0.00016673046,0.00019548155],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005461826,0.00019471493,0.0008136807,0.00041685833,0.00008792865,0.0000022562247,0.06590221,0.000017663244,0.00011090146,0.032334056,0.030041598,0.8700235],"study_design_scores_gemma":[0.00014703422,0.00021688623,0.00009107681,0.00009287382,0.0000323082,0.0000014412143,0.00060750224,0.000051522547,0.00003267879,0.0025871012,0.99599326,0.00014629247],"about_ca_topic_score_codex":0.0001743299,"about_ca_topic_score_gemma":0.00012610706,"teacher_disagreement_score":0.9659517,"about_ca_system_score_codex":0.000022105169,"about_ca_system_score_gemma":0.000025041234,"threshold_uncertainty_score":0.9957945},"labels":[],"label_agreement":null},{"id":"W4226180584","doi":"10.5040/9781350211292","title":"Performing for Motion Capture","year":2022,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Motion capture; Computer science; Motion (physics); Artificial intelligence","score_opus":0.034633436451846564,"score_gpt":0.2174534218037288,"score_spread":0.18281998535188226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4226180584","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001470229,0.0018917561,0.000013003454,0.00041311237,0.004050705,0.00081558304,0.0009686811,0.00035472875,0.9913454],"genre_scores_gemma":[0.0020601305,0.00004101032,0.000055980512,0.0009428233,0.0070737596,0.00039706277,0.001374541,0.00016004221,0.98789465],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99771655,0.000036266483,0.00051645114,0.0005803378,0.0005460086,0.00060436974],"domain_scores_gemma":[0.99859226,0.00020806106,0.00036857056,0.0004777168,0.00025536842,0.00009803155],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006579884,0.00054074824,0.0006027165,0.00037157434,0.0022028359,0.002286878,0.0006631599,0.00018963793,0.003685745],"category_scores_gemma":[0.00006665332,0.0005020128,0.00043589433,0.000014163861,0.00023902535,0.001139516,0.00032462494,0.0012115821,0.00003238153],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042138723,0.00002162217,0.0000069698344,0.00042806487,0.00022627218,0.000010165416,0.024291018,0.000005389273,9.495975e-7,0.2002346,0.74003667,0.034696124],"study_design_scores_gemma":[0.00046296045,0.00010791081,0.0000014841881,0.00014055356,0.00024453542,0.000013682781,0.002915933,0.000026925461,0.0000044553212,0.012310616,0.98317134,0.0005995746],"about_ca_topic_score_codex":0.00017001881,"about_ca_topic_score_gemma":0.00087102765,"teacher_disagreement_score":0.24313469,"about_ca_system_score_codex":0.0002788718,"about_ca_system_score_gemma":0.00034235802,"threshold_uncertainty_score":0.99974316},"labels":[],"label_agreement":null},{"id":"W4226487036","doi":"10.1080/14794713.2022.2040095","title":"Covid-19: theatre goes digital – provocations","year":2022,"lang":"en","type":"article","venue":"International Journal of Performance Arts and Digital Media","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Coronavirus disease 2019 (COVID-19); Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2); 2019-20 coronavirus outbreak; Art; Visual arts; Media studies; Sociology; Virology; Medicine; Outbreak","score_opus":0.02911112747546949,"score_gpt":0.25404110488498355,"score_spread":0.22492997740951406,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4226487036","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8428569,0.00095605734,0.000034344586,0.0073801903,0.0037208537,0.000119242446,0.00069444353,0.00004004802,0.14419793],"genre_scores_gemma":[0.99644464,0.00023880274,0.0000094215375,0.0007269664,0.0013566011,0.000008886016,0.000046618487,0.000009995588,0.0011580526],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892575,0.0000066108105,0.00033634296,0.000099732126,0.00048804126,0.00014351231],"domain_scores_gemma":[0.99928,0.000108373235,0.00019257954,0.00006879044,0.00018538655,0.00016488876],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011851993,0.000115419156,0.00014633722,0.00019867919,0.00045705773,0.0005134921,0.00027611395,0.000010876081,0.0010638451],"category_scores_gemma":[0.00008015516,0.0000865783,0.00008035954,0.000031617004,0.00022949238,0.0018189938,0.00015605644,0.00017014713,0.000018407409],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00089665997,0.0007923366,0.037183665,0.00008113302,0.0007331429,0.00016855256,0.16861035,0.0008116676,0.000020262645,0.0709725,0.04891431,0.6708154],"study_design_scores_gemma":[0.0005029313,0.00026918575,0.00053003465,0.000017629096,0.000013267437,0.00024743844,0.010190265,0.000089244466,0.000008352184,0.001770239,0.9862351,0.00012630179],"about_ca_topic_score_codex":0.000007631733,"about_ca_topic_score_gemma":0.000021452279,"teacher_disagreement_score":0.9373208,"about_ca_system_score_codex":0.00007840641,"about_ca_system_score_gemma":0.00017210093,"threshold_uncertainty_score":0.9998493},"labels":[],"label_agreement":null},{"id":"W4229041864","doi":"10.7202/1088474ar","title":"How the Bones Listen","year":2022,"lang":"en","type":"article","venue":"The Trumpeter","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia, Okanagan Campus","funders":"","keywords":"Biology","score_opus":0.0345590478432992,"score_gpt":0.1979887369921639,"score_spread":0.16342968914886472,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229041864","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5349107,0.001571525,0.0000010270147,0.10698817,0.0019434864,0.00024503336,0.000065139655,0.000106093146,0.35416886],"genre_scores_gemma":[0.8950005,0.000019454676,8.5559486e-7,0.0018866834,0.0007734309,0.000060594113,0.0000022558058,0.000007834729,0.102248386],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995608,0.00005057772,0.00005559717,0.000066095716,0.00012675328,0.00014017534],"domain_scores_gemma":[0.9996828,0.00005897682,0.000026883497,0.00021258481,0.000010847371,0.000007917333],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014020121,0.0000683851,0.00006670916,0.000014069922,0.0018709718,0.00014691449,0.00024633142,0.000003892872,0.0026545709],"category_scores_gemma":[0.0000020672285,0.000028810004,0.00006527454,0.000017404367,0.00019397741,0.00007019247,0.00015875777,0.00013090532,0.000068056106],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009976418,0.000050585124,0.0007097657,0.000018269158,0.00021279512,0.0000057248844,0.3714008,0.000014254529,0.00004576578,0.37084427,0.2222407,0.03435728],"study_design_scores_gemma":[0.00006956948,0.000050692197,0.00038128885,0.0000011136335,0.000019166073,0.0000044848816,0.022552129,0.00001163322,0.000013348879,0.0026227804,0.9742163,0.000057514855],"about_ca_topic_score_codex":0.00008129387,"about_ca_topic_score_gemma":0.00037446327,"teacher_disagreement_score":0.7519756,"about_ca_system_score_codex":0.000008056648,"about_ca_system_score_gemma":0.0000051465845,"threshold_uncertainty_score":0.99942845},"labels":[],"label_agreement":null},{"id":"W4229514110","doi":"10.3138/tric.36.2.344","title":"Back Matter","year":2015,"lang":"en","type":"paratext","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mandate; Multidisciplinary approach; Context (archaeology); Library science; Section (typography); Position (finance); History; Media studies; Political science; Sociology; Social science; Law; Archaeology; Computer science","score_opus":0.13103759563579204,"score_gpt":0.335117944329347,"score_spread":0.20408034869355496,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229514110","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005943002,0.0055665574,2.3640988e-8,0.0023195187,0.0026783277,0.00030472394,0.00073687435,0.000002899163,0.9877968],"genre_scores_gemma":[0.057508186,0.001422556,0.000002674624,0.0004336077,0.0038452502,0.000079149686,0.0002164206,0.000074473304,0.9364177],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99713916,0.00024178182,0.00031975855,0.0003491781,0.0009501176,0.001000023],"domain_scores_gemma":[0.99891585,0.00018662229,0.00004568603,0.00047943456,0.00019335326,0.00017902533],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00061614055,0.00028554822,0.00048791256,0.0003130622,0.00026993107,0.00014389661,0.0005327156,0.00008495571,0.25841418],"category_scores_gemma":[8.001121e-7,0.00022190674,0.000051313007,0.00011614663,0.00033511934,0.000105863546,0.00022798155,0.0011140618,0.114821956],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003100964,0.000011867898,0.00014083368,0.0002340005,0.000041729174,0.000016625212,0.001884004,0.000008566108,1.744177e-7,0.00005683033,0.99134254,0.006231818],"study_design_scores_gemma":[0.00018984436,0.00004377705,0.00000494134,0.0002680716,0.000004462771,0.0000022957813,0.0050968598,0.000004429827,0.0000041506282,0.00015405711,0.9939678,0.00025935032],"about_ca_topic_score_codex":0.9949472,"about_ca_topic_score_gemma":0.9990109,"teacher_disagreement_score":0.14359222,"about_ca_system_score_codex":0.0017179021,"about_ca_system_score_gemma":0.005775142,"threshold_uncertainty_score":0.9998612},"labels":[],"label_agreement":null},{"id":"W4229626955","doi":"10.3138/tric.27.2.v","title":"Introduction","year":2006,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Worship; Drama; Spirituality; Closet; Mysticism; Amateur; Art; Sociology; Theatre studies; Aesthetics; Visual arts; Media studies; History; Literature; Theology; Philosophy","score_opus":0.04793790138228092,"score_gpt":0.2776774726327646,"score_spread":0.22973957125048367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229626955","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12816074,0.0005478808,1.827807e-7,0.009271772,0.00052647357,0.000105782456,0.000017922614,0.000015449918,0.8613538],"genre_scores_gemma":[0.9930655,0.000050075676,0.000004115121,0.0000340231,0.0039940407,0.000017343378,0.000009234056,0.000008024187,0.002817691],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99893636,0.00006632582,0.0001265881,0.0001330172,0.00035270036,0.0003849964],"domain_scores_gemma":[0.9996844,0.00007512787,0.000010554732,0.00015066184,0.000051069,0.000028212704],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00036377928,0.00006421377,0.000094185016,0.000121487115,0.0002665998,0.000042710915,0.00010649004,0.000009840733,0.0015404518],"category_scores_gemma":[9.894626e-7,0.00005126325,0.000013852702,0.000090378475,0.00013594197,0.00009521224,0.00003202563,0.00021009486,0.00006296076],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045293727,0.00003811218,0.00644816,0.000048508748,0.000013248394,0.000035784327,0.0013373332,0.000111909045,0.00003835212,0.045758367,0.78520435,0.16092059],"study_design_scores_gemma":[0.0000981229,0.000021375557,0.00046036855,0.000009869427,0.0000010233532,0.0000013763514,0.0029719968,0.00002523619,0.000104392566,0.005352759,0.9908881,0.000065339096],"about_ca_topic_score_codex":0.9963921,"about_ca_topic_score_gemma":0.99970704,"teacher_disagreement_score":0.8649047,"about_ca_system_score_codex":0.00047518284,"about_ca_system_score_gemma":0.00052662595,"threshold_uncertainty_score":0.9993723},"labels":[],"label_agreement":null},{"id":"W4229766900","doi":"10.33137/rr.v41i2.29871","title":"Pangallo, Matteo. Playwriting Playgoers in Shakespeare’s Theater","year":2018,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Art; Visual arts; Literature","score_opus":0.00934775798756904,"score_gpt":0.15924414273356985,"score_spread":0.1498963847460008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229766900","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76176316,0.0015229774,0.0000029227492,0.0052727708,0.00024880163,0.00010212412,0.00003438819,0.000091178066,0.23096168],"genre_scores_gemma":[0.9586277,0.00033165156,0.000034070024,0.0005023406,0.00060700753,0.000004146689,0.00000948187,0.000019786312,0.03986381],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991546,0.00002665712,0.00012372389,0.00019573387,0.00012405482,0.0003752077],"domain_scores_gemma":[0.9996524,0.000034972876,0.000046952282,0.00016273196,0.00004772425,0.000055237146],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011383584,0.00014992208,0.0001745966,0.00014401392,0.00072965753,0.000036810503,0.00016610001,0.000044603097,0.0020980064],"category_scores_gemma":[0.0000039043866,0.0001392456,0.00006829221,0.000056706736,0.00020140817,0.00022429795,0.00012894778,0.0001242474,0.0006416573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00068508997,0.00015789187,0.029003244,0.00010381956,0.0003096179,0.001231619,0.2195988,0.000032216107,0.00070492085,0.18010467,0.52373827,0.044329833],"study_design_scores_gemma":[0.0005288901,0.00010354913,0.0019498997,0.000051625684,0.000022886952,0.000024561248,0.016765224,0.000100331,0.00013166778,0.0003892776,0.97972435,0.00020776453],"about_ca_topic_score_codex":0.005774332,"about_ca_topic_score_gemma":0.37136748,"teacher_disagreement_score":0.45598605,"about_ca_system_score_codex":0.00078441517,"about_ca_system_score_gemma":0.000011323611,"threshold_uncertainty_score":0.9988142},"labels":[],"label_agreement":null},{"id":"W4229813425","doi":"10.12745/et.21.2.3767","title":"Editorial","year":2018,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria; Royal Military College of Canada; McMaster University","funders":"","keywords":"Art; Visual arts; Performance art; Media studies; Art history; Sociology","score_opus":0.009749798650561215,"score_gpt":0.2247684960583326,"score_spread":0.21501869740777138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229813425","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006647532,0.0003051588,1.079953e-7,0.000049067377,0.6851563,0.000100315454,0.0004903849,0.00014266206,0.31368956],"genre_scores_gemma":[0.00022436694,0.0001671428,0.0000049565606,0.000019849147,0.9349711,0.000028093687,0.00020148346,0.00007610336,0.06430691],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99800944,0.00004254599,0.0002942512,0.00039468738,0.00081047637,0.00044860804],"domain_scores_gemma":[0.99871033,0.00024193864,0.00013733053,0.00045791458,0.00038196353,0.000070497714],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022134204,0.00041461494,0.0004731527,0.00010903586,0.00065156585,0.00039623966,0.00043623976,0.0005050895,0.0039035028],"category_scores_gemma":[0.00003661987,0.00031636044,0.00022342366,0.00002764764,0.00047142422,0.00023854843,0.00013072639,0.0007810238,0.004269288],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065870634,0.000021907797,0.00000426717,0.000039893086,0.00012391189,0.000001531062,0.015190375,2.6097442e-8,3.1007556e-7,0.00039810623,0.9828222,0.0013316247],"study_design_scores_gemma":[0.00030514697,0.00037548755,8.6767886e-7,0.000100644516,0.000097866774,1.0353088e-7,0.0004005104,1.4904394e-7,0.0000026047067,0.0008234164,0.99749666,0.00039654903],"about_ca_topic_score_codex":0.0010852455,"about_ca_topic_score_gemma":0.001753961,"teacher_disagreement_score":0.24981484,"about_ca_system_score_codex":0.000047167672,"about_ca_system_score_gemma":0.00015442754,"threshold_uncertainty_score":0.99992883},"labels":[],"label_agreement":null},{"id":"W4229875499","doi":"10.1353/ctr.2011.0066","title":"Views and Reviews","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art; Visual arts; Aesthetics","score_opus":0.10661405642252532,"score_gpt":0.25255229178699395,"score_spread":0.14593823536446865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229875499","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007772137,0.4936118,1.5866998e-7,0.0005249943,0.00013938131,0.0002558559,0.000014836651,0.000012990784,0.5053623],"genre_scores_gemma":[0.012154812,0.97058374,0.00005187283,0.0100849625,0.00040307586,0.0000797863,0.000008604621,0.000019809722,0.0066133384],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992559,0.00004971132,0.0002455589,0.00015067805,0.000042143463,0.00025600177],"domain_scores_gemma":[0.999462,0.00000915014,0.00005078206,0.00023519505,0.000025353118,0.00021749445],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027125308,0.0001512542,0.0003837012,0.000057620993,0.00026915644,0.000023534667,0.00011331472,0.000018364395,0.008057957],"category_scores_gemma":[0.000007275893,0.000102614045,0.00008965007,0.00003549722,0.0001376768,0.00012160207,0.000015502212,0.00008054674,0.0009709609],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000011203572,0.000006196458,0.000294701,0.0020008385,0.000026676911,0.000007364437,0.010134314,6.549407e-10,2.1096682e-7,0.031907666,0.20617773,0.7494432],"study_design_scores_gemma":[0.00003329095,0.000026184734,0.000067322675,0.0017683251,0.00007209349,0.000008695863,0.00016658472,1.2652731e-7,9.227248e-7,0.00037756283,0.9973388,0.00014009852],"about_ca_topic_score_codex":0.027688755,"about_ca_topic_score_gemma":0.46757898,"teacher_disagreement_score":0.79116106,"about_ca_system_score_codex":0.000024051531,"about_ca_system_score_gemma":0.000051078172,"threshold_uncertainty_score":0.9998069},"labels":[],"label_agreement":null},{"id":"W4230055457","doi":"10.7202/1068270ar","title":"Kirsty Johnston “Disability Theatre and Modern Drama: Recasting Modernism”","year":2020,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; Modernism (music); Art; Sociology; Art history; Visual arts","score_opus":0.13734632300014982,"score_gpt":0.3030012498538307,"score_spread":0.16565492685368088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230055457","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.55367494,0.0017241555,0.000004304096,0.016028952,0.00017612716,0.00041169426,0.00013260987,0.000051939824,0.42779526],"genre_scores_gemma":[0.9986066,0.00029270447,0.000020955074,0.00030094248,0.00062666764,0.000030118632,0.0000072566654,0.000026342492,0.00008836222],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976963,0.00022615035,0.0002964248,0.00042505818,0.0006188379,0.0007372638],"domain_scores_gemma":[0.9989859,0.00039219623,0.000032491644,0.00027024717,0.00006887602,0.0002503056],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00062697707,0.00020346149,0.0003236306,0.000058930393,0.00065267103,0.00012323103,0.0002587595,0.00003833145,0.00034734458],"category_scores_gemma":[0.00001100839,0.0001619369,0.00003928118,0.00012281412,0.0005647665,0.00022186882,0.00023707522,0.000656247,0.0000129995115],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035143967,0.00007527081,0.040935755,0.0005860259,0.000081870865,0.00009048121,0.061276942,0.00035369312,0.00007839953,0.0019371439,0.0065789563,0.887654],"study_design_scores_gemma":[0.0019794723,0.00060759723,0.0021507305,0.00043040904,0.00003923087,0.000017301316,0.0854043,0.058064934,0.0002838779,0.020112887,0.82971215,0.0011971215],"about_ca_topic_score_codex":0.91022104,"about_ca_topic_score_gemma":0.9874386,"teacher_disagreement_score":0.8864569,"about_ca_system_score_codex":0.00045208354,"about_ca_system_score_gemma":0.00071061164,"threshold_uncertainty_score":0.66035956},"labels":[],"label_agreement":null},{"id":"W4230123575","doi":"10.3998/mpub.11413348","title":"Critical Perspectives on Contemporary Plays by Women","year":2020,"lang":"en","type":"book","venue":"University of Michigan Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Oppression; Gender studies; Refugee; Political science; Sociology; Aesthetics; History; Art; Politics","score_opus":0.0292227273249836,"score_gpt":0.19580488222123202,"score_spread":0.16658215489624842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230123575","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010298982,0.0011278075,0.000002079634,0.000121025565,0.00014695867,0.0001614139,0.001333307,0.00007803624,0.99599946],"genre_scores_gemma":[0.04497199,0.0001296318,0.000008037495,0.00014740089,0.00037250185,5.1398365e-7,0.000047993028,0.000026784863,0.95429516],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913865,0.000031835734,0.00012992324,0.00030773433,0.00019033582,0.00020153141],"domain_scores_gemma":[0.9993966,0.00010735453,0.000105450716,0.00019104357,0.000103052385,0.000096464835],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000042967018,0.0002527361,0.00044811802,0.000069757865,0.00033948498,0.000033538498,0.0003087704,0.0001117679,0.00048962893],"category_scores_gemma":[0.0000070333117,0.0002669486,0.00014187265,0.0000020782188,0.0010622549,0.000077297875,0.00014281699,0.0003611398,0.000042890722],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029112666,0.000035494482,5.195873e-7,0.00016936859,0.00026154824,0.000024573785,0.44098344,1.4139918e-7,0.000011332538,0.26603878,0.2920204,0.00016325085],"study_design_scores_gemma":[0.0003592088,0.00036662925,5.105569e-7,0.00014386041,0.000054473952,4.0903396e-7,0.064160354,0.0000017607383,0.000042500807,0.00080432015,0.9338105,0.0002554735],"about_ca_topic_score_codex":0.00015523881,"about_ca_topic_score_gemma":0.00016999505,"teacher_disagreement_score":0.6417901,"about_ca_system_score_codex":0.000054365286,"about_ca_system_score_gemma":0.00011721797,"threshold_uncertainty_score":0.99997824},"labels":[],"label_agreement":null},{"id":"W4230405975","doi":"10.4324/9781315544861-18","title":"The phenomenon of silence. Bill Bowers interview, September 9, 2017","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Silence; Phenomenon; History; Psychology; Psychoanalysis; Art; Aesthetics; Philosophy; Epistemology","score_opus":0.0534714957764939,"score_gpt":0.23849890118087114,"score_spread":0.18502740540437723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230405975","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006426801,0.0032409762,9.683707e-7,0.00023823282,0.0013527112,0.00016529155,0.000076785014,0.000036742233,0.99482405],"genre_scores_gemma":[0.005596437,0.0032821354,0.0000046701225,0.00018700179,0.0014468549,0.000007901611,0.000010796854,0.000030681065,0.9894335],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990676,0.000012525998,0.0003493158,0.00018758653,0.00018191109,0.00020107732],"domain_scores_gemma":[0.9990794,0.000088702254,0.00022206592,0.00040166194,0.00017905179,0.000029133771],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000245422,0.00026833537,0.00033906766,0.00005903893,0.000549051,0.00007376748,0.00030037938,0.00007145742,0.048074692],"category_scores_gemma":[0.0000025202419,0.00012282368,0.000208232,0.0000037479417,0.0010531368,0.000093899616,0.000135891,0.0001909715,0.0020991773],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017977469,0.000007643732,0.0000019057823,0.000071728595,0.00028689732,8.349113e-7,0.018724747,6.5874445e-8,7.1084645e-7,0.23712493,0.7317813,0.011981257],"study_design_scores_gemma":[0.000073084426,0.00017435991,0.0000016630732,0.00018532548,0.000066691224,7.280714e-7,0.0037775168,0.0000013759159,0.000009575684,0.017830912,0.9776809,0.00019784464],"about_ca_topic_score_codex":0.000085820604,"about_ca_topic_score_gemma":0.0020122363,"teacher_disagreement_score":0.24589963,"about_ca_system_score_codex":0.000018410097,"about_ca_system_score_gemma":0.000023437866,"threshold_uncertainty_score":0.9986778},"labels":[],"label_agreement":null},{"id":"W4230598322","doi":"10.3138/md.44.3.284","title":"Anti-theatricality and the Limits of Naturalism","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Trope (literature); Indeterminacy (philosophy); Naturalism; Metaphysics; Aesthetics; Exoticism; Literature; Philosophy; Art; Epistemology","score_opus":0.033982595465039706,"score_gpt":0.2476896508638119,"score_spread":0.2137070553987722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230598322","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8994117,0.0029523256,0.000016022805,0.0030925872,0.00015914283,0.00009401447,0.00000945106,0.000026138267,0.09423866],"genre_scores_gemma":[0.9956365,0.00057889824,0.000007450649,0.0002815746,0.00025820392,0.00000404143,0.0000013039203,0.0000051350357,0.0032268453],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995624,0.00002647129,0.000121020035,0.00008425818,0.000091911905,0.000113967566],"domain_scores_gemma":[0.9996998,0.00007593868,0.000036819707,0.00012696226,0.00004470679,0.000015789567],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011761361,0.00007288932,0.00016593958,0.000021284952,0.00024221203,0.000043579203,0.00007884853,0.000019401741,0.00011070597],"category_scores_gemma":[0.000008157741,0.000038349488,0.00004857207,0.000018419365,0.00043263723,0.00008279648,0.00003304928,0.00007740227,0.000008745765],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040469138,0.00012445918,0.009867968,0.00009597447,0.00021661849,0.000007196544,0.24869181,0.000029865558,0.00009438275,0.6161142,0.0049953363,0.1193575],"study_design_scores_gemma":[0.0037412753,0.00014462172,0.01744524,0.000064523614,0.00017535247,0.000025982617,0.0055897175,0.0053306827,0.000309047,0.09319445,0.8735215,0.00045761757],"about_ca_topic_score_codex":0.00028208824,"about_ca_topic_score_gemma":0.00022293112,"teacher_disagreement_score":0.86852616,"about_ca_system_score_codex":0.0000033009783,"about_ca_system_score_gemma":0.000004372245,"threshold_uncertainty_score":0.18629237},"labels":[],"label_agreement":null},{"id":"W4230599684","doi":"10.1353/ctr.0.0039","title":"“a one-shot affair”: Cabaret as Improvised Curation","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"KISS (TNC); Shot (pellet); Art; Visual arts; Bit (key); Art history; Performance art; Media studies; Sociology; Computer science","score_opus":0.042167588289555594,"score_gpt":0.26004431901761904,"score_spread":0.21787673072806346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230599684","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0069210054,0.05144807,4.0079797e-7,0.01486529,0.0013357679,0.0006876057,0.00016833728,0.00008864849,0.92448485],"genre_scores_gemma":[0.9637899,0.024690572,0.000017114506,0.0050806575,0.001588765,0.0000801207,0.00010227131,0.000034943972,0.004615659],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990636,0.000027809787,0.00023535149,0.0001984925,0.00011707195,0.0003576864],"domain_scores_gemma":[0.99921477,0.00002280879,0.00005828393,0.0003431523,0.00009085003,0.00027012016],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001798817,0.00017469525,0.0003002622,0.000118399876,0.0004473357,0.00009786905,0.00018136342,0.000046510075,0.009946958],"category_scores_gemma":[0.000018151253,0.00014602605,0.000119430144,0.00006917221,0.00014102549,0.0003034826,0.000014306231,0.0002446313,0.0013078378],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007553144,0.00003287804,0.00017904837,0.0020506443,0.00011899237,0.000018526933,0.010110574,9.406646e-8,0.00014449058,0.22560363,0.07530706,0.6864265],"study_design_scores_gemma":[0.000085443346,0.000048650734,0.000027744478,0.0005043265,0.000080859434,0.000007336596,0.000481114,0.0000023648875,0.000027276954,0.00063011725,0.99789566,0.00020908489],"about_ca_topic_score_codex":0.03525203,"about_ca_topic_score_gemma":0.7758787,"teacher_disagreement_score":0.9568689,"about_ca_system_score_codex":0.000046723773,"about_ca_system_score_gemma":0.00031504617,"threshold_uncertainty_score":0.99946976},"labels":[],"label_agreement":null},{"id":"W4230692004","doi":"10.3138/md.43.3.497","title":"Book Reviews","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Griffin; Performance art; Art history; History; Art; Media studies; Classics; Sociology","score_opus":0.03141611191088488,"score_gpt":0.23834168609406478,"score_spread":0.20692557418317992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230692004","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0132577075,0.050273724,0.0000075564017,0.0009176042,0.0001715812,0.00012244318,0.000008132074,0.00008280454,0.93515843],"genre_scores_gemma":[0.17575817,0.0087386565,0.000019495668,0.007200792,0.0012518052,0.000033005184,0.0000067429246,0.000016151758,0.8069752],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995559,0.000012415823,0.00012258229,0.00009945678,0.000060383863,0.0001492977],"domain_scores_gemma":[0.9997951,0.0000069619764,0.000016547614,0.00014603787,0.000012165642,0.000023223756],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00005149646,0.000085366744,0.00013496548,0.000016286733,0.0002517987,0.000062736144,0.000076645665,0.000013641037,0.05141216],"category_scores_gemma":[0.0000012498375,0.00006144884,0.00006129983,0.000007813899,0.00007591702,0.00016841057,0.000010369204,0.000056790548,0.0041228733],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001150432,0.000023590374,0.000025675754,0.000020676474,0.000013563512,0.0000015827214,0.03655264,0.000004081137,0.000004531893,0.0040366147,0.5302933,0.42901227],"study_design_scores_gemma":[0.00008622576,0.000025117854,0.000024089493,0.00001949694,0.0000091219135,8.54364e-7,0.00008042143,0.00011135258,0.000011900333,0.0012842482,0.9982559,0.00009126484],"about_ca_topic_score_codex":0.000043774948,"about_ca_topic_score_gemma":0.00014730493,"teacher_disagreement_score":0.46796262,"about_ca_system_score_codex":0.00000691167,"about_ca_system_score_gemma":0.000004193303,"threshold_uncertainty_score":0.99665254},"labels":[],"label_agreement":null},{"id":"W4230785971","doi":"10.3138/md.45.3.466","title":"Book Reviews","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spectacle; HAMLET (protein complex); Performance art; Art history; Democracy; Politics; Art; Performance studies; Sociology; History; Anthropology; Law; Literature; Political science","score_opus":0.05374131760937076,"score_gpt":0.23547313866102437,"score_spread":0.1817318210516536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230785971","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002478962,0.1257854,0.000028465178,0.0016354977,0.00035830442,0.00012859663,0.0000069582175,0.000090301764,0.8694875],"genre_scores_gemma":[0.34727603,0.009957165,0.000024686278,0.0073242686,0.0014695467,0.00003708664,0.0000031818101,0.000018595636,0.63388944],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955463,0.000011637845,0.00012176366,0.000097535136,0.00006409848,0.00015033525],"domain_scores_gemma":[0.99977505,0.000008741856,0.000027260965,0.00014840033,0.000016926877,0.0000236],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000043013282,0.00008562246,0.0001351662,0.000023233006,0.00025117781,0.000063768966,0.00007640527,0.0000137766365,0.020437704],"category_scores_gemma":[0.0000033308936,0.00006187802,0.00006198936,0.000008375865,0.00007500188,0.00016917709,0.000022116874,0.000060338014,0.0033170595],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000001869697,0.000025619629,0.000031220647,0.000021652964,0.000011551335,0.0000014915546,0.04447675,9.766391e-7,0.0000056911285,0.006516654,0.8626388,0.086267725],"study_design_scores_gemma":[0.00008329984,0.000025372634,0.000009630796,0.000018014494,0.0000091705,8.7779546e-7,0.00012315348,0.0005671019,0.0000115013,0.0007445483,0.9983154,0.00009194139],"about_ca_topic_score_codex":0.000018504275,"about_ca_topic_score_gemma":0.000099959034,"teacher_disagreement_score":0.34479707,"about_ca_system_score_codex":0.000007716973,"about_ca_system_score_gemma":0.0000011267961,"threshold_uncertainty_score":0.997459},"labels":[],"label_agreement":null},{"id":"W4231129500","doi":"10.4324/9781315011431-30","title":"United States","year":2014,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.031759758825549746,"score_gpt":0.20867716713202483,"score_spread":0.1769174083064751,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231129500","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00001720076,0.0002508701,0.000004809861,0.00033086888,0.00042126645,0.000055213168,0.000059266244,0.000115463765,0.998745],"genre_scores_gemma":[0.001082032,0.00075047096,0.000004878707,0.0012524528,0.0013735235,0.000002296324,0.0002640962,0.000029580373,0.9952407],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954695,0.000002292659,0.0001324339,0.00011241337,0.00008922369,0.00011669392],"domain_scores_gemma":[0.9996788,0.000032791126,0.00004904913,0.00014345166,0.00007177164,0.00002414319],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000036216392,0.00017998322,0.00019858715,0.0001170322,0.00019725581,0.000060972885,0.00007845985,0.000048840415,0.03627147],"category_scores_gemma":[6.947706e-7,0.00012383074,0.00007389718,0.0000019303031,0.00017786612,0.000025700923,0.00003547242,0.000120979465,0.002672402],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000029523846,0.0000010504187,5.675176e-7,0.000019628562,0.00005474888,6.604967e-7,0.003317389,5.7732353e-7,1.4028321e-8,0.7797662,0.2136522,0.0031840312],"study_design_scores_gemma":[0.0000543304,0.000054033157,2.9783192e-7,0.000041154868,0.000033518412,3.6615415e-7,0.0002931204,0.000009964528,8.4333516e-7,0.029989019,0.96933573,0.00018762828],"about_ca_topic_score_codex":0.00016027737,"about_ca_topic_score_gemma":0.0015787795,"teacher_disagreement_score":0.75568354,"about_ca_system_score_codex":0.000008079794,"about_ca_system_score_gemma":0.000005852002,"threshold_uncertainty_score":0.99810416},"labels":[],"label_agreement":null},{"id":"W4231186641","doi":"10.1353/ctr.2012.0029","title":"Synthesis","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Praxis; Performance art; Art; Bridge (graph theory); Art history; Visual arts; Sociology; Aesthetics; Philosophy; Epistemology","score_opus":0.03793029034344205,"score_gpt":0.23556476981065028,"score_spread":0.19763447946720822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231186641","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029368213,0.32952714,1.16434755e-7,0.002549423,0.00040689798,0.000121679244,0.000043300075,0.000026343465,0.6670314],"genre_scores_gemma":[0.85053575,0.1317145,0.000014126836,0.008784902,0.0024085073,0.00010282913,0.00001065818,0.000030462726,0.0063982466],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928015,0.000030797746,0.00013525305,0.000077155506,0.000064155094,0.00041250224],"domain_scores_gemma":[0.9994318,0.000038888393,0.000025575402,0.00019598406,0.000024633444,0.00028314433],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020120043,0.00011593633,0.0002223872,0.000057640955,0.00030268935,0.000025325138,0.00010967808,0.000016667362,0.012842302],"category_scores_gemma":[0.0000126685845,0.00008422957,0.00009530819,0.00003405094,0.00007913311,0.00018224223,0.000009697214,0.00006348458,0.0024900048],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.6811815e-7,0.000013496749,0.0014208724,0.0012432855,0.00007176237,0.000002686074,0.004323429,2.3227255e-8,3.4770179e-7,0.070862405,0.35267708,0.56938374],"study_design_scores_gemma":[0.000013747523,0.000005103478,0.00008291237,0.00082145125,0.00008130982,0.000005115302,0.00027679492,1.2637187e-7,0.0000051562583,0.000050463103,0.9985353,0.00012254085],"about_ca_topic_score_codex":0.023002777,"about_ca_topic_score_gemma":0.17662582,"teacher_disagreement_score":0.8502421,"about_ca_system_score_codex":0.000057193327,"about_ca_system_score_gemma":0.00006466369,"threshold_uncertainty_score":0.99828666},"labels":[],"label_agreement":null},{"id":"W4231256599","doi":"10.1353/mdr.0.0053","title":"Coercive Somatographies: X-rays, Hypnosis, and Stanislavsky's Production Plan for &lt;i&gt;The Seagull&lt;/i&gt;","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Psychic; Hypnosis; Art; Visual arts; Aesthetics; Literature; Psychoanalysis; Psychology; Medicine","score_opus":0.028278197584787553,"score_gpt":0.21475866217412778,"score_spread":0.18648046458934023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231256599","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9724299,0.0064422595,0.0001678983,0.0025714578,0.0009162138,0.00092856464,0.00021477688,0.00022129837,0.016107645],"genre_scores_gemma":[0.9868837,0.0019562521,0.00007899833,0.00022442601,0.0012243509,0.00015332739,0.000033574022,0.00003656127,0.009408812],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879843,0.00003208349,0.00024419537,0.0003385462,0.00021834717,0.00036841215],"domain_scores_gemma":[0.99934417,0.00008560727,0.00009188903,0.0002889326,0.00013508422,0.0000543199],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001581896,0.00024616567,0.00027471798,0.00010438093,0.0019777357,0.00013390683,0.00015244372,0.000056065197,0.000076110664],"category_scores_gemma":[0.00001571375,0.00017186707,0.000111211695,0.00004665864,0.00071738544,0.00030521574,0.000055471824,0.00010935887,0.000022879793],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005663791,0.0004339041,0.0031124572,0.00043729477,0.00082600466,0.00001700438,0.4746329,0.00012044996,0.0028112426,0.14856069,0.3452366,0.023245089],"study_design_scores_gemma":[0.0006555789,0.00029098516,0.0017307712,0.000057164096,0.00011131876,0.00003218948,0.0036789682,0.00052121177,0.0005240621,0.006718631,0.98528486,0.00039426563],"about_ca_topic_score_codex":0.00003622196,"about_ca_topic_score_gemma":0.0026951234,"teacher_disagreement_score":0.64004827,"about_ca_system_score_codex":0.00001870062,"about_ca_system_score_gemma":0.00003594886,"threshold_uncertainty_score":0.9993216},"labels":[],"label_agreement":null},{"id":"W4231316461","doi":"10.1093/ywes/map003","title":"XVII * New Literatures","year":2009,"lang":"en","type":"article","venue":"The Year s Work in English Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Vancouver Island University","funders":"","keywords":"Section (typography); Dance; History; Storytelling; Variety (cybernetics); Literature; Classics; Art; Narrative","score_opus":0.027720687001790003,"score_gpt":0.25103336172986734,"score_spread":0.22331267472807734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231316461","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2373165,0.058129642,4.8076333e-7,0.0069725607,0.003272941,0.0003028621,0.000008278556,0.00030315408,0.6936936],"genre_scores_gemma":[0.96377045,0.0015270166,0.000028050665,0.0008257497,0.0037974792,0.000006847515,0.0000014771066,0.000008108419,0.030034794],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993693,0.000026201702,0.00014922787,0.000120246375,0.00010934236,0.00022564911],"domain_scores_gemma":[0.9996051,0.00009544835,0.000031384025,0.00017577737,0.000072833995,0.000019412537],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001499125,0.0001323945,0.00019502675,0.000048792896,0.00032528778,0.00009616457,0.00016051538,0.000020365975,0.0001459898],"category_scores_gemma":[0.000059856924,0.0000748136,0.00005390509,0.00008829458,0.00016567967,0.0001209455,0.00004975542,0.000182532,0.00007329544],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005271008,0.000021422615,0.0005541607,0.0000061463847,0.00006433917,0.000002572816,0.5494714,0.000011596042,3.8129042e-7,0.047167458,0.39255577,0.010092085],"study_design_scores_gemma":[0.00025994628,0.0000759593,0.003960898,0.00011097561,0.00002120388,2.0948093e-7,0.051984627,3.8037655e-7,0.000009821298,0.008711699,0.9347132,0.00015110582],"about_ca_topic_score_codex":0.000020814643,"about_ca_topic_score_gemma":0.00032480314,"teacher_disagreement_score":0.72645396,"about_ca_system_score_codex":0.00001648781,"about_ca_system_score_gemma":0.000009244341,"threshold_uncertainty_score":0.305081},"labels":[],"label_agreement":null},{"id":"W4231363058","doi":"10.1353/ctr.2011.0002","title":"Memory","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Forgetting; Reconstructive memory; Embodied cognition; Cognitive science; Autobiographical memory; Collective memory; Psychology; Implicit memory; Cognitive psychology; Episodic memory; Perception; Childhood memory; Aesthetics; Cognition; Recall; Epistemology; Art; Neuroscience; Philosophy","score_opus":0.058421404641337854,"score_gpt":0.22545072412590747,"score_spread":0.16702931948456962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231363058","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00016996135,0.16817318,1.2560116e-7,0.0007295041,0.00033320373,0.00015061253,0.000027196005,0.000031521697,0.8303847],"genre_scores_gemma":[0.60601825,0.30425832,0.00007232323,0.034951303,0.0023895106,0.00015438991,0.000042151383,0.00008792887,0.052025836],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994057,0.000021518807,0.0001444442,0.00011245881,0.000053354695,0.000262516],"domain_scores_gemma":[0.99952734,0.000007826243,0.000026680038,0.00022265318,0.000035781944,0.0001797036],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011607916,0.00011310101,0.00020507575,0.000059500795,0.0002551612,0.000016132628,0.00014445483,0.000015853506,0.023693034],"category_scores_gemma":[0.0000032744747,0.000083408195,0.00008976204,0.000031320218,0.000111795525,0.00010190484,0.000010541283,0.000071624134,0.0019046995],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000021387864,0.000012240589,0.00016940893,0.0011928517,0.000074305855,0.000029364957,0.01795916,1.1838561e-8,2.0131482e-7,0.05385207,0.28475037,0.6419579],"study_design_scores_gemma":[0.000032450414,0.00002072664,0.000048689522,0.00067210395,0.00005172775,0.0000053850945,0.0005132793,1.3158775e-7,0.0000048296934,0.0004418705,0.99808687,0.00012194723],"about_ca_topic_score_codex":0.085159466,"about_ca_topic_score_gemma":0.54845464,"teacher_disagreement_score":0.7783589,"about_ca_system_score_codex":0.00003547261,"about_ca_system_score_gemma":0.00010608334,"threshold_uncertainty_score":0.99887246},"labels":[],"label_agreement":null},{"id":"W4231461960","doi":"10.3138/ctr.152.61","title":"Views and Reviews","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Greatness; Girl; Performance art; Art; Art history; Visual arts; History; Literature; Psychology","score_opus":0.07080525034599125,"score_gpt":0.26708962116755963,"score_spread":0.19628437082156838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231461960","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013670162,0.633317,1.382416e-7,0.001565985,0.0002567979,0.00026194213,0.00001681447,0.000012041747,0.36443257],"genre_scores_gemma":[0.030019468,0.9496355,0.000023602513,0.012495919,0.0013895547,0.00007633725,0.000013516195,0.00001904799,0.0063270186],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918,0.000058584927,0.0002272708,0.00010356109,0.000049640854,0.00038094047],"domain_scores_gemma":[0.9993732,0.000017059983,0.000047009955,0.00020699731,0.000018779863,0.0003369521],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00042515507,0.00014972653,0.0003777427,0.000051755178,0.00030235876,0.00003159981,0.0000836462,0.000018430152,0.0040216157],"category_scores_gemma":[0.00001010481,0.00010089412,0.00008674098,0.00003608181,0.00010398532,0.00021606244,0.000015295007,0.00008336575,0.0012428395],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.3653418e-7,0.0000058139044,0.00086838374,0.0018785428,0.000019352297,9.0328757e-7,0.0044436688,1.7787213e-9,3.1297884e-7,0.022850377,0.34000403,0.6299282],"study_design_scores_gemma":[0.00002950821,0.000011104516,0.00008678963,0.0014751471,0.00007382375,0.000009850495,0.00014050018,1.00069634e-7,5.327939e-7,0.00006136302,0.99797255,0.00013874214],"about_ca_topic_score_codex":0.0086436225,"about_ca_topic_score_gemma":0.1817857,"teacher_disagreement_score":0.6579685,"about_ca_system_score_codex":0.000035795503,"about_ca_system_score_gemma":0.000036427165,"threshold_uncertainty_score":0.9995348},"labels":[],"label_agreement":null},{"id":"W4231560339","doi":"10.32920/ryerson.14653896","title":"Perforations","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Ephemeral key; Collective memory; Class (philosophy); Psychology; History; Aesthetics; Sociology; Art; Computer science; Political science; Law; Computer security; Artificial intelligence","score_opus":0.05303705946048218,"score_gpt":0.24855686013015726,"score_spread":0.1955198006696751,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231560339","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05383928,0.0007444611,0.000023694905,0.0009274944,0.0018464919,0.000069235706,0.000027374657,0.000095087715,0.94242686],"genre_scores_gemma":[0.8984018,0.00024899765,0.000106377476,0.00029623174,0.0015995932,0.000030995685,0.00011566268,0.000009010251,0.099191315],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995884,0.000008165528,0.00010673008,0.00013447253,0.000069463946,0.000092804075],"domain_scores_gemma":[0.9996645,0.000010293263,0.000026195588,0.00018788935,0.00009540968,0.000015746013],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000032311396,0.00010246491,0.00013478397,0.00003188337,0.00027687056,0.0003068935,0.000077422956,0.000036331152,0.01996622],"category_scores_gemma":[0.0000025699148,0.00007888764,0.00008682449,0.0000054905363,0.00007481692,0.000068629095,0.00023681564,0.00018904106,0.00016412989],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000048487136,0.00010155573,0.00053153775,0.00029663392,0.00034907061,0.000007618407,0.2706667,0.00011778976,0.0000053767913,0.5422693,0.17365064,0.011998965],"study_design_scores_gemma":[0.000048460144,0.000014926431,0.00010347969,0.000055636334,0.000044912966,5.7849985e-7,0.024546798,0.00012672057,0.00004568558,0.0018729388,0.9729182,0.0002216462],"about_ca_topic_score_codex":0.00031801697,"about_ca_topic_score_gemma":0.0071357996,"teacher_disagreement_score":0.84456253,"about_ca_system_score_codex":0.0000094226025,"about_ca_system_score_gemma":0.000052791645,"threshold_uncertainty_score":0.9809297},"labels":[],"label_agreement":null},{"id":"W4231614164","doi":"10.3138/tric.40.1_2.172","title":"Ric Knowles, <i>Performing the Intercultural City</i>","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"CLARION; Interculturalism; Elite; Intercultural learning; Intercultural communication; White (mutation); Sociology; Intercultural relations; Visual arts; Media studies; Aesthetics; Art; Pedagogy; Psychology; Political science; Multiculturalism; Politics","score_opus":0.07757453913115855,"score_gpt":0.2918919070056222,"score_spread":0.21431736787446362,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231614164","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47903717,0.0008499924,2.1607892e-8,0.0018247026,0.00044607936,0.00019348187,0.000014945078,0.00000943863,0.5176242],"genre_scores_gemma":[0.9949665,0.00020767398,0.0000012909915,0.00021110736,0.00050887564,0.00002799795,0.0000047251,0.000012085835,0.004059726],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984022,0.00012230524,0.00018359638,0.0001778596,0.0005024766,0.0006116026],"domain_scores_gemma":[0.9992286,0.00031938113,0.00002063421,0.00029418457,0.00007952614,0.000057701396],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006973329,0.0001225402,0.0001683211,0.00009285505,0.00047973564,0.00009984978,0.00040806876,0.000017640321,0.0018362426],"category_scores_gemma":[0.000002681158,0.000067798974,0.000037617578,0.00013987334,0.00019931758,0.00017333159,0.00016325235,0.00056139485,0.00019428348],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023715312,0.00008819238,0.0946368,0.00038602148,0.00019290198,0.00006923871,0.09572639,0.00009304707,0.00012002976,0.022583066,0.20539038,0.58047676],"study_design_scores_gemma":[0.00018888009,0.000056031673,0.00035934447,0.00009279209,0.0000028669103,0.000003992228,0.05228604,0.00012909435,0.000067404464,0.000539128,0.9461514,0.00012302272],"about_ca_topic_score_codex":0.958136,"about_ca_topic_score_gemma":0.9973357,"teacher_disagreement_score":0.74076104,"about_ca_system_score_codex":0.0005009144,"about_ca_system_score_gemma":0.0007069826,"threshold_uncertainty_score":0.9990762},"labels":[],"label_agreement":null},{"id":"W4231692306","doi":"10.3138/ctr.171.008","title":"The Next Generation","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Diversity (politics); Performance art; Visual arts; Art; Theatre director; Art history; History; Sociology; Anthropology","score_opus":0.11320792252103573,"score_gpt":0.27156099766146263,"score_spread":0.1583530751404269,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231692306","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00045355957,0.29129142,1.4202533e-7,0.023511192,0.0009195153,0.00020991494,0.000021175976,0.000013370584,0.68357974],"genre_scores_gemma":[0.4572855,0.51026374,0.0000047598455,0.005950701,0.0037375207,0.00006966187,0.000017521106,0.000020935227,0.02264964],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949384,0.000021059855,0.00011958355,0.00008968039,0.00005956714,0.00021630125],"domain_scores_gemma":[0.99927914,0.000015994105,0.00005995561,0.00050262664,0.00004465284,0.00009763655],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001963291,0.00008685395,0.00012725899,0.00001526139,0.004361955,0.0005091329,0.00029740424,0.000012582991,0.00089896144],"category_scores_gemma":[0.000017843384,0.000049083625,0.000069924536,0.000006526732,0.0002002938,0.00021030392,0.000017648725,0.00006449299,0.00053293136],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.1027818e-7,0.0000012487658,0.000069508904,0.00012179003,0.000024224031,0.0000025330812,0.00075050525,3.6231263e-8,9.812134e-7,0.06252552,0.2608063,0.67569697],"study_design_scores_gemma":[0.000025572575,0.000009124493,0.000051592728,0.0002983517,0.00002954463,0.0000018796933,0.00012288676,0.0000068316413,0.0000017468536,0.00021774252,0.99916,0.00007475153],"about_ca_topic_score_codex":0.04176233,"about_ca_topic_score_gemma":0.84058875,"teacher_disagreement_score":0.7988264,"about_ca_system_score_codex":0.000036011465,"about_ca_system_score_gemma":0.00010339785,"threshold_uncertainty_score":0.99693424},"labels":[],"label_agreement":null},{"id":"W4231711307","doi":"10.1177/1056492609337453","title":"Editor's Introduction","year":2009,"lang":"en","type":"article","venue":"Journal of Management Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Sociology; Political science; Management; Economics","score_opus":0.02485040247462675,"score_gpt":0.2520250321150607,"score_spread":0.22717462964043397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231711307","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16648144,0.0028710468,0.000614133,0.053923205,0.17918313,0.00034098467,0.0000035081644,0.00012411007,0.59645844],"genre_scores_gemma":[0.7596293,0.0007757699,0.0001916316,0.0008909217,0.22814785,8.5082735e-7,0.0000013780245,0.0000064876135,0.010355795],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994272,0.0000116069805,0.00022404653,0.00005230944,0.00018227911,0.00010253309],"domain_scores_gemma":[0.99967,0.0000062530416,0.00014056098,0.00008028925,0.00008109765,0.000021762422],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021797058,0.00006613279,0.0001139415,0.0001357611,0.00013064592,0.00006221668,0.000102065125,0.000010581531,0.00049829495],"category_scores_gemma":[0.0000031758896,0.00004785592,0.00006837753,0.000023103139,0.00005956627,0.0003554528,0.000015387543,0.00008876927,0.000051978623],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042823165,0.00005926897,0.000022143824,0.000014052329,0.00007516939,0.0000088287,0.008231156,0.000020575213,0.0000048508723,0.0415368,0.8964855,0.05349882],"study_design_scores_gemma":[0.00020898624,0.00027700962,0.0006979181,0.000019275609,0.00004888648,0.0000050605827,0.006657492,0.0000016664616,0.000018036786,0.0027399596,0.98926765,0.000058033926],"about_ca_topic_score_codex":7.711257e-7,"about_ca_topic_score_gemma":0.0000023208986,"teacher_disagreement_score":0.5931479,"about_ca_system_score_codex":0.000020167476,"about_ca_system_score_gemma":0.000003264967,"threshold_uncertainty_score":0.54559803},"labels":[],"label_agreement":null},{"id":"W4231796611","doi":"10.5406/illinois/9780252040887.003.0005","title":"Representations of Aging in Asian Canadian Performance","year":2017,"lang":"en","type":"book","venue":"University of Illinois Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"CONTEST; MAGIC (telescope); Magic realism; Film director; Aesthetics; Performing arts; Realism; Psychology; Visual arts; Literature; Art; Political science; Movie theater","score_opus":0.03319297558656677,"score_gpt":0.21011246592322674,"score_spread":0.17691949033666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231796611","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025234583,0.00019535501,4.937396e-7,0.000034616707,0.0001715025,0.00015178695,0.00027913824,0.000010794252,0.9966329],"genre_scores_gemma":[0.13726017,0.00024300111,0.000015693968,0.0000074809723,0.00012333502,2.59081e-7,0.000032525324,0.000010785946,0.8623068],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993534,0.000014431807,0.00016317907,0.00016312655,0.00012500073,0.00018086877],"domain_scores_gemma":[0.9991862,0.000020890924,0.00025480794,0.00035210108,0.00013094756,0.00005505042],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007112686,0.00014245324,0.0003256741,0.00028659526,0.0004151924,0.000018717372,0.00038351506,0.00008867859,0.00018326074],"category_scores_gemma":[0.0000028804045,0.0001621861,0.000100452424,0.0000026553298,0.00060585083,0.000119874516,0.000085650376,0.00020065824,0.0000065908075],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012140286,0.00006188288,0.0031308082,0.002071701,0.0007783757,0.00012379154,0.57949764,0.0001184718,0.0000061887285,0.22869378,0.11712031,0.06827567],"study_design_scores_gemma":[0.00024278312,0.000035225046,0.00056069094,0.00049151573,0.00006752607,4.990273e-7,0.0017630468,0.000017855093,0.000039821178,0.0001998571,0.99640983,0.00017135653],"about_ca_topic_score_codex":0.25743073,"about_ca_topic_score_gemma":0.70774674,"teacher_disagreement_score":0.8792895,"about_ca_system_score_codex":0.00008099157,"about_ca_system_score_gemma":0.00032296,"threshold_uncertainty_score":0.74751407},"labels":[],"label_agreement":null},{"id":"W4231813463","doi":"10.3138/2013-56.4brev","title":"Reviews","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto","keywords":"Art history; Baroque; Performance art; Queer; Modernity; Folklore; Framing (construction); Art; History; Sociology; Literature; Gender studies; Law; Political science; Archaeology","score_opus":0.04224312502037813,"score_gpt":0.2380601597191892,"score_spread":0.19581703469881107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231813463","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10993618,0.004475395,0.00005828646,0.0015216887,0.0004546358,0.0002708447,0.0000041890175,0.00009754906,0.8831812],"genre_scores_gemma":[0.92441756,0.00032144916,0.00004132387,0.00083636714,0.000682506,0.000063218955,0.0000027868448,0.000008571832,0.07362624],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999614,0.000009898452,0.000108645196,0.00008093459,0.00005099706,0.00013550028],"domain_scores_gemma":[0.999786,0.000008266255,0.000023613626,0.00012915494,0.000029750836,0.000023171322],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000042352116,0.000072742914,0.00011559897,0.000019151646,0.00019179632,0.000102943064,0.00007208861,0.0000114747645,0.007161283],"category_scores_gemma":[0.0000035318487,0.00004889882,0.00004748177,0.0000072816447,0.00006469955,0.00019879929,0.000024333067,0.000048473234,0.005957102],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000033036756,0.000041715928,0.00045593604,0.000056657955,0.000028180855,7.8946186e-7,0.084879234,0.0000018643527,0.00009281821,0.05059352,0.3821998,0.48164618],"study_design_scores_gemma":[0.00005950884,0.000019053197,0.00017739362,0.000014008976,0.0000054080033,4.064849e-7,0.0003784594,0.00019968301,0.000018260882,0.009607356,0.9894395,0.00008094711],"about_ca_topic_score_codex":0.00022376861,"about_ca_topic_score_gemma":0.00025273304,"teacher_disagreement_score":0.8144814,"about_ca_system_score_codex":0.000005703275,"about_ca_system_score_gemma":0.0000030385265,"threshold_uncertainty_score":0.9948169},"labels":[],"label_agreement":null},{"id":"W4231881012","doi":"10.1353/ctr.2012.0000","title":"Funny Girl: An Interview with Mariko Tamaki","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Girl; Subject matter; Subject (documents); Visual arts; Art; Art history; History; Psychology; Psychoanalysis; Computer science; World Wide Web; Developmental psychology; Pedagogy","score_opus":0.04633887844812459,"score_gpt":0.2452846072559168,"score_spread":0.1989457288077922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231881012","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000851046,0.46565717,0.0000025992779,0.0030049237,0.00038859094,0.00040543918,0.00008455377,0.000060576123,0.52954507],"genre_scores_gemma":[0.77405334,0.17351593,0.00012847988,0.03382884,0.0038205541,0.0001970807,0.00016886172,0.00011882549,0.014168075],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99885327,0.000088155866,0.00021543531,0.00016231154,0.0001061751,0.00057465077],"domain_scores_gemma":[0.9989923,0.00001574734,0.00005623667,0.00038485462,0.00005798312,0.0004928553],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035575722,0.00022451299,0.00038718455,0.00008069636,0.00036364814,0.00006599032,0.00020623334,0.000028067809,0.00891137],"category_scores_gemma":[0.0000029976181,0.00014626233,0.00009361434,0.000066030814,0.00014840194,0.00045747607,0.000019591882,0.00013880966,0.0006373605],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005405906,0.000042301235,0.0026790092,0.0029190974,0.00014479645,0.000011844758,0.007720697,1.48598e-7,3.1274007e-7,0.027127698,0.10072173,0.85862696],"study_design_scores_gemma":[0.0000690363,0.00009092238,0.00024538516,0.0017718686,0.0001453894,0.000021489268,0.00067933643,7.6787546e-7,0.0000011207886,0.00003149542,0.9967024,0.00024081276],"about_ca_topic_score_codex":0.018904533,"about_ca_topic_score_gemma":0.43104312,"teacher_disagreement_score":0.89598066,"about_ca_system_score_codex":0.000080635094,"about_ca_system_score_gemma":0.00011741791,"threshold_uncertainty_score":0.9919946},"labels":[],"label_agreement":null},{"id":"W4232092964","doi":"10.1017/s0040557406000135","title":"Seven Ways of Looking at the American Society for Theatre Research","year":2006,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Happening; Entertainment; Dance; Art history; Performance art; Art; Visual arts; History","score_opus":0.13396654931514868,"score_gpt":0.3207886263283565,"score_spread":0.1868220770132078,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232092964","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7454855,0.0008895221,0.000019661302,0.005147575,0.00021202398,0.0005302742,0.00061501877,0.00007355322,0.24702688],"genre_scores_gemma":[0.992536,0.0000745637,0.000027074224,0.0005315637,0.0011615385,0.00004400326,0.00008044219,0.00003120088,0.0055136196],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985158,0.000214591,0.00025611944,0.00021404811,0.00031584996,0.0004836213],"domain_scores_gemma":[0.99787366,0.0014027725,0.00010872445,0.00036130336,0.00023246549,0.000021070611],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022233257,0.00015989933,0.0002992075,0.000048896054,0.0012727475,0.000058186983,0.00027525963,0.00002972755,0.00025080703],"category_scores_gemma":[0.000006775322,0.00009465379,0.00026432972,0.00012409063,0.0013257536,0.00007747943,0.00013047202,0.0002074482,0.000044269953],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00052950956,0.0001553513,0.051626056,0.00015466782,0.00040439542,0.0000014231823,0.038326584,0.000058689977,0.0005355188,0.01302057,0.8397779,0.055409357],"study_design_scores_gemma":[0.0004126184,0.00033430543,0.015388313,0.00003536145,0.00004649386,0.0000015615611,0.009983554,0.0000673677,0.0010277673,0.005730235,0.9667145,0.00025791914],"about_ca_topic_score_codex":0.018775579,"about_ca_topic_score_gemma":0.046710797,"teacher_disagreement_score":0.2470505,"about_ca_system_score_codex":0.000050824998,"about_ca_system_score_gemma":0.00003921333,"threshold_uncertainty_score":0.98775846},"labels":[],"label_agreement":null},{"id":"W4232117585","doi":"10.1353/ctr.2012.0041","title":"Dangers of the Theatrical–Dramaturgical Complex: A Call to Artists to Run Faster and Jump Higher on Their Own Two Feet","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Jump; Visual arts; Aesthetics","score_opus":0.04598248091317342,"score_gpt":0.2595784665991442,"score_spread":0.21359598568597077,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232117585","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0825359,0.123296656,0.0000014633748,0.05640383,0.0015473544,0.0027380993,0.0008397363,0.0000683059,0.7325687],"genre_scores_gemma":[0.9731872,0.0023337225,0.00001978518,0.020986708,0.0007264637,0.000055930883,0.0000072563203,0.000026843654,0.0026560856],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987708,0.00010022985,0.00027486891,0.00019427536,0.00014893229,0.0005109337],"domain_scores_gemma":[0.99889606,0.00007847254,0.000052597275,0.00040610624,0.000048000515,0.0005187413],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022427995,0.00024011085,0.0004674186,0.00009136556,0.00031050574,0.000044925913,0.0002406811,0.000032293,0.0013579361],"category_scores_gemma":[0.0000075482703,0.00012677637,0.00014038007,0.00012545961,0.00015052332,0.000074976284,0.000070481874,0.0001456889,0.00024703136],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060606555,0.00011216729,0.0062547084,0.0017602525,0.00030245393,0.000007334113,0.033238906,0.000003520717,0.000032180076,0.06053784,0.5153417,0.38234833],"study_design_scores_gemma":[0.000108774795,0.000070761635,0.004690772,0.0010052151,0.000074082905,0.000005769832,0.00018907302,6.354944e-7,0.000007815911,0.00005318875,0.9936101,0.00018383133],"about_ca_topic_score_codex":0.007867044,"about_ca_topic_score_gemma":0.06309488,"teacher_disagreement_score":0.8906513,"about_ca_system_score_codex":0.00008230331,"about_ca_system_score_gemma":0.000049769176,"threshold_uncertainty_score":0.99955493},"labels":[],"label_agreement":null},{"id":"W4232294480","doi":"10.3138/tric.39.1.128","title":"Author Guidelines","year":2018,"lang":"en","type":"paratext","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mandate; Section (typography); Library science; Context (archaeology); Position (finance); History; Political science; Documentary evidence; Media studies; Sociology; Law; Computer science; Archaeology","score_opus":0.2623753560597228,"score_gpt":0.40986055166963126,"score_spread":0.14748519560990847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232294480","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000837422,0.0077944235,1.2988869e-7,0.0072447862,0.0057068514,0.0003331295,0.0008096391,0.000013510026,0.9772601],"genre_scores_gemma":[0.08300335,0.0033424855,0.000020230138,0.00054937927,0.019049361,0.00016991263,0.00024686978,0.00011360903,0.8935048],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965596,0.00023933877,0.00053514005,0.0004363344,0.0011292298,0.0011003097],"domain_scores_gemma":[0.99835515,0.0003050424,0.00007007777,0.000564946,0.0005495594,0.0001552161],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0011565156,0.0003279919,0.00053586194,0.00042697214,0.00063768664,0.00016229117,0.00068795425,0.000106278625,0.03817213],"category_scores_gemma":[0.000009857916,0.00025006424,0.000071792136,0.00016406788,0.0005570761,0.00009972475,0.00026644403,0.0009972155,0.005997449],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029483517,0.000009418798,0.000025009373,0.00017170447,0.000050696846,0.000026229085,0.0014450647,0.0000053665585,5.212614e-7,0.00025367498,0.9542361,0.043746732],"study_design_scores_gemma":[0.00013367986,0.000080669226,0.0000029201738,0.00046945625,0.0000067888113,0.000001987359,0.0055621755,0.000024847606,0.000016717908,0.0004396607,0.9929756,0.00028549245],"about_ca_topic_score_codex":0.99521995,"about_ca_topic_score_gemma":0.99960923,"teacher_disagreement_score":0.08375531,"about_ca_system_score_codex":0.0011872846,"about_ca_system_score_gemma":0.0068812286,"threshold_uncertainty_score":0.9999952},"labels":[],"label_agreement":null},{"id":"W4232364945","doi":"10.4000/critiquedart.15424","title":"Parachute: The Anthology (1975-2000), vol. II : Performance &amp; Performativity","year":2013,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performativity; History; Art history; Sociology; Gender studies","score_opus":0.021386362406653283,"score_gpt":0.2539008394956834,"score_spread":0.23251447708903009,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232364945","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.562752,0.01140057,0.000035497145,0.035268456,0.005976003,0.000735584,0.00021158831,0.00015795616,0.3834623],"genre_scores_gemma":[0.52079153,0.006861562,0.00005339182,0.002644275,0.0032202748,0.00026652805,0.00006779905,0.000044801618,0.46604982],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99719244,0.000278071,0.0006451593,0.00043806824,0.00030698683,0.0011392477],"domain_scores_gemma":[0.9980858,0.00025602322,0.00017360231,0.0007551443,0.00057228905,0.0001571548],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006799061,0.0005701614,0.0005866252,0.00011719623,0.004360712,0.00041196073,0.0005202953,0.0002518605,0.02720262],"category_scores_gemma":[0.0000742252,0.00041535695,0.0002514883,0.000116380455,0.0024810333,0.0018570262,0.0003322476,0.0009997626,0.020675419],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034056116,0.00025577325,0.0022586004,0.0004590973,0.00012109106,0.000005142608,0.04306084,0.000010890961,0.00002667908,0.03615086,0.89427686,0.023340087],"study_design_scores_gemma":[0.0003331696,0.00041561318,0.007846729,0.00021000505,0.000113565286,0.00008415047,0.0032897976,0.0005964856,0.0001307376,0.00086508394,0.98555267,0.0005619945],"about_ca_topic_score_codex":0.00060283166,"about_ca_topic_score_gemma":0.0012771925,"teacher_disagreement_score":0.09127579,"about_ca_system_score_codex":0.00009451235,"about_ca_system_score_gemma":0.00014469998,"threshold_uncertainty_score":0.9998298},"labels":[],"label_agreement":null},{"id":"W4232415702","doi":"10.7202/1062386ar","title":"\"Stanislavski\" in Toronto","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Stanislavski's system; Studio; Humanities; Context (archaeology); Art; Art history; Sociology; Visual arts; History; Archaeology","score_opus":0.05355089412351938,"score_gpt":0.312035483695193,"score_spread":0.25848458957167364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232415702","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33098274,0.0010350083,9.558073e-9,0.00054987945,0.00025640256,0.00016409632,0.000016808786,0.0000057982174,0.66698927],"genre_scores_gemma":[0.9972221,0.00031444512,0.0000021435094,0.00008251538,0.00019970335,0.00002310074,0.0000032627947,0.0000120163695,0.0021406603],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985387,0.000097991884,0.00017171534,0.00017596963,0.00044315966,0.0005724757],"domain_scores_gemma":[0.9994782,0.00018449494,0.000012017458,0.0002347648,0.000036485955,0.000054008276],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00053202146,0.00009296421,0.00017574725,0.000083859246,0.000100740566,0.000040039118,0.00021231013,0.000017726104,0.006006856],"category_scores_gemma":[0.0000013891438,0.00007518341,0.000018385914,0.00007141061,0.00007536667,0.00018917795,0.00007360232,0.0002610211,0.00011606956],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004423561,0.00020376987,0.27513373,0.00051042833,0.000089624686,0.00034222307,0.06430323,0.000103761966,0.00012190742,0.12330578,0.06200567,0.47343752],"study_design_scores_gemma":[0.00047753114,0.00010004962,0.0024197714,0.00012652151,0.0000010588946,0.0000011434837,0.08499299,0.00008101851,0.000044682114,0.0017733531,0.909806,0.00017589584],"about_ca_topic_score_codex":0.9986982,"about_ca_topic_score_gemma":0.99997634,"teacher_disagreement_score":0.8478003,"about_ca_system_score_codex":0.0021937815,"about_ca_system_score_gemma":0.0009774384,"threshold_uncertainty_score":0.9949018},"labels":[],"label_agreement":null},{"id":"W4232484523","doi":"10.1386/smt.10.1.55_1","title":"Broomsticks and barricades: Performance, empowerment, and feeling in Wicked and Les Misérables","year":2016,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Feeling; Empowerment; Power (physics); Psychology; Aesthetics; Order (exchange); Social psychology; Sociology; Art; Political science; Business; Law","score_opus":0.047618012152270656,"score_gpt":0.27757328572026574,"score_spread":0.22995527356799508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232484523","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96890527,0.011017962,6.3324137e-7,0.0007814257,0.00018809769,0.00015021444,0.000013961327,0.000026996953,0.018915432],"genre_scores_gemma":[0.97743547,0.021532197,0.00003084696,0.00011329082,0.00027969,0.000029496134,6.285044e-7,0.0000130055105,0.0005653635],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897844,0.000041302188,0.000259105,0.00030054763,0.00010158423,0.0003190258],"domain_scores_gemma":[0.99945116,0.00033330134,0.000036765185,0.00010266829,0.000028391354,0.00004771911],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002210852,0.0002130656,0.00037353512,0.0001298291,0.00038252652,0.00003709616,0.000059883638,0.000044300843,0.000060532635],"category_scores_gemma":[0.000036129313,0.00012432634,0.000021871881,0.000047636277,0.0017605658,0.00020975202,0.00019828204,0.00013253532,0.0000032550686],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003001263,0.00011958247,0.36310688,0.00082631677,0.00023725169,0.000027220567,0.270729,0.0000027098542,0.00016113764,0.012815832,0.0014703992,0.3502035],"study_design_scores_gemma":[0.007873171,0.0014215249,0.1539461,0.00501804,0.00018979605,0.000045770394,0.40553504,0.00024880483,0.00015566402,0.017813636,0.40593407,0.0018183794],"about_ca_topic_score_codex":0.00010893837,"about_ca_topic_score_gemma":0.0020869283,"teacher_disagreement_score":0.40446365,"about_ca_system_score_codex":0.000026005826,"about_ca_system_score_gemma":0.000007680916,"threshold_uncertainty_score":0.6486878},"labels":[],"label_agreement":null},{"id":"W4232493786","doi":"10.1080/07256868.2011.600804","title":"Book Reviews","year":2011,"lang":"en","type":"article","venue":"Journal of Intercultural Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Sociology","score_opus":0.16901188950962992,"score_gpt":0.30061366827614505,"score_spread":0.13160177876651513,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232493786","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06842749,0.7480027,0.0000020215812,0.0012681253,0.0035834257,0.00013050364,0.0000038673293,0.000023200866,0.17855868],"genre_scores_gemma":[0.7004212,0.22474124,0.00027032156,0.0057691773,0.0049237837,0.000012563061,6.102088e-7,0.000019102963,0.06384201],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992629,0.000026447155,0.00044325928,0.000052102216,0.00009278741,0.00012245627],"domain_scores_gemma":[0.99928457,0.000019464544,0.00027656922,0.000054628712,0.00033702125,0.000027723421],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018068234,0.00011845218,0.00037477375,0.000044171822,0.00019873443,0.000023934514,0.00013156372,0.000011278829,0.0017003482],"category_scores_gemma":[0.000043549007,0.00005583419,0.00020607185,0.000015127894,0.00020779355,0.00045502163,0.000046901117,0.0001266876,0.00012508854],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041322797,0.000023906256,0.000073684314,0.00003689225,0.00030984628,0.000008247721,0.2920059,3.1785724e-8,0.000021625114,0.0013897605,0.69999236,0.006096445],"study_design_scores_gemma":[0.00011794201,0.00030119318,0.00011349046,0.0002195157,0.00006595972,0.000031500713,0.046153635,9.74041e-8,0.00018455957,0.00029894357,0.9524305,0.00008265756],"about_ca_topic_score_codex":0.000015593705,"about_ca_topic_score_gemma":0.0001384471,"teacher_disagreement_score":0.6319937,"about_ca_system_score_codex":0.000026078536,"about_ca_system_score_gemma":0.000004203211,"threshold_uncertainty_score":0.9992122},"labels":[],"label_agreement":null},{"id":"W4232514776","doi":"10.1017/9781787440784.008","title":"Living Pictures: Drama without Text, Drama without Action","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; Action (physics); Proposition; Epistemology; Psychology; Literature; Philosophy; Art; Physics","score_opus":0.03865487728400171,"score_gpt":0.2551958726006155,"score_spread":0.21654099531661378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232514776","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011230615,0.0005785609,0.000022849417,0.00011909439,0.0019280943,0.00028080543,0.000040949748,0.00034433408,0.99556226],"genre_scores_gemma":[0.08308491,0.0004909696,0.000062220366,0.00057113596,0.008252574,0.00001570689,0.000026649315,0.00010713801,0.9073887],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984495,0.000014313634,0.0003817084,0.00045097174,0.00032909,0.0003744228],"domain_scores_gemma":[0.9989572,0.000072166375,0.0002339829,0.00044497507,0.0002114698,0.000080206475],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014028659,0.0005764669,0.00057698175,0.00019665564,0.0009147712,0.00037497518,0.00023194868,0.0002514935,0.052709434],"category_scores_gemma":[0.0000076110296,0.00041883942,0.00023554845,0.000007351256,0.0005741753,0.0003190199,0.00014374782,0.000344398,0.0030254882],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013321584,0.00007010468,0.00030556344,0.00037732258,0.0010628665,0.000007695848,0.11999343,9.725638e-7,0.000010299742,0.56914127,0.24888273,0.060014527],"study_design_scores_gemma":[0.00015484355,0.00021673787,0.00004165552,0.00048647204,0.00017729992,0.000006487954,0.0025781242,0.0000105922,0.000010498201,0.0063110692,0.98940814,0.00059810147],"about_ca_topic_score_codex":0.00023007802,"about_ca_topic_score_gemma":0.011011074,"teacher_disagreement_score":0.74052536,"about_ca_system_score_codex":0.0000701388,"about_ca_system_score_gemma":0.00005587134,"threshold_uncertainty_score":0.9998264},"labels":[],"label_agreement":null},{"id":"W4232514857","doi":"10.1353/ctr.2012.0010","title":"Getting Kinky Inside and Outside: A Conversation with Trey Anthony","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Storytelling; Conversation; Representation (politics); Superstar; Identity (music); Art; Visual arts; Psychoanalysis; Aesthetics; Psychology; Art history; Communication; Literature; Narrative; Law; Political science","score_opus":0.028122834992258625,"score_gpt":0.2283706966645079,"score_spread":0.20024786167224928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232514857","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01771701,0.53219837,0.0000016447526,0.008453233,0.00039901325,0.0006038014,0.00006845569,0.00006573783,0.44049272],"genre_scores_gemma":[0.9513218,0.04275447,0.000030496094,0.0045558154,0.00064581196,0.000025701658,0.000017737726,0.000020001968,0.00062816835],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928486,0.000036427507,0.00015185175,0.000114850474,0.00007225053,0.00033977279],"domain_scores_gemma":[0.9995003,0.000032618253,0.000053575375,0.00014248809,0.00003881348,0.00023222453],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019765997,0.00014307308,0.00024959893,0.00006798851,0.00031525502,0.000047452937,0.00005205441,0.000020797701,0.0007079294],"category_scores_gemma":[0.000007108976,0.00009844717,0.000036723424,0.000039326376,0.00013009814,0.00029756565,0.000014587926,0.00008631011,0.00009791319],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000073837455,0.000014652023,0.016080761,0.002523434,0.00014074561,0.000011534733,0.04789596,1.9525883e-7,0.0000025947068,0.01703318,0.020845711,0.89544386],"study_design_scores_gemma":[0.00010811594,0.000032957043,0.0008960594,0.0014082147,0.000118228716,0.00002023028,0.0020115832,0.0000020243308,0.000004030424,0.0000661305,0.99515384,0.00017857364],"about_ca_topic_score_codex":0.024879612,"about_ca_topic_score_gemma":0.26003537,"teacher_disagreement_score":0.97430813,"about_ca_system_score_codex":0.00005271724,"about_ca_system_score_gemma":0.00008185936,"threshold_uncertainty_score":0.9816138},"labels":[],"label_agreement":null},{"id":"W4232611541","doi":"10.1353/mdr.2013.0009","title":"To Witness Mimesis: The Politics, Ethics, and Aesthetics of Testimonial Theatre in Through the Wire","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.03582261467214222,"score_gpt":0.2578824935381754,"score_spread":0.22205987886603318,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232611541","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91158825,0.0014829005,0.00004700948,0.052558485,0.00020526904,0.0004343742,0.000025673799,0.000028708542,0.033629313],"genre_scores_gemma":[0.9960431,0.00009276592,0.000038929666,0.0015563476,0.00025062123,0.000039329236,0.0000011175421,0.000014469933,0.0019633248],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992224,0.00007284998,0.0001885689,0.00012951586,0.00015349631,0.0002331505],"domain_scores_gemma":[0.9993479,0.00022916387,0.000041556617,0.00026087815,0.00009605081,0.00002440383],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018118227,0.00013043811,0.00016705872,0.000024843299,0.0005383969,0.000111419096,0.00020718898,0.000045909783,0.000077133926],"category_scores_gemma":[0.00002255276,0.00006460418,0.0000364533,0.000030608706,0.0007374597,0.0001299045,0.00009935903,0.00028837397,0.000028766304],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000158564,0.00006667223,0.0036631115,0.000059634094,0.000040974537,0.000001104403,0.79822564,0.00013194067,0.000021131227,0.17714503,0.0034740886,0.017154828],"study_design_scores_gemma":[0.000994111,0.0005155625,0.014516257,0.00040625423,0.00013001118,0.000013957806,0.1471406,0.0033701812,0.00042904876,0.53936785,0.2924124,0.000703792],"about_ca_topic_score_codex":0.0063357083,"about_ca_topic_score_gemma":0.0046344404,"teacher_disagreement_score":0.651085,"about_ca_system_score_codex":0.000010535026,"about_ca_system_score_gemma":0.000031134132,"threshold_uncertainty_score":0.9577738},"labels":[],"label_agreement":null},{"id":"W4232837940","doi":"10.1386/dtr.2.2.285_5","title":"Review","year":2016,"lang":"en","type":"article","venue":"Drama Therapy Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Drama; Sociology; Space (punctuation); Art history; Art; Psychoanalysis; Media studies; Visual arts; Psychology; Philosophy; Linguistics","score_opus":0.05925501887215015,"score_gpt":0.28285102526567973,"score_spread":0.22359600639352958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232837940","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008726305,0.8871239,0.0000014881813,0.016464874,0.00024034159,0.00033653915,0.0000117005775,0.000064535656,0.09566938],"genre_scores_gemma":[0.0016373533,0.9502749,0.0000045485494,0.037309345,0.00046244616,0.000075349504,0.0000027418616,0.0000133789135,0.010219964],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993014,0.000049559425,0.00024331447,0.00013685245,0.0000947067,0.00017418711],"domain_scores_gemma":[0.99949914,0.000041769275,0.00007435419,0.00028123325,0.00007066714,0.00003281956],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002594862,0.00013814913,0.0003551128,0.000014797774,0.00014870998,0.000019753468,0.00015347618,0.000011079308,0.01813185],"category_scores_gemma":[0.000013709533,0.00006241198,0.00015523985,0.000030539984,0.00011112645,0.00015159372,0.00001819367,0.000041606585,0.001988381],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000025868928,0.000012917881,0.000013136906,0.0023304608,0.00003722216,5.4865393e-7,0.0002885441,2.511886e-10,0.000007703401,0.011878823,0.2965422,0.68888587],"study_design_scores_gemma":[0.00012822266,0.000054194606,0.000007919519,0.030570898,0.00003133831,0.000002316039,0.000008397172,1.1689663e-8,0.0000114995855,0.00037408574,0.9686875,0.00012364158],"about_ca_topic_score_codex":0.000008877719,"about_ca_topic_score_gemma":0.000020247337,"teacher_disagreement_score":0.68876225,"about_ca_system_score_codex":0.00000976057,"about_ca_system_score_gemma":0.000012545284,"threshold_uncertainty_score":0.9987887},"labels":[],"label_agreement":null},{"id":"W4232901884","doi":"10.1007/978-1-349-94186-5_1054","title":"The Society for Theatre Research","year":2018,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Medical Research Council; Arts and Humanities Research Council; Department of Science and Technology, Ministry of Science and Technology, India; Science and Engineering Research Board; Savoy Foundation; Society of Architectural Historians; Samuel H. Kress Foundation","keywords":"Visual arts; Sociology; Political science; Art","score_opus":0.08150564188888058,"score_gpt":0.2958012673562845,"score_spread":0.21429562546740388,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232901884","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000026376672,0.0040115276,0.0000020889509,0.00028878183,0.0010124454,0.00085455645,0.00039042707,0.00007499611,0.9933388],"genre_scores_gemma":[0.56941587,0.001029792,0.00003233392,0.00022102152,0.00871922,0.0001808104,0.000049170692,0.0001242118,0.42022756],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980578,0.000023274273,0.0003531619,0.00041448083,0.00046185733,0.0006894705],"domain_scores_gemma":[0.9980271,0.00061605684,0.0001287665,0.00065098616,0.00050067756,0.00007645163],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00083952444,0.00041170986,0.00038345595,0.00007819534,0.0034439713,0.00032122826,0.0005161486,0.00018782195,0.0015773292],"category_scores_gemma":[0.000006729651,0.00024707778,0.00090950535,0.00000502829,0.0022065877,7.424072e-7,0.00023439029,0.00046175905,0.0005596183],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057639216,1.701743e-7,0.000002492043,0.00006941601,0.00047283867,0.0000010194369,0.01783736,1.32359315e-8,0.0000014296978,0.92890257,0.023865575,0.028789451],"study_design_scores_gemma":[0.00011743569,0.00014747448,7.771689e-7,0.0000630942,0.00005202286,0.0000010358546,0.0015942376,0.000002480414,0.0000090325575,0.4916454,0.5061865,0.0001805157],"about_ca_topic_score_codex":0.0000621832,"about_ca_topic_score_gemma":0.0031869118,"teacher_disagreement_score":0.57311124,"about_ca_system_score_codex":0.00006079657,"about_ca_system_score_gemma":0.000089061105,"threshold_uncertainty_score":0.99999815},"labels":[],"label_agreement":null},{"id":"W4233914490","doi":"10.3138/tric.40.1_2.83","title":"Making Knowledge/Playing Culture: Theatre Festivals as Sites of Experiential Learning","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Drama; Experiential learning; Context (archaeology); Criticism; Theatre studies; Visual arts; Art; Sociology; Pedagogy; History; Literature","score_opus":0.09945121094491788,"score_gpt":0.3575102524034129,"score_spread":0.258059041458495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233914490","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4627847,0.0019649738,1.5470428e-7,0.00011042893,0.00029179495,0.00018714854,0.000011131742,0.000014987758,0.5346347],"genre_scores_gemma":[0.9963028,0.00018257163,0.000012960374,0.000024167446,0.0004067567,0.000025478654,0.000009575908,0.000023076947,0.0030126413],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99781466,0.0002661273,0.00030483605,0.00028053927,0.0006619228,0.00067192595],"domain_scores_gemma":[0.99910307,0.00036951192,0.000059645146,0.00025438823,0.0001409793,0.00007238746],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006945078,0.0001815373,0.00034110804,0.00022088438,0.00047972053,0.00007453209,0.00030713604,0.000044186316,0.002187586],"category_scores_gemma":[0.000009839812,0.0001411381,0.00006341821,0.00018996914,0.00022410773,0.00019384251,0.00019433824,0.0006411357,0.0001062919],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006727055,0.00023049231,0.38844058,0.0013838903,0.0003432861,0.00013275567,0.30679435,0.00053684297,0.0046819435,0.020138243,0.021719549,0.25492537],"study_design_scores_gemma":[0.00061108207,0.00032325715,0.00035933667,0.00066613103,0.000011499997,0.0000075957537,0.16015059,0.0002469064,0.0012442638,0.0007555432,0.83527887,0.0003449285],"about_ca_topic_score_codex":0.767061,"about_ca_topic_score_gemma":0.9427579,"teacher_disagreement_score":0.8135593,"about_ca_system_score_codex":0.0003530824,"about_ca_system_score_gemma":0.0010183275,"threshold_uncertainty_score":0.9987245},"labels":[],"label_agreement":null},{"id":"W4233953072","doi":"10.32920/ryerson.14660658","title":"Canadian immigrant community-based theatre","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Empowerment; Inclusion (mineral); Narrative; Immigration; Public relations; Community integration; Sociology; Gender studies; Pedagogy; Political science; Medicine","score_opus":0.03908460279604181,"score_gpt":0.2317461064203174,"score_spread":0.1926615036242756,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233953072","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17191209,0.00081333006,0.000004053686,0.003765816,0.0015993537,0.0001870857,0.00033875022,0.00012486908,0.8212547],"genre_scores_gemma":[0.98470736,0.00008611329,0.00005052754,0.003179487,0.00059748703,0.00003936333,0.0006621756,0.000026151436,0.010651332],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906456,0.00012262096,0.00019998974,0.00016817855,0.00012078309,0.00032386096],"domain_scores_gemma":[0.9990347,0.000060101767,0.000044626388,0.00061737164,0.00012575112,0.00011746825],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000187676,0.00026201858,0.00033095322,0.00015366336,0.0012182002,0.00040584317,0.00033264933,0.00010450431,0.0074350424],"category_scores_gemma":[0.0000018523575,0.00020519068,0.00020358761,0.000017526769,0.00015398006,0.000053389962,0.00021096336,0.0009908015,0.0001237859],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049811188,0.00039955034,0.004053206,0.002341829,0.0012568529,0.000120045224,0.7511945,0.00062495045,0.000009568939,0.05032054,0.16004932,0.02957986],"study_design_scores_gemma":[0.00015429193,0.00003943529,0.00014122424,0.00022866906,0.000074400785,8.9323066e-7,0.05643033,0.00008003657,0.000058572565,0.0010214167,0.9413448,0.00042596017],"about_ca_topic_score_codex":0.9370237,"about_ca_topic_score_gemma":0.9964515,"teacher_disagreement_score":0.8127953,"about_ca_system_score_codex":0.00011322528,"about_ca_system_score_gemma":0.00057809544,"threshold_uncertainty_score":0.9934723},"labels":[],"label_agreement":null},{"id":"W4234090208","doi":"10.3138/md.48.4.525","title":"Book Reviews","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Modernism (music); Stanislavski's system; Drama; Performance art; Watson; Art history; Art; Independence (probability theory); Modernity; History; Literature; Philosophy","score_opus":0.027007985882046413,"score_gpt":0.2306286524360073,"score_spread":0.20362066655396088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234090208","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007633191,0.07258524,0.00008119822,0.00097371306,0.00035060605,0.00014271785,0.000010156888,0.00010141735,0.91812176],"genre_scores_gemma":[0.49405724,0.0012895437,0.00003682432,0.0034120698,0.0026119582,0.000038114573,0.000015070432,0.000019016625,0.49852017],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995513,0.000010296102,0.00013473789,0.00009475424,0.000062323496,0.00014657996],"domain_scores_gemma":[0.9998024,0.00000788497,0.000030374209,0.00012699302,0.000019265188,0.00001308185],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000052202387,0.000084663356,0.0001311426,0.000022982773,0.00023860931,0.00006843567,0.000065385415,0.000013518914,0.002882377],"category_scores_gemma":[0.000001421207,0.000061258856,0.000060845454,0.000007789548,0.00007491188,0.00014535029,0.000019971962,0.000049209997,0.0009289158],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005128369,0.000029529956,0.0001313866,0.000026898611,0.000007938511,0.0000016825119,0.008432227,0.00000539697,0.000023737359,0.039766215,0.9285173,0.023052555],"study_design_scores_gemma":[0.0000837404,0.000016861119,0.000079988145,0.000015530739,0.000009038577,6.1972867e-7,0.00006870212,0.000092655486,0.000036362235,0.0050702426,0.99443567,0.000090581954],"about_ca_topic_score_codex":0.00019083341,"about_ca_topic_score_gemma":0.0006791345,"teacher_disagreement_score":0.48642406,"about_ca_system_score_codex":0.000008780157,"about_ca_system_score_gemma":0.0000042031375,"threshold_uncertainty_score":0.99984896},"labels":[],"label_agreement":null},{"id":"W4234094672","doi":"10.3138/tric.39.1.77","title":"Roles of Theatre in Higher Education: Liberal Education and University Theatre Programs in Canada","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Liberal arts education; Higher education; Sociology; Public relations; Pedagogy; Media studies; Political science; Visual arts; Art; Law","score_opus":0.0722544264765816,"score_gpt":0.2798206110716497,"score_spread":0.2075661845950681,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234094672","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6795164,0.0011924509,4.921076e-9,0.0033908123,0.0003468377,0.0002637067,0.000026370459,0.0000042091997,0.31525925],"genre_scores_gemma":[0.9974406,0.00022532317,0.000008278015,0.0000899076,0.00038951082,0.00001689464,0.000014128464,0.000012318672,0.0018030643],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99848354,0.00018942542,0.00022978449,0.00023953621,0.0003830233,0.00047472116],"domain_scores_gemma":[0.99940616,0.0001077273,0.000038757065,0.00023135908,0.00011767691,0.000098329845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003067947,0.0001408395,0.00023677452,0.00028617415,0.00017895318,0.000029914376,0.00023873044,0.00003069811,0.00044808545],"category_scores_gemma":[9.989047e-7,0.00012307086,0.000016733136,0.00030922086,0.00031581265,0.00018381161,0.00009156682,0.00030063075,0.000002010763],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013932212,0.0001843791,0.37142485,0.00015684724,0.000021224898,0.000015387048,0.010901911,0.000004884261,0.000004926153,0.0034485026,0.010416317,0.60328144],"study_design_scores_gemma":[0.0005906512,0.00017015036,0.049596388,0.00061767036,0.000008270302,0.000003816303,0.16237393,0.000034046443,0.000040572904,0.0024092954,0.78385943,0.00029580083],"about_ca_topic_score_codex":0.99975747,"about_ca_topic_score_gemma":0.9999965,"teacher_disagreement_score":0.7734431,"about_ca_system_score_codex":0.0018000413,"about_ca_system_score_gemma":0.016586829,"threshold_uncertainty_score":0.9889882},"labels":[],"label_agreement":null},{"id":"W4234324802","doi":"10.1386/atr.4.2.175_5","title":"Reviews","year":2016,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Philosophy","score_opus":0.15716789613298726,"score_gpt":0.35059249645565355,"score_spread":0.19342460032266628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234324802","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0056480505,0.0015226625,0.000007810832,0.0022442064,0.00015145272,0.0003334121,0.000011061793,0.00006672656,0.9900146],"genre_scores_gemma":[0.96911687,0.003269625,0.000021221287,0.00011486825,0.0015510082,0.0001825715,0.0000017924998,0.000019997127,0.025722021],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99874526,0.00007197549,0.0001798916,0.0002164999,0.00030368028,0.0004826644],"domain_scores_gemma":[0.9992698,0.00023589692,0.000021811076,0.00034250118,0.00006475704,0.00006522957],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010631119,0.00011242695,0.00019094316,0.00012324446,0.00059492514,0.0000664862,0.00024086982,0.000027702645,0.005244082],"category_scores_gemma":[0.000007472045,0.00005437005,0.000061160485,0.00006518472,0.00053439295,0.00009818699,0.000115102936,0.00015018515,0.009182182],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030517927,0.000024895666,0.000063969266,0.00002366751,0.000017007535,0.0000010046016,0.004319233,1.1831904e-8,0.0009414695,0.3309099,0.07861332,0.585055],"study_design_scores_gemma":[0.00019699686,0.000047570913,0.00002056521,0.000047455964,0.0000038017977,5.863446e-7,0.0010892594,1.5301468e-7,0.0006702167,0.014641929,0.98318386,0.00009760834],"about_ca_topic_score_codex":0.00006287887,"about_ca_topic_score_gemma":0.00029479613,"teacher_disagreement_score":0.9642926,"about_ca_system_score_codex":0.000034502234,"about_ca_system_score_gemma":0.000022694669,"threshold_uncertainty_score":0.99566525},"labels":[],"label_agreement":null},{"id":"W4234397238","doi":"10.4324/9781003179443-44","title":"Improvisation and Poetry","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Poetry; Art; Literature; Visual arts","score_opus":0.027486727359240286,"score_gpt":0.20218352605600823,"score_spread":0.17469679869676794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234397238","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009649337,0.0017505694,8.3266514e-7,0.00026364863,0.00033496832,0.000043620676,0.000020350013,0.000034124794,0.9974554],"genre_scores_gemma":[0.0042994022,0.000979221,0.000009084345,0.0003472252,0.0010020051,0.0000015773176,0.000032787386,0.000013796305,0.9933149],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996728,0.0000011726203,0.00008689794,0.00011045477,0.000058291505,0.00007041473],"domain_scores_gemma":[0.99982256,0.0000121610165,0.000029948262,0.00007761161,0.00004100888,0.000016686132],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000023066845,0.00010930298,0.0001309209,0.00003287903,0.00015087296,0.00007335426,0.000021268595,0.000045397,0.012601582],"category_scores_gemma":[8.257903e-7,0.00008321605,0.000037507976,8.516728e-7,0.00009711194,0.000057648616,0.000036936846,0.00008436382,0.000113455855],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016246944,0.0000012439285,0.0000033301912,0.000035090456,0.00003912914,0.0000015572401,0.0024570914,6.4902137e-9,8.7322945e-7,0.96082044,0.013786156,0.022853488],"study_design_scores_gemma":[0.000045405483,0.000026370864,0.0000053908766,0.0000337809,0.000028996748,0.0000013827898,0.00063392415,0.000001069421,0.000004567258,0.0073417285,0.991758,0.00011940172],"about_ca_topic_score_codex":0.000044992445,"about_ca_topic_score_gemma":0.0011111439,"teacher_disagreement_score":0.97797185,"about_ca_system_score_codex":0.00000734221,"about_ca_system_score_gemma":0.000013666589,"threshold_uncertainty_score":0.98830104},"labels":[],"label_agreement":null},{"id":"W4234479096","doi":"10.3138/ctr.178.015","title":"A Ryga-Rita Rethink","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Appropriation; Performance art; Art history; Opera; Art; Performing arts; Visual arts; Opera house; The arts; Ecstasy; History; Sociology; Anthropology","score_opus":0.025074845439309938,"score_gpt":0.22798415781532166,"score_spread":0.20290931237601173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234479096","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011863557,0.20760304,5.7746256e-8,0.006611875,0.00058781105,0.000360226,0.000058744095,0.00004036696,0.7835515],"genre_scores_gemma":[0.5937471,0.25398242,0.000032400763,0.04108079,0.0021388168,0.00009552302,0.00009511022,0.00009262358,0.10873523],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991488,0.00003390066,0.00019312173,0.0001791189,0.000098335164,0.0003467148],"domain_scores_gemma":[0.99933285,0.00002721447,0.00003864509,0.00036206612,0.00005174013,0.00018751199],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019503386,0.00015411824,0.00032700488,0.00007278843,0.00023403902,0.000053413103,0.00019253297,0.000029268602,0.019018155],"category_scores_gemma":[0.00000589007,0.00011513215,0.00012924567,0.000050529885,0.00007779733,0.00014105858,0.00001787608,0.00014122548,0.006834709],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004080919,0.000012996999,0.0013689992,0.0041938648,0.00013513009,0.000022157472,0.009190654,2.762463e-7,0.0000017046202,0.16839857,0.5395252,0.27714634],"study_design_scores_gemma":[0.00006690906,0.000034099972,0.000037368784,0.0017211414,0.000046204448,0.0000061770324,0.000334837,0.0000014353859,9.995613e-7,0.0005313393,0.997051,0.00016851202],"about_ca_topic_score_codex":0.036550686,"about_ca_topic_score_gemma":0.3680256,"teacher_disagreement_score":0.6748163,"about_ca_system_score_codex":0.00007108182,"about_ca_system_score_gemma":0.0001765687,"threshold_uncertainty_score":0.99393857},"labels":[],"label_agreement":null},{"id":"W4234529158","doi":"10.2478/mstap-2013-0010","title":"Theatre Reviews","year":2013,"lang":"en","type":"article","venue":"Multicultural Shakespeare Translation Appropriation and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tempest; Dream; Art; Studio; Humanities; Art history; Drama; Cartography; Visual arts; Geography; Psychology","score_opus":0.04743708548089102,"score_gpt":0.23271965480458748,"score_spread":0.18528256932369647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234529158","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91700053,0.002673738,0.000032567717,0.0024115657,0.00042636108,0.0011566727,0.000013424426,0.00019303444,0.07609208],"genre_scores_gemma":[0.99388325,0.0016088282,0.00038808092,0.00028118494,0.00043408808,0.00008402659,0.00005642437,0.000010287423,0.00325384],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914604,0.00003480752,0.00030705857,0.00018584664,0.00013441115,0.00019180281],"domain_scores_gemma":[0.9996364,0.000022143515,0.0000806123,0.00010308925,0.0000997309,0.000058003774],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012225582,0.0001774535,0.00018589516,0.000043836906,0.00049491314,0.0002060067,0.000066946515,0.00004152069,0.0022712515],"category_scores_gemma":[0.0000033067379,0.00011074687,0.00005703793,0.000047075428,0.00010944883,0.0009425465,0.000009469765,0.000116502255,0.0009735717],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027414208,0.000031490454,0.0022207499,0.00016529653,0.000023162047,1.01168105e-7,0.121703394,0.000013151916,0.00035904965,0.00108534,0.0017877929,0.87258303],"study_design_scores_gemma":[0.000943387,0.00015114111,0.034266558,0.00010963444,0.000040948016,0.0000047465583,0.007166922,0.016689181,0.00019462375,0.00008256792,0.9398402,0.00051006547],"about_ca_topic_score_codex":0.00012752034,"about_ca_topic_score_gemma":0.0002054168,"teacher_disagreement_score":0.9380524,"about_ca_system_score_codex":0.000012746809,"about_ca_system_score_gemma":0.0000045950437,"threshold_uncertainty_score":0.99980426},"labels":[],"label_agreement":null},{"id":"W4234686620","doi":"10.5040/9781350128392","title":"Questors, Jesters and Renegades","year":2020,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Performance art; Art history; Art; Politics; Anecdote; Theatre director; History; Media studies; Literature; Law; Sociology; Political science; Archaeology","score_opus":0.034360072874627355,"score_gpt":0.20434444008219915,"score_spread":0.1699843672075718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234686620","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032660319,0.0046740742,7.497519e-7,0.0014881636,0.0015180822,0.00027462374,0.00020868344,0.00040784126,0.9911012],"genre_scores_gemma":[0.002654955,0.00031213366,0.000047428057,0.0021534676,0.006109782,0.000034403834,0.0001950546,0.000119702,0.9883731],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99808955,0.00004517813,0.000446214,0.0005842215,0.00039718254,0.00043768162],"domain_scores_gemma":[0.9988954,0.00015610883,0.00025872042,0.00036291676,0.00012819054,0.00019864275],"candidate_categories":["metaepi_narrow","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.00024577454,0.00054800377,0.00065406255,0.00022826389,0.0006834982,0.0038007617,0.00045941985,0.00018893453,0.00032307656],"category_scores_gemma":[0.00006192549,0.00048314378,0.00017238823,0.000011635813,0.00063759147,0.0010849616,0.00035537741,0.00094694906,0.000070479],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002459216,0.000008428693,0.000029604467,0.00033959068,0.0002410341,0.000046239446,0.023588428,1.7699635e-7,0.000001776349,0.15835966,0.80369365,0.013666829],"study_design_scores_gemma":[0.00027937084,0.00012278093,0.000007710039,0.000396663,0.00018321257,0.000014287214,0.000864879,0.0000026354553,0.00000691547,0.009497835,0.9880544,0.0005693169],"about_ca_topic_score_codex":0.00021389582,"about_ca_topic_score_gemma":0.0011707456,"teacher_disagreement_score":0.18436076,"about_ca_system_score_codex":0.00007741223,"about_ca_system_score_gemma":0.00025330274,"threshold_uncertainty_score":0.999762},"labels":[],"label_agreement":null},{"id":"W4234769175","doi":"10.15353/cjds.v5i3.297","title":"Loose Leaf","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Manifesto; Performative utterance; Misnomer; Poetry; Aesthetics; Politics; Reading (process); Embodied cognition; White (mutation); Sociology; Art; Visual arts; Psychology; Literature; Philosophy; Law; Political science; Linguistics; Epistemology; Theology; Chemistry","score_opus":0.06145141225486628,"score_gpt":0.2643425454395377,"score_spread":0.20289113318467145,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234769175","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9383496,0.012528392,0.000002239493,0.017539637,0.0023287658,0.000082084814,0.00007784047,0.000011989845,0.02907946],"genre_scores_gemma":[0.9959865,0.00024749828,0.0000095439345,0.00018509812,0.0010827811,0.0000020508332,1.406055e-7,0.0000070336127,0.0024793185],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992174,0.000031937798,0.00031028193,0.00008622259,0.000101408106,0.00025277038],"domain_scores_gemma":[0.99910957,0.00015913138,0.00010161625,0.00013703131,0.0003092266,0.00018339869],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027291715,0.00011241659,0.00027535672,0.000058458627,0.000421212,0.000036515456,0.00014417052,0.000016323434,0.0009053929],"category_scores_gemma":[0.00022886285,0.000058964957,0.00012815418,0.00002385613,0.0018793598,0.0002831413,0.000015355083,0.000071450246,0.00006240218],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007389964,0.00007850269,0.36564982,0.00014453592,0.0011693118,0.000045924906,0.17379816,0.0000015277958,0.00002541049,0.06498238,0.21420585,0.17982468],"study_design_scores_gemma":[0.0004991928,0.00030556275,0.016357372,0.00019596049,0.000082255436,0.000015014003,0.043977413,1.0197346e-7,0.000068181354,0.015118546,0.9231659,0.00021445825],"about_ca_topic_score_codex":0.001005063,"about_ca_topic_score_gemma":0.3329446,"teacher_disagreement_score":0.7089601,"about_ca_system_score_codex":0.0002156767,"about_ca_system_score_gemma":0.00014709402,"threshold_uncertainty_score":0.99134177},"labels":[],"label_agreement":null},{"id":"W4234804106","doi":"10.1353/ctr.2011.0017","title":"100 Steps: Working on Memory","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"SOCRATES; The Imaginary; Subject (documents); Subject matter; Adaptation (eye); Aesthetics; Process (computing); Unconscious mind; Psychology; Epistemology; Sociology; Psychoanalysis; Philosophy; Computer science; Pedagogy","score_opus":0.0917010996273678,"score_gpt":0.24027755817368715,"score_spread":0.14857645854631935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234804106","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042726894,0.12346703,9.701356e-8,0.0007580924,0.0005104845,0.00022769927,0.00001917144,0.000040619456,0.8745495],"genre_scores_gemma":[0.80829144,0.13808207,0.00003349658,0.02585523,0.002225514,0.00011366565,0.000025220146,0.00007916692,0.025294226],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991632,0.00003791479,0.00019298046,0.00016941973,0.00008759643,0.00034889893],"domain_scores_gemma":[0.99940497,0.000021364753,0.000044552457,0.00030178696,0.000030135625,0.0001972086],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016884819,0.00016842165,0.00028173547,0.00009959023,0.00037283363,0.0000311615,0.00018657622,0.00002501734,0.011393164],"category_scores_gemma":[0.000004656051,0.00012442502,0.000117664546,0.00004893489,0.00010620726,0.00007974568,0.000013204441,0.00012896497,0.0017215805],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000059273966,0.000018450435,0.0002240743,0.00076969626,0.000085886175,0.000035729983,0.014168576,8.768192e-8,1.3857245e-7,0.049192157,0.11632006,0.81917924],"study_design_scores_gemma":[0.00005243491,0.0000540026,0.000053785683,0.0026553168,0.00005944084,0.0000035667565,0.0007342726,3.119162e-7,0.0000039315464,0.0002854047,0.99592656,0.00017095212],"about_ca_topic_score_codex":0.038087245,"about_ca_topic_score_gemma":0.3950412,"teacher_disagreement_score":0.87960654,"about_ca_system_score_codex":0.000070839094,"about_ca_system_score_gemma":0.000106655236,"threshold_uncertainty_score":0.9990557},"labels":[],"label_agreement":null},{"id":"W4234822732","doi":"10.1353/ctr.2012.0075","title":"The Spirit of Potentials: An Interview with Bretta Gerecke","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Aesthetics; Art history; Sociology","score_opus":0.047926674973704786,"score_gpt":0.2545050045149561,"score_spread":0.20657832954125133,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234822732","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017809555,0.7995913,0.0000013365975,0.007513551,0.00040847354,0.00040324806,0.00007688395,0.000021922864,0.19020231],"genre_scores_gemma":[0.78598267,0.20451602,0.000020746738,0.005065627,0.0012354228,0.000062542495,0.000026597781,0.000043319356,0.0030470467],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990363,0.00010558728,0.00025753028,0.000100402525,0.00010497646,0.00039517478],"domain_scores_gemma":[0.99919295,0.000033768956,0.00008924268,0.00037778236,0.0000795618,0.00022671979],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005656076,0.0001507965,0.0003180514,0.000040224062,0.00043513573,0.00004670534,0.0002470563,0.000018844576,0.0018554005],"category_scores_gemma":[0.0000049992077,0.00007770963,0.00009835519,0.000051544248,0.00025258574,0.00024464802,0.000017681255,0.00009376106,0.0001221466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005054095,0.000024189356,0.0007898689,0.0018130154,0.00015250678,0.0000022992174,0.004937242,7.721008e-8,6.9035286e-7,0.038123246,0.053777073,0.9003747],"study_design_scores_gemma":[0.00004692424,0.00007016976,0.00020560075,0.0018234063,0.00013502296,0.000011736846,0.0008848377,4.3879695e-7,0.00000431793,0.00005631582,0.9966394,0.00012184685],"about_ca_topic_score_codex":0.01671404,"about_ca_topic_score_gemma":0.4336867,"teacher_disagreement_score":0.94286233,"about_ca_system_score_codex":0.000034033474,"about_ca_system_score_gemma":0.000103518534,"threshold_uncertainty_score":0.99905705},"labels":[],"label_agreement":null},{"id":"W4235015864","doi":"10.24908/iqurcp.7503","title":"Trashed","year":2017,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Confusion; Psychology; Economic Justice; Space (punctuation); Social psychology; Aesthetics; Law; Political science; Psychoanalysis; Computer science; Art","score_opus":0.20562151848868918,"score_gpt":0.38448384133483476,"score_spread":0.1788623228461456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235015864","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23536448,0.00008771103,0.000021041555,0.05831823,0.0008466186,0.00047842463,0.000015623531,0.0002163956,0.7046515],"genre_scores_gemma":[0.9700287,0.00074552686,0.000040358304,0.000083695675,0.0018021126,0.000106694664,0.0000043790146,0.000032738655,0.027155783],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974043,0.0000310084,0.00029893313,0.0004901799,0.0008457413,0.00092984963],"domain_scores_gemma":[0.9976078,0.000087735774,0.00015570084,0.00041834707,0.0015383236,0.00019208423],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":["sts"],"category_scores_codex":[0.0011584198,0.00025562,0.00032442468,0.00026294304,0.004694201,0.0031929598,0.0011624426,0.00007753031,0.0006057202],"category_scores_gemma":[0.00027753154,0.00020695092,0.00009802961,0.000052485484,0.0033524968,0.0016755032,0.00045626215,0.00066117174,0.00076006394],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007142311,0.000065352826,0.0031155455,0.00011486386,0.00008023587,0.000007913287,0.05094332,6.1410574e-8,0.00025040813,0.88426167,0.04789504,0.0131941475],"study_design_scores_gemma":[0.0008236238,0.00046663324,0.0028805258,0.00030996167,0.00002726674,0.0000062734593,0.033289652,0.00014572998,0.0012506646,0.2916392,0.66855067,0.0006098115],"about_ca_topic_score_codex":0.0012555512,"about_ca_topic_score_gemma":0.0005568643,"teacher_disagreement_score":0.73466426,"about_ca_system_score_codex":0.00007439922,"about_ca_system_score_gemma":0.00016658532,"threshold_uncertainty_score":0.9993598},"labels":[],"label_agreement":null},{"id":"W4235078507","doi":"10.1353/ctr.2011.0058","title":"When the Audience is Ourselves: From Intellectual Argument to Visceral Experience","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Argument (complex analysis); Value (mathematics); Visual arts; Sociology; Aesthetics; Psychology; Pedagogy; Art; Computer science; Medicine","score_opus":0.06525669128871472,"score_gpt":0.24937834763377767,"score_spread":0.18412165634506295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235078507","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020635942,0.20002684,0.000011786393,0.019848399,0.0014206339,0.0012534348,0.00032199032,0.000080252365,0.7564007],"genre_scores_gemma":[0.86665744,0.055175103,0.000112256836,0.06685351,0.0011443859,0.00031948957,0.000013446955,0.000042060627,0.009682328],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890244,0.00004608065,0.00023888295,0.00025800677,0.00013384547,0.00042076758],"domain_scores_gemma":[0.99913764,0.000052869433,0.00004292194,0.00043517572,0.000055295917,0.00027608903],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013431926,0.00020194917,0.00027990987,0.000055546185,0.0005900537,0.000069106245,0.00047905862,0.00002047314,0.02857649],"category_scores_gemma":[0.000019610698,0.00012103067,0.00011392892,0.00006162936,0.0002281437,0.00013397452,0.00005409553,0.000120351586,0.0018902506],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005177343,0.000010462916,0.00018782837,0.00008408961,0.000057159305,0.000005863879,0.57888645,4.6093493e-8,7.875964e-7,0.0034173992,0.30257404,0.11477068],"study_design_scores_gemma":[0.000034179153,0.000060362006,0.00009271403,0.0008549282,0.000051828825,0.0000022029092,0.010103017,0.0000014674935,0.000022664277,0.0005229762,0.9880652,0.00018849628],"about_ca_topic_score_codex":0.13812621,"about_ca_topic_score_gemma":0.3910469,"teacher_disagreement_score":0.8460215,"about_ca_system_score_codex":0.00008843514,"about_ca_system_score_gemma":0.00012648586,"threshold_uncertainty_score":0.9988869},"labels":[],"label_agreement":null},{"id":"W4235125887","doi":"10.2307/j.ctv6gqrs8","title":"Sharon Pollock","year":2015,"lang":"en","type":"book","venue":"University of Calgary Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Canada Council for the Arts; Government of Canada; Australian Government; Federation for the Humanities and Social Sciences; Government of Alberta; Mount Royal University","keywords":"Pollock; Art; Art history","score_opus":0.040193359120656316,"score_gpt":0.18993330242854947,"score_spread":0.14973994330789314,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235125887","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000031652413,0.000766827,0.0000036147364,0.0000066470925,0.0003084404,0.00014956117,0.0001436283,0.00006366143,0.998526],"genre_scores_gemma":[0.00023244035,0.00009191786,0.000021427111,0.000030459081,0.00036687887,1.4857746e-7,0.00005468551,0.000018061464,0.99918395],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993107,0.000017722872,0.000113728085,0.0001783611,0.00021772186,0.00016179678],"domain_scores_gemma":[0.99938804,0.000020154419,0.0001359259,0.00023531732,0.00015487755,0.000065682405],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000057811514,0.00019307746,0.00034888336,0.000083701794,0.00021028722,0.000018602199,0.00029081394,0.00011881685,0.0006643516],"category_scores_gemma":[0.0000012240853,0.00019941242,0.00014838635,0.0000013876639,0.00050011213,0.00006942351,0.00019703983,0.00021015803,0.00005668007],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012346254,0.000013977457,0.0000023213458,0.00019542035,0.0002458456,0.000025710711,0.03681237,6.471991e-7,6.670415e-7,0.47666872,0.4794064,0.0065044975],"study_design_scores_gemma":[0.00031103016,0.00009837422,0.0000018424375,0.00012764524,0.00016531751,9.2749906e-7,0.0006050545,0.000008718138,0.0000064022215,0.001514835,0.99694395,0.00021593059],"about_ca_topic_score_codex":0.0015167095,"about_ca_topic_score_gemma":0.002691874,"teacher_disagreement_score":0.51753753,"about_ca_system_score_codex":0.00006255909,"about_ca_system_score_gemma":0.0001589699,"threshold_uncertainty_score":0.8131802},"labels":[],"label_agreement":null},{"id":"W4235212017","doi":"10.5040/9781472577122","title":"Theatre Criticism","year":2016,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc Imprint previously known as Methuen Drama eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Blogosphere; Theatre criticism; Media studies; Mainstream; Ideology; Politics; Political science; The arts; Dominance (genetics); Newspaper; Sociology; History; Art; The Internet; Literature; Literary criticism; Law","score_opus":0.025727669143001255,"score_gpt":0.24576827774726875,"score_spread":0.2200406086042675,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235212017","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005417613,0.00687783,0.000028218896,0.0015462373,0.004088011,0.0015557244,0.0003977446,0.0011428514,0.98382163],"genre_scores_gemma":[0.0033627597,0.0006696054,0.00016487819,0.0021873778,0.011996333,0.00034735326,0.0001518965,0.0004401092,0.9806797],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9929184,0.00035658487,0.0017183495,0.0016836268,0.001374352,0.0019487081],"domain_scores_gemma":[0.99460125,0.0009394801,0.00087226345,0.0021340156,0.0008722662,0.00058070064],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0020371883,0.0017362973,0.0020514783,0.0008504529,0.0015184144,0.0066377544,0.002469414,0.001030154,0.0068839286],"category_scores_gemma":[0.0003471687,0.0013005015,0.0011626304,0.000043868833,0.0015040896,0.0023504433,0.0014618159,0.002495499,0.0030852242],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007291666,0.000076558674,0.00000850569,0.00074171135,0.00095741043,0.00009245148,0.018342124,2.2252182e-7,0.000032239026,0.37780017,0.2711702,0.3307055],"study_design_scores_gemma":[0.00096367707,0.00029464954,0.0000031232341,0.0018374666,0.0006139496,0.000065838205,0.0006863962,0.0000017560529,0.00016201218,0.09362595,0.9001437,0.0016014744],"about_ca_topic_score_codex":0.00047346705,"about_ca_topic_score_gemma":0.00081857655,"teacher_disagreement_score":0.6289735,"about_ca_system_score_codex":0.000526294,"about_ca_system_score_gemma":0.0013785742,"threshold_uncertainty_score":0.9998058},"labels":[],"label_agreement":null},{"id":"W4235363715","doi":"10.3138/ctr.150.84","title":"Synthesis!","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Sociology; Art history; Art","score_opus":0.0387894799689228,"score_gpt":0.23703852724213773,"score_spread":0.19824904727321493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235363715","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002741022,0.3357675,1.1602204e-7,0.002408054,0.00042880056,0.0001254189,0.00003843261,0.000026703008,0.6609309],"genre_scores_gemma":[0.85839623,0.12298497,0.000013240162,0.009203506,0.0025920768,0.00010201078,0.000011267775,0.000031136027,0.0066655786],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992593,0.00003134142,0.00013976102,0.000078850884,0.00006572554,0.0004250423],"domain_scores_gemma":[0.9994203,0.000037900194,0.000026448619,0.0002002066,0.000024907938,0.00029022418],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021057349,0.000118928976,0.00022498136,0.000056700075,0.0003046666,0.000026032156,0.00011341577,0.000017096441,0.011887883],"category_scores_gemma":[0.00001243146,0.000086302345,0.00009407452,0.000032982964,0.0000816239,0.00018698921,0.000009974837,0.00006849328,0.002613813],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.843169e-7,0.000015212489,0.0014184404,0.0013591788,0.0000722512,0.0000030943886,0.004489834,2.6159283e-8,4.178952e-7,0.09584837,0.37355328,0.5232389],"study_design_scores_gemma":[0.000014701745,0.000005410055,0.00008228037,0.00086717756,0.00007560505,0.000005709701,0.00026779235,1.2559249e-7,0.0000050617527,0.000057020625,0.99849355,0.00012553486],"about_ca_topic_score_codex":0.019687792,"about_ca_topic_score_gemma":0.17238286,"teacher_disagreement_score":0.8581221,"about_ca_system_score_codex":0.000056761357,"about_ca_system_score_gemma":0.00006954021,"threshold_uncertainty_score":0.99816275},"labels":[],"label_agreement":null},{"id":"W4235522882","doi":"10.1353/mdr.2013.0007","title":"Harold Pinter’s “More Precisely Political” Dramas, or a Post-1983 Economy of Affect","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.026086489245976455,"score_gpt":0.24319185745017644,"score_spread":0.21710536820419998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235522882","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62195355,0.00033042446,0.000054926695,0.0049224584,0.0003398529,0.000553683,0.000108756314,0.00013828618,0.3715981],"genre_scores_gemma":[0.9794362,0.000008781296,0.000045421868,0.0014448973,0.000514117,0.00008948373,0.000013960692,0.000030060464,0.01841707],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988784,0.000025339921,0.00029864215,0.00022842224,0.00011341309,0.0004557645],"domain_scores_gemma":[0.9992339,0.00010010101,0.00007842465,0.0002985762,0.00018475956,0.000104259285],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006527215,0.00021474154,0.00034885056,0.00009401153,0.00019544997,0.00018118495,0.0002196033,0.00005193725,0.0043641236],"category_scores_gemma":[0.000018990695,0.0001483568,0.00014765657,0.000019810812,0.00032067898,0.0004508195,0.00009775467,0.00012810138,0.00047847323],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00055121793,0.0007535944,0.0036423383,0.0009959389,0.00085805234,0.0000171187,0.20864749,0.000016220276,0.00063411583,0.638859,0.07577072,0.069254205],"study_design_scores_gemma":[0.0033037465,0.0027385722,0.008269436,0.0006008261,0.00031986012,0.000033688975,0.0296355,0.006110529,0.0041067316,0.1071044,0.8359642,0.001812528],"about_ca_topic_score_codex":0.0009803816,"about_ca_topic_score_gemma":0.0007291664,"teacher_disagreement_score":0.76019347,"about_ca_system_score_codex":0.00003300518,"about_ca_system_score_gemma":0.000046884827,"threshold_uncertainty_score":0.99654603},"labels":[],"label_agreement":null},{"id":"W4235570235","doi":"10.3138/ctr.173.012","title":"By Fire","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Passion; Performing arts; Art; Theatre studies; Aesthetics; Sociology; Media studies; Drama; Psychology","score_opus":0.024181172832063474,"score_gpt":0.23358602193619,"score_spread":0.20940484910412652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235570235","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00044915115,0.2723878,1.5484433e-7,0.005497466,0.0003863033,0.00015261558,0.00012665016,0.00003214231,0.7209677],"genre_scores_gemma":[0.5685612,0.3039943,0.000016498194,0.051663768,0.0054682917,0.00008564818,0.00011986875,0.00006998667,0.07002043],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993719,0.00001941791,0.00013584994,0.00012588306,0.00006205344,0.0002848847],"domain_scores_gemma":[0.9995256,0.000011039432,0.000025682715,0.00020666732,0.000055910543,0.00017511737],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009480004,0.00011609807,0.00019743603,0.00002729938,0.00045647228,0.00003970101,0.00013883828,0.000018048995,0.014354636],"category_scores_gemma":[0.0000043160167,0.00008608313,0.000067563014,0.000038566406,0.00022500953,0.000090272,0.000010457576,0.000060874776,0.002660668],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.2465493e-7,0.0000022377317,0.000035495985,0.00019768173,0.000016054446,0.0000013497438,0.0010304481,1.2155236e-9,2.970882e-7,0.003726877,0.7844222,0.21056692],"study_design_scores_gemma":[0.000033576256,0.000042850166,0.000005644634,0.00073588145,0.00003441161,0.0000029185114,0.00015572348,9.313147e-7,0.0000043688065,0.00013690062,0.9987245,0.00012226257],"about_ca_topic_score_codex":0.045604605,"about_ca_topic_score_gemma":0.44804063,"teacher_disagreement_score":0.6509473,"about_ca_system_score_codex":0.000044988345,"about_ca_system_score_gemma":0.000092306946,"threshold_uncertainty_score":0.9981159},"labels":[],"label_agreement":null},{"id":"W4235607683","doi":"10.1353/ctr.2012.0045","title":"Performance as an Act of Survival","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; History","score_opus":0.042992508271512006,"score_gpt":0.25871136773944986,"score_spread":0.21571885946793784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235607683","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0981802,0.114723474,3.4144513e-8,0.00048728692,0.0006384556,0.00020425815,0.00004987235,0.000022575663,0.7856938],"genre_scores_gemma":[0.9401026,0.056226682,0.0000045711936,0.000937505,0.00076886656,0.000013334192,0.000019979367,0.000016556249,0.0019099375],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915165,0.00004547778,0.0002110523,0.00009506731,0.00010609435,0.0003906848],"domain_scores_gemma":[0.99929905,0.000019161249,0.00005763261,0.0002735902,0.000055605018,0.00029495123],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031945753,0.00013886415,0.00033029687,0.00006814372,0.00022917899,0.000015202842,0.00016438555,0.000023255368,0.005079144],"category_scores_gemma":[0.000005829258,0.000103800936,0.00008590125,0.000047969945,0.0001235001,0.00038336846,0.000012654467,0.00008200152,0.0004990701],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012554154,0.00008059161,0.03439487,0.005468177,0.00015795806,0.000003078665,0.02282249,4.069022e-7,0.000005365115,0.07107637,0.022726294,0.8432518],"study_design_scores_gemma":[0.00004957778,0.000069632224,0.0011516297,0.0007674835,0.00006774361,0.000005200998,0.00051220815,0.0000013093015,0.000015472277,0.000028868799,0.9971867,0.0001441563],"about_ca_topic_score_codex":0.027507411,"about_ca_topic_score_gemma":0.13901441,"teacher_disagreement_score":0.9744604,"about_ca_system_score_codex":0.000041563628,"about_ca_system_score_gemma":0.00014334245,"threshold_uncertainty_score":0.99583036},"labels":[],"label_agreement":null},{"id":"W4235674407","doi":"10.1353/ctr.0.0052","title":"Improvising the Document","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Art; Visual arts","score_opus":0.016523941239969787,"score_gpt":0.23418308911938512,"score_spread":0.21765914787941534,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235674407","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019669866,0.115971975,2.210294e-7,0.02130998,0.0014586925,0.00044400262,0.000031120562,0.000038641087,0.85877836],"genre_scores_gemma":[0.9061646,0.056267697,0.00002182879,0.023129625,0.0031390465,0.0001011918,0.000017677256,0.000038979506,0.011119378],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993585,0.000021632919,0.00015124092,0.00011214877,0.00007708494,0.00027940574],"domain_scores_gemma":[0.9994475,0.000028993387,0.00003428703,0.00031814896,0.000038837592,0.0001321927],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002572491,0.000116490264,0.00016338816,0.00003426114,0.0006808626,0.00010468646,0.00020906956,0.000017403569,0.0056344424],"category_scores_gemma":[0.000007614566,0.000063165804,0.00009277463,0.000033487722,0.00016823513,0.000101831225,0.000016871083,0.0002108927,0.0005701594],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.1513036e-7,0.0000037514267,0.00008592154,0.00049186073,0.000042790714,0.0000051185134,0.0048980294,4.8612797e-8,0.0000070138735,0.09886201,0.098258264,0.7973444],"study_design_scores_gemma":[0.00002984041,0.000011669378,0.000022433689,0.00030879173,0.000047642174,0.0000074513746,0.00032863705,6.285926e-7,0.000004383272,0.00068436196,0.99845624,0.00009791341],"about_ca_topic_score_codex":0.051128678,"about_ca_topic_score_gemma":0.75430644,"teacher_disagreement_score":0.9041976,"about_ca_system_score_codex":0.000026042913,"about_ca_system_score_gemma":0.00013969267,"threshold_uncertainty_score":0.99527454},"labels":[],"label_agreement":null},{"id":"W4235783118","doi":"10.3138/md.2014-57.1brev","title":"Reviews","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Biography; Postmodernism; Criticism; Immanence; Art history; Drama; Art; Performance art; Duty; Humanities; History; Philosophy; Literature; Theology","score_opus":0.03950205779771616,"score_gpt":0.24186702872363644,"score_spread":0.2023649709259203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235783118","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031907473,0.0019561863,0.0004240035,0.0007738222,0.0004925801,0.00009675553,0.0000034990842,0.00008682835,0.96425885],"genre_scores_gemma":[0.9606744,0.00018474985,0.00004046386,0.0008471531,0.0011023771,0.000013752735,0.0000027768008,0.000008241162,0.03712606],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962217,0.000017766299,0.00010139825,0.00008461854,0.000052346146,0.00012169497],"domain_scores_gemma":[0.9997835,0.000013337308,0.000024944471,0.00014046095,0.00001781757,0.000019929856],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011106096,0.00006994161,0.00012489618,0.000018614995,0.0002089044,0.000056727644,0.000071528964,0.000011164158,0.0009781051],"category_scores_gemma":[0.000008040984,0.00004866101,0.000048260044,0.0000065773866,0.00006261462,0.000087002205,0.000021604632,0.00004656824,0.0011439315],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009015116,0.00003359713,0.00034986364,0.0000641226,0.000019986906,4.6360324e-7,0.066019215,0.000004854112,0.000039077877,0.25029188,0.0900447,0.5931232],"study_design_scores_gemma":[0.00007361197,0.000028136781,0.00005758707,0.000015298554,0.0000071004697,3.375901e-7,0.00011418174,0.00047448598,0.000018108472,0.009148634,0.9899871,0.00007544034],"about_ca_topic_score_codex":0.000036497146,"about_ca_topic_score_gemma":0.00034133828,"teacher_disagreement_score":0.92876697,"about_ca_system_score_codex":0.0000045321867,"about_ca_system_score_gemma":0.0000022360834,"threshold_uncertainty_score":0.99993515},"labels":[],"label_agreement":null},{"id":"W4236065199","doi":"10.3138/tric.37.1.144","title":"Author Guidelines","year":2016,"lang":"en","type":"paratext","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mandate; Section (typography); Library science; Context (archaeology); Position (finance); History; Political science; Media studies; Sociology; Law; Computer science; Archaeology","score_opus":0.2409233066954241,"score_gpt":0.4018526352909548,"score_spread":0.16092932859553066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236065199","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029476552,0.009641752,2.5522522e-7,0.016272742,0.0047010547,0.0003187915,0.0012441148,0.000013077988,0.96751344],"genre_scores_gemma":[0.06688463,0.0054875715,0.000008486063,0.0003730514,0.01060347,0.0001675984,0.00010258736,0.000091904854,0.9162807],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965877,0.00024002144,0.0005272469,0.00041801462,0.0010959861,0.0011310596],"domain_scores_gemma":[0.9983747,0.0004642043,0.000069378606,0.0005379591,0.00039442588,0.00015931787],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010243317,0.00032371312,0.000535448,0.00041883718,0.0005047788,0.00011987969,0.00063863915,0.0000996396,0.03304478],"category_scores_gemma":[0.000009499109,0.00020784716,0.0000758529,0.00011456289,0.00038664942,0.00011010811,0.00023689585,0.0008431519,0.0051412196],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026144675,0.0000068008326,0.000024892732,0.00015840735,0.00004480625,0.000030116913,0.0006775878,0.0000028305744,0.0000012342911,0.00055140705,0.8755296,0.12294619],"study_design_scores_gemma":[0.00017537548,0.0000459186,0.0000025811908,0.0007280544,0.0000053041376,0.0000017335294,0.0029716187,0.0000054754,0.000017835648,0.0006579826,0.99510515,0.00028295498],"about_ca_topic_score_codex":0.99138945,"about_ca_topic_score_gemma":0.99918664,"teacher_disagreement_score":0.12266323,"about_ca_system_score_codex":0.0013675971,"about_ca_system_score_gemma":0.006688674,"threshold_uncertainty_score":0.9989425},"labels":[],"label_agreement":null},{"id":"W4236190300","doi":"10.3138/ctr.179.011","title":"Extreme Measures","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Presentation (obstetrics); Work (physics); Ideology; Sociology; Visual arts; Media studies; Art; Political science; Politics; Engineering; Law","score_opus":0.057343929889166353,"score_gpt":0.22981179151068643,"score_spread":0.17246786162152006,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236190300","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007641028,0.24893565,1.2772298e-7,0.0026901064,0.0004967779,0.0002822475,0.000034704277,0.000032495376,0.74676377],"genre_scores_gemma":[0.74062496,0.18176736,0.000012828612,0.017342687,0.0013551925,0.00005979085,0.000038713264,0.00005568699,0.05874279],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992468,0.00002872215,0.00016354387,0.00015033135,0.00010460805,0.00030600993],"domain_scores_gemma":[0.99944985,0.000017264136,0.000031325442,0.00028473683,0.00005302185,0.00016378105],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016236467,0.00013704192,0.00027818372,0.00006874412,0.00019418099,0.00004442618,0.00015857347,0.0000196162,0.016973823],"category_scores_gemma":[0.0000043105506,0.000100339494,0.00011358257,0.00004012937,0.00006199635,0.000118040094,0.000011348415,0.000088568035,0.005452049],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000030176222,0.000010262065,0.0019163786,0.0021869102,0.00011068616,0.000011068438,0.004265754,4.0895978e-7,0.0000035002724,0.07177415,0.31418893,0.60552895],"study_design_scores_gemma":[0.00005440642,0.000021908549,0.000056270797,0.0011747504,0.000039766826,0.000003941401,0.00025361823,8.2908144e-7,0.0000016503308,0.00020859008,0.99803674,0.00014753325],"about_ca_topic_score_codex":0.029593429,"about_ca_topic_score_gemma":0.43029803,"teacher_disagreement_score":0.73986083,"about_ca_system_score_codex":0.00005928708,"about_ca_system_score_gemma":0.00014119418,"threshold_uncertainty_score":0.99532235},"labels":[],"label_agreement":null},{"id":"W4236337464","doi":"10.1353/ctr.2010.0016","title":"Theatre in an Age of Eco-crisis","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Visual arts; Art; Media studies; Sociology","score_opus":0.02459822135667682,"score_gpt":0.24993964987459646,"score_spread":0.22534142851791963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236337464","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07915073,0.087864704,1.4631496e-7,0.0046004676,0.00091719563,0.00064027397,0.00026642054,0.000044653112,0.82651544],"genre_scores_gemma":[0.97425216,0.022448573,0.000022504435,0.0021692924,0.0004721686,0.00003152089,0.00005164289,0.000025801333,0.000526345],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990548,0.00004481477,0.00031018467,0.0001784126,0.00008722309,0.0003246004],"domain_scores_gemma":[0.9992641,0.000023707786,0.000054073702,0.0004121915,0.00004662192,0.00019925623],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025733822,0.00016513169,0.00042426898,0.00016380106,0.00014692644,0.00003302021,0.00024851513,0.00004351519,0.0036384484],"category_scores_gemma":[0.000004478439,0.00012585902,0.00011263147,0.00008109054,0.00015076413,0.0001853956,0.000015219722,0.00022355888,0.00013780214],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013315351,0.00012312795,0.011339203,0.0045266245,0.00010930482,0.000119373595,0.031186935,0.0000010248488,0.00008768812,0.085240066,0.055295628,0.8119577],"study_design_scores_gemma":[0.00008785924,0.00004756856,0.00034994815,0.00063845835,0.000044114706,0.0000039794068,0.0010977997,0.0000013277137,0.000010277794,0.00062303524,0.9969309,0.00016473173],"about_ca_topic_score_codex":0.09431169,"about_ca_topic_score_gemma":0.95938903,"teacher_disagreement_score":0.94163525,"about_ca_system_score_codex":0.000030212463,"about_ca_system_score_gemma":0.00014848029,"threshold_uncertainty_score":0.9972724},"labels":[],"label_agreement":null},{"id":"W4236387615","doi":"10.3138/md.44.3.337","title":"Clown Shows: Anti-Theatricalist Theatricalism in Four Twentieth-Century Plays","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"TRACE (psycholinguistics); Dream; Caste; Genealogy; Literature; The Renaissance; Performance art; History; Art; Art history; Philosophy; Linguistics; Psychology","score_opus":0.03013160837050039,"score_gpt":0.2388487688332713,"score_spread":0.20871716046277092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236387615","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7590578,0.0032533018,0.000113127244,0.0019145247,0.0010624916,0.00030906935,0.00005994717,0.00019734813,0.23403238],"genre_scores_gemma":[0.98966944,0.0013664222,0.00003061335,0.00064301526,0.0012485096,0.000030067251,0.000015214405,0.000036686128,0.006960033],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983419,0.000059206737,0.00037761102,0.00035416737,0.00029397872,0.0005731466],"domain_scores_gemma":[0.9993663,0.00008331653,0.00006619464,0.0003354088,0.00006020038,0.00008861814],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018773112,0.00027374036,0.00038624142,0.00020101099,0.00042164273,0.00020951315,0.0002773708,0.000090274996,0.0013328436],"category_scores_gemma":[0.000011698225,0.00021575071,0.00016306207,0.00011527666,0.00019637027,0.00029796665,0.00010579375,0.00030287338,0.00024047305],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00089067704,0.002083288,0.18073432,0.0003256848,0.00053181505,0.001012128,0.3073142,0.0010719803,0.00047612935,0.12882836,0.090244226,0.2864872],"study_design_scores_gemma":[0.0011950813,0.00010937338,0.0036136832,0.000051059644,0.00004909104,0.000023627801,0.0021504126,0.0028249319,0.000026388601,0.0077679413,0.98167133,0.00051707716],"about_ca_topic_score_codex":0.000731253,"about_ca_topic_score_gemma":0.0013594688,"teacher_disagreement_score":0.8914271,"about_ca_system_score_codex":0.00006327011,"about_ca_system_score_gemma":0.000025086447,"threshold_uncertainty_score":0.9995801},"labels":[],"label_agreement":null},{"id":"W4236491280","doi":"10.1093/owc/9780198804970.003.0009","title":"Chapter VII","year":2019,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Psychology; Social psychology; Gerontology; Medicine; History","score_opus":0.03316026688959171,"score_gpt":0.18234437497827177,"score_spread":0.14918410808868007,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236491280","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00004569553,0.00014763829,0.000003832261,0.000030260502,0.00065462996,0.00022985395,0.00024266513,0.000112924834,0.9985325],"genre_scores_gemma":[0.003565554,0.0005181961,0.000007117143,0.00010528023,0.00053143053,2.764364e-7,0.00002388871,0.000040032235,0.9952082],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991919,0.000005419343,0.00012357287,0.00028472458,0.00016904829,0.00022532516],"domain_scores_gemma":[0.9993613,0.00002438011,0.00012540587,0.0003451583,0.00008882036,0.000054954693],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000033468983,0.0003130571,0.0003420139,0.000120682795,0.0003886665,0.000060918857,0.00029101231,0.000139334,0.001937012],"category_scores_gemma":[4.1535864e-7,0.00030350752,0.00021419831,7.678645e-7,0.0003103989,0.000119482465,0.00024988005,0.00029140778,0.00005469576],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059396578,0.0000034777952,0.0000016386504,0.00005787551,0.00018429823,0.000021098465,0.004008194,4.6606692e-7,5.850439e-7,0.98429346,0.005315982,0.006053502],"study_design_scores_gemma":[0.0002725027,0.00008627727,0.0000013973412,0.00010638677,0.0001534236,0.0000015337711,0.00030610073,0.000002961797,0.0000068503446,0.0010800556,0.99760324,0.00037929876],"about_ca_topic_score_codex":0.0000803393,"about_ca_topic_score_gemma":0.00030350767,"teacher_disagreement_score":0.9922872,"about_ca_system_score_codex":0.000041688952,"about_ca_system_score_gemma":0.000028158971,"threshold_uncertainty_score":0.9999417},"labels":[],"label_agreement":null},{"id":"W4236719690","doi":"10.12745/et","title":"Early Theatre","year":2014,"lang":"en","type":"paratext","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts","score_opus":0.018412278212889738,"score_gpt":0.2249023293268128,"score_spread":0.20649005111392307,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236719690","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0146083245,0.0053495253,0.000004277424,0.00067876006,0.0081338,0.00039951038,0.00065107504,0.00018571838,0.969989],"genre_scores_gemma":[0.25364685,0.0008363852,0.00001271086,0.0005118952,0.018858735,0.00007582474,0.00022231467,0.00016610701,0.7256692],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973546,0.00012689889,0.0005378373,0.00066143624,0.000470573,0.00084862695],"domain_scores_gemma":[0.99844944,0.0001310681,0.00024751783,0.00088708906,0.00013759396,0.00014729716],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020437452,0.000824243,0.0010007924,0.00026150866,0.0009751397,0.00060770474,0.0006915422,0.00034863825,0.03889254],"category_scores_gemma":[0.0000024838516,0.0006157452,0.00050516793,0.000066141925,0.00051910285,0.00031227377,0.00018951733,0.000892461,0.09300979],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006213394,0.000052133037,0.0001262977,0.00017275591,0.00034959085,0.0000064433766,0.03072504,0.000003846089,0.0000033511208,0.0038346793,0.9404627,0.024201028],"study_design_scores_gemma":[0.00039242557,0.00042978785,0.00014117862,0.00031011077,0.00015451798,0.000003616133,0.00096467324,0.000002207694,0.000019374264,0.0006471624,0.99614596,0.00078897807],"about_ca_topic_score_codex":0.002778758,"about_ca_topic_score_gemma":0.0011631084,"teacher_disagreement_score":0.24431983,"about_ca_system_score_codex":0.00005412418,"about_ca_system_score_gemma":0.00008480234,"threshold_uncertainty_score":0.9996294},"labels":[],"label_agreement":null},{"id":"W4236723760","doi":"10.1353/ctr.2012.0024","title":"A Few Rules, Some Platitudes, a Bit of Advice, and a Prayer for Producers of (Radical/Political/ Meaningful) Theatre","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Prayer; Advice (programming); Bit (key); Politics; Work (physics); Aesthetics; Law; Art; Visual arts; Sociology; Political science; Computer science; Philosophy; Engineering; Computer security; Religious studies","score_opus":0.02899545834563829,"score_gpt":0.2529611171475218,"score_spread":0.2239656588018835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236723760","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0076549733,0.7103698,0.0000013549213,0.006031471,0.00038703094,0.0020077543,0.0011429299,0.00005780766,0.27234688],"genre_scores_gemma":[0.94895643,0.045095135,0.00030728776,0.002786653,0.0012546894,0.00020703056,0.00007547224,0.000068555695,0.0012487205],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985437,0.000049019454,0.00044796313,0.00019480911,0.00014191857,0.0006225817],"domain_scores_gemma":[0.9989564,0.0001209789,0.00013501392,0.0003002366,0.00008769255,0.0003996743],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042293628,0.00022526583,0.00067008,0.00014053506,0.00019628082,0.000017387158,0.0001524266,0.00005021475,0.0004713857],"category_scores_gemma":[0.000031851152,0.00016389393,0.00016356913,0.000059444228,0.00040449575,0.00024802994,0.000027116874,0.0001033163,0.000017410519],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026386697,0.00008947944,0.001413537,0.017262049,0.00035697062,0.0000016882832,0.009428118,9.888432e-8,0.000009310896,0.80502385,0.03926648,0.12712203],"study_design_scores_gemma":[0.00021399133,0.000112949696,0.000086159074,0.0026998604,0.00034152652,0.0000090723925,0.0007392633,0.0000018981576,0.000030542233,0.0012785116,0.9942851,0.00020109452],"about_ca_topic_score_codex":0.014700134,"about_ca_topic_score_gemma":0.044964977,"teacher_disagreement_score":0.95501864,"about_ca_system_score_codex":0.0000671384,"about_ca_system_score_gemma":0.00025222803,"threshold_uncertainty_score":0.99186105},"labels":[],"label_agreement":null},{"id":"W4236860403","doi":"10.1353/ctr.2011.0019","title":"Peterborough In Memoriam","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Character (mathematics); Phenomenon; Art; Performance art; Art history; Literature; History; Visual arts; Philosophy; Epistemology; Mathematics","score_opus":0.05511948696243547,"score_gpt":0.2311398560560636,"score_spread":0.17602036909362814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236860403","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006617538,0.12779312,7.757434e-8,0.00078550325,0.00085318845,0.0002142746,0.000026107993,0.000021771251,0.8696442],"genre_scores_gemma":[0.7368107,0.23731796,0.00006936934,0.013653775,0.0027935589,0.00015812812,0.000029330678,0.00006319324,0.009103986],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999272,0.000031037704,0.00019953918,0.00013357316,0.000055286393,0.00030858707],"domain_scores_gemma":[0.999589,0.00001075729,0.000028451004,0.00021345154,0.00002515711,0.00013316123],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015469665,0.00012547518,0.0002568129,0.00009324629,0.00012845971,0.000016870854,0.0001526008,0.000019212526,0.00913088],"category_scores_gemma":[0.000004630168,0.00009671661,0.00007365757,0.000053928845,0.000082490995,0.00013262985,0.000011861077,0.00009455815,0.00072344416],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011796324,0.00005984049,0.004526669,0.0034668143,0.00011438036,0.00019218495,0.07433598,1.0212282e-7,3.621556e-7,0.17039266,0.2836995,0.4631997],"study_design_scores_gemma":[0.00006221686,0.000024866173,0.0002785393,0.0011110394,0.00002642837,0.000004357163,0.00044936666,3.1862558e-7,0.0000013687284,0.000661375,0.9972459,0.00013422249],"about_ca_topic_score_codex":0.13227507,"about_ca_topic_score_gemma":0.8270627,"teacher_disagreement_score":0.8605402,"about_ca_system_score_codex":0.00006317402,"about_ca_system_score_gemma":0.00010773252,"threshold_uncertainty_score":0.9917749},"labels":[],"label_agreement":null},{"id":"W4236944927","doi":"10.3138/ctr.145.40","title":"Undressing","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Clothing; Aesthetics; Visual arts; Art; Sociology; Literature; Law; Political science","score_opus":0.07823025414828767,"score_gpt":0.2408980993077281,"score_spread":0.16266784515944044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236944927","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021451774,0.17060961,3.2992918e-7,0.00065926474,0.00029064933,0.00011574181,0.000020030882,0.000029724208,0.82806015],"genre_scores_gemma":[0.7821328,0.17824478,0.0000988498,0.019490879,0.0016306975,0.000068537345,0.00002884817,0.00006691298,0.018237665],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994311,0.000020771062,0.00013709062,0.00010511642,0.00004984965,0.00025611586],"domain_scores_gemma":[0.99958843,0.000007750707,0.000028351173,0.00018647788,0.000032122432,0.00015685236],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010228589,0.000103707396,0.0001867716,0.000057795583,0.0003202756,0.00002604859,0.00012375836,0.000014727333,0.012162166],"category_scores_gemma":[0.000003123027,0.00007751955,0.000075400996,0.000032147444,0.00011021071,0.000114625596,0.000009925074,0.00006877603,0.001003948],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002200155,0.000013210133,0.00054804457,0.001436106,0.00007807827,0.000033972825,0.01977145,1.7550784e-8,4.3319594e-7,0.13196672,0.1469985,0.6991513],"study_design_scores_gemma":[0.00002789354,0.000015271344,0.00006206798,0.0012031366,0.00004768907,0.000005220187,0.00037668055,2.7769127e-7,0.0000031115,0.0005985141,0.99754596,0.00011415088],"about_ca_topic_score_codex":0.06595086,"about_ca_topic_score_gemma":0.4781471,"teacher_disagreement_score":0.8505475,"about_ca_system_score_codex":0.00003752755,"about_ca_system_score_gemma":0.00010311275,"threshold_uncertainty_score":0.99977386},"labels":[],"label_agreement":null},{"id":"W4237048353","doi":"10.1353/mdr.2010.0026","title":"Seriousness Redeemed by Frivolity: Ayckbourn's Intimate Exchanges","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Seriousness; Comedy; Comics; Character (mathematics); Literature; Art; Aesthetics; History; Sociology; Psychology; Law; Political science; Mathematics","score_opus":0.015809844870196654,"score_gpt":0.22697285890001967,"score_spread":0.21116301402982302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237048353","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88559204,0.000512959,0.000052083175,0.0019591192,0.0013962518,0.00014050222,0.000100005804,0.00020682378,0.11004019],"genre_scores_gemma":[0.97825354,0.00007473095,0.00004189532,0.00039358146,0.0009763607,0.000035123514,0.000027068474,0.000029267787,0.020168437],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909776,0.000015100362,0.00016548402,0.00021619601,0.00016057519,0.00034487434],"domain_scores_gemma":[0.99948823,0.000022179089,0.000058036083,0.0002881487,0.00007782619,0.00006560478],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012238856,0.00018231574,0.0002166098,0.000051657404,0.0005423236,0.00023390989,0.00019971843,0.000060268627,0.0020612956],"category_scores_gemma":[0.000008499381,0.00014725438,0.000065488086,0.000020629399,0.00024565466,0.00026393138,0.00009246634,0.00025093087,0.00022547711],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017393733,0.0004124916,0.0033819592,0.0003024393,0.00033949365,0.000025288637,0.37755176,0.0000075364796,0.01274095,0.07708975,0.3081186,0.21985579],"study_design_scores_gemma":[0.0003366278,0.000058172383,0.00028899935,0.000017833998,0.000028298615,0.000003901661,0.0019305634,0.0005891691,0.001486597,0.0104450835,0.9844995,0.00031525767],"about_ca_topic_score_codex":0.00038776113,"about_ca_topic_score_gemma":0.004045606,"teacher_disagreement_score":0.6763809,"about_ca_system_score_codex":0.0000103708,"about_ca_system_score_gemma":0.000013283032,"threshold_uncertainty_score":0.99885094},"labels":[],"label_agreement":null},{"id":"W4237329704","doi":"10.1353/ctr.2010.0002","title":"Kneading Marie Clements' Burning Vision","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Art history","score_opus":0.01959054957806854,"score_gpt":0.25443858962960464,"score_spread":0.2348480400515361,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237329704","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004085859,0.09009389,0.0000012329904,0.005360502,0.0016484844,0.00040846717,0.00007022904,0.00007214717,0.89825916],"genre_scores_gemma":[0.9166517,0.056121204,0.00009906437,0.010975578,0.0028807144,0.00007222315,0.000086604756,0.000069077054,0.013043817],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910897,0.00002413666,0.0002220936,0.00017155928,0.00010105464,0.00037218057],"domain_scores_gemma":[0.9993594,0.000040781462,0.00005251803,0.00026600866,0.000051579453,0.00022970313],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028445208,0.00015719645,0.00025711063,0.00009253017,0.000666133,0.00012884266,0.00017467297,0.000030882464,0.013270781],"category_scores_gemma":[0.000017787805,0.00012125948,0.00010288049,0.000050456496,0.000113522394,0.00019023643,0.000025523703,0.00024712365,0.0008829806],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016267962,0.000009619382,0.0007271082,0.00086520956,0.0000495102,0.000014479402,0.0024173267,1.7055461e-7,0.000020880403,0.05131264,0.083960414,0.86062104],"study_design_scores_gemma":[0.000060589864,0.000027772887,0.000044349952,0.0009978523,0.000052692914,0.0000042501906,0.0001978319,0.0000044965004,0.0000042594666,0.0002623471,0.99818015,0.00016343084],"about_ca_topic_score_codex":0.022650165,"about_ca_topic_score_gemma":0.4743454,"teacher_disagreement_score":0.91421974,"about_ca_system_score_codex":0.00004138507,"about_ca_system_score_gemma":0.000111507594,"threshold_uncertainty_score":0.999895},"labels":[],"label_agreement":null},{"id":"W4237350312","doi":"10.5406/illinois/9780252039119.003.0008","title":"Theater as Transnational Business","year":2017,"lang":"en","type":"book","venue":"University of Illinois Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Chinatown; Agency (philosophy); Diaspora; Media studies; Political science; Subject (documents); Transnationalism; Quality (philosophy); History; Public relations; Sociology; Gender studies; Social science; Law; Library science; Computer science","score_opus":0.03299602176377362,"score_gpt":0.19777539872205846,"score_spread":0.16477937695828485,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237350312","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002582218,0.00016237404,0.000007221922,0.00015112106,0.00037025355,0.00015057542,0.0004082308,0.000037961832,0.99845403],"genre_scores_gemma":[0.0073018163,0.00010237592,0.000013604366,0.0000307525,0.0004331171,2.8439817e-7,0.00007862828,0.000017589087,0.99202186],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930245,0.000012212262,0.000115059316,0.00019178174,0.00023441204,0.00014410914],"domain_scores_gemma":[0.9991378,0.00002954368,0.00018492345,0.00028828948,0.0003256777,0.00003377563],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000053357595,0.00020142895,0.00032640388,0.000089956644,0.0007157404,0.00005272926,0.0004707231,0.00012310063,0.0010803433],"category_scores_gemma":[0.0000014089328,0.0001931328,0.0001589826,0.000001078208,0.00082530605,0.00011262558,0.00009454897,0.0001658584,0.000032731958],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011035811,0.000021047917,0.0000026859266,0.00020479612,0.00031864666,0.000021769625,0.03660241,0.000003562938,0.0000020667624,0.8887921,0.07044595,0.003474594],"study_design_scores_gemma":[0.00033001407,0.000036541394,0.000026860947,0.000108627886,0.00015946981,0.0000012424564,0.00025775164,0.0000016921222,0.000025194968,0.005292076,0.9935386,0.00022188423],"about_ca_topic_score_codex":0.00075531646,"about_ca_topic_score_gemma":0.001438972,"teacher_disagreement_score":0.9230927,"about_ca_system_score_codex":0.000031206848,"about_ca_system_score_gemma":0.00015559884,"threshold_uncertainty_score":0.9998328},"labels":[],"label_agreement":null},{"id":"W4237623189","doi":"10.1007/978-981-13-2262-4_51-2","title":"Research-Based Theatre as Educational Research Innovation","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia; University of Manitoba","funders":"","keywords":"Sociology","score_opus":0.24235293509678862,"score_gpt":0.38836530856416557,"score_spread":0.14601237346737694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237623189","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019939586,0.0004690517,2.8085e-7,0.009854369,0.000680902,0.00043871542,0.00006595803,0.0000343134,0.988257],"genre_scores_gemma":[0.035519723,0.00013448889,0.000011712543,0.00039766423,0.0033866698,0.00003447958,0.0002947955,0.00005342062,0.96016705],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99779856,0.000054653567,0.0003165204,0.0003593991,0.001054647,0.00041623565],"domain_scores_gemma":[0.99683034,0.0006765202,0.000063370026,0.00044814244,0.001945226,0.0000364114],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0012831378,0.00021779106,0.00024087251,0.0012863722,0.0010574146,0.00023997201,0.00029278532,0.00015808569,0.109585956],"category_scores_gemma":[0.000023404189,0.00016632315,0.00007871373,0.00007061717,0.0012770678,0.00015102956,0.00012308446,0.0010756449,0.022024803],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027191843,0.000017984225,0.0000072459743,0.00006133696,0.000036659527,4.9579097e-7,0.0015004755,6.1147324e-7,0.0000016861032,0.7051095,0.2904638,0.0027730465],"study_design_scores_gemma":[0.00010366831,0.00017383213,0.000007309735,0.00015490361,0.000006219201,4.7055525e-7,0.0009959434,0.0000033730907,0.000012189737,0.22278306,0.7755991,0.00015989746],"about_ca_topic_score_codex":0.00045719382,"about_ca_topic_score_gemma":0.0017246174,"teacher_disagreement_score":0.48513532,"about_ca_system_score_codex":0.00013851102,"about_ca_system_score_gemma":0.0010589805,"threshold_uncertainty_score":0.97873664},"labels":[],"label_agreement":null},{"id":"W4237694796","doi":"10.32920/ryerson.14653896.v1","title":"Perforations","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Ephemeral key; Collective memory; History; Psychology; Aesthetics; Sociology; Art; Computer science; Political science; Law; Computer security","score_opus":0.05303705946048218,"score_gpt":0.24855686013015726,"score_spread":0.1955198006696751,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237694796","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05383928,0.0007444611,0.000023694905,0.0009274944,0.0018464919,0.000069235706,0.000027374657,0.000095087715,0.94242686],"genre_scores_gemma":[0.8984018,0.00024899765,0.000106377476,0.00029623174,0.0015995932,0.000030995685,0.00011566268,0.000009010251,0.099191315],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995884,0.000008165528,0.00010673008,0.00013447253,0.000069463946,0.000092804075],"domain_scores_gemma":[0.9996645,0.000010293263,0.000026195588,0.00018788935,0.00009540968,0.000015746013],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000032311396,0.00010246491,0.00013478397,0.00003188337,0.00027687056,0.0003068935,0.000077422956,0.000036331152,0.01996622],"category_scores_gemma":[0.0000025699148,0.00007888764,0.00008682449,0.0000054905363,0.00007481692,0.000068629095,0.00023681564,0.00018904106,0.00016412989],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000048487136,0.00010155573,0.00053153775,0.00029663392,0.00034907061,0.000007618407,0.2706667,0.00011778976,0.0000053767913,0.5422693,0.17365064,0.011998965],"study_design_scores_gemma":[0.000048460144,0.000014926431,0.00010347969,0.000055636334,0.000044912966,5.7849985e-7,0.024546798,0.00012672057,0.00004568558,0.0018729388,0.9729182,0.0002216462],"about_ca_topic_score_codex":0.00031801697,"about_ca_topic_score_gemma":0.0071357996,"teacher_disagreement_score":0.84456253,"about_ca_system_score_codex":0.0000094226025,"about_ca_system_score_gemma":0.000052791645,"threshold_uncertainty_score":0.9809297},"labels":[],"label_agreement":null},{"id":"W4237835194","doi":"10.3138/ctr.175.011","title":"Foreign Radical","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Witness; Art; Visual arts; Performance art; Media studies; Sociology; Art history; Law; Political science","score_opus":0.03335540668917478,"score_gpt":0.24372394421806592,"score_spread":0.21036853752889115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237835194","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024036033,0.10716753,8.0705246e-7,0.0032638786,0.00034325477,0.00019149484,0.0000415181,0.000036460635,0.88871473],"genre_scores_gemma":[0.80174243,0.12182246,0.00006846441,0.044364907,0.00975309,0.00009243113,0.0000551303,0.00007091708,0.022030171],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992525,0.000026020572,0.00016523468,0.00013931037,0.00008002989,0.00033693],"domain_scores_gemma":[0.9994331,0.00001626281,0.000026533547,0.00023062574,0.00006065055,0.0002328322],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014886117,0.00012499168,0.0002333346,0.00006234248,0.00048069397,0.000039819843,0.00016038644,0.0000223036,0.01707151],"category_scores_gemma":[0.000007685223,0.00009028437,0.000094521085,0.000046023473,0.00041086163,0.00009357935,0.00001304106,0.000078606354,0.0028013762],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000018908773,0.0000052293035,0.00014617697,0.00046495284,0.000042393454,0.0000091016655,0.0019034288,6.1555476e-9,2.8945377e-7,0.18100049,0.55017424,0.2662518],"study_design_scores_gemma":[0.000050948373,0.000056371526,0.00001667307,0.0008380231,0.00004629137,0.000008871614,0.00020151511,0.0000012620854,0.000003226074,0.0011180352,0.99753046,0.0001283216],"about_ca_topic_score_codex":0.021365544,"about_ca_topic_score_gemma":0.42306578,"teacher_disagreement_score":0.86668456,"about_ca_system_score_codex":0.000053371736,"about_ca_system_score_gemma":0.00015176019,"threshold_uncertainty_score":0.99797505},"labels":[],"label_agreement":null},{"id":"W4237972370","doi":"10.3138/9781442620926-008","title":"Luminous Writing, Embodiment, and Modern Drama: Mme Blavatsky and Bertolt Brecht","year":2003,"lang":"en","type":"book-chapter","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Literature; Art","score_opus":0.025911591332880655,"score_gpt":0.2191990611184871,"score_spread":0.19328746978560646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237972370","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009661676,0.018402396,0.000033612923,0.0005748152,0.0004273531,0.00040828358,0.0001992115,0.00015089291,0.97014177],"genre_scores_gemma":[0.24532062,0.003077785,0.000052608648,0.0011388919,0.0010536634,0.0000292949,0.00006186415,0.0001522033,0.7491131],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99800134,0.000018177165,0.00046815604,0.00067879306,0.0003065294,0.00052699517],"domain_scores_gemma":[0.9990554,0.000063593674,0.00021063058,0.00040222405,0.00012334097,0.00014484146],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00013682774,0.0006847792,0.0007534202,0.00016864219,0.00086643186,0.00047501092,0.00016394774,0.00029305648,0.00075576187],"category_scores_gemma":[0.0000048345164,0.00062345015,0.00014562704,0.0000071660747,0.0006881742,0.0002514718,0.00019089026,0.00051495276,0.00008821353],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013509174,0.0001455981,0.00054134335,0.0009107324,0.001273446,0.0001490266,0.122344,0.000009943103,0.00003591347,0.6292297,0.03687011,0.20835505],"study_design_scores_gemma":[0.00074575504,0.00020736075,0.000027511203,0.00031627453,0.0003070527,0.000065923356,0.00043175975,0.0005926597,0.000018640158,0.119225554,0.8770441,0.0010174164],"about_ca_topic_score_codex":0.00017741977,"about_ca_topic_score_gemma":0.0009962015,"teacher_disagreement_score":0.84017396,"about_ca_system_score_codex":0.000049308306,"about_ca_system_score_gemma":0.000035401485,"threshold_uncertainty_score":0.9996217},"labels":[],"label_agreement":null},{"id":"W4238087010","doi":"10.32920/ryerson.14665146","title":"Interactive performance: the digital of theatre","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Maslow's hierarchy of needs; Harmony (color); Intellect; Psychology; Function (biology); Meaning (existential); Aesthetics; Digital media; Order (exchange); Sociology; Social psychology; Computer science; Epistemology; Visual arts; Art; Business; World Wide Web","score_opus":0.023370294297784554,"score_gpt":0.2306670313020629,"score_spread":0.20729673700427834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238087010","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.432972,0.00039687112,0.000001488316,0.00025679442,0.0008366743,0.00009954737,0.000058847625,0.000025198138,0.56535256],"genre_scores_gemma":[0.98574793,0.000423904,0.0000058623373,0.00009732713,0.00072701595,0.000024304441,0.000052899006,0.000013264628,0.012907492],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992788,0.000014880856,0.00023628034,0.00017173066,0.00015500719,0.00014333165],"domain_scores_gemma":[0.9993089,0.00007848406,0.000118975215,0.00033904487,0.00013939175,0.000015194126],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000622635,0.00018825466,0.00028030548,0.000041341562,0.00020982552,0.00030493533,0.00025653208,0.000046258287,0.0028624388],"category_scores_gemma":[0.00000407395,0.00009813728,0.00019073511,0.00001500143,0.00032118504,0.00020763377,0.0006228059,0.00038073256,0.000039528586],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016061126,0.00030336404,0.0058440613,0.0011352238,0.0017995869,0.000005671091,0.67296916,0.000179748,0.000010870115,0.021446055,0.023401568,0.2727441],"study_design_scores_gemma":[0.00032002782,0.00020672835,0.0025265394,0.0009047634,0.00021884244,0.000007370618,0.27190712,0.00047411682,0.001086861,0.0011694138,0.7204867,0.00069152506],"about_ca_topic_score_codex":0.0001806508,"about_ca_topic_score_gemma":0.00040838984,"teacher_disagreement_score":0.69708514,"about_ca_system_score_codex":0.00001565413,"about_ca_system_score_gemma":0.000061126746,"threshold_uncertainty_score":0.9980491},"labels":[],"label_agreement":null},{"id":"W4238470073","doi":"10.3138/9781442620926-005","title":"Quo Vadis? Theatre Studies at the Crossroads","year":2003,"lang":"en","type":"book-chapter","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Status quo; Political science; History; Art; Law","score_opus":0.050245524574732414,"score_gpt":0.2541944059665277,"score_spread":0.2039488813917953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238470073","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00060493435,0.041214805,0.0000016557376,0.0022798309,0.0013812758,0.00029168595,0.00018863942,0.00010363042,0.95393354],"genre_scores_gemma":[0.019251306,0.0034557907,0.0000033872836,0.0015286754,0.0016839012,0.000039061928,0.00003214089,0.0000965563,0.9739092],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984817,0.00002083335,0.00035203432,0.00040951688,0.00032828745,0.0004076325],"domain_scores_gemma":[0.99889,0.00011499176,0.0001685284,0.00062741945,0.00015197232,0.00004710229],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015521127,0.0005504083,0.00058779045,0.000067785506,0.0018395572,0.00021638848,0.00029453216,0.00014426031,0.004191981],"category_scores_gemma":[0.000004678491,0.00031912274,0.00033381875,0.000006784623,0.0012265716,0.00011743519,0.00024665918,0.00039976405,0.0012680299],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059310405,0.000025348363,0.000029401574,0.00016421477,0.0013847017,0.00002247555,0.12095825,0.000017766653,0.0000023147877,0.40386364,0.44433984,0.029132731],"study_design_scores_gemma":[0.000185456,0.00006756842,0.0000022154793,0.00011672461,0.00019039157,0.0000072038747,0.0014352171,0.000008793501,0.000009993235,0.06486019,0.9327118,0.0004044478],"about_ca_topic_score_codex":0.000039878392,"about_ca_topic_score_gemma":0.0047616335,"teacher_disagreement_score":0.48837194,"about_ca_system_score_codex":0.00012453896,"about_ca_system_score_gemma":0.000028849368,"threshold_uncertainty_score":0.9999261},"labels":[],"label_agreement":null},{"id":"W4238715198","doi":"10.3138/utq.69.1.418","title":"Théâtre","year":2000,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.008716892672754634,"score_gpt":0.17236794995135593,"score_spread":0.1636510572786013,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238715198","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28286538,0.00023124635,0.000001623901,0.00011022341,0.00007446839,0.000029556277,0.000018081906,0.000030508307,0.7166389],"genre_scores_gemma":[0.8457668,0.00009818595,0.000029813027,0.000022794777,0.00011720919,3.4089137e-8,0.0000030648828,0.0000026660857,0.15395947],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997325,0.000008655541,0.00004450374,0.00006823925,0.00005747177,0.00008865301],"domain_scores_gemma":[0.99983406,0.000007695402,0.000018471668,0.00009325472,0.00002528996,0.000021247455],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000019950501,0.000052201376,0.000088178356,0.0000069642597,0.00019589078,0.000009154422,0.00009705364,0.000013495278,0.065904595],"category_scores_gemma":[1.17611464e-7,0.00005180088,0.000053531738,0.0000030571025,0.00012329273,0.00028808785,0.000003494607,0.000021575086,0.00024391216],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012468202,0.00008072057,0.00021956347,0.000022544249,0.0000866493,0.0000068755085,0.47574726,0.0000012887656,0.000016135631,0.036657196,0.04126908,0.445768],"study_design_scores_gemma":[0.00019495748,0.00027514872,0.00090728374,0.000008799624,0.000017036695,3.6731407e-7,0.041606504,0.000009703186,0.0000023349237,0.00011276836,0.9567954,0.00006972485],"about_ca_topic_score_codex":0.024649348,"about_ca_topic_score_gemma":0.09333083,"teacher_disagreement_score":0.9155263,"about_ca_system_score_codex":0.000019873742,"about_ca_system_score_gemma":0.0000067970764,"threshold_uncertainty_score":0.9818456},"labels":[],"label_agreement":null},{"id":"W4238746405","doi":"10.1353/mdr.2004.0044","title":"Listening Differently: The Croon Collaboration","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.021251968219325536,"score_gpt":0.23135741689290845,"score_spread":0.2101054486735829,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238746405","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8897404,0.00053427066,0.00021173368,0.0045936755,0.0005431911,0.00013426636,0.000014168172,0.00009277053,0.10413551],"genre_scores_gemma":[0.991304,0.000024464822,0.000013511841,0.0003689244,0.0006582979,0.0000167899,0.000006833755,0.000009707171,0.0075975046],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995647,0.000010172916,0.0000952549,0.000091271686,0.00010353639,0.00013503415],"domain_scores_gemma":[0.99975455,0.00001500889,0.00003127925,0.00012834341,0.00005542533,0.000015383763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000043977096,0.0000830063,0.0000808015,0.000020310223,0.0006808916,0.0002433964,0.00008778099,0.000016607775,0.00016472598],"category_scores_gemma":[0.0000041678313,0.000048949747,0.000033968743,0.000020418729,0.00010627912,0.00016077336,0.00002833094,0.00007169528,0.00009226453],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005791052,0.0000904385,0.00043382146,0.000033181812,0.00008809268,0.0000039389256,0.6338458,0.0012545197,0.00028480936,0.32997727,0.0035706104,0.030359622],"study_design_scores_gemma":[0.0015664082,0.00027105294,0.002416592,0.000103894934,0.00009460844,0.0000047195335,0.03361667,0.0020452244,0.0011979475,0.0914699,0.8666827,0.00053024985],"about_ca_topic_score_codex":0.0001320986,"about_ca_topic_score_gemma":0.003179431,"teacher_disagreement_score":0.86311215,"about_ca_system_score_codex":0.000026263255,"about_ca_system_score_gemma":0.000017639406,"threshold_uncertainty_score":0.5236937},"labels":[],"label_agreement":null},{"id":"W4238796353","doi":"10.1353/mdr.2001.0029","title":"Oh for Unruly Audiences! Or, Patterns of Participation in Twentieth-Century Theatre","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.044281320221406496,"score_gpt":0.28324209280744217,"score_spread":0.23896077258603568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238796353","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9794443,0.00034834753,0.0003830592,0.00034637106,0.0003800622,0.00024397473,0.00005500073,0.000029513089,0.018769372],"genre_scores_gemma":[0.9965523,0.00035624678,0.000021260741,0.00010097063,0.00024291506,0.000068409216,0.000015854092,0.000010726713,0.0026313162],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992688,0.000016618449,0.00023202403,0.00013882441,0.000107736996,0.00023600511],"domain_scores_gemma":[0.99967855,0.000053288528,0.00006768407,0.00012473397,0.00005319432,0.000022566188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010132444,0.00010325501,0.0001768468,0.000066967696,0.00013824357,0.000035238823,0.00009419583,0.000027890981,0.00038188125],"category_scores_gemma":[0.0000062903378,0.00007339289,0.000060341943,0.000029225495,0.000068644644,0.00018535924,0.000019795283,0.000051839557,0.000009867806],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000945297,0.0007690975,0.1912819,0.0003989655,0.00013600467,0.000011008754,0.38733092,0.00044493127,0.00022563477,0.0368951,0.00095315394,0.380608],"study_design_scores_gemma":[0.004912154,0.0015668676,0.045396112,0.00059063174,0.00018649774,0.0000047057833,0.032784283,0.012874388,0.0013724136,0.031201174,0.8680721,0.0010386911],"about_ca_topic_score_codex":0.0004937557,"about_ca_topic_score_gemma":0.013968251,"teacher_disagreement_score":0.86711895,"about_ca_system_score_codex":0.00001684822,"about_ca_system_score_gemma":0.000014468789,"threshold_uncertainty_score":0.77946115},"labels":[],"label_agreement":null},{"id":"W4238874254","doi":"10.1002/9781405186407.wbiecv023","title":"Ventriloquism","year":2012,"lang":"en","type":"other","venue":"The International Encyclopedia of Communication","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Conversation; Utterance; Phenomenon; Linguistics; Communication; Aesthetics; Literature; History; Art; Psychology; Philosophy; Epistemology","score_opus":0.021717884780849468,"score_gpt":0.25110803533431236,"score_spread":0.2293901505534629,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238874254","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00003137987,0.00647517,0.0000022695756,0.0014645456,0.0012804741,0.000109800814,0.00006992986,0.000048591988,0.99051785],"genre_scores_gemma":[0.019905921,0.01610531,0.00006138876,0.00011025503,0.0018206089,0.000026327572,0.00013373981,0.00007824558,0.9617582],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994726,0.000031293825,0.00017399076,0.000053821117,0.00018693625,0.000081367456],"domain_scores_gemma":[0.9991497,0.00007982959,0.00025725653,0.00044457722,0.000056705492,0.000011925948],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013842301,0.00010170704,0.00012457703,0.00008340463,0.00008701,0.000019231446,0.0007817215,0.000039129474,0.014532264],"category_scores_gemma":[0.000011652262,0.00006792365,0.000062072955,0.000012684806,0.00023324425,0.000064632426,0.00016669021,0.00013060903,0.00035173493],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000062379604,0.00003214599,0.000050346942,0.000010007372,0.00009035488,3.8204906e-8,0.0045817387,3.6475524e-7,7.004596e-7,0.1933746,0.79628664,0.0055668177],"study_design_scores_gemma":[0.00007145947,0.0000057574157,0.000071276605,0.00008526815,0.000037031965,6.856388e-7,0.00032638977,0.0000019779154,0.0000025987626,0.0012875916,0.9980359,0.00007403571],"about_ca_topic_score_codex":0.0007517256,"about_ca_topic_score_gemma":0.0016812905,"teacher_disagreement_score":0.2017493,"about_ca_system_score_codex":0.00001687836,"about_ca_system_score_gemma":0.000015146326,"threshold_uncertainty_score":0.9863686},"labels":[],"label_agreement":null},{"id":"W4238880793","doi":"10.1353/ctr.2011.0050","title":"Activist Awareness in the Theatre of the Oppressed Classroom","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Visual arts; Sociology; Art; Pedagogy; Art history; Media studies","score_opus":0.061761826027274876,"score_gpt":0.24457041189597156,"score_spread":0.1828085858686967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238880793","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014021551,0.08029193,3.0395134e-7,0.0042360607,0.00048766512,0.0007731452,0.00013131252,0.0000153686,0.90004265],"genre_scores_gemma":[0.98248786,0.014244463,0.000002366695,0.0023975072,0.00018212167,0.00006375367,0.0000049686596,0.000015991942,0.00060097314],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989522,0.00017289289,0.0002777005,0.00015040819,0.00013890819,0.00030788817],"domain_scores_gemma":[0.99915904,0.00006479697,0.000090907946,0.0005771576,0.00004391461,0.00006418675],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034725305,0.00017306558,0.00033287363,0.00006170953,0.00035422915,0.000025977008,0.0006354708,0.000030813724,0.0011860987],"category_scores_gemma":[0.000007882274,0.00008208691,0.00017218504,0.00012846639,0.00028519487,0.000109841676,0.000031861284,0.00018503032,0.000041584684],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050926374,0.0002543518,0.039155718,0.007215327,0.00035461283,0.00004486189,0.17355043,0.0000016986056,0.000011627987,0.14901525,0.12069873,0.5096465],"study_design_scores_gemma":[0.00009697717,0.000032851112,0.0029038475,0.0017763523,0.00009293431,0.0000058653786,0.0031734335,0.0000010562518,0.000024235318,0.0006760327,0.99107623,0.00014019832],"about_ca_topic_score_codex":0.10799651,"about_ca_topic_score_gemma":0.696733,"teacher_disagreement_score":0.9684663,"about_ca_system_score_codex":0.00004402522,"about_ca_system_score_gemma":0.0002508773,"threshold_uncertainty_score":0.99972695},"labels":[],"label_agreement":null},{"id":"W4238882846","doi":"10.3138/md.55.4.566","title":"Reviews","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Art; Art history; Poetry; Performance art; Modernity; Innocence; Cruelty; Literature; Philosophy; Psychoanalysis; Sociology","score_opus":0.06137106809274439,"score_gpt":0.2605867574732257,"score_spread":0.1992156893804813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238882846","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08190152,0.019442117,0.00007796022,0.0004654755,0.0010397679,0.00013020982,0.000007188423,0.00008559323,0.89685017],"genre_scores_gemma":[0.96476364,0.0003543891,0.00003236009,0.0005045368,0.001826283,0.000016194088,0.0000027681324,0.000007815455,0.03249201],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995932,0.000011957504,0.00009525114,0.000052685526,0.000052031603,0.0001948668],"domain_scores_gemma":[0.99980783,0.000008360618,0.000023143279,0.00011426678,0.000013064472,0.000033315762],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000105609215,0.00006965458,0.00010925957,0.000018003277,0.000197362,0.000035760484,0.00005473648,0.000011483,0.0018091165],"category_scores_gemma":[0.000003926973,0.00004805633,0.00004815757,0.0000072136645,0.000053906424,0.00022518137,0.000023434812,0.000047686637,0.0016695365],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012455028,0.000117239,0.0048682215,0.00008193275,0.000041916974,5.778521e-7,0.30359495,0.0000010087173,0.00005783041,0.1899429,0.16967493,0.33160603],"study_design_scores_gemma":[0.000050753428,0.000011021589,0.00023231965,0.000010816258,0.000009617515,6.605673e-7,0.00036584132,0.000021922131,0.00002685628,0.0011726852,0.9980213,0.00007619114],"about_ca_topic_score_codex":0.000029523968,"about_ca_topic_score_gemma":0.00009564735,"teacher_disagreement_score":0.88286215,"about_ca_system_score_codex":0.000007021918,"about_ca_system_score_gemma":0.0000022712588,"threshold_uncertainty_score":0.9991078},"labels":[],"label_agreement":null},{"id":"W4238903102","doi":"10.3138/md.49.3.402","title":"Book Reviews","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Art history; Utopia; Queer; Art; Mythology; German; History; Visual arts; Literature; Sociology; Archaeology; Gender studies","score_opus":0.027007985882046413,"score_gpt":0.2306286524360073,"score_spread":0.20362066655396088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238903102","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007633191,0.07258524,0.00008119822,0.00097371306,0.00035060605,0.00014271785,0.000010156888,0.00010141735,0.91812176],"genre_scores_gemma":[0.49405724,0.0012895437,0.00003682432,0.0034120698,0.0026119582,0.000038114573,0.000015070432,0.000019016625,0.49852017],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995513,0.000010296102,0.00013473789,0.00009475424,0.000062323496,0.00014657996],"domain_scores_gemma":[0.9998024,0.00000788497,0.000030374209,0.00012699302,0.000019265188,0.00001308185],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000052202387,0.000084663356,0.0001311426,0.000022982773,0.00023860931,0.00006843567,0.000065385415,0.000013518914,0.002882377],"category_scores_gemma":[0.000001421207,0.000061258856,0.000060845454,0.000007789548,0.00007491188,0.00014535029,0.000019971962,0.000049209997,0.0009289158],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005128369,0.000029529956,0.0001313866,0.000026898611,0.000007938511,0.0000016825119,0.008432227,0.00000539697,0.000023737359,0.039766215,0.9285173,0.023052555],"study_design_scores_gemma":[0.0000837404,0.000016861119,0.000079988145,0.000015530739,0.000009038577,6.1972867e-7,0.00006870212,0.000092655486,0.000036362235,0.0050702426,0.99443567,0.000090581954],"about_ca_topic_score_codex":0.00019083341,"about_ca_topic_score_gemma":0.0006791345,"teacher_disagreement_score":0.48642406,"about_ca_system_score_codex":0.000008780157,"about_ca_system_score_gemma":0.0000042031375,"threshold_uncertainty_score":0.99984896},"labels":[],"label_agreement":null},{"id":"W4239282554","doi":"10.3138/md.58.1.reviews.135","title":"Reviews","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Townsend; Art history; Politics; Art; Irish; Humanities; History; Faith; Theology; Philosophy","score_opus":0.09749356926940153,"score_gpt":0.26957079384863936,"score_spread":0.17207722457923783,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239282554","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.036842976,0.00757926,0.00008582398,0.00089167536,0.0007025687,0.000118091215,0.0000064029946,0.000089232686,0.953684],"genre_scores_gemma":[0.9353371,0.00019736926,0.000050415343,0.0006554449,0.0011003348,0.000017428845,0.0000041870658,0.00000937809,0.06262831],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962,0.000012960242,0.00009993535,0.00007713679,0.000071792085,0.000118175245],"domain_scores_gemma":[0.99976856,0.0000054859993,0.000023284614,0.00012420486,0.000037487887,0.00004099404],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000113471644,0.00006797799,0.00011791933,0.000019215218,0.00011450377,0.000058248046,0.00006987581,0.000011106609,0.00042577213],"category_scores_gemma":[0.000008628282,0.00004717676,0.00003819544,0.00000836355,0.00006211287,0.00012390366,0.00002675667,0.000045427623,0.0013755241],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023298036,0.00005185682,0.000515884,0.000037917504,0.000027961234,0.0000036661681,0.24429712,0.000008770611,0.000010961699,0.0812743,0.47358128,0.20016699],"study_design_scores_gemma":[0.00011575088,0.000032896885,0.000015355774,0.000011429686,0.0000070994824,7.3982216e-7,0.0008024004,0.00014530659,0.000010981338,0.008749867,0.9900345,0.00007362975],"about_ca_topic_score_codex":0.00006891647,"about_ca_topic_score_gemma":0.0003959731,"teacher_disagreement_score":0.8984942,"about_ca_system_score_codex":0.000010624821,"about_ca_system_score_gemma":0.000009574154,"threshold_uncertainty_score":0.99940205},"labels":[],"label_agreement":null},{"id":"W4239567777","doi":"10.1353/ctr.2011.0046","title":"Building the Activist Classroom: Learning to Collaborate, Learning through Performance in English 2470:Canadian Drama","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Performance art; Visual arts; Sociology; Media studies; Performance studies; Art; Pedagogy; Art history; Anthropology","score_opus":0.03457899741504003,"score_gpt":0.23807931047907618,"score_spread":0.20350031306403615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239567777","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.061893035,0.039986055,0.0000013799828,0.0025728717,0.00085388,0.000991886,0.000034453886,0.00010754317,0.8935589],"genre_scores_gemma":[0.96915495,0.022732506,0.00006539096,0.003345197,0.0006370273,0.00012813647,0.000012071874,0.000055556677,0.0038691817],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99800825,0.00017730365,0.00038068768,0.00034210662,0.00015424553,0.00093741145],"domain_scores_gemma":[0.99890715,0.000069295274,0.000095555384,0.0003260652,0.00019507146,0.0004068936],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006037634,0.00032162567,0.0004769264,0.0002441514,0.0014816626,0.0001721568,0.00043422644,0.00006423983,0.001772236],"category_scores_gemma":[0.00008747448,0.00023945322,0.00010044002,0.00045684088,0.00016794838,0.00045699425,0.000044138327,0.0006820046,0.0003735707],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003911033,0.00004136419,0.040796444,0.0024910911,0.0002505997,0.00010604314,0.4059565,0.00017769389,0.0000040096756,0.048699025,0.036592934,0.46484515],"study_design_scores_gemma":[0.00009968937,0.000108253385,0.0016271847,0.002022782,0.000046694713,0.0000044973044,0.008094265,0.000015135611,0.000005617211,0.00006987718,0.9875685,0.00033749884],"about_ca_topic_score_codex":0.4605078,"about_ca_topic_score_gemma":0.9622735,"teacher_disagreement_score":0.9509756,"about_ca_system_score_codex":0.0004328908,"about_ca_system_score_gemma":0.00072057307,"threshold_uncertainty_score":0.99981827},"labels":[],"label_agreement":null},{"id":"W4239605447","doi":"10.3138/md.50.3.453","title":"Book Reviews","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Art history; Musical; Criticism; Art; The arts; Poetry; Silence; Performing arts; Modernism (music); Identity (music); Sociology; Literature; Visual arts; Aesthetics","score_opus":0.03784390352903533,"score_gpt":0.257394601249411,"score_spread":0.21955069772037566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239605447","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009864497,0.062481944,0.00047975325,0.0006582502,0.0005802961,0.00016654658,0.000005355501,0.00010347713,0.9256599],"genre_scores_gemma":[0.64265305,0.0027110074,0.00007541198,0.009252876,0.002655321,0.000015814861,0.000007528897,0.000024612762,0.3426044],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948007,0.000006930001,0.00015305412,0.00009446968,0.00007122956,0.0001942669],"domain_scores_gemma":[0.999764,0.000016202244,0.000031866053,0.00013515817,0.00002323272,0.000029492816],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018875841,0.00008404452,0.00012982768,0.000032263706,0.00024007991,0.000046842568,0.0000736382,0.000016120157,0.0028483712],"category_scores_gemma":[0.000004151184,0.000060873535,0.000059643553,0.000009754988,0.000080199476,0.00014420079,0.000023693812,0.00006538299,0.0009125863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027063998,0.000046081404,0.00023318474,0.000054291773,0.000028307033,0.0000071003196,0.08391734,0.000001178821,0.000053617146,0.03652833,0.6189555,0.26014802],"study_design_scores_gemma":[0.00008252499,0.000025426973,0.00008820708,0.0000179089,0.000008353576,9.0882014e-7,0.00030384067,0.000025531512,0.00007474969,0.0012885968,0.99799365,0.00009029499],"about_ca_topic_score_codex":0.000035937046,"about_ca_topic_score_gemma":0.0005491057,"teacher_disagreement_score":0.63278854,"about_ca_system_score_codex":0.0000109863595,"about_ca_system_score_gemma":0.000004086839,"threshold_uncertainty_score":0.9998653},"labels":[],"label_agreement":null},{"id":"W4239692780","doi":"10.3138/md.46.4.663","title":"Book Reviews","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Queer; Cornerstone; Performance art; Historiography; Stanislavski's system; Art history; Art; Materialism; Dismemberment; History; Literature; Visual arts; Sociology; Gender studies; Philosophy; Political science","score_opus":0.03857072230871218,"score_gpt":0.24301873629340398,"score_spread":0.2044480139846918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239692780","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031313382,0.06892037,0.00008104003,0.00037607207,0.00042147993,0.00013039846,0.0000044255794,0.000060325245,0.9268746],"genre_scores_gemma":[0.48533687,0.005017022,0.00008006539,0.007968019,0.000816922,0.000055241377,0.000004810105,0.000026231048,0.5006948],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954957,0.000022867947,0.000119847435,0.000097454904,0.000058692072,0.00015155406],"domain_scores_gemma":[0.99977595,0.000009718776,0.000026899002,0.00014411684,0.000019682615,0.000023646684],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008883941,0.00008577857,0.00013506408,0.00002113691,0.00024719877,0.000057414876,0.000055843753,0.000013724013,0.006217933],"category_scores_gemma":[0.000008110731,0.000061900195,0.000059081343,0.000008545225,0.0000684867,0.00014055379,0.000010576566,0.000057142453,0.0010864808],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000059424733,0.000043074535,0.00014108668,0.00004809631,0.000026746593,0.0000024226747,0.051718995,0.0000027722401,0.000021739283,0.1772519,0.7359081,0.034829147],"study_design_scores_gemma":[0.00008889007,0.000021371981,0.000009289847,0.000014932062,0.000009180485,0.0000010612875,0.00021920892,0.000022243396,0.00005914167,0.0036028025,0.99586,0.000091878035],"about_ca_topic_score_codex":0.000014483157,"about_ca_topic_score_gemma":0.00011215684,"teacher_disagreement_score":0.48220554,"about_ca_system_score_codex":0.000008243689,"about_ca_system_score_gemma":0.0000070057426,"threshold_uncertainty_score":0.9996913},"labels":[],"label_agreement":null},{"id":"W4239764172","doi":"10.7202/1062342ar","title":"Words…Words…Words: The Novel, the Play, the Production","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Production (economics); Linguistics; Natural language processing; Computer science; Psychology; Philosophy; Economics","score_opus":0.07374582552615515,"score_gpt":0.294408026848427,"score_spread":0.22066220132227182,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239764172","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42516816,0.002402886,4.0925514e-7,0.08217484,0.0025314311,0.0014563961,0.000067105175,0.000031893574,0.48616686],"genre_scores_gemma":[0.9888276,0.0004643865,0.0000013544195,0.00050302263,0.0018759908,0.00013466417,0.0000045065453,0.000025468606,0.008163002],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997296,0.0003149675,0.0002656947,0.00030048174,0.0010223814,0.0008005018],"domain_scores_gemma":[0.99788976,0.0010158547,0.0000527995,0.0008817953,0.00010719614,0.0000526132],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0022501175,0.00019249007,0.00019893289,0.000087251894,0.0016009334,0.00021766276,0.0009006933,0.000028168875,0.0011061007],"category_scores_gemma":[0.00002013807,0.000079440666,0.000058799793,0.0003026354,0.0006603515,0.00017795638,0.00024076969,0.0009974621,0.00014582594],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00053380796,0.00018696395,0.015531368,0.00024858897,0.00046533416,0.000025355599,0.18127677,0.0010677387,0.00018515246,0.055213187,0.48639303,0.2588727],"study_design_scores_gemma":[0.00015440013,0.0000593645,0.00060995773,0.00009237949,0.000009480325,0.0000073859633,0.07880393,0.00010424615,0.00006813109,0.0010945488,0.91886234,0.00013385127],"about_ca_topic_score_codex":0.9112563,"about_ca_topic_score_gemma":0.99478865,"teacher_disagreement_score":0.5636594,"about_ca_system_score_codex":0.00042246052,"about_ca_system_score_gemma":0.0011352674,"threshold_uncertainty_score":0.999807},"labels":[],"label_agreement":null},{"id":"W4239808890","doi":"10.3138/md.2012-56.1rev","title":"Reviews","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Performance art; Townsend; History; Art; Art history; Literature","score_opus":0.04224312502037813,"score_gpt":0.2380601597191892,"score_spread":0.19581703469881107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239808890","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10993618,0.004475395,0.00005828646,0.0015216887,0.0004546358,0.0002708447,0.0000041890175,0.00009754906,0.8831812],"genre_scores_gemma":[0.92441756,0.00032144916,0.00004132387,0.00083636714,0.000682506,0.000063218955,0.0000027868448,0.000008571832,0.07362624],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999614,0.000009898452,0.000108645196,0.00008093459,0.00005099706,0.00013550028],"domain_scores_gemma":[0.999786,0.000008266255,0.000023613626,0.00012915494,0.000029750836,0.000023171322],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000042352116,0.000072742914,0.00011559897,0.000019151646,0.00019179632,0.000102943064,0.00007208861,0.0000114747645,0.007161283],"category_scores_gemma":[0.0000035318487,0.00004889882,0.00004748177,0.0000072816447,0.00006469955,0.00019879929,0.000024333067,0.000048473234,0.005957102],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000033036756,0.000041715928,0.00045593604,0.000056657955,0.000028180855,7.8946186e-7,0.084879234,0.0000018643527,0.00009281821,0.05059352,0.3821998,0.48164618],"study_design_scores_gemma":[0.00005950884,0.000019053197,0.00017739362,0.000014008976,0.0000054080033,4.064849e-7,0.0003784594,0.00019968301,0.000018260882,0.009607356,0.9894395,0.00008094711],"about_ca_topic_score_codex":0.00022376861,"about_ca_topic_score_gemma":0.00025273304,"teacher_disagreement_score":0.8144814,"about_ca_system_score_codex":0.000005703275,"about_ca_system_score_gemma":0.0000030385265,"threshold_uncertainty_score":0.9948169},"labels":[],"label_agreement":null},{"id":"W4239817301","doi":"10.3138/tric.29.1.x","title":"Présentation","year":2008,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; ESPACE; Philosophy","score_opus":0.12056355183760532,"score_gpt":0.3347000972997602,"score_spread":0.21413654546215488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239817301","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17563114,0.023495222,2.5735716e-7,0.019898957,0.0035118982,0.00027948798,0.00015175092,0.000010987552,0.7770203],"genre_scores_gemma":[0.9657772,0.012128167,0.000008463642,0.0001291747,0.0031092225,0.000031559044,0.00001282316,0.00002173024,0.018781664],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975793,0.00027962605,0.0002678997,0.00022363382,0.00076584844,0.00088369736],"domain_scores_gemma":[0.99914414,0.00035096612,0.000026487198,0.00023141249,0.00011252246,0.00013446803],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005180871,0.00015095311,0.0002165863,0.00019536963,0.0010480417,0.000042370295,0.0002024506,0.000040530602,0.0020946066],"category_scores_gemma":[0.0000029788102,0.00014005402,0.000038123508,0.00020851642,0.0007553133,0.00021803567,0.000079996156,0.00058108446,0.00018806932],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000108660126,0.00011497433,0.02853947,0.00036799727,0.00007887294,0.0009759242,0.01789871,0.000115488176,0.0000065459294,0.0133503,0.6929609,0.24548216],"study_design_scores_gemma":[0.00029448996,0.000089973604,0.0018893622,0.00017551,0.000004721457,0.000031681324,0.015401978,0.00010751316,0.000058582562,0.0010759465,0.9807102,0.00016003584],"about_ca_topic_score_codex":0.99866205,"about_ca_topic_score_gemma":0.999477,"teacher_disagreement_score":0.79014605,"about_ca_system_score_codex":0.0014900127,"about_ca_system_score_gemma":0.004044425,"threshold_uncertainty_score":0.9988176},"labels":[],"label_agreement":null},{"id":"W4239982383","doi":"10.1215/01610775-34-3-146","title":"Staging Canada","year":2004,"lang":"en","type":"article","venue":"Theater","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Citation; Download; Search engine optimization; Drama; World Wide Web; Library science; Computer science; History; Art; Information retrieval; Search engine; Visual arts","score_opus":0.014682039739520309,"score_gpt":0.18213132505646726,"score_spread":0.16744928531694694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239982383","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63761777,0.00007251888,0.000001642343,0.0015546499,0.00041256065,0.00002732216,0.000010142897,0.00002900674,0.3602744],"genre_scores_gemma":[0.99179035,0.0000062472386,0.0000055940077,0.00081746484,0.00038075485,0.0000026916205,0.0000018993975,0.0000052846817,0.006989705],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997188,0.0000025672687,0.00004981005,0.000048696125,0.000057643923,0.00012252048],"domain_scores_gemma":[0.9998957,0.0000036513877,0.0000072541234,0.000065783825,0.000012322035,0.000015294101],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000020741016,0.000049314964,0.000052900563,0.000011236118,0.00018074132,0.000025446227,0.000041548257,0.0000040514374,0.0011445406],"category_scores_gemma":[3.5325547e-7,0.000033135533,0.00001242053,0.0000051043103,0.00003853924,0.000058217545,0.000012817824,0.000032110318,0.00008367309],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007079388,0.0000698825,0.0057599996,0.00009066587,0.00022132925,0.000064824264,0.32893527,0.00026101962,0.00022989982,0.5661965,0.07957701,0.0185228],"study_design_scores_gemma":[0.0002008228,0.000020501402,0.00050115795,0.000014764218,0.000007184878,0.0000010412743,0.0035156424,8.412919e-7,0.0010063888,0.003022479,0.99160534,0.00010386248],"about_ca_topic_score_codex":0.52170086,"about_ca_topic_score_gemma":0.8507098,"teacher_disagreement_score":0.9120283,"about_ca_system_score_codex":0.000030034453,"about_ca_system_score_gemma":0.000042364798,"threshold_uncertainty_score":0.99976856},"labels":[],"label_agreement":null},{"id":"W4239985480","doi":"10.12745/et.20.1.3195","title":"Editorial","year":2017,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria; Royal Military College of Canada; McMaster University","funders":"","keywords":"Art; Visual arts","score_opus":0.01318797219838333,"score_gpt":0.2393785707066054,"score_spread":0.22619059850822207,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239985480","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000024020776,0.00041053846,5.058022e-8,0.00006503329,0.61528486,0.00009134109,0.00050430204,0.00009701659,0.38352284],"genre_scores_gemma":[0.0003871051,0.00030047234,0.0000024248684,0.000009217236,0.8892691,0.000029637727,0.00017912839,0.00006706198,0.10975582],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99812484,0.000032967167,0.0002542038,0.00037379572,0.00078392087,0.0004303033],"domain_scores_gemma":[0.9984617,0.00021500957,0.00022796798,0.0007577124,0.00026848126,0.00006909765],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021693707,0.0004160001,0.0005334553,0.0000887981,0.0013761647,0.0008773818,0.0007140265,0.0005074258,0.0014450181],"category_scores_gemma":[0.000060769104,0.00031962802,0.00025675804,0.000008436492,0.00041747457,0.00035667833,0.00016268576,0.0009927524,0.0019976795],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052904266,0.000019331015,0.0000068541913,0.00004675716,0.00012842292,0.0000035045887,0.009820234,5.18125e-8,2.397325e-7,0.0004751842,0.98554593,0.0039006122],"study_design_scores_gemma":[0.0003502151,0.0001839346,0.0000021973701,0.00012987276,0.00010494647,1.0659143e-7,0.00023608386,1.15358596e-7,0.0000013035344,0.0008015203,0.9977891,0.00040060998],"about_ca_topic_score_codex":0.0017753921,"about_ca_topic_score_gemma":0.0026081856,"teacher_disagreement_score":0.27398428,"about_ca_system_score_codex":0.00003974433,"about_ca_system_score_gemma":0.00019695071,"threshold_uncertainty_score":0.99992555},"labels":[],"label_agreement":null},{"id":"W4240193225","doi":"10.1353/mdr.2000.0000","title":"Modern: Drama (defining the field), Part I","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.022688967787702824,"score_gpt":0.2332161801910552,"score_spread":0.21052721240335237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240193225","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21195927,0.0024918197,0.00006221089,0.006553904,0.00052992604,0.00015228732,0.000029163473,0.00018273071,0.7780387],"genre_scores_gemma":[0.9290347,0.00020971081,0.000015554373,0.0034535013,0.0010481778,0.00003314399,0.0000089129635,0.000022320619,0.06617398],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990146,0.000029375258,0.00020425889,0.00021108087,0.0001885078,0.00035216002],"domain_scores_gemma":[0.99941283,0.00012897883,0.000037047466,0.00034350355,0.000037471473,0.000040163806],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011644386,0.000180352,0.00018319504,0.000027904165,0.00095467444,0.00026541404,0.0002423845,0.00004638023,0.009497939],"category_scores_gemma":[0.0000090127605,0.000115616356,0.000108718516,0.000023710265,0.00015925425,0.00021263365,0.00004758744,0.00020808903,0.0009917108],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000086539054,0.00007337261,0.00035371238,0.000025010351,0.00011671854,0.000009220004,0.15434265,0.0004210183,0.000005970559,0.06200866,0.099136785,0.68342036],"study_design_scores_gemma":[0.00023048534,0.000084299674,0.00008800827,0.00003091102,0.000029904168,0.0000032289483,0.001215983,0.0052011656,0.00005093139,0.017604968,0.97525215,0.00020796516],"about_ca_topic_score_codex":0.00024391241,"about_ca_topic_score_gemma":0.00078903564,"teacher_disagreement_score":0.8761154,"about_ca_system_score_codex":0.000011620483,"about_ca_system_score_gemma":0.000017751538,"threshold_uncertainty_score":0.99978614},"labels":[],"label_agreement":null},{"id":"W4240196643","doi":"10.1353/mdr.2012.0026","title":"Subversion, Refusal, and Contingency: The Transgression of Liberal-Humanist Subjectivity and Characterization in Sarah Kane’s Cleansed , Crave , and 4.48 Psychosis","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanism; Subjectivity; Sociology; Aesthetics; Psychoanalysis; Normative; Subversion; Queer; Philosophy; Ideology; Performativity; Epistemology; Gender studies; Politics; Theology; Psychology; Law; Political science","score_opus":0.02018705591292721,"score_gpt":0.2306074452783999,"score_spread":0.2104203893654727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240196643","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99563247,0.0013758672,0.00002178375,0.0005569791,0.00014761863,0.00015995806,0.0000321461,0.00001573045,0.0020574543],"genre_scores_gemma":[0.99827635,0.0008514048,0.000006364939,0.000098491255,0.0001409239,0.000008195397,0.000009982274,0.00001065498,0.000597642],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99941957,0.000048223796,0.000156466,0.00013056466,0.00008349832,0.00016167128],"domain_scores_gemma":[0.9997325,0.000043485736,0.00007012328,0.000093842646,0.00002915572,0.00003091612],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018035762,0.00011392234,0.00017287533,0.000050564013,0.00032886717,0.00006040706,0.000039263454,0.000038569997,0.000047799807],"category_scores_gemma":[0.0000039531183,0.000077308185,0.000019277475,0.000021209486,0.0002453201,0.00032450026,0.000027591293,0.000088856694,0.0000013117275],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004348845,0.0002310475,0.423492,0.00030850456,0.000073159536,0.0000010833809,0.48266348,5.4643766e-7,0.015476049,0.0074729836,0.00062703923,0.06921922],"study_design_scores_gemma":[0.0013346929,0.00016172927,0.97184134,0.00019983432,0.000077943616,0.000005617317,0.0031331375,0.0007594154,0.0019075987,0.0028286541,0.01742102,0.00032900812],"about_ca_topic_score_codex":0.00020459949,"about_ca_topic_score_gemma":0.00090025505,"teacher_disagreement_score":0.5483493,"about_ca_system_score_codex":0.0000067900764,"about_ca_system_score_gemma":0.0000034073864,"threshold_uncertainty_score":0.31525362},"labels":[],"label_agreement":null},{"id":"W4240353542","doi":"10.29173/pandpr29345","title":"Mirror, Mirror","year":2017,"lang":"en","type":"article","venue":"Phenomenology & Practice","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Mirror image; Copying; Surprise; Reflection (computer programming); Mirror neuron; Aesthetics; Plane mirror; Psychology; Philosophy; Computer science; Social psychology; Optics; Physics; Cognitive psychology; Political science; Law","score_opus":0.0662292220184786,"score_gpt":0.31589624170877945,"score_spread":0.24966701969030086,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240353542","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0816966,0.00080704846,0.0000017068747,0.022227708,0.0014785891,0.000109868815,0.00001349676,0.00008762771,0.89357734],"genre_scores_gemma":[0.9709555,0.00037634122,0.00040632513,0.0019391378,0.00028850345,0.000035218512,0.0000044923854,0.000019384632,0.025975103],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913776,0.00004834842,0.00016785706,0.00022079892,0.00009912789,0.00032608683],"domain_scores_gemma":[0.9988185,0.0001665914,0.0002610227,0.00059197843,0.00011785814,0.000044043252],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024408718,0.00014729037,0.00019806673,0.00004962219,0.0022442292,0.0002612064,0.00039555677,0.000043202097,0.0027427082],"category_scores_gemma":[0.00022367698,0.00012457202,0.00004878039,0.000007591906,0.0006520259,0.0012231668,0.00016490478,0.00022026095,0.0026193215],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038955006,0.00034057235,0.004519835,0.00004013065,0.0005931118,0.000056716046,0.10112515,5.368901e-8,0.00022360668,0.86163026,0.007549341,0.02353168],"study_design_scores_gemma":[0.000320657,0.00014000424,0.0025792904,0.000005704993,0.00008824174,0.000013010181,0.0084424,0.000002004687,0.000027478818,0.003947334,0.9842732,0.00016067942],"about_ca_topic_score_codex":0.0027697165,"about_ca_topic_score_gemma":0.0033100469,"teacher_disagreement_score":0.97672385,"about_ca_system_score_codex":0.000021244838,"about_ca_system_score_gemma":0.000027371652,"threshold_uncertainty_score":0.99905473},"labels":[],"label_agreement":null},{"id":"W4240456550","doi":"10.1353/utq.0.0038","title":"Drama","year":2008,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Art; Philosophy; Literature","score_opus":0.014950446708727463,"score_gpt":0.17774199762265386,"score_spread":0.16279155091392639,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240456550","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46236664,0.000316812,0.000014054172,0.00009102268,0.00017282394,0.000035409917,0.000014521557,0.00003745872,0.53695124],"genre_scores_gemma":[0.97113836,0.000085723645,0.00005367128,0.000017972185,0.00012196,3.2270282e-8,0.0000022733475,0.0000025494444,0.028577449],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972594,0.00000808023,0.000046054476,0.00006605193,0.00006598153,0.000087879576],"domain_scores_gemma":[0.99980086,0.000009641384,0.000030053683,0.00009053786,0.000046118526,0.000022768998],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000017761924,0.000051126113,0.00009479428,0.000010001563,0.00033208847,0.0000043893797,0.00009402892,0.000013661784,0.0052449917],"category_scores_gemma":[3.335835e-7,0.00005185319,0.000055393335,0.000003178105,0.00022706382,0.00028882033,0.000007632808,0.000022760034,0.00009323673],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007067926,0.000077043216,0.001232483,0.000018799563,0.00007793575,0.000020524629,0.8989257,4.3393442e-7,0.000037718764,0.037437506,0.04179135,0.020309811],"study_design_scores_gemma":[0.00033268312,0.00045914284,0.004220461,0.000008605671,0.000016962953,0.0000025214729,0.090602644,0.000010162257,0.000007914724,0.00010085794,0.904134,0.00010409513],"about_ca_topic_score_codex":0.02270667,"about_ca_topic_score_gemma":0.059261303,"teacher_disagreement_score":0.8623426,"about_ca_system_score_codex":0.000024616127,"about_ca_system_score_gemma":0.000011676775,"threshold_uncertainty_score":0.99566436},"labels":[],"label_agreement":null},{"id":"W4240495522","doi":"10.1242/dev.194001","title":"The people behind the papers - Wael Noor El-Nachef and Marianne Bronner","year":2020,"lang":"en","type":"article","venue":"Development","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Biology","score_opus":0.018778208144040454,"score_gpt":0.1895199037117241,"score_spread":0.17074169556768365,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240495522","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50597006,0.00350417,0.0000056843783,0.1043438,0.0010802068,0.00052574626,0.00002076173,0.000117089134,0.38443246],"genre_scores_gemma":[0.9884246,0.0002850122,0.000033183373,0.001879954,0.00050162274,0.000038589387,0.000006327176,0.000010232347,0.008820496],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994282,0.00001551257,0.00013243353,0.000119650365,0.00011993418,0.00018427028],"domain_scores_gemma":[0.99975663,0.000065961496,0.00003067599,0.000083492676,0.000022770531,0.000040474442],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00011743877,0.000106192776,0.00009330649,0.000007760145,0.0016190879,0.0001493536,0.00012498746,0.000013977857,0.0004614055],"category_scores_gemma":[0.000009718996,0.00004920562,0.000023680028,0.000015193798,0.00012906751,0.00005737028,0.00010843679,0.000090272035,0.00012324071],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005719439,0.000021000522,0.0035995562,0.000036970952,0.00023098194,0.000002509677,0.7867741,0.0000025728439,0.000024200088,0.04063087,0.05040694,0.1182131],"study_design_scores_gemma":[0.0001340859,0.000023768167,0.01624579,0.0000054912284,0.000012010062,8.421576e-7,0.02137475,0.00001229396,0.00004791966,0.00007967186,0.9619676,0.000095807125],"about_ca_topic_score_codex":0.00005514908,"about_ca_topic_score_gemma":0.004516675,"teacher_disagreement_score":0.91156065,"about_ca_system_score_codex":0.000011597602,"about_ca_system_score_gemma":0.000032063068,"threshold_uncertainty_score":0.9996807},"labels":[],"label_agreement":null},{"id":"W4240560647","doi":"10.1353/ctr.2011.0054","title":"Applied Theatre and/as Activism","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Studio; Visual arts; Sociology; Performance art; Media studies; Art; Art history","score_opus":0.04049497183600692,"score_gpt":0.22257681448319644,"score_spread":0.18208184264718952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240560647","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011036792,0.110532776,2.0390128e-7,0.00096467807,0.0001837644,0.00032199157,0.00003152388,0.000047090685,0.8868143],"genre_scores_gemma":[0.8519075,0.13617595,0.000022339418,0.007413982,0.00053035864,0.000092224895,0.00001447705,0.000041687283,0.0038014653],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914837,0.000024022129,0.00018031316,0.00021013775,0.00007740273,0.0003597777],"domain_scores_gemma":[0.99937165,0.000019148727,0.0000434314,0.00027285074,0.000027028846,0.00026592094],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013532427,0.00020234191,0.00033888992,0.00008520128,0.0004003371,0.000037439724,0.00014956738,0.000033662527,0.006370573],"category_scores_gemma":[0.0000021947487,0.00014801243,0.00008005084,0.000043990236,0.0001958178,0.000118287,0.000024576602,0.00012603358,0.0008117045],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007886948,0.000014694557,0.00014267382,0.0009679777,0.00009834345,0.000016121669,0.01730361,8.581999e-9,0.0000017435156,0.15235099,0.025303857,0.8037921],"study_design_scores_gemma":[0.00008048995,0.00004065606,0.00006882569,0.0007142448,0.000098447,0.000013059791,0.0011328916,2.1936216e-7,0.000012050592,0.0022074105,0.995423,0.00020868405],"about_ca_topic_score_codex":0.049658522,"about_ca_topic_score_gemma":0.21111134,"teacher_disagreement_score":0.9701192,"about_ca_system_score_codex":0.000038784437,"about_ca_system_score_gemma":0.00012350793,"threshold_uncertainty_score":0.99996626},"labels":[],"label_agreement":null},{"id":"W4240635262","doi":"10.1353/mdr.2003.0011","title":"Video and Stage Space: Some European Perspectives","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.021016631706444952,"score_gpt":0.221826411008576,"score_spread":0.20080977930213106,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240635262","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47037807,0.0037201263,0.000031936903,0.00043702262,0.00015009727,0.00006807176,0.000015930029,0.00007529165,0.5251235],"genre_scores_gemma":[0.9477696,0.0002585459,0.000031762116,0.00015056678,0.00032611354,0.0000031086156,0.0000011339158,0.000018784469,0.051440414],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944115,0.000045696397,0.000083195126,0.00016839866,0.00008054485,0.00018100873],"domain_scores_gemma":[0.9997542,0.000018629258,0.000025878328,0.00013060344,0.000032487267,0.000038210954],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011255348,0.00011449334,0.00011394191,0.000040671013,0.0003888052,0.00014982845,0.000051279167,0.0000118402695,0.0006249705],"category_scores_gemma":[0.0000112119815,0.00009114173,0.0000340832,0.000009981839,0.0001978025,0.00024399246,0.00003087637,0.00008367181,0.00012240553],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000108935155,0.00004004326,0.0006382649,0.000024105846,0.00004576135,0.000009065832,0.27929205,0.0000070545057,0.00007869858,0.71397036,0.0021632654,0.0037204276],"study_design_scores_gemma":[0.00041797443,0.00009574281,0.0009872672,0.000017964827,0.000020134792,0.0000032104322,0.044333365,0.0000935189,0.00012615562,0.011475687,0.94217384,0.00025511358],"about_ca_topic_score_codex":0.00004397736,"about_ca_topic_score_gemma":0.0001544332,"teacher_disagreement_score":0.9400106,"about_ca_system_score_codex":0.0000117763275,"about_ca_system_score_gemma":0.0000081707385,"threshold_uncertainty_score":0.6842989},"labels":[],"label_agreement":null},{"id":"W4240766937","doi":"10.3138/ctr.141.38","title":"Unfiltered","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Visual arts; Set (abstract data type); Media studies; Sociology; Art; History; Art history; Computer science","score_opus":0.026496433775005657,"score_gpt":0.2340232056648311,"score_spread":0.20752677188982543,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240766937","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013673631,0.07000809,9.7183964e-8,0.0057834233,0.0010488576,0.00020279679,0.00007172036,0.000042454398,0.9214752],"genre_scores_gemma":[0.86141914,0.083594516,0.000051130144,0.023617648,0.0039122514,0.0000981183,0.00007209538,0.00006243194,0.027172673],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938697,0.000013923517,0.00014425992,0.00012024445,0.000060987528,0.00027361533],"domain_scores_gemma":[0.9994367,0.000015590773,0.000026689446,0.00027119403,0.000042996857,0.00020683256],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012539884,0.000117276395,0.00020330306,0.000059989237,0.00031432285,0.0000480786,0.00016049923,0.000022749648,0.016482743],"category_scores_gemma":[0.000007289875,0.0000864695,0.0000889627,0.00003412877,0.00012667823,0.00009433621,0.000010494521,0.0001703386,0.0014892168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000011540322,0.000008376636,0.00028540497,0.0008461721,0.000047067828,0.00001380692,0.002534594,2.2180478e-8,0.000010733971,0.20490526,0.2912376,0.5001098],"study_design_scores_gemma":[0.00003851883,0.000011893694,0.00004039967,0.0003581851,0.000034549434,0.000007891128,0.00009698439,5.1972506e-7,0.0000041903613,0.00043095683,0.9988526,0.00012329049],"about_ca_topic_score_codex":0.038893063,"about_ca_topic_score_gemma":0.8309844,"teacher_disagreement_score":0.89430255,"about_ca_system_score_codex":0.000017917104,"about_ca_system_score_gemma":0.00012934938,"threshold_uncertainty_score":0.99928826},"labels":[],"label_agreement":null},{"id":"W4240895230","doi":"10.12745/et.18.2.2726","title":"Editorial","year":2015,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria; Royal Military College of Canada; McMaster University","funders":"","keywords":"Art; Visual arts","score_opus":0.014652727713306097,"score_gpt":0.2331111900266913,"score_spread":0.21845846231338523,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240895230","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00003102587,0.00070977124,5.659678e-8,0.00005826234,0.6563255,0.00009832198,0.000557219,0.00013694924,0.34208286],"genre_scores_gemma":[0.00019376414,0.00014571188,0.0000035500832,0.000014990044,0.9347974,0.00002935332,0.00028140526,0.00007388344,0.064459935],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978135,0.000048181235,0.00028826337,0.0003477102,0.001079716,0.000422603],"domain_scores_gemma":[0.99862826,0.00020325114,0.00013038852,0.00041533457,0.0005162991,0.00010648366],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031345565,0.0004099169,0.0005171829,0.000107096566,0.00039144477,0.00037028705,0.0004108815,0.0004902258,0.0012418089],"category_scores_gemma":[0.000050799805,0.0003126243,0.00019048685,0.00002798903,0.0002638283,0.00026220616,0.00012841796,0.0009462519,0.0024594949],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000069019334,0.000023709299,0.0000033920123,0.000035426285,0.00010775856,0.0000025136978,0.018384388,1.90207e-7,1.4633743e-7,0.00045275685,0.9791354,0.0017853274],"study_design_scores_gemma":[0.0004190678,0.0002767109,3.4719815e-7,0.000074866795,0.00009865475,1.2296937e-7,0.0007531645,1.8429306e-7,6.9908486e-7,0.0013082175,0.99667364,0.00039430955],"about_ca_topic_score_codex":0.0015057118,"about_ca_topic_score_gemma":0.0016004167,"teacher_disagreement_score":0.27847186,"about_ca_system_score_codex":0.000077258024,"about_ca_system_score_gemma":0.00030156906,"threshold_uncertainty_score":0.9999326},"labels":[],"label_agreement":null},{"id":"W4240971287","doi":"10.4018/978-1-4666-2166-4.ch005","title":"Performing Actor-Network Theory in the Post-Secondary Classroom","year":2012,"lang":"en","type":"book-chapter","venue":"IGI Global eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Saskatchewan; York University","funders":"","keywords":"Actor–network theory; Mathematics education; Computer science; Pedagogy; Sociology; Psychology; Social science","score_opus":0.02188139080008049,"score_gpt":0.22254572534566808,"score_spread":0.20066433454558757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240971287","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001501551,0.0068811257,4.7804383e-7,0.00013492144,0.0013615986,0.0003192318,0.00022887766,0.000067598136,0.98950464],"genre_scores_gemma":[0.75302124,0.000111457935,0.0000102995145,0.002486989,0.0075375764,0.00003208808,0.000021978762,0.000058636193,0.23671973],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984422,0.00004577426,0.00037911575,0.00026325745,0.00028742055,0.00058224617],"domain_scores_gemma":[0.99915177,0.00013547695,0.00016735798,0.00041634738,0.000071366245,0.000057685967],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004535255,0.00046804943,0.00044871413,0.00005277046,0.00070629054,0.00016234712,0.00043670423,0.0002120685,0.00188619],"category_scores_gemma":[0.000004569764,0.00030438116,0.00025634366,0.000005902488,0.0003772586,0.00014115933,0.0001489743,0.0006918879,0.00052282674],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006818751,0.00000773057,0.00008379885,0.000047111098,0.00010795793,0.000012358167,0.015865965,3.3687945e-7,1.9649279e-7,0.9366248,0.006108608,0.041072942],"study_design_scores_gemma":[0.00015471432,0.00008315866,0.00013154505,0.00014972352,0.00008893471,0.0000142761655,0.0015834437,3.274153e-7,4.4451343e-7,0.3121825,0.685286,0.0003249739],"about_ca_topic_score_codex":0.00012798407,"about_ca_topic_score_gemma":0.0055366904,"teacher_disagreement_score":0.7527849,"about_ca_system_score_codex":0.00012640655,"about_ca_system_score_gemma":0.00011035907,"threshold_uncertainty_score":0.9999408},"labels":[],"label_agreement":null},{"id":"W4240992098","doi":"10.1353/mdr.2000.0015","title":"Twister : Ken Kesey's Multimedia Theatre","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.02088285977440175,"score_gpt":0.22214345506933864,"score_spread":0.2012605952949369,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240992098","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24522902,0.00044726126,0.0000070314522,0.0009134232,0.0002551281,0.000102296144,0.000028729031,0.00012838101,0.75288874],"genre_scores_gemma":[0.8945719,0.00007483614,0.000040684863,0.00054179603,0.0010508355,0.000017508306,0.000012001245,0.000020215088,0.103670225],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992555,0.000016307367,0.00014416047,0.00017513681,0.00013606422,0.00027287207],"domain_scores_gemma":[0.99965864,0.00002618345,0.000019628988,0.00021985709,0.00002829882,0.000047377507],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000050562285,0.00014963491,0.00016051311,0.00003508841,0.00031250628,0.00012342498,0.00013856869,0.00003347334,0.017987503],"category_scores_gemma":[0.0000011718461,0.000110294,0.00008305861,0.000014640266,0.00016849134,0.00019880249,0.000025300387,0.00010738702,0.0022364662],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006438737,0.000084306695,0.000886221,0.000023255021,0.000071986426,0.000009361514,0.14816327,0.000031232565,0.00002340693,0.00174188,0.0178043,0.8310964],"study_design_scores_gemma":[0.00036184222,0.00005720311,0.00036924463,0.000020410002,0.000022480102,0.000002562659,0.0010027525,0.0020946013,0.000048845715,0.0044177594,0.9913928,0.00020951987],"about_ca_topic_score_codex":0.00021355998,"about_ca_topic_score_gemma":0.0007613204,"teacher_disagreement_score":0.97358847,"about_ca_system_score_codex":0.000013668548,"about_ca_system_score_gemma":0.000010154893,"threshold_uncertainty_score":0.9985404},"labels":[],"label_agreement":null},{"id":"W4241122462","doi":"10.3138/tric.40.1_2.184","title":"Author Guidelines","year":2019,"lang":"en","type":"paratext","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mandate; Library science; Section (typography); Context (archaeology); Political science; Position (finance); History; Media studies; Sociology; Law; Computer science; Archaeology","score_opus":0.24434899321240836,"score_gpt":0.40029921222620235,"score_spread":0.155950219013794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241122462","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00063119567,0.011069334,1.2517691e-7,0.007804669,0.0074174427,0.0004541809,0.00087139284,0.000011178522,0.9717405],"genre_scores_gemma":[0.11153947,0.0029865275,0.000007850397,0.00042861668,0.0062155593,0.000108290165,0.00022399417,0.00008798451,0.8784017],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965928,0.00022757683,0.0005220673,0.00043419635,0.001159185,0.0010641433],"domain_scores_gemma":[0.99842095,0.00040553036,0.00007080535,0.0006021856,0.00037437538,0.00012614758],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0009978102,0.0003286794,0.00060498575,0.00043063177,0.00039196448,0.00015057507,0.0006588975,0.00010709549,0.024957743],"category_scores_gemma":[0.0000071138484,0.00025182436,0.000080427824,0.00014686224,0.00025335,0.00010393354,0.00025000965,0.0012528696,0.008856418],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000273419,0.000009106301,0.00005095345,0.00029464517,0.000052017454,0.000021601176,0.001111175,0.00005851741,6.792835e-7,0.00040828448,0.9513136,0.04665209],"study_design_scores_gemma":[0.00016349522,0.000057854686,0.000003916077,0.0004968321,0.000005665312,0.0000015233769,0.0063513843,0.00004297589,0.000009206875,0.00021325803,0.9923603,0.00029358602],"about_ca_topic_score_codex":0.9952503,"about_ca_topic_score_gemma":0.9991905,"teacher_disagreement_score":0.11090827,"about_ca_system_score_codex":0.0012580742,"about_ca_system_score_gemma":0.00791541,"threshold_uncertainty_score":0.9999934},"labels":[],"label_agreement":null},{"id":"W4241575580","doi":"10.3138/tric.28.2.vi","title":"Présentation","year":2007,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.0850868299552516,"score_gpt":0.35514251742172714,"score_spread":0.27005568746647557,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241575580","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08561257,0.019086255,0.0000018690639,0.014930859,0.0047090254,0.00029087462,0.000100966245,0.000010208119,0.8752574],"genre_scores_gemma":[0.9815848,0.0025350614,0.000012958087,0.00014792084,0.0041837334,0.000011133535,0.0000115050925,0.000022240298,0.011490688],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973297,0.00017428987,0.00032819458,0.00021912585,0.00078444363,0.0011642575],"domain_scores_gemma":[0.99883664,0.00063237705,0.00003020756,0.0002193891,0.0001189463,0.00016244758],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0021034242,0.00014870938,0.00019353544,0.00026407556,0.00060307764,0.00007929859,0.00020115625,0.00004740492,0.0016991405],"category_scores_gemma":[0.000003678075,0.0001387225,0.00003509825,0.0002451116,0.0004690067,0.00019197825,0.00007872628,0.00062574557,0.00013074424],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013797214,0.00007298133,0.01332244,0.00032301206,0.00005331446,0.00040219992,0.007685893,0.000031660267,0.000010709036,0.027760064,0.17749724,0.7727025],"study_design_scores_gemma":[0.0002631929,0.0000850023,0.0020478931,0.00021817179,0.0000059336644,0.0000067440365,0.038126588,0.00004247407,0.00015287435,0.0021296323,0.95676833,0.00015318379],"about_ca_topic_score_codex":0.998546,"about_ca_topic_score_gemma":0.9998929,"teacher_disagreement_score":0.8959722,"about_ca_system_score_codex":0.0020177788,"about_ca_system_score_gemma":0.0022946969,"threshold_uncertainty_score":0.99921346},"labels":[],"label_agreement":null},{"id":"W4241793674","doi":"10.1353/mdr.2013.0005","title":"Revisiting Marat/Sade : Philosophy in the Asylum, Asylum in the Theatre","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.02755374464663137,"score_gpt":0.23119900734703142,"score_spread":0.20364526270040004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241793674","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43488187,0.0012461719,0.000003320976,0.020303072,0.00013010294,0.00042291454,0.000008521359,0.00003177947,0.54297227],"genre_scores_gemma":[0.99431366,0.00008487043,0.000008565556,0.003024921,0.0014165179,0.00012828558,0.000006673931,0.000015434369,0.0010010658],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988178,0.00016099503,0.0002599365,0.00019083623,0.00022862751,0.00034179754],"domain_scores_gemma":[0.99937695,0.00016924962,0.00005454955,0.00035220687,0.00003106355,0.000016001244],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045152343,0.00017790549,0.00019330795,0.000073796014,0.00041091425,0.00035036213,0.00044150834,0.000039482806,0.00040899048],"category_scores_gemma":[0.000009109596,0.000090749025,0.00007985091,0.00006871584,0.00015506073,0.00031595092,0.00005886502,0.00034101197,0.0003030996],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035515368,0.00020201557,0.013243327,0.00015270477,0.00005451722,0.000035196765,0.7087262,0.00007154574,0.000039255032,0.13204491,0.018273318,0.12712148],"study_design_scores_gemma":[0.001639599,0.00027310484,0.044037245,0.0005740519,0.00006899905,0.000030423253,0.11816927,0.0044793864,0.000027014994,0.33978537,0.48986045,0.0010550839],"about_ca_topic_score_codex":0.0009452682,"about_ca_topic_score_gemma":0.0015932419,"teacher_disagreement_score":0.5905569,"about_ca_system_score_codex":0.00001944507,"about_ca_system_score_gemma":0.000012074256,"threshold_uncertainty_score":0.4478159},"labels":[],"label_agreement":null},{"id":"W4241813863","doi":"10.4324/9780429260056","title":"Dramaturgy of Form","year":2020,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Art; Aesthetics","score_opus":0.02682685088640102,"score_gpt":0.2025995315213188,"score_spread":0.17577268063491777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241813863","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00000559175,0.000541499,7.8011834e-7,0.00023766002,0.00039748292,0.00006575441,0.0000693433,0.000047225596,0.99863464],"genre_scores_gemma":[0.0017662356,0.000220217,0.000009554462,0.00033169676,0.001477325,0.0000029098978,0.000046502275,0.000016534868,0.99612904],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995635,0.0000017129013,0.00016326405,0.00008680631,0.00009757753,0.00008710776],"domain_scores_gemma":[0.9997406,0.000021197495,0.000073978095,0.00009836846,0.00004656965,0.000019290674],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000017090171,0.00012579208,0.0002759949,0.000036274047,0.00007440958,0.000020671201,0.000095667056,0.00004664862,0.010101642],"category_scores_gemma":[0.0000013503812,0.00008727752,0.00011580868,0.0000036365823,0.00014303395,0.00005098569,0.000049259335,0.00011317737,0.00039302462],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000049178343,0.0000025704148,3.686224e-7,0.000110821646,0.000054737855,5.8392146e-7,0.010521876,1.7212065e-8,1.4899261e-7,0.49264875,0.49385652,0.0027986935],"study_design_scores_gemma":[0.000055762026,0.00007263066,6.3748735e-7,0.000048241825,0.000035063837,2.3574583e-7,0.00048146272,0.0000012413439,0.000010950092,0.01580009,0.9833862,0.000107446176],"about_ca_topic_score_codex":0.000025001504,"about_ca_topic_score_gemma":0.00048522148,"teacher_disagreement_score":0.48952973,"about_ca_system_score_codex":0.000010990836,"about_ca_system_score_gemma":0.000055401266,"threshold_uncertainty_score":0.99080324},"labels":[],"label_agreement":null},{"id":"W4241826707","doi":"10.1117/12.2581788","title":"Chair Introduction","year":2020,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Computer science","score_opus":0.03242619910144663,"score_gpt":0.19894994412670758,"score_spread":0.16652374502526096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241826707","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025885941,0.00010054724,0.000029359004,0.074951984,0.00059379,0.00004083882,0.000002649668,0.00017318765,0.8982217],"genre_scores_gemma":[0.97501254,0.000018381108,0.000014315891,0.0020226352,0.008170103,0.0000020268244,0.0000022692836,0.0000029326586,0.014754819],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998238,0.000002213768,0.00003959174,0.000053211617,0.000030171259,0.000051016148],"domain_scores_gemma":[0.9999327,0.0000022974998,0.000006461601,0.000029110488,0.000013980064,0.000015451538],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000011604408,0.000030280215,0.00003909788,0.0000066672087,0.00010574197,0.000021088581,0.000023023707,0.0000038733624,0.008945891],"category_scores_gemma":[0.0000022353374,0.00002096757,0.000015467429,0.0000077501645,0.000034578046,0.000083348714,0.000010566224,0.000025047982,0.0007768309],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010471428,0.0000061663154,0.000102199876,0.00001026473,0.000014472754,2.6142754e-7,0.051927615,0.0000021758067,0.000042156855,0.42146367,0.51580584,0.010614693],"study_design_scores_gemma":[0.000040051393,0.000042676358,0.000031715033,3.7799097e-7,0.000002649137,1.3529392e-7,0.0035851253,0.000033951877,0.00017678944,0.00017760697,0.9958746,0.000034339482],"about_ca_topic_score_codex":0.000019761772,"about_ca_topic_score_gemma":0.00008037927,"teacher_disagreement_score":0.9491266,"about_ca_system_score_codex":0.0000016389212,"about_ca_system_score_gemma":0.0000017888876,"threshold_uncertainty_score":0.99848485},"labels":[],"label_agreement":null},{"id":"W4241958333","doi":"10.1353/ctr.2011.0022","title":"Dear Citizens of Tennessee","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Honour; Interview; Racism; Sociology; Performance art; Work (physics); Media studies; Visual arts; History; Gender studies; Political science; Art; Law; Engineering; Art history; Anthropology","score_opus":0.05174755908202971,"score_gpt":0.22104415849019834,"score_spread":0.16929659940816863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241958333","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016770981,0.12959616,2.7642335e-7,0.0004178014,0.00022364657,0.00017871399,0.000083959305,0.000019689023,0.8678027],"genre_scores_gemma":[0.89732677,0.09587972,0.000037314592,0.0024189434,0.0003770593,0.000030008165,0.000013917089,0.000028134165,0.003888133],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993773,0.000022198952,0.0002040977,0.000101930535,0.000059530692,0.00023494511],"domain_scores_gemma":[0.99951065,0.000012934729,0.000050656352,0.00022176688,0.00006888091,0.00013512894],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011828997,0.000111107904,0.00028768627,0.000071824325,0.00014855448,0.000007784456,0.00014598493,0.000018604469,0.011295685],"category_scores_gemma":[0.0000051823063,0.0000817902,0.00010891521,0.00004306567,0.00015504337,0.000069772825,0.000011936457,0.00006044897,0.00033335714],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011521639,0.000054130396,0.004283988,0.007983045,0.0003378012,0.000051492032,0.043025337,5.2495803e-8,0.000006165022,0.3955648,0.19290467,0.355777],"study_design_scores_gemma":[0.000046060126,0.000037947786,0.00018238378,0.0012893267,0.00008126254,0.000004899154,0.000584056,2.863866e-7,0.000020724538,0.0007476178,0.99688745,0.00011796138],"about_ca_topic_score_codex":0.06006159,"about_ca_topic_score_gemma":0.3572395,"teacher_disagreement_score":0.8956497,"about_ca_system_score_codex":0.000022422939,"about_ca_system_score_gemma":0.00010928469,"threshold_uncertainty_score":0.9896081},"labels":[],"label_agreement":null},{"id":"W4242803381","doi":"10.1163/9789401205672_022","title":"Disappointing Expectations: Native Canadian Theatre and the Politics of Authenticity","year":2008,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Aesthetics; History; Political science; Art; Media studies; Sociology; Law","score_opus":0.025249874422056902,"score_gpt":0.21347604491935293,"score_spread":0.18822617049729604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242803381","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00061809714,0.0022327993,6.326412e-7,0.0006575074,0.00013934686,0.00016806556,0.00016041685,0.000014527233,0.99600863],"genre_scores_gemma":[0.37559032,0.00063956063,0.00000731812,0.00014536195,0.0003779385,0.000005570596,0.000011430971,0.000014971948,0.6232075],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942774,0.000009797079,0.00020563776,0.00010573508,0.0001034257,0.00014768893],"domain_scores_gemma":[0.9994875,0.00015716214,0.00009358822,0.00011983678,0.00010069748,0.000041204326],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000051422754,0.00015828291,0.00026016487,0.000097625634,0.00078599894,0.000032911765,0.00007783592,0.00004301447,0.0011453328],"category_scores_gemma":[0.0000065787535,0.000090228015,0.000090465895,0.0000041230505,0.0012881478,0.00005381898,0.00003185022,0.00013370354,0.000019903975],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003400433,0.0000016409981,0.000010174585,0.000018469103,0.00010175071,7.4677365e-7,0.15289314,7.0965534e-8,1.162503e-8,0.84244484,0.0037729624,0.0007527724],"study_design_scores_gemma":[0.00034400797,0.00003430644,0.000017001512,0.000123944,0.00012897089,0.000004895138,0.04461548,0.000022257535,0.000004646656,0.06024072,0.8942378,0.00022596675],"about_ca_topic_score_codex":0.05438924,"about_ca_topic_score_gemma":0.36923534,"teacher_disagreement_score":0.89046484,"about_ca_system_score_codex":0.000023922927,"about_ca_system_score_gemma":0.000079537516,"threshold_uncertainty_score":0.9997678},"labels":[],"label_agreement":null},{"id":"W4243038255","doi":"10.7202/041465ar","title":"Revue des revues de langue anglaise","year":2001,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Art","score_opus":0.03687495154323656,"score_gpt":0.2520781981132135,"score_spread":0.21520324656997697,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243038255","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23307574,0.024978781,0.000028709082,0.034575902,0.0026012375,0.00081436173,0.00077121356,0.0006964532,0.7024576],"genre_scores_gemma":[0.586972,0.037683696,0.0006047817,0.0008856546,0.007908778,0.00014953247,0.00012228976,0.00023521857,0.36543807],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9946184,0.00032294035,0.0012371549,0.0011088942,0.00040451877,0.0023080492],"domain_scores_gemma":[0.9969787,0.00040027767,0.0004491268,0.0011137496,0.00041703897,0.00064109184],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007317557,0.001267752,0.0013825765,0.00040152943,0.0020657405,0.0005505506,0.0010432262,0.0005337074,0.0028259163],"category_scores_gemma":[0.00017034428,0.001291031,0.00095703406,0.00040388733,0.0020198973,0.0015388768,0.00024521368,0.0010311948,0.0007182691],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006217415,0.0010719133,0.0075738938,0.004209015,0.0009016185,0.0018742222,0.09370611,0.00030353686,0.00024492163,0.7411891,0.11596425,0.032339677],"study_design_scores_gemma":[0.00040504322,0.0007266982,0.0032745504,0.00369231,0.0006745718,0.0011911951,0.004654637,0.00016355784,0.00015171374,0.0031026255,0.9804461,0.0015169845],"about_ca_topic_score_codex":0.0075079785,"about_ca_topic_score_gemma":0.2378786,"teacher_disagreement_score":0.86448187,"about_ca_system_score_codex":0.0005256942,"about_ca_system_score_gemma":0.00032670147,"threshold_uncertainty_score":0.9992334},"labels":[],"label_agreement":null},{"id":"W4243050918","doi":"10.3138/ctr.148.89","title":"Views and Reviews","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Performance art; Politics; Space (punctuation); Art; Art history; Performance studies; Visual arts; Sociology; Media studies; Anthropology; Computer science; Law; Political science","score_opus":0.10661405642252532,"score_gpt":0.25255229178699395,"score_spread":0.14593823536446865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243050918","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007772137,0.4936118,1.5866998e-7,0.0005249943,0.00013938131,0.0002558559,0.000014836651,0.000012990784,0.5053623],"genre_scores_gemma":[0.012154812,0.97058374,0.00005187283,0.0100849625,0.00040307586,0.0000797863,0.000008604621,0.000019809722,0.0066133384],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992559,0.00004971132,0.0002455589,0.00015067805,0.000042143463,0.00025600177],"domain_scores_gemma":[0.999462,0.00000915014,0.00005078206,0.00023519505,0.000025353118,0.00021749445],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027125308,0.0001512542,0.0003837012,0.000057620993,0.00026915644,0.000023534667,0.00011331472,0.000018364395,0.008057957],"category_scores_gemma":[0.000007275893,0.000102614045,0.00008965007,0.00003549722,0.0001376768,0.00012160207,0.000015502212,0.00008054674,0.0009709609],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000011203572,0.000006196458,0.000294701,0.0020008385,0.000026676911,0.000007364437,0.010134314,6.549407e-10,2.1096682e-7,0.031907666,0.20617773,0.7494432],"study_design_scores_gemma":[0.00003329095,0.000026184734,0.000067322675,0.0017683251,0.00007209349,0.000008695863,0.00016658472,1.2652731e-7,9.227248e-7,0.00037756283,0.9973388,0.00014009852],"about_ca_topic_score_codex":0.027688755,"about_ca_topic_score_gemma":0.46757898,"teacher_disagreement_score":0.79116106,"about_ca_system_score_codex":0.000024051531,"about_ca_system_score_gemma":0.000051078172,"threshold_uncertainty_score":0.9998069},"labels":[],"label_agreement":null},{"id":"W4243187950","doi":"10.1093/ww/9780199540884.013.u22704","title":"Keeffe, Barrie Colin, (born 31 Oct. 1945), dramatist","year":2007,"lang":"en","type":"reference-entry","venue":"Who's Who","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; History; Genealogy","score_opus":0.027089108897617016,"score_gpt":0.25299395163610117,"score_spread":0.22590484273848416,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243187950","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012679441,0.014552434,0.000008513427,0.00024178927,0.0050985483,0.00046151242,0.0016811651,0.000213115,0.976475],"genre_scores_gemma":[0.006230564,0.052941475,0.000026536922,0.0011082134,0.01341511,0.00007329064,0.0008068185,0.00011884649,0.92527914],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973085,0.00005397664,0.0006737462,0.0005524488,0.00056525564,0.000846058],"domain_scores_gemma":[0.9984292,0.00018556476,0.000307276,0.0006111236,0.00028404716,0.0001828003],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027266322,0.0007153586,0.0011349907,0.00030014638,0.0011232898,0.00052720145,0.0005239508,0.00040238825,0.008669468],"category_scores_gemma":[0.000032915497,0.0005790539,0.00032898094,0.000083752384,0.000607449,0.00025841704,0.00021027563,0.0009354814,0.0016163244],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004490923,0.00004433349,0.00013095107,0.0006609725,0.00027203915,0.000029448343,0.01052664,4.2827256e-7,7.003491e-8,0.015170421,0.9260807,0.047039095],"study_design_scores_gemma":[0.00041699893,0.00015577636,0.00030744015,0.0012376189,0.00019193268,0.0000053309313,0.001403645,0.0000074764516,0.000008412798,0.0008046791,0.9947246,0.0007361103],"about_ca_topic_score_codex":0.0009288702,"about_ca_topic_score_gemma":0.00908147,"teacher_disagreement_score":0.06864388,"about_ca_system_score_codex":0.00012627727,"about_ca_system_score_gemma":0.00024884622,"threshold_uncertainty_score":0.9996661},"labels":[],"label_agreement":null},{"id":"W4243221695","doi":"10.1353/ctr.2011.0032","title":"Going to the Centre: Performance Works and Other Thoughts","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Visual arts; Performance practice; Aesthetics; Art; Sociology; Art history","score_opus":0.041567782936485435,"score_gpt":0.2167117188004028,"score_spread":0.17514393586391735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243221695","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0070370883,0.29235062,9.983945e-7,0.007265758,0.0005497287,0.00063521235,0.000029650186,0.000043176417,0.69208777],"genre_scores_gemma":[0.7730219,0.16651769,0.00011412182,0.04081753,0.0022655453,0.00008785185,0.000005376866,0.00006788543,0.017102128],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999285,0.000033853834,0.00015209347,0.00015074587,0.00006593089,0.00031240334],"domain_scores_gemma":[0.9994794,0.000018823112,0.00003009252,0.00025484036,0.000027323667,0.00018953168],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019298727,0.00014595067,0.00019812207,0.000047367263,0.0005956443,0.000056857552,0.00017518578,0.000019377285,0.0015703959],"category_scores_gemma":[0.000004163402,0.000083577805,0.00005078015,0.000048588834,0.000106884785,0.00011781302,0.000026258183,0.00010150302,0.000830128],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006556147,0.0000075670105,0.002872197,0.00090004277,0.0000652632,0.0000048987968,0.07115637,2.1257505e-7,1.8765414e-7,0.009563013,0.09111484,0.8243089],"study_design_scores_gemma":[0.00003603913,0.00002156652,0.00020477427,0.0020096411,0.000047619324,0.0000046139735,0.0005726362,0.0000028408774,0.0000031780344,0.000083490784,0.99688077,0.00013281274],"about_ca_topic_score_codex":0.010355805,"about_ca_topic_score_gemma":0.5096081,"teacher_disagreement_score":0.90576595,"about_ca_system_score_codex":0.0000315893,"about_ca_system_score_gemma":0.000051897438,"threshold_uncertainty_score":0.99994785},"labels":[],"label_agreement":null},{"id":"W4243257358","doi":"10.3998/mpub.10151718","title":"Everyone’s Theater","year":2019,"lang":"en","type":"book","venue":"University of Michigan Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Drama; Art; Visual arts; History; Media studies; Literature; Sociology; Archaeology","score_opus":0.0234496024827286,"score_gpt":0.16553448984301863,"score_spread":0.14208488736029004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243257358","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007841218,0.0004845438,0.0000018266686,0.000009949596,0.0004765313,0.00019932442,0.00030372816,0.000052364925,0.99768764],"genre_scores_gemma":[0.0033031513,0.00010757719,0.00000875008,0.00005022454,0.00032906825,1.1337428e-7,0.000040050556,0.000023712997,0.9961374],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932337,0.000017743743,0.000119468394,0.0002080972,0.00015425653,0.00017703991],"domain_scores_gemma":[0.9993883,0.000033220957,0.00014912234,0.0003091712,0.00008789093,0.000032304],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000042641528,0.00021730865,0.00038190014,0.00008975687,0.00020960852,0.000021175489,0.0003354507,0.00011617534,0.0008276998],"category_scores_gemma":[5.197026e-7,0.00021170703,0.000191724,0.0000011746806,0.00043242093,0.000064470725,0.00018763395,0.00022080421,0.0001709798],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022942275,0.000032550484,0.0000086349855,0.00068990176,0.00085078174,0.000022148508,0.27328992,0.0000028226061,0.000019575265,0.30339825,0.41969153,0.0017644416],"study_design_scores_gemma":[0.00030687437,0.00007431485,0.000003578862,0.00020035071,0.00017293762,8.345778e-7,0.0016809233,0.0000020194318,0.00004611453,0.0005277366,0.9967422,0.00024214905],"about_ca_topic_score_codex":0.0004395811,"about_ca_topic_score_gemma":0.0028892923,"teacher_disagreement_score":0.5770506,"about_ca_system_score_codex":0.000020537349,"about_ca_system_score_gemma":0.00008552613,"threshold_uncertainty_score":0.9062732},"labels":[],"label_agreement":null},{"id":"W4243262468","doi":"10.3138/9781442620926-fm","title":"Frontmatter","year":2003,"lang":"en","type":"book-chapter","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto; University of Guelph","funders":"","keywords":"Computer science","score_opus":0.02960271239396293,"score_gpt":0.21077736444072384,"score_spread":0.18117465204676092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243262468","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000040292252,0.0019021028,0.00002160878,0.00059810514,0.00088368705,0.00010995676,0.000085068634,0.00007797815,0.9962812],"genre_scores_gemma":[0.003562483,0.000064838285,0.000014830641,0.00221937,0.0013689334,0.000008616234,0.000031187647,0.00006671419,0.992663],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992154,0.0000042952415,0.00018794845,0.00022603877,0.00015732012,0.00020897383],"domain_scores_gemma":[0.9995468,0.000013300159,0.00007402861,0.00027562765,0.00005454537,0.000035672587],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003766523,0.00028531835,0.0003105017,0.00006636026,0.00026627615,0.00011671861,0.00012128897,0.00010704854,0.050453935],"category_scores_gemma":[8.3045734e-7,0.00023247057,0.00015387007,0.0000013456716,0.00017822912,0.00008761817,0.00004157565,0.000235582,0.007900745],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000074765926,0.000007322339,0.0000034089537,0.00003833514,0.00012175284,0.000008194822,0.011283223,9.0685865e-7,4.47812e-7,0.32599935,0.6497378,0.012791824],"study_design_scores_gemma":[0.00010557739,0.000030629944,9.537683e-7,0.00005772596,0.000053145566,0.0000019328072,0.00006322655,0.000010027023,0.0000020729005,0.07503302,0.92435795,0.0002837366],"about_ca_topic_score_codex":0.0000240671,"about_ca_topic_score_gemma":0.00044499137,"teacher_disagreement_score":0.2746202,"about_ca_system_score_codex":0.000027563538,"about_ca_system_score_gemma":0.000012557725,"threshold_uncertainty_score":0.9928717},"labels":[],"label_agreement":null},{"id":"W4243357399","doi":"10.7202/201511ar","title":"Abstracts","year":2000,"lang":"fr","type":"article","venue":"Voix et Images","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.018241817426223307,"score_gpt":0.2506532787878348,"score_spread":0.23241146136161148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243357399","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0999127,0.027143596,6.815134e-7,0.030389981,0.001263682,0.00009219971,0.0013442672,0.00008446858,0.8397684],"genre_scores_gemma":[0.23990068,0.016461229,0.000054088214,0.0008401259,0.0017773305,0.0000068730933,0.000012130802,0.000021704469,0.74092585],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990622,0.00003740893,0.00022580348,0.00017728751,0.00012785017,0.00036945296],"domain_scores_gemma":[0.99959904,0.0000711894,0.00004109888,0.00018304597,0.000044781693,0.000060853257],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015613933,0.00019862218,0.00018432186,0.000042332522,0.00050400296,0.0002682611,0.0001150945,0.000053814812,0.04592036],"category_scores_gemma":[0.0000058082246,0.00017464839,0.000103560466,0.000027296497,0.00047973922,0.00051847607,0.00002392357,0.00021130434,0.009737203],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035263976,0.00018967166,0.00015090009,0.00015796695,0.00012357137,0.00004452223,0.028321398,0.00007282714,0.000022840368,0.022780929,0.5693442,0.3787559],"study_design_scores_gemma":[0.00019682756,0.000099703655,0.0047579804,0.00011342826,0.000051760882,0.0000118303415,0.0010976135,0.000005238241,0.00027710933,0.0012093231,0.9919489,0.00023030423],"about_ca_topic_score_codex":0.002846251,"about_ca_topic_score_gemma":0.00082813756,"teacher_disagreement_score":0.42260468,"about_ca_system_score_codex":0.000016374333,"about_ca_system_score_gemma":0.000028907783,"threshold_uncertainty_score":0.99103385},"labels":[],"label_agreement":null},{"id":"W4243479697","doi":"10.1353/ctr.2010.0008","title":"\"Yes to Everything\"—A Conversation about Theatre and Ecology: with Daniel Brooks, Marie Clements, Kendra Fanconi, and Karen Hines","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Performance art; Art history; Art; Sociology; Visual arts; Communication","score_opus":0.011276892972524141,"score_gpt":0.21774281161837428,"score_spread":0.20646591864585012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243479697","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31515276,0.27167374,0.0000034167513,0.0577596,0.0022520854,0.0039733755,0.000993304,0.00023491324,0.3479568],"genre_scores_gemma":[0.9310742,0.05285303,0.00013007996,0.011280636,0.0007216087,0.00012041146,0.00007550182,0.00005212537,0.0036923976],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989825,0.000037451522,0.0002264017,0.0002895164,0.000097373486,0.00036679488],"domain_scores_gemma":[0.99922603,0.000074528245,0.0000655504,0.00025086844,0.0000785852,0.00030445805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002105202,0.00024683672,0.0003960404,0.00011423718,0.0005446104,0.00016342582,0.00012712483,0.0000513685,0.0008876762],"category_scores_gemma":[0.000013268045,0.0001747103,0.00003952459,0.00005066659,0.0002816107,0.00024043043,0.000045064404,0.0001953695,0.000052348332],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005102624,0.000032364947,0.07922746,0.004152854,0.00045918816,0.000045407607,0.04058936,8.096045e-7,0.000020769037,0.030641327,0.09414088,0.75063854],"study_design_scores_gemma":[0.00022904339,0.00012393197,0.0032250518,0.00078226853,0.0001438727,0.000019457815,0.0013535025,0.0000030234003,0.000004131,0.00028890473,0.99356705,0.00025978818],"about_ca_topic_score_codex":0.0293405,"about_ca_topic_score_gemma":0.7701591,"teacher_disagreement_score":0.89942616,"about_ca_system_score_codex":0.000041665404,"about_ca_system_score_gemma":0.00017111625,"threshold_uncertainty_score":0.9771232},"labels":[],"label_agreement":null},{"id":"W4243569413","doi":"10.1353/ctr.2011.0010","title":"Processing Memory in 300 TAPES and relay","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Forgetting; Memory work; Choreography; Perspective (graphical); Process (computing); Psychology; Dance; Active listening; Cognitive science; Embodied cognition; Visual arts; Cognitive psychology; Communication; Computer science; Art; Linguistics","score_opus":0.04295052477192793,"score_gpt":0.2265712945672034,"score_spread":0.18362076979527547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243569413","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047354135,0.40894154,8.003032e-8,0.0007720149,0.00009470122,0.00019051963,0.00001198479,0.00001799245,0.5852358],"genre_scores_gemma":[0.8359864,0.15576795,0.00004498013,0.004177695,0.00031826648,0.000055516248,0.000006643489,0.000028233464,0.003614363],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938023,0.000025782658,0.00017152421,0.00013535813,0.000044723478,0.00024238926],"domain_scores_gemma":[0.9997,0.000009700965,0.00003212893,0.0001147834,0.000023098393,0.00012030627],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016357965,0.00011615456,0.00023479614,0.00009138034,0.00020091605,0.000026165364,0.00008258612,0.00002109422,0.0016313938],"category_scores_gemma":[0.0000046293303,0.000087326334,0.000033757573,0.000045178236,0.00012576401,0.00015981446,0.000012411921,0.000094990755,0.000080026744],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003904074,0.000010896818,0.0016710076,0.0026566146,0.00001961326,0.000032802196,0.03279957,5.5698937e-8,3.523963e-7,0.0064261495,0.009081041,0.947298],"study_design_scores_gemma":[0.0000712925,0.000028546194,0.00054842775,0.0028641676,0.000038529648,0.000009342909,0.0015050196,0.00000212975,0.0000022583533,0.0003140818,0.9944585,0.00015772479],"about_ca_topic_score_codex":0.05048798,"about_ca_topic_score_gemma":0.6411898,"teacher_disagreement_score":0.98537743,"about_ca_system_score_codex":0.00003532592,"about_ca_system_score_gemma":0.000108802815,"threshold_uncertainty_score":0.9992812},"labels":[],"label_agreement":null},{"id":"W4243615270","doi":"10.18733/cpi29377","title":"Breaking Silence","year":2018,"lang":"en","type":"article","venue":"Cultural and Pedagogical Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Silence; Psychology; Art; Aesthetics","score_opus":0.6557217395470339,"score_gpt":0.44160662030542186,"score_spread":0.21411511924161208,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243615270","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84859926,0.0007182844,0.0000033634542,0.00043319134,0.00067359576,0.00003868779,0.000005182811,0.000065285596,0.14946315],"genre_scores_gemma":[0.9826876,0.00018400882,0.000016438835,0.0006010718,0.005246555,0.000004605229,0.0000038837898,0.0000035451746,0.011252297],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949527,0.000011780266,0.00010101088,0.0001428604,0.00007563754,0.00017343112],"domain_scores_gemma":[0.9997715,0.000021735357,0.000023254714,0.000059786427,0.000076177486,0.00004754429],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004609303,0.00010082596,0.00010941194,0.000013236608,0.00060476357,0.000121248115,0.00006569087,0.000026095724,0.0026006508],"category_scores_gemma":[0.0000074531595,0.000055014498,0.00003383693,0.000016196314,0.0010769422,0.00024157987,0.00006041097,0.00007397105,0.00026208488],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006535264,0.000043194872,0.0018155306,0.000043583987,0.00004237374,0.0000064914107,0.66615176,1.6533804e-7,0.00048926164,0.2198836,0.037823614,0.07363507],"study_design_scores_gemma":[0.000117642674,0.00019279576,0.00199749,0.000028111208,0.000012856612,0.000010636908,0.05211764,0.000011664146,0.000105163046,0.001190787,0.9440506,0.00016460291],"about_ca_topic_score_codex":0.0000677623,"about_ca_topic_score_gemma":0.000110428344,"teacher_disagreement_score":0.906227,"about_ca_system_score_codex":0.000003706899,"about_ca_system_score_gemma":0.0000032562436,"threshold_uncertainty_score":0.9983111},"labels":[],"label_agreement":null},{"id":"W4243763875","doi":"10.32920/ryerson.14660658.v1","title":"Canadian immigrant community-based theatre","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Empowerment; Inclusion (mineral); Narrative; Immigration; Public relations; Community integration; Sociology; Gender studies; Pedagogy; Political science; Medicine","score_opus":0.03908460279604181,"score_gpt":0.2317461064203174,"score_spread":0.1926615036242756,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243763875","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17191209,0.00081333006,0.000004053686,0.003765816,0.0015993537,0.0001870857,0.00033875022,0.00012486908,0.8212547],"genre_scores_gemma":[0.98470736,0.00008611329,0.00005052754,0.003179487,0.00059748703,0.00003936333,0.0006621756,0.000026151436,0.010651332],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906456,0.00012262096,0.00019998974,0.00016817855,0.00012078309,0.00032386096],"domain_scores_gemma":[0.9990347,0.000060101767,0.000044626388,0.00061737164,0.00012575112,0.00011746825],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000187676,0.00026201858,0.00033095322,0.00015366336,0.0012182002,0.00040584317,0.00033264933,0.00010450431,0.0074350424],"category_scores_gemma":[0.0000018523575,0.00020519068,0.00020358761,0.000017526769,0.00015398006,0.000053389962,0.00021096336,0.0009908015,0.0001237859],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049811188,0.00039955034,0.004053206,0.002341829,0.0012568529,0.000120045224,0.7511945,0.00062495045,0.000009568939,0.05032054,0.16004932,0.02957986],"study_design_scores_gemma":[0.00015429193,0.00003943529,0.00014122424,0.00022866906,0.000074400785,8.9323066e-7,0.05643033,0.00008003657,0.000058572565,0.0010214167,0.9413448,0.00042596017],"about_ca_topic_score_codex":0.9370237,"about_ca_topic_score_gemma":0.9964515,"teacher_disagreement_score":0.8127953,"about_ca_system_score_codex":0.00011322528,"about_ca_system_score_gemma":0.00057809544,"threshold_uncertainty_score":0.9934723},"labels":[],"label_agreement":null},{"id":"W4243904363","doi":"10.1353/ctr.2011.0012","title":"Memory's Borderlands: Onelight Theatre's Return Ticket : Halifax-Abadan-Halifax","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Foregrounding; Context (archaeology); Ticket; Studio; Diaspora; Performance art; Media studies; Art; Visual arts; History; Sociology; Art history; Gender studies; Literature; Archaeology","score_opus":0.03792017601945722,"score_gpt":0.2312550090536163,"score_spread":0.19333483303415908,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243904363","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00076371,0.20108269,8.296733e-7,0.003340967,0.0009109765,0.00058903894,0.00040763256,0.00011918634,0.792785],"genre_scores_gemma":[0.6388445,0.30036065,0.00012844296,0.023381487,0.00523706,0.00032647554,0.00037993924,0.0002595934,0.031081885],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977555,0.00013223241,0.00056497706,0.00044225153,0.00024308151,0.0008619101],"domain_scores_gemma":[0.9983363,0.0000512533,0.00014043743,0.0007851491,0.0001385649,0.000548278],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00042386787,0.00047775626,0.000783549,0.00020609594,0.0007657302,0.000097063006,0.00050696195,0.000089335874,0.015002623],"category_scores_gemma":[0.000014145993,0.00035118795,0.0003261604,0.00015878996,0.0003104005,0.00029656867,0.000049081038,0.0003041604,0.0019087011],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025668074,0.000079520956,0.0008521626,0.002631178,0.0004304925,0.00017324452,0.03555392,1.1662574e-7,0.0000023872974,0.013830345,0.62269354,0.3237274],"study_design_scores_gemma":[0.00019934047,0.00010356854,0.00006795727,0.002019006,0.0002863858,0.000037439564,0.0018551431,0.0000019284666,0.000036395577,0.00070090994,0.9941891,0.0005028512],"about_ca_topic_score_codex":0.15926777,"about_ca_topic_score_gemma":0.70253456,"teacher_disagreement_score":0.7617031,"about_ca_system_score_codex":0.00014078764,"about_ca_system_score_gemma":0.00036634444,"threshold_uncertainty_score":0.999894},"labels":[],"label_agreement":null},{"id":"W4244001285","doi":"10.1353/ctr.2011.0034","title":"An Excerpt from \"Scoring the Body Through Kuna Aesthetic Principles: Indigenous Dramatic Arts in Theory, Process, and Practice\"","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; The arts; Process (computing); Aesthetics; Sociology; Visual arts; Art; Psychology; Computer science; Ecology; Biology","score_opus":0.05643588769362865,"score_gpt":0.2848370933302214,"score_spread":0.22840120563659275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244001285","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1010628,0.42798796,0.0000045213615,0.0026995633,0.0003683587,0.0019000776,0.00008997684,0.00008244995,0.46580428],"genre_scores_gemma":[0.9269653,0.06843747,0.000050010676,0.0038915158,0.00024261906,0.00015104565,0.000017713006,0.00004037934,0.00020397702],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985597,0.0002303207,0.0003616462,0.00028112537,0.0001282979,0.00043888783],"domain_scores_gemma":[0.9990403,0.00012790071,0.00013554675,0.00048445197,0.00005643165,0.00015536221],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068849465,0.0002478419,0.00039176957,0.00006625984,0.00058723806,0.00011869574,0.0003156074,0.00004106471,0.00078250613],"category_scores_gemma":[0.0000367872,0.00015642105,0.00005653644,0.00008090364,0.0002917479,0.00059127365,0.000024555107,0.000225813,0.000092362185],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033099866,0.0001122521,0.001806646,0.0016729974,0.00011863145,0.000095335694,0.6843314,0.0000010932179,6.575271e-7,0.08237464,0.00037306137,0.22908017],"study_design_scores_gemma":[0.00020204506,0.0001816198,0.00080621283,0.0041998783,0.0003261776,0.00008375232,0.033477336,0.0000072620373,0.000004648759,0.02287788,0.9373841,0.00044905735],"about_ca_topic_score_codex":0.09372309,"about_ca_topic_score_gemma":0.39172572,"teacher_disagreement_score":0.93701106,"about_ca_system_score_codex":0.00007278891,"about_ca_system_score_gemma":0.0002584084,"threshold_uncertainty_score":0.9123119},"labels":[],"label_agreement":null},{"id":"W4244275369","doi":"10.7202/1068260ar","title":"Majdi Bou-Matar’s Impact","year":2020,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Waterloo","funders":"","keywords":"Social impact; Sociology; Media studies; Event (particle physics); Visual arts; Art","score_opus":0.1516250864690718,"score_gpt":0.33987236654419495,"score_spread":0.18824728007512315,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244275369","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24669261,0.0013312703,2.2692299e-7,0.01454792,0.00022202618,0.00023465385,0.00023390015,0.00003182644,0.73670554],"genre_scores_gemma":[0.9982349,0.0001866557,0.0000031700733,0.00046491047,0.00081535545,0.00001687705,0.00001198162,0.000017190223,0.00024893487],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983373,0.000105293664,0.00017690516,0.00019333324,0.00053775014,0.00064937014],"domain_scores_gemma":[0.9993682,0.00017025662,0.000016588012,0.0001853268,0.000055087618,0.00020456704],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032159506,0.00012513089,0.00020422002,0.000084390864,0.0003074174,0.00008265161,0.00028325873,0.000016455926,0.0040573534],"category_scores_gemma":[0.0000049699324,0.000091579765,0.000043401076,0.00013962986,0.0001687942,0.00014217329,0.00011143042,0.0004144408,0.00014788206],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003448416,0.000050463008,0.028757535,0.00026777483,0.00015584525,0.00035704876,0.037661035,0.00015140176,0.000058329722,0.005529846,0.71685994,0.20980594],"study_design_scores_gemma":[0.00027089717,0.00015445972,0.00056347466,0.000039762217,0.0000033058473,0.0000018629784,0.013756555,0.000223904,0.00006375733,0.00079484825,0.98396873,0.00015843193],"about_ca_topic_score_codex":0.9856394,"about_ca_topic_score_gemma":0.99626386,"teacher_disagreement_score":0.7515423,"about_ca_system_score_codex":0.00049043726,"about_ca_system_score_gemma":0.0015478606,"threshold_uncertainty_score":0.99685305},"labels":[],"label_agreement":null},{"id":"W4244456683","doi":"10.5406/illinois/9780252040566.003.0011","title":"A Theater of Actresses","year":2017,"lang":"en","type":"book","venue":"University of Illinois Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Superstar; Mandarin Chinese; Opera; Art; Visual arts; Period (music); History; Art history; Aesthetics; Linguistics; Philosophy","score_opus":0.04040164978817403,"score_gpt":0.20033012443176373,"score_spread":0.1599284746435897,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244456683","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005674672,0.0005210595,0.0000016079475,0.000012044192,0.00021659328,0.00013238372,0.00046357245,0.000023704695,0.99806154],"genre_scores_gemma":[0.014536021,0.0003826055,0.000012984705,0.000008213697,0.00026445603,1.5675225e-7,0.000020745814,0.000014942228,0.98475987],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999396,0.000014000008,0.0001371426,0.00015846577,0.00015810173,0.00013624164],"domain_scores_gemma":[0.9989694,0.000040922405,0.00036620194,0.00041062152,0.00018445794,0.00002843664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000046578363,0.00018461182,0.00045187765,0.00008741445,0.00033138544,0.000020956593,0.0004668878,0.00010943421,0.00053553516],"category_scores_gemma":[0.0000021257006,0.00016857883,0.00020606018,7.05874e-7,0.0010600988,0.00007899208,0.00019568123,0.0001494238,0.000013126781],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005081056,0.00010412202,0.0000380914,0.0020284825,0.0018336797,0.000050770323,0.21657729,0.0000046146074,0.000037514983,0.30772194,0.4423673,0.028728094],"study_design_scores_gemma":[0.00023946479,0.0000834827,0.000008398587,0.00036843884,0.00020490137,3.848776e-7,0.00051181327,0.0000012103299,0.00034843257,0.00078750623,0.99727416,0.0001717998],"about_ca_topic_score_codex":0.0016247475,"about_ca_topic_score_gemma":0.0017278705,"teacher_disagreement_score":0.5549069,"about_ca_system_score_codex":0.000017669907,"about_ca_system_score_gemma":0.00008669182,"threshold_uncertainty_score":0.6874445},"labels":[],"label_agreement":null},{"id":"W4244464497","doi":"10.1353/ctr.2011.0008","title":"Undressing","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Clothing; Aesthetics; Visual arts; Art; Sociology; Literature; Law; Political science","score_opus":0.07823025414828767,"score_gpt":0.2408980993077281,"score_spread":0.16266784515944044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244464497","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021451774,0.17060961,3.2992918e-7,0.00065926474,0.00029064933,0.00011574181,0.000020030882,0.000029724208,0.82806015],"genre_scores_gemma":[0.7821328,0.17824478,0.0000988498,0.019490879,0.0016306975,0.000068537345,0.00002884817,0.00006691298,0.018237665],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994311,0.000020771062,0.00013709062,0.00010511642,0.00004984965,0.00025611586],"domain_scores_gemma":[0.99958843,0.000007750707,0.000028351173,0.00018647788,0.000032122432,0.00015685236],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010228589,0.000103707396,0.0001867716,0.000057795583,0.0003202756,0.00002604859,0.00012375836,0.000014727333,0.012162166],"category_scores_gemma":[0.000003123027,0.00007751955,0.000075400996,0.000032147444,0.00011021071,0.000114625596,0.000009925074,0.00006877603,0.001003948],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002200155,0.000013210133,0.00054804457,0.001436106,0.00007807827,0.000033972825,0.01977145,1.7550784e-8,4.3319594e-7,0.13196672,0.1469985,0.6991513],"study_design_scores_gemma":[0.00002789354,0.000015271344,0.00006206798,0.0012031366,0.00004768907,0.000005220187,0.00037668055,2.7769127e-7,0.0000031115,0.0005985141,0.99754596,0.00011415088],"about_ca_topic_score_codex":0.06595086,"about_ca_topic_score_gemma":0.4781471,"teacher_disagreement_score":0.8505475,"about_ca_system_score_codex":0.00003752755,"about_ca_system_score_gemma":0.00010311275,"threshold_uncertainty_score":0.99977386},"labels":[],"label_agreement":null},{"id":"W4244475666","doi":"10.3138/md.43.1.66","title":"The Politics of Catastrophe: Confrontation or Confirmation in Howard Barker's Theatre","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cult; Manifesto; Politics; Face (sociological concept); History; Performance art; Sociology; Literature; Media studies; Art; Art history; Law; Political science","score_opus":0.020470477102053027,"score_gpt":0.23399796913174478,"score_spread":0.21352749202969176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244475666","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8184193,0.00072881556,0.000044112407,0.0009639315,0.00020664239,0.00021383434,0.00008575273,0.000031729596,0.17930593],"genre_scores_gemma":[0.9881207,0.00018305819,0.000013925004,0.000084872736,0.00017979048,0.000013153421,0.00001975773,0.0000076549,0.011377104],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942875,0.000028532186,0.00019987542,0.00007467705,0.00010739774,0.00016079262],"domain_scores_gemma":[0.99971306,0.00005776033,0.000041842308,0.00012794323,0.00004287549,0.000016488983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000079554666,0.000081383354,0.00011426034,0.000027386217,0.00027076888,0.00006305407,0.00008756734,0.000020160325,0.0009059098],"category_scores_gemma":[0.0000031794268,0.00004840853,0.00003056452,0.00001706676,0.00017287133,0.00013651275,0.000009479197,0.00006363467,0.00004412212],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005674072,0.00013211026,0.001539846,0.00011130461,0.000114675386,0.0000057501748,0.32928085,0.0008119407,0.000066119996,0.14172827,0.008172499,0.5174692],"study_design_scores_gemma":[0.0016038761,0.00034022884,0.005220743,0.00011503755,0.00005848543,0.0000059669437,0.026501412,0.011295182,0.0004964193,0.022518573,0.9315031,0.00034095632],"about_ca_topic_score_codex":0.00093756005,"about_ca_topic_score_gemma":0.0048054275,"teacher_disagreement_score":0.9233306,"about_ca_system_score_codex":0.000021764083,"about_ca_system_score_gemma":0.000028218967,"threshold_uncertainty_score":0.99190766},"labels":[],"label_agreement":null},{"id":"W4244872922","doi":"10.3138/md.54.3.333","title":"Toward a Definition of Post-Brechtian Performance: The Example of <i>In the Jungle of the Cities</i> at the Berliner Ensemble, 1971<sup>1</sup>","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jungle; Meaning (existential); Divergence (linguistics); Term (time); Order (exchange); Epistemology; Sociology; History; Art history; Philosophy; Linguistics; Archaeology","score_opus":0.0728321891268789,"score_gpt":0.21799327086890574,"score_spread":0.14516108174202685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244872922","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89729106,0.000548652,0.000008138771,0.00079437287,0.0001325146,0.00032663476,0.00010514904,0.000010783742,0.10078272],"genre_scores_gemma":[0.9975605,0.00016509477,0.000014868408,0.00059154676,0.00013632013,0.000036108133,0.0000135143755,0.000017390408,0.0014646461],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987115,0.00013441672,0.00041411526,0.0001464228,0.00033783057,0.0002557023],"domain_scores_gemma":[0.99881613,0.0001989533,0.00021467898,0.00059446413,0.00016241561,0.000013348123],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050125056,0.00017954089,0.00025773188,0.00004664708,0.000478292,0.000025092944,0.0005726661,0.00005010136,0.00044755678],"category_scores_gemma":[0.000014581778,0.00007197073,0.00018313053,0.00008351421,0.0008256346,0.00013990869,0.00017849723,0.00020789886,0.000017968017],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020317317,0.00017482012,0.0051333588,0.00019277853,0.000111436784,6.612296e-7,0.9396469,0.00015540137,0.00023725987,0.044086214,0.0031242229,0.006933788],"study_design_scores_gemma":[0.005411109,0.0031716595,0.080342725,0.0012858602,0.0012914448,0.0000853313,0.5137294,0.009569216,0.039057918,0.082741,0.26156515,0.0017491839],"about_ca_topic_score_codex":0.0044143936,"about_ca_topic_score_gemma":0.004501812,"teacher_disagreement_score":0.4259175,"about_ca_system_score_codex":0.000016970416,"about_ca_system_score_gemma":0.00004172566,"threshold_uncertainty_score":0.6673272},"labels":[],"label_agreement":null},{"id":"W4244974729","doi":"10.32920/ryerson.14654940","title":"The Accommodating Showman","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Temporality; Underpinning; Pavilion; Reuse; Adaptability; Plan (archaeology); Computer science; Architectural engineering; Aesthetics; History; Epistemology; Engineering; Art; Management; Philosophy; Archaeology; Civil engineering","score_opus":0.05344431002101336,"score_gpt":0.2551386726706359,"score_spread":0.20169436264962254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244974729","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048949715,0.0020807653,0.000006910114,0.0025347404,0.0024648483,0.00010029386,0.000011724668,0.0000975519,0.9437534],"genre_scores_gemma":[0.93929493,0.00067314925,0.00004169048,0.00037985845,0.002135681,0.00003883645,0.00003392999,0.000014259887,0.057387654],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993939,0.000022642014,0.00016012615,0.00014894546,0.00010596914,0.00016844836],"domain_scores_gemma":[0.9994287,0.00009025776,0.000056295714,0.0003310605,0.00007822901,0.000015452708],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001287048,0.00013477115,0.00014895262,0.000015177316,0.0011234429,0.00090113044,0.00024269987,0.00003557465,0.0021899291],"category_scores_gemma":[0.000008782739,0.00007294464,0.00010968407,0.0000061440096,0.00014511259,0.00006152541,0.00076418655,0.00032613106,0.000054875647],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010534596,0.00004340383,0.0006042261,0.00020112937,0.00054016785,0.000006707002,0.17427473,0.000037910482,0.000004072297,0.53931934,0.13320176,0.15175602],"study_design_scores_gemma":[0.00003742395,0.000008566533,0.00010838432,0.00006443936,0.000026203676,5.184466e-7,0.043787602,0.00009098487,0.000032353662,0.002586142,0.9530883,0.00016909857],"about_ca_topic_score_codex":0.00050375547,"about_ca_topic_score_gemma":0.016091546,"teacher_disagreement_score":0.8903452,"about_ca_system_score_codex":0.0000114400145,"about_ca_system_score_gemma":0.000034413428,"threshold_uncertainty_score":0.9987222},"labels":[],"label_agreement":null},{"id":"W4245117186","doi":"10.3138/md.48.2.238","title":"Book Reviews","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rewriting; Politics; Performance art; Art history; Art; History; Visual arts; Political science; Computer science; Law","score_opus":0.027007985882046413,"score_gpt":0.2306286524360073,"score_spread":0.20362066655396088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245117186","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007633191,0.07258524,0.00008119822,0.00097371306,0.00035060605,0.00014271785,0.000010156888,0.00010141735,0.91812176],"genre_scores_gemma":[0.49405724,0.0012895437,0.00003682432,0.0034120698,0.0026119582,0.000038114573,0.000015070432,0.000019016625,0.49852017],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995513,0.000010296102,0.00013473789,0.00009475424,0.000062323496,0.00014657996],"domain_scores_gemma":[0.9998024,0.00000788497,0.000030374209,0.00012699302,0.000019265188,0.00001308185],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000052202387,0.000084663356,0.0001311426,0.000022982773,0.00023860931,0.00006843567,0.000065385415,0.000013518914,0.002882377],"category_scores_gemma":[0.000001421207,0.000061258856,0.000060845454,0.000007789548,0.00007491188,0.00014535029,0.000019971962,0.000049209997,0.0009289158],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005128369,0.000029529956,0.0001313866,0.000026898611,0.000007938511,0.0000016825119,0.008432227,0.00000539697,0.000023737359,0.039766215,0.9285173,0.023052555],"study_design_scores_gemma":[0.0000837404,0.000016861119,0.000079988145,0.000015530739,0.000009038577,6.1972867e-7,0.00006870212,0.000092655486,0.000036362235,0.0050702426,0.99443567,0.000090581954],"about_ca_topic_score_codex":0.00019083341,"about_ca_topic_score_gemma":0.0006791345,"teacher_disagreement_score":0.48642406,"about_ca_system_score_codex":0.000008780157,"about_ca_system_score_gemma":0.0000042031375,"threshold_uncertainty_score":0.99984896},"labels":[],"label_agreement":null},{"id":"W4245192562","doi":"10.3138/ctr.146.87","title":"Views and Reviews","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"State Key Laboratory of Reliability and Intelligence of Electrical Equipment","keywords":"Indie film; Performance art; Art history; Art; Visual arts; Media studies; Space (punctuation); Sociology","score_opus":0.10661405642252532,"score_gpt":0.25255229178699395,"score_spread":0.14593823536446865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245192562","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007772137,0.4936118,1.5866998e-7,0.0005249943,0.00013938131,0.0002558559,0.000014836651,0.000012990784,0.5053623],"genre_scores_gemma":[0.012154812,0.97058374,0.00005187283,0.0100849625,0.00040307586,0.0000797863,0.000008604621,0.000019809722,0.0066133384],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992559,0.00004971132,0.0002455589,0.00015067805,0.000042143463,0.00025600177],"domain_scores_gemma":[0.999462,0.00000915014,0.00005078206,0.00023519505,0.000025353118,0.00021749445],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027125308,0.0001512542,0.0003837012,0.000057620993,0.00026915644,0.000023534667,0.00011331472,0.000018364395,0.008057957],"category_scores_gemma":[0.000007275893,0.000102614045,0.00008965007,0.00003549722,0.0001376768,0.00012160207,0.000015502212,0.00008054674,0.0009709609],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000011203572,0.000006196458,0.000294701,0.0020008385,0.000026676911,0.000007364437,0.010134314,6.549407e-10,2.1096682e-7,0.031907666,0.20617773,0.7494432],"study_design_scores_gemma":[0.00003329095,0.000026184734,0.000067322675,0.0017683251,0.00007209349,0.000008695863,0.00016658472,1.2652731e-7,9.227248e-7,0.00037756283,0.9973388,0.00014009852],"about_ca_topic_score_codex":0.027688755,"about_ca_topic_score_gemma":0.46757898,"teacher_disagreement_score":0.79116106,"about_ca_system_score_codex":0.000024051531,"about_ca_system_score_gemma":0.000051078172,"threshold_uncertainty_score":0.9998069},"labels":[],"label_agreement":null},{"id":"W4245210170","doi":"10.14324/111.1755-4527.022","title":"The Allure of the Archive: Performance and Censorship","year":2017,"lang":"en","type":"article","venue":"A Moveable Type","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University; Johns Hopkins University; Syracuse University","keywords":"Censorship; Art; Political science; Law","score_opus":0.028078357979207748,"score_gpt":0.22544796839755893,"score_spread":0.1973696104183512,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245210170","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7354185,0.00047368067,8.7650136e-8,0.0010528131,0.00041524656,0.000064854175,0.000007054925,0.0000070921665,0.2625607],"genre_scores_gemma":[0.97185564,0.0006205353,0.000004146483,0.00008781713,0.00019528808,0.000002735662,3.5515725e-7,0.0000048378224,0.027228668],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996642,0.000012141247,0.00007213964,0.00005994281,0.000070835704,0.00012077307],"domain_scores_gemma":[0.9994928,0.000047915477,0.00007373359,0.00033492746,0.000038887218,0.000011693661],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00010956683,0.00005817765,0.000070270966,0.0000064460783,0.0019682252,0.00010737381,0.000246215,0.000010567112,0.00007638111],"category_scores_gemma":[0.000025739793,0.000026542279,0.000023299383,0.000006265229,0.00056205975,0.000109570305,0.000113872404,0.00007595305,0.000018978135],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030118265,0.00005095048,0.16256806,0.00021469907,0.00022678943,0.0000011602539,0.060705733,0.000014700979,0.00023091675,0.66676193,0.05990713,0.049016718],"study_design_scores_gemma":[0.00011964224,0.00006182135,0.13326919,0.000035052628,0.000016126796,0.0000010404372,0.0008481365,0.000096265714,0.00017816451,0.002358632,0.8629518,0.00006413572],"about_ca_topic_score_codex":0.000214126,"about_ca_topic_score_gemma":0.001252289,"teacher_disagreement_score":0.8030447,"about_ca_system_score_codex":0.0000023161674,"about_ca_system_score_gemma":0.000012452137,"threshold_uncertainty_score":0.99933106},"labels":[],"label_agreement":null},{"id":"W4245279493","doi":"10.1007/978-94-6209-452-9","title":"Zero Tolerance and Other Plays","year":2013,"lang":"en","type":"book","venue":"SensePublishers eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Institute for Christian Studies; University of Toronto; University of British Columbia","funders":"","keywords":"Zero (linguistics); Zero tolerance; Psychology; Philosophy; Linguistics; Criminology","score_opus":0.02333420593549992,"score_gpt":0.20105949687737473,"score_spread":0.1777252909418748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245279493","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005116467,0.0009913587,8.3005517e-7,0.00015740065,0.0012792422,0.00032249835,0.00012168757,0.00016177172,0.9964536],"genre_scores_gemma":[0.001965218,0.000023697214,0.000018854811,0.0025092324,0.0023797352,0.000030487501,0.000023847113,0.000095049065,0.9929539],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986828,0.000020857131,0.0002933538,0.0003875842,0.00023050605,0.00038491964],"domain_scores_gemma":[0.9992159,0.00006396229,0.00015647389,0.00034332747,0.0001222148,0.00009811547],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010219467,0.00043091457,0.00048080756,0.0001481828,0.0004268015,0.0009002126,0.00017954934,0.00019908756,0.0024732582],"category_scores_gemma":[0.0000052961836,0.00034842244,0.00012539391,0.0000051402235,0.00072204915,0.00026644897,0.00009966333,0.00042831694,0.00035373695],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000117743175,0.000004511698,0.000007333514,0.000098052675,0.00012309548,0.0000050583253,0.021556439,2.0475272e-7,0.0000012257416,0.09628646,0.87417984,0.007726002],"study_design_scores_gemma":[0.0002380043,0.00006577477,0.0000028157488,0.00014427972,0.000056456698,0.000006932354,0.00060584064,0.0000055213395,0.0000042716433,0.0129624205,0.9854661,0.00044156078],"about_ca_topic_score_codex":0.00028314567,"about_ca_topic_score_gemma":0.0008133953,"teacher_disagreement_score":0.11128628,"about_ca_system_score_codex":0.000044954242,"about_ca_system_score_gemma":0.00009933638,"threshold_uncertainty_score":0.99989676},"labels":[],"label_agreement":null},{"id":"W4245415327","doi":"10.3138/tric.27.2.xi","title":"Présentation","year":2006,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.0602755684610311,"score_gpt":0.32026957336037587,"score_spread":0.25999400489934477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245415327","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07192505,0.023549205,3.7130047e-7,0.02265158,0.0031231183,0.0002665772,0.00019306922,0.000010616116,0.8782804],"genre_scores_gemma":[0.96982986,0.001616242,0.000008366203,0.00007342873,0.0052253446,0.000032195425,0.000027667103,0.000022036911,0.023164878],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99765235,0.00025291185,0.00029039092,0.00021944167,0.000691971,0.00089291396],"domain_scores_gemma":[0.9992669,0.00032159613,0.000028838956,0.00020695629,0.00009997258,0.00007572242],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00062984246,0.0001497515,0.0001953645,0.0001927658,0.0005992105,0.00011319419,0.00017992206,0.000040278625,0.0017569752],"category_scores_gemma":[0.0000013428527,0.00013956784,0.000035758385,0.00019876772,0.00044060012,0.00019348002,0.000067112334,0.000480308,0.00013455389],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006267611,0.00010384486,0.01679276,0.00036082318,0.00003486092,0.00022633006,0.0018792038,0.00028456986,0.00001067262,0.06586978,0.6768121,0.23756234],"study_design_scores_gemma":[0.0002728079,0.00005905713,0.001899912,0.00019540497,0.000006522972,0.0000048425645,0.0099352235,0.00014706445,0.00007909097,0.007914751,0.9793283,0.00015705507],"about_ca_topic_score_codex":0.999695,"about_ca_topic_score_gemma":0.99991024,"teacher_disagreement_score":0.8979048,"about_ca_system_score_codex":0.0016369642,"about_ca_system_score_gemma":0.0023591518,"threshold_uncertainty_score":0.9991556},"labels":[],"label_agreement":null},{"id":"W4245521568","doi":"10.1353/ctr.2012.0034","title":"There is No Revolution, Televised or Otherwise","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Performance art; Aesthetics; Art history; Media studies; History; Sociology","score_opus":0.03736440322301049,"score_gpt":0.24709969949925314,"score_spread":0.20973529627624266,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245521568","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029509142,0.4208391,3.3944195e-7,0.003279933,0.00054851733,0.00036027422,0.00013305854,0.000044413093,0.57449925],"genre_scores_gemma":[0.23406592,0.55621034,0.00006845261,0.0486124,0.008030541,0.0002025063,0.00005399811,0.00013237065,0.15262347],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888223,0.000052977128,0.00024979515,0.00014727736,0.000108069355,0.0005596304],"domain_scores_gemma":[0.99909955,0.000030246958,0.000061986626,0.0003565684,0.00010498645,0.00034663905],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024473856,0.00020833487,0.00035217998,0.000066452034,0.0004596226,0.00004350031,0.00018142785,0.000036883666,0.04818459],"category_scores_gemma":[0.000016815975,0.00013203702,0.00014182758,0.00007157141,0.00012998868,0.0002753807,0.00001523285,0.00011249512,0.0060088653],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006728145,0.000018051158,0.0010970255,0.0015858822,0.000082024475,0.000003642487,0.0052444455,1.6315079e-8,4.74094e-7,0.0074230013,0.87261844,0.11192026],"study_design_scores_gemma":[0.00008401977,0.000031431315,0.00011604875,0.00162571,0.00009441425,0.000007952981,0.00035374012,6.4909426e-7,0.0000016708514,0.000057491772,0.99741375,0.00021312007],"about_ca_topic_score_codex":0.020747917,"about_ca_topic_score_gemma":0.14625922,"teacher_disagreement_score":0.4218758,"about_ca_system_score_codex":0.00011602756,"about_ca_system_score_gemma":0.00019581152,"threshold_uncertainty_score":0.99476504},"labels":[],"label_agreement":null},{"id":"W4245525693","doi":"10.1353/ctr.2011.0076","title":"Judith Thompson's Body and Soul : Tactics of Theatre in the Corporate Strategy","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soul; Art; Visual arts; Aesthetics; Sociology; Theology; Philosophy","score_opus":0.08282232132768445,"score_gpt":0.23945570033298544,"score_spread":0.156633379005301,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245525693","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016355032,0.12438872,2.8756818e-7,0.001791349,0.00018329488,0.0005687664,0.00013591662,0.000015115905,0.85656154],"genre_scores_gemma":[0.9290203,0.06914615,0.00000821082,0.0012600659,0.00016507166,0.000024799125,0.000009806759,0.000015066023,0.00035053564],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990769,0.00010463296,0.0002768011,0.00015299548,0.000096790915,0.00029187163],"domain_scores_gemma":[0.9993743,0.000048099508,0.00013673973,0.00029186532,0.00004845233,0.00010054515],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00037792124,0.0001764744,0.00036920753,0.00008847504,0.00020265249,0.000033660177,0.0002143955,0.000032700103,0.001492747],"category_scores_gemma":[0.0000046166806,0.0001047903,0.00007093088,0.00008850408,0.000269695,0.00013260049,0.000016460392,0.00016087407,0.000033920645],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038075563,0.0001400991,0.016579838,0.0059017944,0.00028902417,0.00016408096,0.0872758,8.2904154e-7,0.0000036267807,0.28190917,0.04017471,0.56752294],"study_design_scores_gemma":[0.00017861972,0.0001929816,0.002247133,0.0014032043,0.00019239559,0.000028990476,0.01062984,0.000004799102,0.0000063140046,0.00351625,0.9813311,0.00026838077],"about_ca_topic_score_codex":0.041739795,"about_ca_topic_score_gemma":0.4417962,"teacher_disagreement_score":0.9411564,"about_ca_system_score_codex":0.000023703627,"about_ca_system_score_gemma":0.00016757114,"threshold_uncertainty_score":0.99942005},"labels":[],"label_agreement":null},{"id":"W4245528354","doi":"10.7202/1055472ar","title":"Drama and the Liberal Arts at the University Level: Connecting Present, Past, and Future","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Drama; Liberal arts education; The arts; Visual arts; Art; Sociology; Art history; Political science; Higher education; Law","score_opus":0.05613230399849002,"score_gpt":0.2587219669511282,"score_spread":0.2025896629526382,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245528354","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69920063,0.0021061418,2.9481127e-8,0.026408684,0.0001915136,0.00029377238,0.000044395565,0.0000065399877,0.27174827],"genre_scores_gemma":[0.9925799,0.00081605854,0.000001050692,0.00012278384,0.00070155604,0.0000025241295,0.0000023492225,0.00000802854,0.0057657673],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989295,0.00021410797,0.00008129145,0.00015635543,0.0002773402,0.0003413993],"domain_scores_gemma":[0.9989665,0.00072969665,0.000020221387,0.00019520686,0.000039049948,0.00004931824],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006329212,0.000089406094,0.00013763821,0.000044297376,0.001048168,0.00008341747,0.00016048648,0.000017577573,0.00042740325],"category_scores_gemma":[0.0000014908054,0.000046486435,0.000018247423,0.00006179587,0.00047502157,0.00008535903,0.00028500633,0.00032398786,0.000009098463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015150735,0.000024708042,0.060800646,0.00029887087,0.00027447063,0.00009803552,0.11342312,0.00004316529,0.000012767451,0.07552197,0.21921472,0.5287725],"study_design_scores_gemma":[0.0006800509,0.00002485448,0.001964854,0.000028496605,0.00000540071,0.0000069940043,0.05999394,0.0000920376,0.000007392958,0.00078020396,0.93634295,0.00007283435],"about_ca_topic_score_codex":0.779217,"about_ca_topic_score_gemma":0.98248726,"teacher_disagreement_score":0.7171282,"about_ca_system_score_codex":0.00016727023,"about_ca_system_score_gemma":0.00018217038,"threshold_uncertainty_score":0.8061768},"labels":[],"label_agreement":null},{"id":"W4245591573","doi":"10.1353/ctr.2010.0010","title":"Views and Reviews","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dystopia; Drama; Wonder; Aesthetics; Face (sociological concept); Environmental ethics; Sociology; Law; Art; Literature; Psychology; Political science; Social science; Philosophy; Social psychology","score_opus":0.043770831861930364,"score_gpt":0.25628676614963647,"score_spread":0.2125159342877061,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245591573","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00056893413,0.50061035,9.512186e-8,0.0039780578,0.0004931341,0.00037538187,0.000028213279,0.000019058587,0.49392676],"genre_scores_gemma":[0.026188688,0.94478333,0.00006037185,0.016824914,0.001510145,0.00011105568,0.000020327672,0.000029458035,0.010471729],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992722,0.000032753454,0.00023343872,0.00015529372,0.000049175567,0.00025713656],"domain_scores_gemma":[0.99938494,0.000018115088,0.00004792148,0.00027456132,0.000029218614,0.00024521415],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003364216,0.00015155005,0.0003738864,0.00005628835,0.00034176302,0.000054491775,0.000120083816,0.000025476475,0.006083821],"category_scores_gemma":[0.000016000595,0.000102769285,0.00008873053,0.000035350564,0.00016575663,0.0001152818,0.000015291775,0.00018818445,0.0008541848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.1958697e-7,0.000003367859,0.00017706852,0.0013209004,0.000013224457,0.0000032824314,0.0016629007,1.3951381e-9,0.0000042731326,0.029662393,0.22654334,0.7406088],"study_design_scores_gemma":[0.000035266537,0.0000135505215,0.000039504415,0.00093342364,0.000052456373,0.0000129728605,0.000060533457,3.1394546e-7,0.0000011635302,0.0002493889,0.9984618,0.00013965655],"about_ca_topic_score_codex":0.013450713,"about_ca_topic_score_gemma":0.7617556,"teacher_disagreement_score":0.7719184,"about_ca_system_score_codex":0.0000130663275,"about_ca_system_score_gemma":0.00006783202,"threshold_uncertainty_score":0.99992377},"labels":[],"label_agreement":null},{"id":"W4245614209","doi":"10.1353/utq.2006.0040","title":"Drama","year":2006,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Art; Literature","score_opus":0.00758590650909104,"score_gpt":0.16932063491907268,"score_spread":0.16173472840998163,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245614209","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24383672,0.00034126965,0.00002179397,0.00011163724,0.00016496937,0.000036268164,0.00001985953,0.000038865404,0.7554286],"genre_scores_gemma":[0.96502906,0.000011099104,0.00005227001,0.000010062199,0.00020241553,3.244097e-8,0.0000048393517,0.0000025476338,0.034687676],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997296,0.0000073072456,0.000049924958,0.000064810934,0.00005960478,0.000088796136],"domain_scores_gemma":[0.9998237,0.000008832833,0.000032722462,0.00008095326,0.000040965657,0.000012812827],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000021605954,0.000050717932,0.00008549387,0.000009867883,0.00018969587,0.000011736529,0.00008355169,0.000013576586,0.0043995734],"category_scores_gemma":[1.5024756e-7,0.00005167212,0.00005195068,0.000003029231,0.00013233811,0.00025625303,0.000006401869,0.00001880652,0.00006667353],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000111410496,0.00019029854,0.0019796065,0.00005042742,0.00009413058,0.000012988558,0.332713,0.0000029288908,0.00016825896,0.4893313,0.120500416,0.05484521],"study_design_scores_gemma":[0.000286855,0.00028042388,0.0039536287,0.000008919334,0.000021827413,3.577665e-7,0.055144586,0.000012943329,0.000009949588,0.0006961676,0.93948925,0.00009509197],"about_ca_topic_score_codex":0.09275984,"about_ca_topic_score_gemma":0.26902348,"teacher_disagreement_score":0.81898886,"about_ca_system_score_codex":0.000027049375,"about_ca_system_score_gemma":0.0000067949222,"threshold_uncertainty_score":0.99651057},"labels":[],"label_agreement":null},{"id":"W4245855338","doi":"10.1057/978-1-137-59475-4_3","title":"“Making Fit”","year":2016,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centennial College; University of Waterloo","funders":"","keywords":"Narrative; Event (particle physics); Possible world; Simple (philosophy); Aesthetics; Epistemology; Computer science; Sociology; Art; Literature; Philosophy; Physics","score_opus":0.06471536969187865,"score_gpt":0.2563243108635083,"score_spread":0.1916089411716297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245855338","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00003095782,0.0017797903,0.0000030960823,0.00008795124,0.0012741341,0.00025201857,0.00034050952,0.00016959108,0.996062],"genre_scores_gemma":[0.68481475,0.00014926294,0.000008649111,0.00026075353,0.003019215,0.000015286509,0.000009566854,0.00007719565,0.3116453],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9984834,0.000010502087,0.00038559336,0.00040109403,0.00028289488,0.00043650292],"domain_scores_gemma":[0.99903244,0.00008184147,0.00021927773,0.00047971512,0.00011588534,0.00007082158],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000097278826,0.0005421323,0.00054420705,0.0001925186,0.0004979543,0.00011715654,0.000286558,0.00016383942,0.0103867],"category_scores_gemma":[0.000004261198,0.00037814162,0.000316235,0.0000020871018,0.00047967254,9.1576464e-7,0.00017175585,0.00024920583,0.002128757],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022176555,1.0763229e-7,0.000010789939,0.000057662426,0.00019825873,0.000021895788,0.005458602,2.6162647e-8,0.000003346548,0.9497504,0.00047536395,0.04400133],"study_design_scores_gemma":[0.00013877252,0.00005597944,0.0000050730287,0.00033130802,0.000064514345,0.000004918591,0.00010516786,3.7347547e-7,0.0000107480055,0.55096984,0.447919,0.00039428336],"about_ca_topic_score_codex":0.000018257564,"about_ca_topic_score_gemma":0.00089762604,"teacher_disagreement_score":0.6847838,"about_ca_system_score_codex":0.000048985494,"about_ca_system_score_gemma":0.00003789878,"threshold_uncertainty_score":0.999867},"labels":[],"label_agreement":null},{"id":"W4246006326","doi":"10.1353/ctr.2011.0000","title":"A Hopeful Present","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Simulacrum; Drama; Aesthetics; Performance art; History; Art; Visual arts; Literature; Art history","score_opus":0.06374782020760657,"score_gpt":0.2343664104204069,"score_spread":0.17061859021280035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246006326","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017821911,0.19321105,2.3074264e-7,0.0014181805,0.00027524517,0.00022448743,0.000038571634,0.000030940315,0.80462307],"genre_scores_gemma":[0.5592605,0.37098214,0.00007151151,0.02073971,0.0030807017,0.00025799588,0.0000456481,0.000091157846,0.04547068],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930716,0.00002707848,0.00016263805,0.00013193008,0.000067557274,0.00030363147],"domain_scores_gemma":[0.99945056,0.000009035707,0.000030688065,0.00025589293,0.000043639095,0.00021020752],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000112786125,0.00012758614,0.00022511945,0.000063004896,0.000252787,0.00002404023,0.00016788008,0.000016940543,0.018617531],"category_scores_gemma":[0.0000031996353,0.000092069364,0.00010132219,0.000036759786,0.00011249213,0.00011040706,0.000016447688,0.000077000666,0.0015316957],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000037457341,0.000022301358,0.0004901805,0.0015834941,0.00011319703,0.000039891693,0.018615432,3.7076152e-8,1.5477022e-7,0.070997976,0.46837556,0.43975803],"study_design_scores_gemma":[0.000040177136,0.000029081893,0.000081055594,0.00078399543,0.00005810855,0.000005548821,0.00030520352,5.070977e-7,0.00000244068,0.00042464162,0.998138,0.00013122328],"about_ca_topic_score_codex":0.108438894,"about_ca_topic_score_gemma":0.47967988,"teacher_disagreement_score":0.7591524,"about_ca_system_score_codex":0.00003966492,"about_ca_system_score_gemma":0.00011397295,"threshold_uncertainty_score":0.9992457},"labels":[],"label_agreement":null},{"id":"W4246228312","doi":"10.4324/9781315023496-23","title":"Girls in the Company of Girls: Social Relations and Gender Construction in Single-Sex Drama Education","year":2013,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Gender studies; Gender relations; Sex education; Sociology; Psychology; Art; Visual arts; Human sexuality","score_opus":0.06302410921480592,"score_gpt":0.24352722294945953,"score_spread":0.1805031137346536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246228312","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023947664,0.0005018501,0.0000014473648,0.00043104327,0.0002526885,0.00023433939,0.000015216781,0.000010142302,0.9746056],"genre_scores_gemma":[0.80836856,0.000104847735,0.000039270395,0.00012876003,0.000503081,0.000016569647,0.000025034047,0.000011050084,0.19080284],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999414,0.000017894954,0.0002732422,0.00011180359,0.00009726373,0.000085774926],"domain_scores_gemma":[0.99968916,0.000048610815,0.0001144938,0.00007920661,0.000060375172,0.000008179092],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000087948516,0.00012694103,0.00020288862,0.00015214265,0.00017429116,0.00005356574,0.000054239983,0.000084217856,0.001965955],"category_scores_gemma":[0.0000023232233,0.00008933582,0.000039983788,0.000009637099,0.0003665885,0.00013426912,0.000018734838,0.00017808609,0.00003762783],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000038065925,0.000028626177,0.0006834724,0.00004310923,0.000021598782,9.789655e-8,0.060899515,4.2145862e-7,0.0000012525364,0.91804206,0.0062235612,0.014052502],"study_design_scores_gemma":[0.0005086338,0.00008769974,0.0125082,0.00018627415,0.00010831242,0.0000077901805,0.043846093,0.000019392033,0.0000037967943,0.24802805,0.6942538,0.00044195738],"about_ca_topic_score_codex":0.00036194688,"about_ca_topic_score_gemma":0.003321364,"teacher_disagreement_score":0.7844209,"about_ca_system_score_codex":0.000029077188,"about_ca_system_score_gemma":0.00004590356,"threshold_uncertainty_score":0.99894637},"labels":[],"label_agreement":null},{"id":"W4246229151","doi":"10.3138/md.45.2.298","title":"Afterword","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Governor; Politics; Power (physics); History; Performance art; Media studies; Visual arts; Art; Sociology; Art history; Political science; Law; Engineering","score_opus":0.035852321052818555,"score_gpt":0.21265542010086608,"score_spread":0.17680309904804753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246229151","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19074257,0.0011795951,0.000036046302,0.0010863807,0.00037572798,0.000049921087,0.000009443324,0.00011231084,0.806408],"genre_scores_gemma":[0.9172826,0.000056315166,0.0000148584295,0.00042234058,0.0006361653,0.000008888183,0.000001158408,0.000008695846,0.08156898],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996081,0.000005475578,0.00007479618,0.00008875497,0.000072819326,0.00015005001],"domain_scores_gemma":[0.9998178,0.000009404553,0.000014322157,0.00011643692,0.000019919094,0.000022153672],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000020881123,0.00007220908,0.00007943988,0.000026461808,0.00022091428,0.00007770029,0.00006758482,0.000013171099,0.007806745],"category_scores_gemma":[0.0000015322952,0.00005615346,0.000039966333,0.000008754089,0.000077831064,0.00012359476,0.000023414472,0.000052124044,0.001395745],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020484185,0.00015465723,0.0014194703,0.000041212184,0.00008971223,0.000015602747,0.34388483,0.000017126738,0.000040729825,0.08201044,0.16173491,0.41057083],"study_design_scores_gemma":[0.00013093415,0.000036061083,0.000115090275,0.000008322769,0.000008271545,0.0000011893977,0.0005648999,0.0017896335,0.000025348898,0.004076579,0.99313277,0.00011090853],"about_ca_topic_score_codex":0.00003566808,"about_ca_topic_score_gemma":0.0003048549,"teacher_disagreement_score":0.83139783,"about_ca_system_score_codex":0.000006767072,"about_ca_system_score_gemma":0.00000109516,"threshold_uncertainty_score":0.9993818},"labels":[],"label_agreement":null},{"id":"W4246380911","doi":"10.1353/ctr.2012.0030","title":"Seek Electricity: A Multiple Theatre Manifesto","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Electricity; Visual arts; Art; Art history; Aesthetics; Political science; Engineering; Electrical engineering; Law","score_opus":0.031038431353655752,"score_gpt":0.2324540982901864,"score_spread":0.20141566693653065,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246380911","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019425966,0.3879412,0.0000010612464,0.0026343307,0.0005597084,0.0004938442,0.00010379579,0.00008478366,0.60623866],"genre_scores_gemma":[0.9077852,0.07588623,0.000020638392,0.008246852,0.0024377618,0.00010099618,0.000048640693,0.000055203127,0.00541848],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841964,0.00007354427,0.00028495514,0.00019382223,0.00014666862,0.0008813737],"domain_scores_gemma":[0.9989556,0.00006902307,0.00006443658,0.0003653113,0.000056665016,0.0004889741],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031682447,0.00027399146,0.00043588525,0.0001402615,0.00059392967,0.000059671354,0.00022366476,0.000045012435,0.003927927],"category_scores_gemma":[0.000012681243,0.0002073704,0.00019267734,0.00011278123,0.00011186289,0.0003214638,0.00002445084,0.00019673638,0.0019133025],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010019208,0.000084278436,0.013134628,0.0026468143,0.0002559805,0.000027323638,0.012335657,3.4651555e-7,0.0000055910414,0.034991473,0.32256594,0.61394197],"study_design_scores_gemma":[0.000104413455,0.000036979272,0.00021307167,0.0007484393,0.0001371839,0.00003093786,0.00047827564,0.0000029047733,0.000007250859,0.00011716154,0.99783677,0.00028663172],"about_ca_topic_score_codex":0.047206767,"about_ca_topic_score_gemma":0.3660921,"teacher_disagreement_score":0.9058426,"about_ca_system_score_codex":0.00015648457,"about_ca_system_score_gemma":0.00016271659,"threshold_uncertainty_score":0.9988638},"labels":[],"label_agreement":null},{"id":"W4246502930","doi":"10.1353/ctr.2012.0012","title":"Giving us ''Everything She's Got'': Processing the Script-as-Archive in Jess Dobkin's Queer Performance Art","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Art; Visual arts; TRACE (psycholinguistics); Style (visual arts); Object (grammar); Aesthetics; Identity (music); Literature; Computer science; Sociology; Philosophy; Artificial intelligence; Linguistics","score_opus":0.022796955310466844,"score_gpt":0.23278576870855655,"score_spread":0.2099888133980897,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246502930","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04876858,0.38340223,0.0000020511395,0.0050147716,0.0009851565,0.0008300517,0.00005601004,0.00006638348,0.56087476],"genre_scores_gemma":[0.9387321,0.04785844,0.00001330119,0.0077350186,0.0011439925,0.000088932255,0.00001705882,0.000042396732,0.004368783],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99820447,0.00011472081,0.00038926513,0.00022131423,0.0001995064,0.0008707107],"domain_scores_gemma":[0.99918246,0.00006762804,0.00010438843,0.0003408125,0.000057014793,0.0002477214],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008357251,0.00028892187,0.0004357571,0.0001529805,0.0009830185,0.0001660815,0.00034366778,0.000042066695,0.0014231846],"category_scores_gemma":[0.000019431587,0.00018793746,0.000119941964,0.00014421319,0.00024127244,0.00080724247,0.000054262564,0.00041109035,0.0006778812],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015886932,0.000046220455,0.031968106,0.008732701,0.00014536153,0.000027503813,0.14169006,0.000010848595,0.0000038692597,0.013276217,0.08109652,0.7229867],"study_design_scores_gemma":[0.00008450832,0.000022745095,0.0018242834,0.0052661253,0.00007072884,0.000030216945,0.0025255114,0.00003002041,0.0000034588647,0.00010860822,0.9897469,0.00028687785],"about_ca_topic_score_codex":0.03589768,"about_ca_topic_score_gemma":0.34608555,"teacher_disagreement_score":0.9086504,"about_ca_system_score_codex":0.0001925407,"about_ca_system_score_gemma":0.00029500347,"threshold_uncertainty_score":0.99948967},"labels":[],"label_agreement":null},{"id":"W4246956662","doi":"10.3138/md.46.1.122","title":"Book Reviews","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Art; Performance art; Art history; Presentation (obstetrics); Comedy; Literature","score_opus":0.03857072230871218,"score_gpt":0.24301873629340398,"score_spread":0.2044480139846918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246956662","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031313382,0.06892037,0.00008104003,0.00037607207,0.00042147993,0.00013039846,0.0000044255794,0.000060325245,0.9268746],"genre_scores_gemma":[0.48533687,0.005017022,0.00008006539,0.007968019,0.000816922,0.000055241377,0.000004810105,0.000026231048,0.5006948],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954957,0.000022867947,0.000119847435,0.000097454904,0.000058692072,0.00015155406],"domain_scores_gemma":[0.99977595,0.000009718776,0.000026899002,0.00014411684,0.000019682615,0.000023646684],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008883941,0.00008577857,0.00013506408,0.00002113691,0.00024719877,0.000057414876,0.000055843753,0.000013724013,0.006217933],"category_scores_gemma":[0.000008110731,0.000061900195,0.000059081343,0.000008545225,0.0000684867,0.00014055379,0.000010576566,0.000057142453,0.0010864808],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000059424733,0.000043074535,0.00014108668,0.00004809631,0.000026746593,0.0000024226747,0.051718995,0.0000027722401,0.000021739283,0.1772519,0.7359081,0.034829147],"study_design_scores_gemma":[0.00008889007,0.000021371981,0.000009289847,0.000014932062,0.000009180485,0.0000010612875,0.00021920892,0.000022243396,0.00005914167,0.0036028025,0.99586,0.000091878035],"about_ca_topic_score_codex":0.000014483157,"about_ca_topic_score_gemma":0.00011215684,"teacher_disagreement_score":0.48220554,"about_ca_system_score_codex":0.000008243689,"about_ca_system_score_gemma":0.0000070057426,"threshold_uncertainty_score":0.9996913},"labels":[],"label_agreement":null},{"id":"W4247085721","doi":"10.1353/ctr.0.0046","title":"The Stanislavski Game: Improvisation in the Rehearsal of Scripted Plays","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Improvisation; Art; Visual arts; Aesthetics","score_opus":0.01867632136175201,"score_gpt":0.23215451759866015,"score_spread":0.21347819623690814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247085721","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07152366,0.21401519,5.956393e-7,0.04075212,0.0020524585,0.0021290157,0.00028080912,0.000041305113,0.66920483],"genre_scores_gemma":[0.97027385,0.026705759,0.0000036294716,0.0020771532,0.00036261848,0.00004732451,0.0000118341995,0.000011973463,0.00050583924],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999147,0.00007497599,0.00026959038,0.00010239442,0.00012383384,0.00028220884],"domain_scores_gemma":[0.99935055,0.000107110114,0.00007188356,0.00035066792,0.000060813738,0.000058952966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071360293,0.000111204405,0.00019594732,0.000050641665,0.00035431996,0.00006172702,0.0002876846,0.000027400174,0.00045971072],"category_scores_gemma":[0.00003056997,0.000055480956,0.00007737963,0.00007936196,0.00025898957,0.00009070228,0.00001095291,0.00024902323,0.000047620088],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001699942,0.00003063814,0.0009634359,0.0012234538,0.00006956732,0.000010269273,0.038744427,3.529419e-7,0.000046289948,0.3450556,0.10175156,0.5120874],"study_design_scores_gemma":[0.00006978832,0.000035607263,0.00064274995,0.0003154583,0.000031352767,0.0000042509923,0.0016865623,0.000004202849,0.0000061384508,0.00069132284,0.9964368,0.000075787044],"about_ca_topic_score_codex":0.04699009,"about_ca_topic_score_gemma":0.8772327,"teacher_disagreement_score":0.8987502,"about_ca_system_score_codex":0.000030094736,"about_ca_system_score_gemma":0.00021715202,"threshold_uncertainty_score":0.95935607},"labels":[],"label_agreement":null},{"id":"W4247379546","doi":"10.5117/9789463723251_ch11","title":"Shakespeare, Game, and Play in Digital Pedagogical Shakespeare Games","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Ontology; Aesthetics; Sociology; Epistemology; Art; Philosophy","score_opus":0.07567254964050882,"score_gpt":0.25984156108439393,"score_spread":0.18416901144388512,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247379546","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003530538,0.005804105,4.9839207e-7,0.00022648241,0.00024920772,0.00014278339,0.00025790988,0.00007353328,0.9897149],"genre_scores_gemma":[0.08070149,0.0015476262,0.0000050935564,0.00024300316,0.0009818474,0.0000073145893,0.0001270588,0.000044565924,0.916342],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99872893,0.0000045202796,0.000339708,0.00042233744,0.0002191081,0.00028540555],"domain_scores_gemma":[0.99948704,0.00007829589,0.00006771808,0.00021115426,0.00008308491,0.00007268295],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000052217238,0.0003941379,0.00054475263,0.00014192838,0.00013298713,0.00048793468,0.00011689903,0.00015534578,0.021088853],"category_scores_gemma":[0.000009609111,0.00029964387,0.00014209187,0.000008635368,0.00036723306,0.00028019902,0.00018645234,0.0004013118,0.0003098883],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031377087,0.000028221062,0.00028160555,0.00010424559,0.000112398906,0.0001495232,0.024478465,4.3782785e-7,2.6800478e-7,0.93707865,0.016738351,0.020996464],"study_design_scores_gemma":[0.00024632926,0.00009679906,0.00013942637,0.00026796444,0.000026372445,0.000014504481,0.0047082705,0.0000027014833,9.219432e-7,0.0060749943,0.98798823,0.0004334788],"about_ca_topic_score_codex":0.0000451728,"about_ca_topic_score_gemma":0.0032987616,"teacher_disagreement_score":0.9712499,"about_ca_system_score_codex":0.00002502311,"about_ca_system_score_gemma":0.00004869807,"threshold_uncertainty_score":0.9999456},"labels":[],"label_agreement":null},{"id":"W4247416847","doi":"10.1353/mdr.0.0159","title":"Capitalism and Crime: Brechtian Economies in The Threepenny Opera and Love, Crime and Johannesburg","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Capitalism; Lawlessness; Marxist philosophy; Conviction; Sociology; Opera; Law; Political science; History; Art history; Politics","score_opus":0.017760053820778658,"score_gpt":0.22324249483851372,"score_spread":0.20548244101773505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247416847","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9307703,0.0026865539,0.000001742168,0.0018579996,0.0002034837,0.00013889695,0.00002009773,0.000015492844,0.06430543],"genre_scores_gemma":[0.9958477,0.0004085077,0.00001851571,0.00062137726,0.0003410058,0.0000094089655,0.0000025283337,0.000012222549,0.002738754],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940586,0.000018023362,0.00013221893,0.0001938074,0.00005662887,0.00019347225],"domain_scores_gemma":[0.9996979,0.000060836723,0.000026161906,0.00015637578,0.00002238834,0.000036318346],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001634484,0.00014636632,0.00017451134,0.00005317296,0.00028988568,0.00037901255,0.00009479688,0.00004622831,0.00019936355],"category_scores_gemma":[0.00000617134,0.00009627248,0.000018843893,0.000009567928,0.0004271772,0.00032266777,0.00008109869,0.00019673948,0.000017813885],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059283677,0.0000795242,0.011224182,0.00011325914,0.000080095175,0.000015671645,0.748155,0.0000018874168,0.00038723007,0.18222134,0.00500945,0.05265307],"study_design_scores_gemma":[0.0027193872,0.00045614585,0.17264906,0.00010116229,0.00015467753,0.00015256592,0.074068874,0.0030773955,0.00037290205,0.16992018,0.57500917,0.0013184784],"about_ca_topic_score_codex":0.00093865645,"about_ca_topic_score_gemma":0.008516966,"teacher_disagreement_score":0.67408615,"about_ca_system_score_codex":0.0000036581598,"about_ca_system_score_gemma":0.00000934337,"threshold_uncertainty_score":0.4752667},"labels":[],"label_agreement":null},{"id":"W4247820086","doi":"10.1353/mdr.0.0060","title":"Introduction: Is There a Doctor in the House? Medicine and the Making of Modern Drama","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Literature; Art; Visual arts; History","score_opus":0.03994756859869404,"score_gpt":0.24803970652796184,"score_spread":0.20809213792926778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247820086","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84954756,0.014987016,0.00011194716,0.07372623,0.00042685948,0.00041557074,0.000014512658,0.00007172368,0.060698576],"genre_scores_gemma":[0.9934414,0.0006042568,0.000008851847,0.001412104,0.0018457752,0.000021921212,9.644953e-7,0.000015865171,0.0026488304],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999174,0.00006423733,0.00022595923,0.00015974077,0.00020871077,0.00016734624],"domain_scores_gemma":[0.9995009,0.00008568424,0.00007433471,0.00027805363,0.000052593467,0.000008460452],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00026341563,0.00013324161,0.00024661448,0.00005129733,0.0004578391,0.0000380654,0.0001822095,0.000027569484,0.00038484397],"category_scores_gemma":[0.0000144500045,0.000061231985,0.000049863902,0.000041160823,0.0010473628,0.00012616094,0.00004887249,0.0001636766,0.000011164821],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001637352,0.000039725343,0.0009397151,0.000044118984,0.00006321411,0.0000053840217,0.92711776,0.00003296044,0.000012795315,0.035637777,0.023045449,0.012897332],"study_design_scores_gemma":[0.0040549934,0.0003056896,0.0042598248,0.0002179437,0.00013445174,0.000098362594,0.045053203,0.0074603646,0.000047743695,0.067649305,0.8703233,0.00039481645],"about_ca_topic_score_codex":0.00026520234,"about_ca_topic_score_gemma":0.0008611149,"teacher_disagreement_score":0.8820646,"about_ca_system_score_codex":0.000009483212,"about_ca_system_score_gemma":0.000011445734,"threshold_uncertainty_score":0.42137715},"labels":[],"label_agreement":null},{"id":"W4248072863","doi":"10.7202/1068257ar","title":"Art for Everyone?","year":2020,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"Canada Council for the Arts","keywords":"Mainstream; The arts; Negotiation; Indigenous; Visual arts; Diversity (politics); Sociology; Nova scotia; Media studies; Art; Political science; Anthropology; Social science; Law; Ethnology","score_opus":0.16627589725734807,"score_gpt":0.3202292476078246,"score_spread":0.15395335035047655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248072863","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023852995,0.0015393926,0.0000036919416,0.019136762,0.0003832242,0.00056256156,0.00022799599,0.000030175153,0.9542632],"genre_scores_gemma":[0.99615765,0.000091308015,0.000010002013,0.000768673,0.00089028897,0.00006696484,0.000010841413,0.000013805258,0.0019904724],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889827,0.000046117624,0.00013449941,0.0001545695,0.00031962077,0.00044691865],"domain_scores_gemma":[0.9994568,0.00025396742,0.0000114560435,0.0001108483,0.00006032664,0.00010657287],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024685365,0.00007889916,0.00014501544,0.000052502128,0.00024312668,0.000041781706,0.00017828056,0.000011772998,0.00076628575],"category_scores_gemma":[0.0000056771087,0.00006346207,0.00002827947,0.00007434357,0.00010460969,0.00008305356,0.00005184457,0.00019687277,0.00007512281],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001529564,0.000014036507,0.0018650404,0.00015741034,0.000032200536,0.000020820105,0.007524095,0.000025773474,0.00001624329,0.0044047385,0.943885,0.04190164],"study_design_scores_gemma":[0.0002287207,0.00009111154,0.000049463608,0.000020812857,0.0000020255568,3.438857e-7,0.00693811,0.00017563488,0.000061640785,0.00071851903,0.99163115,0.00008246575],"about_ca_topic_score_codex":0.8241457,"about_ca_topic_score_gemma":0.9943251,"teacher_disagreement_score":0.97230464,"about_ca_system_score_codex":0.00020651802,"about_ca_system_score_gemma":0.00087034923,"threshold_uncertainty_score":0.8390292},"labels":[],"label_agreement":null},{"id":"W4248505125","doi":"10.1093/ww/9780199540884.013.43068","title":"Rutter, Barrie Thomas, (born 12 Dec. 1946), Founder and Artistic Director, Northern Broadsides Theatre Co., since 1992","year":2007,"lang":"en","type":"reference-entry","venue":"Who's Who","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rutter; Broadside; Art history; Art; History; Visual arts; Geography; Cartography","score_opus":0.030881611392946373,"score_gpt":0.2544092336135222,"score_spread":0.22352762222057582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248505125","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005844037,0.04201089,0.000023442059,0.00037612685,0.001935961,0.0004533548,0.0010659896,0.00022429405,0.9480659],"genre_scores_gemma":[0.18726756,0.12940009,0.00008352225,0.001549887,0.015482684,0.00013248967,0.0010313485,0.0003661869,0.66468626],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970415,0.000100208825,0.0006433613,0.00073764334,0.0005659917,0.0009112956],"domain_scores_gemma":[0.99835634,0.0004065789,0.00028438665,0.0006006777,0.00013310327,0.00021890605],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024086288,0.00086712424,0.0011612066,0.0002562141,0.0012405566,0.0006032933,0.00037852672,0.00033335868,0.0013708761],"category_scores_gemma":[0.000025937685,0.000669079,0.00025407592,0.00006037621,0.00090560154,0.00030060348,0.00017841034,0.00061531365,0.00018999873],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024503467,0.00015377633,0.01858808,0.00180043,0.0011048608,0.00013978977,0.024890661,0.0000031552438,0.0000011357223,0.012667815,0.7175816,0.22282363],"study_design_scores_gemma":[0.0004659586,0.00015952198,0.0016006203,0.0012710353,0.00027417156,0.000017994253,0.0010589001,0.000010689912,0.000009100832,0.0013247164,0.9929567,0.0008506075],"about_ca_topic_score_codex":0.0019325606,"about_ca_topic_score_gemma":0.10975358,"teacher_disagreement_score":0.28337967,"about_ca_system_score_codex":0.00012471215,"about_ca_system_score_gemma":0.0001765128,"threshold_uncertainty_score":0.99957603},"labels":[],"label_agreement":null},{"id":"W4248543187","doi":"10.1093/ref:odnb/102592","title":"Cheeseman, Peter Barrie (1932–2010), theatre director","year":2014,"lang":"en","type":"book","venue":"Oxford Dictionary of National Biography","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Art; Computer graphics (images)","score_opus":0.019335671269578365,"score_gpt":0.21498198113990621,"score_spread":0.19564630987032786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248543187","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017543623,0.0021717127,0.000004162462,0.00036899425,0.0021237324,0.0002383145,0.0020707939,0.00012912115,0.99271774],"genre_scores_gemma":[0.038512833,0.0023797823,0.00008518367,0.00064464204,0.007414039,0.000099422745,0.0025719022,0.00009810114,0.9481941],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99795526,0.00003288275,0.00051792315,0.0003866678,0.00084483234,0.00026245796],"domain_scores_gemma":[0.9986181,0.00019831028,0.0003278465,0.00024006452,0.00053468224,0.00008098317],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021363526,0.00042945592,0.00050632865,0.0010468345,0.00053685845,0.000054140408,0.00027963967,0.00020105013,0.0045578396],"category_scores_gemma":[0.0000075291346,0.00035964095,0.000756524,0.00009441664,0.00075419823,0.00024121995,0.00007526888,0.000304745,0.00011247832],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008769456,0.000104168554,0.0011798945,0.00020486776,0.0008663605,0.0000014486286,0.0012864881,0.000004458557,0.0000065654617,0.1567514,0.8364504,0.0030562773],"study_design_scores_gemma":[0.00026152295,0.000203984,0.001769916,0.00015284918,0.00010453216,0.000003781216,0.00006598559,0.0000062514787,0.0000065621975,0.024053166,0.97299844,0.00037299003],"about_ca_topic_score_codex":0.000022784168,"about_ca_topic_score_gemma":0.00019213786,"teacher_disagreement_score":0.13654807,"about_ca_system_score_codex":0.000058299946,"about_ca_system_score_gemma":0.00016717493,"threshold_uncertainty_score":0.99988556},"labels":[],"label_agreement":null},{"id":"W4248565077","doi":"10.3138/md.46.2.305","title":"Book Reviews","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; George (robot); Peck (Imperial); Watson; Art history; Performing arts; Drama; Art; Modernism (music); Performance studies; Politics; History; Sociology; Visual arts; Anthropology; Law","score_opus":0.03857072230871218,"score_gpt":0.24301873629340398,"score_spread":0.2044480139846918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248565077","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031313382,0.06892037,0.00008104003,0.00037607207,0.00042147993,0.00013039846,0.0000044255794,0.000060325245,0.9268746],"genre_scores_gemma":[0.48533687,0.005017022,0.00008006539,0.007968019,0.000816922,0.000055241377,0.000004810105,0.000026231048,0.5006948],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954957,0.000022867947,0.000119847435,0.000097454904,0.000058692072,0.00015155406],"domain_scores_gemma":[0.99977595,0.000009718776,0.000026899002,0.00014411684,0.000019682615,0.000023646684],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008883941,0.00008577857,0.00013506408,0.00002113691,0.00024719877,0.000057414876,0.000055843753,0.000013724013,0.006217933],"category_scores_gemma":[0.000008110731,0.000061900195,0.000059081343,0.000008545225,0.0000684867,0.00014055379,0.000010576566,0.000057142453,0.0010864808],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000059424733,0.000043074535,0.00014108668,0.00004809631,0.000026746593,0.0000024226747,0.051718995,0.0000027722401,0.000021739283,0.1772519,0.7359081,0.034829147],"study_design_scores_gemma":[0.00008889007,0.000021371981,0.000009289847,0.000014932062,0.000009180485,0.0000010612875,0.00021920892,0.000022243396,0.00005914167,0.0036028025,0.99586,0.000091878035],"about_ca_topic_score_codex":0.000014483157,"about_ca_topic_score_gemma":0.00011215684,"teacher_disagreement_score":0.48220554,"about_ca_system_score_codex":0.000008243689,"about_ca_system_score_gemma":0.0000070057426,"threshold_uncertainty_score":0.9996913},"labels":[],"label_agreement":null},{"id":"W4248668777","doi":"10.3138/md.48.4.842","title":"Book Reviews","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"John Jay College of Criminal Justice","keywords":"Performance art; Drama; Art history; Modernism (music); Art; Prison; History; Sociology; Cartography; Visual arts; Geography; Archaeology","score_opus":0.03566674173608595,"score_gpt":0.24729475079151925,"score_spread":0.2116280090554333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248668777","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006566724,0.10638504,0.000072442024,0.0043885983,0.00032628293,0.00017654077,0.000009326228,0.0001230259,0.88195205],"genre_scores_gemma":[0.475289,0.0053976206,0.000109879315,0.01446971,0.00417453,0.00004521225,0.0000072392286,0.000022607921,0.5004842],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995524,0.000010279172,0.00013012298,0.00009521077,0.000062354244,0.00014957649],"domain_scores_gemma":[0.9997827,0.000007873881,0.000027813974,0.00013950317,0.000018443128,0.000023666047],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006293589,0.00008481621,0.00013135142,0.000022825612,0.00022897842,0.0000599868,0.0000770697,0.000013595834,0.006264915],"category_scores_gemma":[0.000002688243,0.0000611989,0.000060384365,0.0000066766756,0.00006681357,0.00022502706,0.000024210902,0.000059771286,0.0023649556],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006108307,0.000027621216,0.00003303559,0.000019720754,0.000013902648,6.2152964e-7,0.043145947,0.0000067065703,0.000013197781,0.012697592,0.7010356,0.24299991],"study_design_scores_gemma":[0.000089643574,0.00001871284,0.000016012307,0.00001645167,0.000009046423,7.037693e-7,0.000119530996,0.00026850108,0.000039504797,0.0005767237,0.9987542,0.00009095958],"about_ca_topic_score_codex":0.000018723558,"about_ca_topic_score_gemma":0.00038524054,"teacher_disagreement_score":0.46872225,"about_ca_system_score_codex":0.0000121000085,"about_ca_system_score_gemma":0.0000047826243,"threshold_uncertainty_score":0.99841183},"labels":[],"label_agreement":null},{"id":"W4248769117","doi":"10.4324/9780429488221-19","title":"Reaparecer","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.0399263885195,"score_gpt":0.20988385546833535,"score_spread":0.16995746694883535,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248769117","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000043910263,0.00062737754,2.8739268e-7,0.0001814785,0.0011499578,0.00008808249,0.00004752233,0.00007420467,0.9978267],"genre_scores_gemma":[0.0013534181,0.0004977561,0.0000029069654,0.00046152293,0.0016523382,0.0000016059669,0.00002735574,0.000030283863,0.9959728],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955124,0.0000010034299,0.0001159221,0.00013266553,0.0000940404,0.00010515462],"domain_scores_gemma":[0.99969405,0.000016675187,0.0000424652,0.00018425415,0.000046649002,0.000015918726],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000024175335,0.00016599821,0.00020809544,0.00004835043,0.000110737215,0.000046715926,0.00007718313,0.00005893605,0.1210778],"category_scores_gemma":[4.2575633e-7,0.00011491041,0.000097910786,7.691948e-7,0.0001007684,0.00005673118,0.000040044335,0.00012438186,0.01638263],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000030780582,0.0000011696518,0.0000010848677,0.000018601046,0.00005153328,6.2030875e-7,0.0019563509,3.671328e-8,5.0943726e-8,0.7740686,0.21964769,0.0042511974],"study_design_scores_gemma":[0.00004702846,0.000037417703,8.8854375e-7,0.00004534622,0.000030518975,5.1426565e-7,0.00016083702,4.3040177e-7,0.0000010856777,0.010798791,0.9886937,0.00018343084],"about_ca_topic_score_codex":0.000042254425,"about_ca_topic_score_gemma":0.0011819567,"teacher_disagreement_score":0.769046,"about_ca_system_score_codex":0.000010471321,"about_ca_system_score_gemma":0.000019674397,"threshold_uncertainty_score":0.9843832},"labels":[],"label_agreement":null},{"id":"W4248908909","doi":"10.3138/tric.39.1.1","title":"Teaching / Editing","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Courage; Formative assessment; Psychoanalysis; Visual arts; Art history; Art; Psychology; Philosophy; Pedagogy; Theology","score_opus":0.09458547971915524,"score_gpt":0.333022106499115,"score_spread":0.23843662677995978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248908909","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15859811,0.00016219368,2.0995962e-7,0.0024114845,0.00055483234,0.00007730353,0.0000149750995,0.000015208611,0.8381657],"genre_scores_gemma":[0.99381185,0.000016508378,0.000009233316,0.00015971875,0.004529112,0.000012288106,0.0000021036028,0.000011598084,0.0014476113],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986002,0.00012861044,0.00014021888,0.0001461129,0.00042855061,0.00055630004],"domain_scores_gemma":[0.99949116,0.00019098914,0.000014682698,0.00016885974,0.00006989759,0.000064422646],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009146381,0.00007900693,0.00011361662,0.00012811724,0.0008161039,0.000059498136,0.00019858478,0.000012035215,0.0010375899],"category_scores_gemma":[0.0000054563234,0.00006236026,0.000015803078,0.000058035963,0.00029285156,0.00012547761,0.000091095855,0.00042893682,0.00007988551],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042821655,0.00002918084,0.009439867,0.00008164869,0.000036247427,0.00006140009,0.03887578,0.0000024264277,0.000033109165,0.024578419,0.14067464,0.78614444],"study_design_scores_gemma":[0.00010487499,0.00006225203,0.00009166997,0.00006896843,0.0000012086963,0.000001569932,0.026528746,0.00008746351,0.000073050935,0.00191078,0.9709888,0.00008058291],"about_ca_topic_score_codex":0.9940567,"about_ca_topic_score_gemma":0.99955016,"teacher_disagreement_score":0.8367181,"about_ca_system_score_codex":0.00038952747,"about_ca_system_score_gemma":0.0006426721,"threshold_uncertainty_score":0.9998756},"labels":[],"label_agreement":null},{"id":"W4249024542","doi":"10.3138/md.2013-56.2brev","title":"Reviews","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Irish; Performance art; Art history; Politics; Faith; Dissent; Art; History; Law; Philosophy; Theology; Political science","score_opus":0.04224312502037813,"score_gpt":0.2380601597191892,"score_spread":0.19581703469881107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249024542","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10993618,0.004475395,0.00005828646,0.0015216887,0.0004546358,0.0002708447,0.0000041890175,0.00009754906,0.8831812],"genre_scores_gemma":[0.92441756,0.00032144916,0.00004132387,0.00083636714,0.000682506,0.000063218955,0.0000027868448,0.000008571832,0.07362624],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999614,0.000009898452,0.000108645196,0.00008093459,0.00005099706,0.00013550028],"domain_scores_gemma":[0.999786,0.000008266255,0.000023613626,0.00012915494,0.000029750836,0.000023171322],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000042352116,0.000072742914,0.00011559897,0.000019151646,0.00019179632,0.000102943064,0.00007208861,0.0000114747645,0.007161283],"category_scores_gemma":[0.0000035318487,0.00004889882,0.00004748177,0.0000072816447,0.00006469955,0.00019879929,0.000024333067,0.000048473234,0.005957102],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000033036756,0.000041715928,0.00045593604,0.000056657955,0.000028180855,7.8946186e-7,0.084879234,0.0000018643527,0.00009281821,0.05059352,0.3821998,0.48164618],"study_design_scores_gemma":[0.00005950884,0.000019053197,0.00017739362,0.000014008976,0.0000054080033,4.064849e-7,0.0003784594,0.00019968301,0.000018260882,0.009607356,0.9894395,0.00008094711],"about_ca_topic_score_codex":0.00022376861,"about_ca_topic_score_gemma":0.00025273304,"teacher_disagreement_score":0.8144814,"about_ca_system_score_codex":0.000005703275,"about_ca_system_score_gemma":0.0000030385265,"threshold_uncertainty_score":0.9948169},"labels":[],"label_agreement":null},{"id":"W4249103003","doi":"10.7202/1058050ar","title":"Review of revues","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business","score_opus":0.09166583660997522,"score_gpt":0.3266418283234544,"score_spread":0.23497599171347916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249103003","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041065525,0.056236953,8.860963e-9,0.002111185,0.00022269881,0.0002512163,0.000033350992,0.0000049468736,0.9000741],"genre_scores_gemma":[0.96403307,0.034204345,0.000002467987,0.00034801554,0.0001510204,0.000013102737,0.0000041516955,0.0000079290285,0.0012358899],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989762,0.0000910302,0.00019123234,0.000105976826,0.00034840067,0.00028716272],"domain_scores_gemma":[0.9994345,0.00017679563,0.000024106383,0.00024039591,0.00008917596,0.00003506885],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006613907,0.00006245428,0.00021392945,0.00008147807,0.00006078605,0.000008283254,0.00018149598,0.000008292536,0.0035436675],"category_scores_gemma":[0.0000032212354,0.00004622888,0.000026320206,0.000092599905,0.000096073636,0.00006672505,0.00005745964,0.00018355991,0.00006682998],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008869889,0.00006911451,0.0318809,0.03578991,0.00009798115,0.000032115415,0.0068296464,0.000006658434,0.00005301195,0.023120819,0.49569097,0.40634018],"study_design_scores_gemma":[0.00009070996,0.00005089055,0.00010945856,0.0051089837,0.000002180443,7.176477e-7,0.0031188868,0.0000050096196,0.000057427653,0.00048093247,0.9909117,0.00006310446],"about_ca_topic_score_codex":0.9613954,"about_ca_topic_score_gemma":0.99008435,"teacher_disagreement_score":0.92296755,"about_ca_system_score_codex":0.00018493836,"about_ca_system_score_gemma":0.00079847005,"threshold_uncertainty_score":0.9973672},"labels":[],"label_agreement":null},{"id":"W4249141951","doi":"10.1215/01610775-2009-030","title":"SOS","year":2010,"lang":"en","type":"article","venue":"Theater","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Permission; Dominion; Amateur; TypeScript; Copyright Act; Law; Subject (documents); Copyright law; Commonwealth; Political science; Legislature; Library science; History; Art history; Computer science; Intellectual property","score_opus":0.017034058481945377,"score_gpt":0.2103041172017334,"score_spread":0.19327005871978803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249141951","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51393014,0.000011504907,2.9727838e-7,0.000415163,0.000625841,0.000020547475,0.0000033550184,0.00003777162,0.48495537],"genre_scores_gemma":[0.97096086,0.0000035897024,0.000010970084,0.00033161393,0.0011739493,0.0000051756538,0.0000014580169,0.000005724752,0.027506648],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99976206,0.000002844093,0.000045903784,0.00004957751,0.000037264625,0.00010235812],"domain_scores_gemma":[0.9998614,0.000006552056,0.0000069296143,0.000096777054,0.000014162576,0.000014168602],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003805885,0.00004715048,0.000050148024,0.000016885633,0.00016109397,0.00003774595,0.000052024192,0.000010611958,0.010693117],"category_scores_gemma":[7.093386e-7,0.000029220337,0.000023260242,0.000003844882,0.00009989402,0.000072165545,0.000015718202,0.00007607267,0.0014778585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004886575,0.000073000105,0.004493156,0.000027083934,0.00007845943,0.0000053037097,0.1801783,3.385544e-7,0.006502083,0.67159647,0.090448,0.046548933],"study_design_scores_gemma":[0.00007158701,0.000018953393,0.000423018,0.000001911392,0.000005122828,0.0000012579734,0.00052281155,0.000002483678,0.0013190242,0.0027598657,0.9948135,0.000060459886],"about_ca_topic_score_codex":0.000058168578,"about_ca_topic_score_gemma":0.00074102124,"teacher_disagreement_score":0.9043655,"about_ca_system_score_codex":9.784146e-7,"about_ca_system_score_gemma":0.0000025642123,"threshold_uncertainty_score":0.9992996},"labels":[],"label_agreement":null},{"id":"W4249215388","doi":"10.1386/atr.1.2.231_5","title":"Book Reviews","year":2014,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Drama; Distancing; Sociology; Media studies; Political science; Coronavirus disease 2019 (COVID-19); Art; Literature; Medicine","score_opus":0.0908031485656012,"score_gpt":0.33166655750891144,"score_spread":0.24086340894331024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249215388","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006884029,0.010008275,0.000009278044,0.0011504769,0.00014854252,0.000360166,0.000003593886,0.00007198142,0.98755926],"genre_scores_gemma":[0.9096646,0.00825757,0.00005671823,0.0027381307,0.0049927197,0.0004138951,0.000016934007,0.000054984816,0.07380448],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986,0.00012307682,0.0002018635,0.00023428157,0.0003374884,0.0005032543],"domain_scores_gemma":[0.99923646,0.00020900449,0.000026133619,0.00039211157,0.00006235753,0.00007391378],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0015363118,0.00013172044,0.00024467747,0.00013033261,0.0008460849,0.0001225381,0.0002659469,0.00003323706,0.0057313438],"category_scores_gemma":[0.000008192757,0.00009004789,0.00006925209,0.000069064576,0.0004417505,0.000097544216,0.000119575416,0.00032562687,0.0064218338],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023093255,0.00002998013,0.000017786999,0.000056867557,0.00001623128,3.6841647e-7,0.006714052,3.2222357e-7,0.00008402917,0.28686386,0.48671803,0.21947539],"study_design_scores_gemma":[0.00015574004,0.00007033256,0.00000970076,0.000024858555,0.0000058248834,5.148193e-7,0.0009666599,0.000008237448,0.0001964379,0.0064005684,0.9920457,0.00011542459],"about_ca_topic_score_codex":0.000088512184,"about_ca_topic_score_gemma":0.00018820587,"teacher_disagreement_score":0.9137548,"about_ca_system_score_codex":0.000023117183,"about_ca_system_score_gemma":0.00001665134,"threshold_uncertainty_score":0.99517757},"labels":[],"label_agreement":null},{"id":"W4249312994","doi":"10.7202/1055474ar","title":"Master of All Domains? Constructively Aligning Theatre and Learning","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mathematics education; Computer science; Psychology","score_opus":0.06223113941230706,"score_gpt":0.2809738921963494,"score_spread":0.21874275278404232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249312994","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63275117,0.00050726684,1.1342856e-7,0.00040181234,0.0000986689,0.00014624666,0.000017657543,0.0000059925587,0.3660711],"genre_scores_gemma":[0.9988909,0.00014291794,0.00001844431,0.00004863445,0.000114478935,0.000008748411,0.0000033872004,0.0000147613855,0.0007577445],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985053,0.0002110174,0.0002075112,0.0001967575,0.00041858427,0.0004608437],"domain_scores_gemma":[0.9992276,0.00044871736,0.00004022333,0.00015169507,0.000065818786,0.000065938686],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006795306,0.000118213815,0.00025397784,0.00016394425,0.00019606392,0.000041490264,0.00013863058,0.000023503739,0.00060273154],"category_scores_gemma":[0.0000024901797,0.00009221044,0.000024178595,0.000071327464,0.00032359772,0.00013933696,0.0001204966,0.0004433795,0.000013941964],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034433493,0.000039160903,0.65485543,0.0006442632,0.0002665138,0.00006877379,0.049765896,0.0001241774,0.00063781516,0.018043147,0.0032333068,0.2719772],"study_design_scores_gemma":[0.0014981267,0.0004375331,0.0042394698,0.0005195229,0.000018325725,0.000019146813,0.19678609,0.0002842701,0.00049531844,0.0035735932,0.7917057,0.00042286512],"about_ca_topic_score_codex":0.8790617,"about_ca_topic_score_gemma":0.9514524,"teacher_disagreement_score":0.7884724,"about_ca_system_score_codex":0.00016372601,"about_ca_system_score_gemma":0.0004381879,"threshold_uncertainty_score":0.65994877},"labels":[],"label_agreement":null},{"id":"W4249607775","doi":"10.22215/etd/2008-06198","title":"Getting in the car to Weirdsville: taking a trip with Ronnie Burkett Theatre of Marionettes","year":2008,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Library and Archives Canada","funders":"","keywords":"Humanities; Art; Sociology","score_opus":0.02008991282305733,"score_gpt":0.235860471536952,"score_spread":0.21577055871389467,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249607775","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46866277,0.001139313,5.8440395e-7,0.0003033097,0.00020676779,0.00032352217,0.000017266653,0.000024995945,0.5293215],"genre_scores_gemma":[0.9705217,0.0002574322,0.000044300243,0.00036096456,0.0005845425,0.000077083234,0.00011245237,0.000030963525,0.028010596],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99896276,0.000037693517,0.0003142761,0.00020255592,0.00023817965,0.00024451772],"domain_scores_gemma":[0.9993833,0.00011271243,0.00018868688,0.0002084741,0.000088559136,0.000018278839],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015372956,0.00025234124,0.0003680323,0.00019292245,0.00037005183,0.000058352856,0.00022486337,0.000062676576,0.0006060536],"category_scores_gemma":[0.0000086272885,0.00013419175,0.00008309347,0.00008440568,0.00006934111,0.00009597825,0.000015688533,0.00023953398,0.000014898661],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005743936,0.00011912497,0.0028681022,0.00049749424,0.0002572815,0.000023739763,0.910949,0.000062050676,0.00004677802,0.011666845,0.021723526,0.051211644],"study_design_scores_gemma":[0.0007982031,0.0007179081,0.010941387,0.001282122,0.0001824594,0.000011670128,0.5985837,0.00002362571,0.00029706958,0.00026474323,0.38606143,0.00083565974],"about_ca_topic_score_codex":0.0035382959,"about_ca_topic_score_gemma":0.07978243,"teacher_disagreement_score":0.5018589,"about_ca_system_score_codex":0.000019835206,"about_ca_system_score_gemma":0.000054600026,"threshold_uncertainty_score":0.93700916},"labels":[],"label_agreement":null},{"id":"W4249988063","doi":"10.1353/ctr.2011.0006","title":"And in the Future I Don't Remember What Happened Yet: A Back and Forth on the Experience of Memory in relay","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Unison; Perspective (graphical); Performing arts; Task (project management); Visual arts; Focus (optics); History; Sociology; Aesthetics; Art; Engineering","score_opus":0.03982681100509132,"score_gpt":0.22707679938343533,"score_spread":0.187249988378344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249988063","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32203183,0.45470706,1.2735407e-8,0.0076271617,0.00020634629,0.0007593966,0.000016705173,0.000004035511,0.21464747],"genre_scores_gemma":[0.7183074,0.2760888,0.000003390623,0.005022469,0.000091527865,0.000052708067,0.0000017189876,0.000008753722,0.00042327764],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934745,0.000083047824,0.00018737608,0.00012914698,0.00006815737,0.00018483766],"domain_scores_gemma":[0.9995941,0.00005897492,0.000044387212,0.00023963542,0.000015033567,0.00004787828],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032865457,0.00011774605,0.00022542145,0.00005381757,0.00013783069,0.000037090176,0.00014638355,0.000024159064,0.0009361647],"category_scores_gemma":[0.0000051461784,0.000057377274,0.000033770313,0.00006426301,0.00022017912,0.00018324486,0.000016636845,0.00012416054,0.000011792629],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005488792,0.000042773703,0.008749457,0.0021023813,0.00004854714,0.000039330407,0.58175474,2.3558229e-7,0.0000013649618,0.058281742,0.015852965,0.3330716],"study_design_scores_gemma":[0.00013504706,0.000069669026,0.0031608557,0.0037328524,0.000023637229,0.000010627546,0.06884289,0.0000013321875,0.000005692448,0.00037103056,0.923509,0.00013736585],"about_ca_topic_score_codex":0.021818018,"about_ca_topic_score_gemma":0.7983231,"teacher_disagreement_score":0.907656,"about_ca_system_score_codex":0.000016431444,"about_ca_system_score_gemma":0.000039959043,"threshold_uncertainty_score":0.9999771},"labels":[],"label_agreement":null},{"id":"W4250172578","doi":"10.1163/9789401209540","title":"\"Mouths on Fire with Songs\"","year":2013,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.019514547239884855,"score_gpt":0.185006547011407,"score_spread":0.16549199977152215,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250172578","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002149583,0.00027225653,1.770712e-7,0.00026582007,0.00034574964,0.00017270041,0.00004014906,0.00011325358,0.9985749],"genre_scores_gemma":[0.0022993807,0.00012836592,0.000006645023,0.0005653327,0.0021481987,0.000026373102,0.000048534224,0.000037000187,0.9947402],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993659,0.000003715585,0.00011307708,0.00017492627,0.00015837656,0.00018397415],"domain_scores_gemma":[0.99961585,0.000029475936,0.0000570024,0.00020194391,0.00006398839,0.000031726617],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00002026548,0.00025035607,0.00025705196,0.000041748342,0.00028354244,0.00012099454,0.00010816941,0.00006491964,0.027149418],"category_scores_gemma":[6.2631926e-7,0.00013764693,0.00006711273,0.0000036497424,0.00019204857,0.00008566796,0.000027165057,0.00020422437,0.0059425784],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000112271455,0.000009321228,0.0000017870304,0.000039323113,0.00008293279,0.0000022214838,0.008251662,2.6583064e-7,8.771303e-9,0.21106865,0.77223194,0.008300684],"study_design_scores_gemma":[0.00011122403,0.00030847845,0.0000028541385,0.00015351121,0.000038913233,7.595382e-7,0.0016305888,0.0000022020058,9.5308e-7,0.0016017853,0.99589723,0.00025150293],"about_ca_topic_score_codex":0.00017296262,"about_ca_topic_score_gemma":0.001558393,"teacher_disagreement_score":0.2236653,"about_ca_system_score_codex":0.00003003338,"about_ca_system_score_gemma":0.000059418362,"threshold_uncertainty_score":0.9948314},"labels":[],"label_agreement":null},{"id":"W4250389991","doi":"10.3138/md.50.1.98","title":"Book Reviews","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Drama; Art history; Modernism (music); Politics; History; Art; Literature; Law; Political science","score_opus":0.03784390352903533,"score_gpt":0.257394601249411,"score_spread":0.21955069772037566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250389991","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009864497,0.062481944,0.00047975325,0.0006582502,0.0005802961,0.00016654658,0.000005355501,0.00010347713,0.9256599],"genre_scores_gemma":[0.64265305,0.0027110074,0.00007541198,0.009252876,0.002655321,0.000015814861,0.000007528897,0.000024612762,0.3426044],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948007,0.000006930001,0.00015305412,0.00009446968,0.00007122956,0.0001942669],"domain_scores_gemma":[0.999764,0.000016202244,0.000031866053,0.00013515817,0.00002323272,0.000029492816],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018875841,0.00008404452,0.00012982768,0.000032263706,0.00024007991,0.000046842568,0.0000736382,0.000016120157,0.0028483712],"category_scores_gemma":[0.000004151184,0.000060873535,0.000059643553,0.000009754988,0.000080199476,0.00014420079,0.000023693812,0.00006538299,0.0009125863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027063998,0.000046081404,0.00023318474,0.000054291773,0.000028307033,0.0000071003196,0.08391734,0.000001178821,0.000053617146,0.03652833,0.6189555,0.26014802],"study_design_scores_gemma":[0.00008252499,0.000025426973,0.00008820708,0.0000179089,0.000008353576,9.0882014e-7,0.00030384067,0.000025531512,0.00007474969,0.0012885968,0.99799365,0.00009029499],"about_ca_topic_score_codex":0.000035937046,"about_ca_topic_score_gemma":0.0005491057,"teacher_disagreement_score":0.63278854,"about_ca_system_score_codex":0.0000109863595,"about_ca_system_score_gemma":0.000004086839,"threshold_uncertainty_score":0.9998653},"labels":[],"label_agreement":null},{"id":"W4250433523","doi":"10.3138/tric.29.1.v","title":"Introduction","year":2008,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subjectivity; Scholarship; Space (punctuation); Sociology; Focus (optics); Epistemology; Media studies; Aesthetics; Political science; Computer science; Art; Law; Philosophy","score_opus":0.10100339471986773,"score_gpt":0.29175786440476686,"score_spread":0.19075446968489912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250433523","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29857284,0.00054841634,1.2732967e-7,0.008163247,0.00059484184,0.00011142872,0.000014157729,0.000016065993,0.6919789],"genre_scores_gemma":[0.9947992,0.0003845094,0.0000042239844,0.000060724935,0.0024108097,0.000017250559,0.000004344582,0.000008028773,0.0023109075],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998903,0.000073329116,0.00011678337,0.00013555496,0.00039034724,0.00038101483],"domain_scores_gemma":[0.99963224,0.000081994585,0.0000096950625,0.0001684733,0.000057481833,0.000050095645],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029926948,0.00006472853,0.000104412306,0.00012312667,0.00046630835,0.000015991187,0.00011981852,0.000009902228,0.0018362205],"category_scores_gemma":[0.000002194207,0.00005144146,0.000014768337,0.00009480873,0.00023303917,0.000107291264,0.000038170656,0.00025416914,0.000087989836],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007987813,0.000042934676,0.011174953,0.000050342896,0.000030490779,0.00015692347,0.012988834,0.00004623349,0.000023938454,0.009304938,0.79905224,0.16704826],"study_design_scores_gemma":[0.00010663807,0.00003278182,0.0004610334,0.000008924693,7.459008e-7,0.000009056779,0.004654041,0.00001857544,0.00007785616,0.00073136063,0.99383193,0.00006703067],"about_ca_topic_score_codex":0.984359,"about_ca_topic_score_gemma":0.9982962,"teacher_disagreement_score":0.69622636,"about_ca_system_score_codex":0.00043248924,"about_ca_system_score_gemma":0.0009037836,"threshold_uncertainty_score":0.99907625},"labels":[],"label_agreement":null},{"id":"W4250468275","doi":"10.1080/14608940903322133","title":"BOOK REVIEWS","year":2009,"lang":"en","type":"article","venue":"National Identities","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Institute on Governance","funders":"","keywords":"Media studies; Principal (computer security); Sociology; Political science; Computer science; Computer security","score_opus":0.042243719524629575,"score_gpt":0.2812194730848695,"score_spread":0.23897575356023992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250468275","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009972205,0.035892967,0.0000037302943,0.002012992,0.00047153194,0.00007917769,0.000017254973,0.00005548183,0.96046966],"genre_scores_gemma":[0.23434961,0.006849552,0.00002844181,0.018191276,0.003147351,0.00002073084,0.000028829052,0.0000065225518,0.7373777],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995215,0.000009518249,0.00013208602,0.00006425896,0.00018692223,0.00008573919],"domain_scores_gemma":[0.99978745,0.000015298481,0.000034454053,0.000041453157,0.00010880581,0.000012515735],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000109813314,0.000061225874,0.00009033504,0.00006371382,0.0002743065,0.0001056191,0.00006479799,0.000010414633,0.0068932916],"category_scores_gemma":[0.000016904249,0.000049204158,0.000054726108,0.00001390973,0.000068010064,0.00044970063,0.00000806981,0.00004212934,0.0008902808],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000015865206,0.000008800402,0.00001110497,0.0000051297216,0.000004961902,2.3722708e-7,0.00297986,4.6305277e-7,0.000002770729,0.3154507,0.67987627,0.0016581034],"study_design_scores_gemma":[0.000058171365,0.000024689183,0.00036120892,0.00001431658,0.000005170106,9.937954e-7,0.0002883457,0.000002297887,0.000022717908,0.028553963,0.9706033,0.00006486592],"about_ca_topic_score_codex":0.000009677604,"about_ca_topic_score_gemma":0.000064722946,"teacher_disagreement_score":0.290727,"about_ca_system_score_codex":0.000019434194,"about_ca_system_score_gemma":0.000013138274,"threshold_uncertainty_score":0.99988765},"labels":[],"label_agreement":null},{"id":"W4250553584","doi":"10.22215/etd/2014-10279","title":"Behind the Curtain: An Architectural Mise-en-Scène for Mise-en-Place","year":2014,"lang":"fr","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Choreography; Urbanism; Visual arts; Neighbourhood (mathematics); Space (punctuation); Public space; Aesthetics; Architectural engineering; Art; Sociology; Engineering; Architecture; Computer science; Dance","score_opus":0.016529184206411706,"score_gpt":0.26266165063707236,"score_spread":0.24613246643066067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250553584","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66861135,0.004699181,0.000098516975,0.010958223,0.006900328,0.0022367383,0.0006614312,0.00020883772,0.3056254],"genre_scores_gemma":[0.48163077,0.00051190465,0.0001951915,0.0011581907,0.009155183,0.00034982467,0.0017437366,0.00012773315,0.50512743],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99745446,0.00023378257,0.0006158646,0.0005789586,0.000339267,0.00077768427],"domain_scores_gemma":[0.99772197,0.0010375982,0.00027349754,0.00053288555,0.0002963162,0.0001377377],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005845692,0.00075841916,0.00068056624,0.00014226318,0.0030374513,0.00050258206,0.00063231896,0.0002905164,0.0027003398],"category_scores_gemma":[0.00004899507,0.00047361507,0.0004684061,0.000033165845,0.00041088517,0.00028680803,0.00005126605,0.0006380825,0.0002643786],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011810221,0.0002689574,0.00023174968,0.0015915643,0.0008359335,0.0000032945172,0.61273456,0.0003262298,0.00007123313,0.22118512,0.04442557,0.11714477],"study_design_scores_gemma":[0.0007713493,0.0008312202,0.00063785695,0.0002333798,0.00044196853,0.000010513547,0.117935866,0.0010245364,0.00021702799,0.0017371214,0.8754171,0.0007420232],"about_ca_topic_score_codex":0.0026619423,"about_ca_topic_score_gemma":0.07469317,"teacher_disagreement_score":0.83099157,"about_ca_system_score_codex":0.00006398077,"about_ca_system_score_gemma":0.00010733929,"threshold_uncertainty_score":0.99977154},"labels":[],"label_agreement":null},{"id":"W4250777829","doi":"10.22215/etd/2014-10345","title":"Performing History Offstage: The Benefits of Using Theatre to Present History at the Canadian War Museum","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Cwm; Exhibition; Interpretation (philosophy); Scripting language; Interpreter; Visual arts; National history; Art; Political science; Computer science; World Wide Web","score_opus":0.043013565886088005,"score_gpt":0.22571598547657737,"score_spread":0.18270241959048936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250777829","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23795763,0.01747785,1.4006767e-7,0.0007412864,0.0045594145,0.00051097455,0.00005589733,0.00002987793,0.73866695],"genre_scores_gemma":[0.68068403,0.00025146853,0.000005792822,0.0007607687,0.0016349978,0.000049547143,0.00013630987,0.000060839146,0.31641623],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864894,0.000048820344,0.00034382704,0.00024610606,0.00033457897,0.0003777377],"domain_scores_gemma":[0.9988915,0.00008591348,0.00019454714,0.0004945141,0.0002404923,0.00009307104],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027919843,0.00030959683,0.00034238398,0.00018689549,0.0012359689,0.000023084918,0.00040268002,0.00010333225,0.0054451358],"category_scores_gemma":[0.000009627834,0.00016621563,0.00016331536,0.00002448565,0.00022488617,0.00009496482,0.000054636355,0.00028200733,0.00008312114],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000924369,0.000022885057,0.0002573668,0.00038692474,0.00023991385,0.0000012011124,0.48087305,0.00030199892,0.000028409155,0.022949276,0.4812606,0.013585957],"study_design_scores_gemma":[0.00006533525,0.000041943564,0.00028476276,0.00011520019,0.00013991611,9.2119126e-7,0.021466235,0.00006623819,0.00005426612,0.000011851297,0.9775188,0.00023454518],"about_ca_topic_score_codex":0.62399894,"about_ca_topic_score_gemma":0.986795,"teacher_disagreement_score":0.4962582,"about_ca_system_score_codex":0.0024227204,"about_ca_system_score_gemma":0.00063893554,"threshold_uncertainty_score":0.995464},"labels":[],"label_agreement":null},{"id":"W4250793538","doi":"10.3138/md.43.3.442","title":"442452","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Identity (music); Art; Empire; Art history; Performance art; Colonialism; History; Sociology; Gender studies; Aesthetics; Archaeology","score_opus":0.02260061093007109,"score_gpt":0.21845624286094936,"score_spread":0.19585563193087827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250793538","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33507186,0.00029130644,0.0000051732204,0.00042238794,0.00012388547,0.000032157946,0.00000789675,0.0000748226,0.66397053],"genre_scores_gemma":[0.84886503,0.00005859727,0.000010705642,0.0004138016,0.00058930763,0.000006216006,0.0000032124728,0.0000080293885,0.15004508],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960804,0.0000058287687,0.00007532271,0.000089606525,0.00007205847,0.00014913207],"domain_scores_gemma":[0.9998312,0.000008180185,0.000008961107,0.00011438405,0.00001558407,0.000021681613],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000027562013,0.000071031856,0.0000801496,0.000017897048,0.0002651995,0.0000723977,0.000070349,0.0000137267625,0.020665176],"category_scores_gemma":[7.0248194e-7,0.000054829157,0.000039504368,0.0000081315675,0.000083930194,0.000121390854,0.000010021768,0.000051465944,0.0019903507],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003834444,0.00006313235,0.00032953665,0.00001631513,0.00004800793,0.00000582942,0.120495506,0.000048635553,0.000018983179,0.045360573,0.035638936,0.7979362],"study_design_scores_gemma":[0.00012335148,0.000030279378,0.00017715222,0.0000064291694,0.0000072743114,0.0000010860572,0.00038345615,0.000405768,0.000030985277,0.007351411,0.9913886,0.00009421749],"about_ca_topic_score_codex":0.000107550135,"about_ca_topic_score_gemma":0.0003752994,"teacher_disagreement_score":0.95574963,"about_ca_system_score_codex":0.000006096281,"about_ca_system_score_gemma":0.0000050091226,"threshold_uncertainty_score":0.9987867},"labels":[],"label_agreement":null},{"id":"W4250815718","doi":"10.4324/9780203182215-7","title":"BLACK THEATRE 1998: A THIRTY-YEAR LOOK AT BLACK ARTS THEATRE (1998)","year":2002,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Art; Visual arts","score_opus":0.03459273064133591,"score_gpt":0.21326076762801335,"score_spread":0.17866803698667744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250815718","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00043067735,0.0017636141,8.7992663e-7,0.00075909914,0.0009138301,0.0005925999,0.00041591926,0.00038716066,0.9947362],"genre_scores_gemma":[0.01873189,0.0049255164,0.000019259467,0.0011896817,0.0047316067,0.000017569662,0.00015719647,0.00020193016,0.97002536],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971216,0.000021454733,0.000686597,0.00080936716,0.0005959543,0.0007650503],"domain_scores_gemma":[0.99839586,0.00012569642,0.00026271306,0.00095576537,0.000082299375,0.00017768439],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014443329,0.0010790458,0.0010534786,0.00025329046,0.00087866385,0.00026387104,0.000457951,0.00040922491,0.055202425],"category_scores_gemma":[0.0000013370644,0.0007584926,0.00070185063,0.000017625496,0.0014825441,0.00026469192,0.00037362802,0.00070553116,0.054929666],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000983142,0.00006103994,0.000054000608,0.00025143358,0.00067258056,0.000052230334,0.035477526,0.00000519283,0.0000013018181,0.33451006,0.62338364,0.005432673],"study_design_scores_gemma":[0.00049419823,0.00026517632,0.000003940815,0.00035281427,0.00030096687,0.000010493594,0.0024582562,0.000032718188,0.000011380215,0.010810377,0.9842536,0.0010061172],"about_ca_topic_score_codex":0.0001437001,"about_ca_topic_score_gemma":0.0048641427,"teacher_disagreement_score":0.3608699,"about_ca_system_score_codex":0.00014451677,"about_ca_system_score_gemma":0.00004196097,"threshold_uncertainty_score":0.9994866},"labels":[],"label_agreement":null},{"id":"W4250877670","doi":"10.32920/ryerson.14656278.v1","title":"The amateur project.","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Amateur; Computer science; History; Archaeology","score_opus":0.04935264491119982,"score_gpt":0.25883992354411495,"score_spread":0.20948727863291514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250877670","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032354336,0.0026645244,0.000002042947,0.0012268141,0.0028323235,0.00018363266,0.000016941482,0.00011150508,0.9606079],"genre_scores_gemma":[0.64973587,0.0042490093,0.000033306387,0.00047245776,0.0029520777,0.0001433613,0.00004648205,0.00002426958,0.34234318],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942786,0.000021134107,0.00013840153,0.00014896662,0.00010378368,0.00015988266],"domain_scores_gemma":[0.99953294,0.000042151234,0.000044901208,0.00028234045,0.00008793205,0.00000972599],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009483791,0.00013196602,0.00014065843,0.000019301706,0.00069646613,0.0007270939,0.00018343687,0.000035564808,0.0011364763],"category_scores_gemma":[0.000005125343,0.00006605979,0.00010325371,0.0000074444865,0.00015921025,0.000042855925,0.00046912735,0.00024476813,0.00008884421],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017108083,0.00004590416,0.00017112274,0.00026645212,0.00043505925,0.0000087991975,0.20783924,0.0000060031252,0.0000020384098,0.34817192,0.41075704,0.032279342],"study_design_scores_gemma":[0.000029959157,0.000010166215,0.00003994046,0.000036286405,0.000019165998,5.671545e-7,0.029503953,0.000017986475,0.000022952549,0.0009462723,0.9692567,0.00011607334],"about_ca_topic_score_codex":0.0008696684,"about_ca_topic_score_gemma":0.014264351,"teacher_disagreement_score":0.6182647,"about_ca_system_score_codex":0.000009454443,"about_ca_system_score_gemma":0.000069460846,"threshold_uncertainty_score":0.9997766},"labels":[],"label_agreement":null},{"id":"W4250990556","doi":"10.24908/iqurcp.8493","title":"‘Breaking Dow n the Wall:’ Performing History","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Prison; Fortress (chess); Visual arts; Art; Art history; History; Ancient history; Archaeology","score_opus":0.1758800949692568,"score_gpt":0.34407641101776454,"score_spread":0.16819631604850774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250990556","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28710857,0.0006339097,0.000044840428,0.062240392,0.0015608671,0.00077487744,0.0000049631412,0.00037393812,0.6472576],"genre_scores_gemma":[0.9748839,0.0005640479,0.00003531666,0.0005985163,0.0031092165,0.00012628747,0.0000035338148,0.00004182021,0.020637335],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969167,0.000067645524,0.00037798675,0.0005115895,0.0010304736,0.001095578],"domain_scores_gemma":[0.9969818,0.00020231122,0.00012893157,0.0002772261,0.0022646945,0.00014505454],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["sts","insufficient_payload"],"category_scores_codex":[0.0019037073,0.00030067787,0.00029037448,0.00033390996,0.0025503347,0.00066948676,0.0008598593,0.000079918515,0.00133818],"category_scores_gemma":[0.0001089984,0.00019836305,0.000103729704,0.00017252305,0.005076267,0.0010544034,0.00037123845,0.00085247506,0.0008369734],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008383872,0.000043365348,0.00092017493,0.000100971854,0.000086594075,0.0000029088185,0.19836092,6.110864e-8,0.00027844927,0.67668706,0.11381833,0.00961733],"study_design_scores_gemma":[0.00023859588,0.0004021419,0.00019043166,0.00019672205,0.000021702584,0.0000087802655,0.04132763,0.00037137588,0.00039420679,0.032748073,0.9237861,0.000314234],"about_ca_topic_score_codex":0.0020615724,"about_ca_topic_score_gemma":0.000986626,"teacher_disagreement_score":0.80996776,"about_ca_system_score_codex":0.00040490256,"about_ca_system_score_gemma":0.00034993372,"threshold_uncertainty_score":0.999941},"labels":[],"label_agreement":null},{"id":"W4251104759","doi":"10.3138/tric.28.2.v","title":"Introduction","year":2007,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Sociology; Pedagogy; Mathematics education; Psychology; Visual arts; Art","score_opus":0.06922052358145277,"score_gpt":0.3117073021199744,"score_spread":0.24248677853852163,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251104759","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15196885,0.00044293495,9.21742e-7,0.0060962113,0.0007963709,0.00011568913,0.000009398472,0.000014890786,0.8405547],"genre_scores_gemma":[0.99528795,0.0000778936,0.0000063176267,0.00006792651,0.0031696875,0.0000059482422,0.000003808945,0.000008028797,0.0013724517],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99877805,0.00004565438,0.00014289576,0.00013266594,0.0003993382,0.0005014065],"domain_scores_gemma":[0.99956006,0.00014778292,0.000011060143,0.00015977198,0.000060778686,0.000060533228],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012150467,0.00006376691,0.00009330362,0.00016639743,0.00026832442,0.000029925042,0.00011905337,0.0000115804605,0.0014889718],"category_scores_gemma":[0.0000027090987,0.000050952676,0.000013597098,0.00011143972,0.0001447004,0.00009447269,0.000037564783,0.00027369056,0.00006116137],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011523412,0.000030971067,0.0059117475,0.00005020836,0.000023421815,0.000073497555,0.006332133,0.000014407221,0.000044500448,0.022095215,0.21927564,0.746033],"study_design_scores_gemma":[0.000096547534,0.00003137427,0.0005062103,0.00001123778,9.4947427e-7,0.0000019543472,0.011864404,0.0000074348864,0.0002057532,0.0014666434,0.9857425,0.000064996275],"about_ca_topic_score_codex":0.9830243,"about_ca_topic_score_gemma":0.99965066,"teacher_disagreement_score":0.84331906,"about_ca_system_score_codex":0.0005858224,"about_ca_system_score_gemma":0.0005122008,"threshold_uncertainty_score":0.9994238},"labels":[],"label_agreement":null},{"id":"W4251199830","doi":"10.4324/9781135000356-rem1257-1","title":"Directors/Directing","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Politics; Function (biology); Division of labour; Visual arts; Control (management); Art; Engineering; Management; Political science; Law; Economics","score_opus":0.044759379532974986,"score_gpt":0.22468381214164065,"score_spread":0.17992443260866567,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251199830","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000088163426,0.0006992249,3.7366965e-7,0.00006042038,0.0016722432,0.00007172328,0.000026710433,0.00021850168,0.99716264],"genre_scores_gemma":[0.0028392226,0.00023609734,0.000013421026,0.00020105111,0.0068008406,0.0000031836864,0.000013070962,0.000043300613,0.9898498],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936783,0.0000024502688,0.00016721137,0.00018474727,0.00011626184,0.00016147971],"domain_scores_gemma":[0.9996051,0.0000368009,0.00007301661,0.00016904244,0.000087958455,0.000028040713],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000061301966,0.00022666644,0.00025143469,0.00007345671,0.00038942622,0.00008278451,0.00009272884,0.00006772683,0.1449939],"category_scores_gemma":[0.0000026338082,0.00016517611,0.00012382552,0.0000020037517,0.00024602207,0.000072967996,0.000059763563,0.00014023803,0.005046461],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000059664394,0.0000035273383,0.0000052396135,0.00003173245,0.0001446789,0.0000022148427,0.015059989,1.2075461e-8,4.1866068e-7,0.6541957,0.3115887,0.01896181],"study_design_scores_gemma":[0.000038566097,0.000050283637,0.000001234369,0.000087005596,0.00004164663,9.406538e-7,0.00033598504,6.345686e-7,0.000013060415,0.00895162,0.9902363,0.0002427623],"about_ca_topic_score_codex":0.00010399804,"about_ca_topic_score_gemma":0.0031724737,"teacher_disagreement_score":0.6786476,"about_ca_system_score_codex":0.000018603378,"about_ca_system_score_gemma":0.000013059793,"threshold_uncertainty_score":0.99572825},"labels":[],"label_agreement":null},{"id":"W4251368974","doi":"10.1353/mdr.2003.0054","title":"Afterword: Theatre and Exile","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.019148368192525723,"score_gpt":0.21386697782442796,"score_spread":0.19471860963190224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251368974","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33941504,0.0016686172,0.000027929482,0.00020101298,0.00022702354,0.000060625167,0.000009743303,0.000052186253,0.65833783],"genre_scores_gemma":[0.984054,0.00007947111,0.000033469456,0.00024424487,0.00021588792,0.000011184898,0.0000014929858,0.000010629538,0.015349608],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957913,0.000013811644,0.00007591786,0.000114386676,0.0000615375,0.0001551992],"domain_scores_gemma":[0.9998085,0.000016167738,0.000014602762,0.00010938186,0.00002212537,0.000029230494],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000049336937,0.000089596215,0.00009868247,0.00002616008,0.0002670978,0.00008766838,0.000037685717,0.000017338085,0.0010377995],"category_scores_gemma":[0.000002728423,0.00006702484,0.000027399637,0.000008772085,0.000109022374,0.00011737918,0.000017676326,0.00005476827,0.00009215469],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057319034,0.0001395195,0.009971743,0.00010435462,0.0001419976,0.000014303477,0.23517433,0.000013620265,0.00009047259,0.5481208,0.02242304,0.18374848],"study_design_scores_gemma":[0.0001962453,0.000045806857,0.00022503977,0.000011975602,0.000013112932,0.000002852472,0.0022362014,0.000071166636,0.00009208747,0.021001507,0.97597486,0.0001291413],"about_ca_topic_score_codex":0.000047009093,"about_ca_topic_score_gemma":0.00040997154,"teacher_disagreement_score":0.9535518,"about_ca_system_score_codex":0.0000053243334,"about_ca_system_score_gemma":0.0000064370574,"threshold_uncertainty_score":0.99987537},"labels":[],"label_agreement":null},{"id":"W4251509475","doi":"10.3138/utq.69.1.81","title":"Drama","year":2000,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; History; Art; Literature","score_opus":0.008839267353581124,"score_gpt":0.17541827755397313,"score_spread":0.166579010200392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251509475","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31385577,0.00021930989,0.000002175369,0.000096893025,0.00007749452,0.000028907132,0.000014924993,0.00002954782,0.68567497],"genre_scores_gemma":[0.9145568,0.00007970216,0.000034582365,0.000024432502,0.00012077346,3.3847318e-8,0.0000027427075,0.000002609016,0.08517829],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972963,0.000008710123,0.000045653236,0.0000678252,0.00005786605,0.00009032428],"domain_scores_gemma":[0.9998327,0.000007847241,0.000018443625,0.000092329545,0.000026686504,0.000022000486],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000021370523,0.000051111685,0.00008781335,0.0000070981787,0.0001995822,0.000010806062,0.00009703562,0.000013691384,0.06458545],"category_scores_gemma":[1.3442725e-7,0.000051817937,0.000052342042,0.0000030356402,0.00013399874,0.00029424162,0.0000034501684,0.000021510714,0.00027166813],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000105508334,0.000068756846,0.00019231637,0.00001768094,0.00006958954,0.000005435697,0.51821876,0.0000010070153,0.00001576976,0.026300674,0.02400986,0.43099463],"study_design_scores_gemma":[0.0002268936,0.00031381394,0.0009927115,0.000008496327,0.00001695408,3.6965952e-7,0.04861696,0.000011886401,0.0000026534112,0.00014515799,0.94959044,0.0000736621],"about_ca_topic_score_codex":0.024974996,"about_ca_topic_score_gemma":0.08109301,"teacher_disagreement_score":0.92558056,"about_ca_system_score_codex":0.000021447904,"about_ca_system_score_gemma":0.000006694989,"threshold_uncertainty_score":0.9815178},"labels":[],"label_agreement":null},{"id":"W4251572719","doi":"10.3138/utq.78.4.979","title":"Theatre of Image and Action: Robertson Davies and <i>The Golden Age of Melodrama</i>","year":2009,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Throne; Action (physics); Soul; Art; Literature; Phenomenon; Character (mathematics); Art history; Philosophy; Politics; Law; Theology; Epistemology","score_opus":0.009592578744361705,"score_gpt":0.1939672097350158,"score_spread":0.1843746309906541,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251572719","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7766697,0.0034252498,0.000014719113,0.00072114734,0.000091508286,0.00014971143,0.000040244355,0.000016674876,0.21887103],"genre_scores_gemma":[0.9972988,0.000576941,0.00005671974,0.000017553795,0.000046188183,5.0736002e-8,0.000002253601,0.000001943177,0.0019995852],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99967,0.000025033802,0.00009259255,0.00007365528,0.000069856724,0.00006882941],"domain_scores_gemma":[0.9997132,0.000037024987,0.00008527699,0.000101246194,0.000046675133,0.000016574862],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000677077,0.00006963375,0.00021421493,0.000014210893,0.00014713881,0.000011472716,0.00007595897,0.000019008747,0.00015548104],"category_scores_gemma":[5.776466e-7,0.00005253687,0.000050273462,0.0000058422224,0.0006042231,0.00031741842,0.000012285506,0.000029946026,6.105508e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00089318084,0.00010720512,0.00046973844,0.00021627662,0.00018673879,0.0000053902495,0.7710142,4.3972005e-7,0.0017280227,0.0510162,0.003075203,0.17128737],"study_design_scores_gemma":[0.0053625456,0.003572542,0.026492244,0.00024141556,0.00050620065,0.000007925081,0.60687196,0.000046704125,0.0004797469,0.004923302,0.35109344,0.0004019837],"about_ca_topic_score_codex":0.013532372,"about_ca_topic_score_gemma":0.040961497,"teacher_disagreement_score":0.34801823,"about_ca_system_score_codex":0.0000093172375,"about_ca_system_score_gemma":0.000005393854,"threshold_uncertainty_score":0.9930366},"labels":[],"label_agreement":null},{"id":"W4251691181","doi":"10.3138/md.50.2.276","title":"Book Reviews","year":2007,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Art history; Performance art; Art; Tragedy (event); Modernism (music); Musical; German; Dissent; History; Humanities; Politics; Literature; Law","score_opus":0.03784390352903533,"score_gpt":0.257394601249411,"score_spread":0.21955069772037566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251691181","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009864497,0.062481944,0.00047975325,0.0006582502,0.0005802961,0.00016654658,0.000005355501,0.00010347713,0.9256599],"genre_scores_gemma":[0.64265305,0.0027110074,0.00007541198,0.009252876,0.002655321,0.000015814861,0.000007528897,0.000024612762,0.3426044],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948007,0.000006930001,0.00015305412,0.00009446968,0.00007122956,0.0001942669],"domain_scores_gemma":[0.999764,0.000016202244,0.000031866053,0.00013515817,0.00002323272,0.000029492816],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018875841,0.00008404452,0.00012982768,0.000032263706,0.00024007991,0.000046842568,0.0000736382,0.000016120157,0.0028483712],"category_scores_gemma":[0.000004151184,0.000060873535,0.000059643553,0.000009754988,0.000080199476,0.00014420079,0.000023693812,0.00006538299,0.0009125863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027063998,0.000046081404,0.00023318474,0.000054291773,0.000028307033,0.0000071003196,0.08391734,0.000001178821,0.000053617146,0.03652833,0.6189555,0.26014802],"study_design_scores_gemma":[0.00008252499,0.000025426973,0.00008820708,0.0000179089,0.000008353576,9.0882014e-7,0.00030384067,0.000025531512,0.00007474969,0.0012885968,0.99799365,0.00009029499],"about_ca_topic_score_codex":0.000035937046,"about_ca_topic_score_gemma":0.0005491057,"teacher_disagreement_score":0.63278854,"about_ca_system_score_codex":0.0000109863595,"about_ca_system_score_gemma":0.000004086839,"threshold_uncertainty_score":0.9998653},"labels":[],"label_agreement":null},{"id":"W4251732990","doi":"10.1353/ctr.0.0032","title":"Can the Theatre be a Courtroom?: An Interview with Liza Balkan","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Criminology; Law; History; Sociology; Political science","score_opus":0.030182487670577247,"score_gpt":0.23717639169257507,"score_spread":0.20699390402199783,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251732990","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005190286,0.16174212,8.4303065e-7,0.12923022,0.0011074425,0.0014582874,0.00052788993,0.00014772007,0.7005952],"genre_scores_gemma":[0.8380657,0.086653344,0.0000390598,0.06483621,0.0028390496,0.00030993272,0.00014948804,0.00013743319,0.0069698235],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998546,0.00012423655,0.0002882733,0.000295883,0.00018086459,0.0005647158],"domain_scores_gemma":[0.99852157,0.00004866383,0.000086004875,0.00082171604,0.00011033072,0.00041174388],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048223545,0.00033241304,0.00047266082,0.000080880665,0.000934822,0.0001868094,0.00055862224,0.000047887905,0.007080142],"category_scores_gemma":[0.0000056776694,0.00017175295,0.00015300745,0.000103402774,0.00045692312,0.00020197597,0.000031967003,0.00045951622,0.00013497203],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009035823,0.000043246648,0.00046989898,0.0015508954,0.00023744017,0.00004351108,0.017603816,4.1282541e-7,0.000004128273,0.053348202,0.094236456,0.83245295],"study_design_scores_gemma":[0.0001098053,0.00013953773,0.00006197612,0.0013131867,0.00021192145,0.000057065256,0.0019036764,0.000003999157,0.0000029757748,0.00026663652,0.9956467,0.0002824749],"about_ca_topic_score_codex":0.0657753,"about_ca_topic_score_gemma":0.96724194,"teacher_disagreement_score":0.90146667,"about_ca_system_score_codex":0.000054063494,"about_ca_system_score_gemma":0.00040165827,"threshold_uncertainty_score":0.9938275},"labels":[],"label_agreement":null},{"id":"W4251910415","doi":"10.1386/jafp.9.2.191_1","title":"Practitioners’ Perspectives","year":2016,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Conversation; Sociology; Psychology; Gender studies; Communication","score_opus":0.0322892384818469,"score_gpt":0.23911471177183413,"score_spread":0.20682547328998724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251910415","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9603295,0.00054781785,0.0001400601,0.002059438,0.00075124885,0.000056172463,0.0000061392516,0.000012306533,0.036097337],"genre_scores_gemma":[0.9937526,0.0016353483,0.00018030673,0.00006268861,0.000710133,0.0000035663006,4.2121076e-7,0.000007112894,0.0036478238],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992568,0.000022452185,0.00033327506,0.00006714261,0.00019178313,0.00012856469],"domain_scores_gemma":[0.99927366,0.00007238489,0.00028388275,0.000064356616,0.00027827782,0.000027414138],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025235498,0.0000823541,0.00014229641,0.00019976925,0.00013505,0.00003386287,0.00008852988,0.000019208477,0.00095299847],"category_scores_gemma":[0.000035489807,0.00004879192,0.000056267047,0.000045027922,0.0001253112,0.0014222745,0.000010186797,0.00010816048,0.000055113163],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000959348,0.0003907805,0.016077619,0.000100892525,0.00019620865,0.000024320587,0.7105404,0.0012637085,0.00090300187,0.07458401,0.022581521,0.17237817],"study_design_scores_gemma":[0.0030920547,0.0014898571,0.054702282,0.00089104427,0.00005328485,0.000089725705,0.21404824,0.0008605995,0.0010173664,0.0015669374,0.72171307,0.00047554428],"about_ca_topic_score_codex":0.000014441576,"about_ca_topic_score_gemma":0.00015674646,"teacher_disagreement_score":0.69913155,"about_ca_system_score_codex":0.000067866284,"about_ca_system_score_gemma":0.000055291206,"threshold_uncertainty_score":0.99996024},"labels":[],"label_agreement":null},{"id":"W4252018396","doi":"10.1353/ctr.2010.0001","title":"Ground Rules : Live Performance and Eco-art","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Art; Art history; Environmental ethics; Visual arts; Philosophy","score_opus":0.018045904197236402,"score_gpt":0.21637378441914865,"score_spread":0.19832788022191225,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252018396","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15394649,0.09816386,5.2156864e-8,0.0033100387,0.00078089593,0.0003498263,0.000094085175,0.000047594054,0.7433072],"genre_scores_gemma":[0.69075716,0.28115287,0.000034861434,0.0053645484,0.0016108331,0.000057836867,0.00005710787,0.000043146378,0.020921662],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992381,0.00001694751,0.00017598076,0.0001730708,0.00007373341,0.0003221849],"domain_scores_gemma":[0.9994202,0.000024571435,0.000039469476,0.00023601872,0.000048477228,0.0002312516],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017903364,0.00017013487,0.00027301017,0.000070734655,0.00053456216,0.0000893445,0.0001332282,0.00003364932,0.006506909],"category_scores_gemma":[0.000006411459,0.00012827499,0.0000620876,0.000026108431,0.00024314536,0.00022992803,0.000021456626,0.00021230611,0.0017240932],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005792875,0.000015757236,0.0027938476,0.0033682578,0.00009937663,0.000014510925,0.010962514,5.351553e-8,0.0000025494744,0.045550883,0.21294302,0.72424346],"study_design_scores_gemma":[0.000058114758,0.00003610504,0.0005881544,0.0006852252,0.00005780823,0.000022040218,0.0003133061,0.000004708834,0.0000010680812,0.00019118527,0.99786055,0.00018175287],"about_ca_topic_score_codex":0.012848115,"about_ca_topic_score_gemma":0.56760234,"teacher_disagreement_score":0.78491753,"about_ca_system_score_codex":0.000023136397,"about_ca_system_score_gemma":0.000109416476,"threshold_uncertainty_score":0.9990532},"labels":[],"label_agreement":null},{"id":"W4252065514","doi":"10.3138/md.49.1.120","title":"Book Reviews","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Miller; Art history; Biography; White (mutation); Art; History; American literature; Literature","score_opus":0.027007985882046413,"score_gpt":0.2306286524360073,"score_spread":0.20362066655396088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252065514","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007633191,0.07258524,0.00008119822,0.00097371306,0.00035060605,0.00014271785,0.000010156888,0.00010141735,0.91812176],"genre_scores_gemma":[0.49405724,0.0012895437,0.00003682432,0.0034120698,0.0026119582,0.000038114573,0.000015070432,0.000019016625,0.49852017],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995513,0.000010296102,0.00013473789,0.00009475424,0.000062323496,0.00014657996],"domain_scores_gemma":[0.9998024,0.00000788497,0.000030374209,0.00012699302,0.000019265188,0.00001308185],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000052202387,0.000084663356,0.0001311426,0.000022982773,0.00023860931,0.00006843567,0.000065385415,0.000013518914,0.002882377],"category_scores_gemma":[0.000001421207,0.000061258856,0.000060845454,0.000007789548,0.00007491188,0.00014535029,0.000019971962,0.000049209997,0.0009289158],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005128369,0.000029529956,0.0001313866,0.000026898611,0.000007938511,0.0000016825119,0.008432227,0.00000539697,0.000023737359,0.039766215,0.9285173,0.023052555],"study_design_scores_gemma":[0.0000837404,0.000016861119,0.000079988145,0.000015530739,0.000009038577,6.1972867e-7,0.00006870212,0.000092655486,0.000036362235,0.0050702426,0.99443567,0.000090581954],"about_ca_topic_score_codex":0.00019083341,"about_ca_topic_score_gemma":0.0006791345,"teacher_disagreement_score":0.48642406,"about_ca_system_score_codex":0.000008780157,"about_ca_system_score_gemma":0.0000042031375,"threshold_uncertainty_score":0.99984896},"labels":[],"label_agreement":null},{"id":"W4252079702","doi":"10.1177/1077800419846642","title":"anecdotal","year":2019,"lang":"en","type":"article","venue":"Qualitative Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Drama; Poetry; Prison; Sociology; Media studies; Pedagogy; Art; Visual arts; Literature; Criminology","score_opus":0.11252248725316816,"score_gpt":0.36230136547672404,"score_spread":0.24977887822355588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252079702","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65338945,0.0001826049,0.00000509045,0.0003310762,0.0012459852,0.00007676377,0.000016293046,0.0000498096,0.34470293],"genre_scores_gemma":[0.96143746,0.000010269596,0.000029967374,0.0004356209,0.00085126964,0.000009547602,0.000009986784,0.000009538785,0.037206315],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994111,0.00007015247,0.00012816055,0.00012257657,0.00011065442,0.0001573786],"domain_scores_gemma":[0.9996174,0.00015086887,0.000038133607,0.000113356924,0.000058148304,0.000022118877],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020631979,0.00009095369,0.00013463551,0.000042438056,0.00013423678,0.00003901539,0.00007105185,0.000015399712,0.006363394],"category_scores_gemma":[0.000009350502,0.00006925349,0.000052558287,0.00001859136,0.0002832515,0.00022454695,0.000027509912,0.000072580675,0.0050149066],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014582007,0.000014467833,0.00018389798,0.000019229186,0.000027874166,6.085245e-7,0.70169884,5.197263e-7,0.00002728772,0.28343615,0.013519572,0.0010569575],"study_design_scores_gemma":[0.00018808777,0.00015771334,0.00018673511,0.000016826418,0.000005415985,5.100993e-7,0.44362828,0.0000040451264,0.00006106552,0.005265621,0.5503533,0.00013241074],"about_ca_topic_score_codex":0.00006439741,"about_ca_topic_score_gemma":0.00006823717,"teacher_disagreement_score":0.5368337,"about_ca_system_score_codex":0.000011668299,"about_ca_system_score_gemma":0.000010071945,"threshold_uncertainty_score":0.9957598},"labels":[],"label_agreement":null},{"id":"W4252080536","doi":"10.3138/md.44.3.362","title":"Book Reviews","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Performance practice; History; Performance studies; Art history; Art; Sociology; Visual arts; Anthropology","score_opus":0.04309627801675544,"score_gpt":0.25053397954174605,"score_spread":0.2074377015249906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252080536","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011568482,0.07150777,0.00009653818,0.0017301413,0.0004375936,0.00015802764,0.0000053725635,0.00010788828,0.9143882],"genre_scores_gemma":[0.383068,0.01450599,0.000028146464,0.009179387,0.002137811,0.000045907997,0.000008154404,0.000022542914,0.5910041],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995424,0.00001167059,0.00012369482,0.00009900057,0.00006356703,0.00015967486],"domain_scores_gemma":[0.9997712,0.000008603872,0.000027546848,0.00014732109,0.000020734304,0.000024641591],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000061677296,0.0000864439,0.00013744924,0.000024690919,0.00025248632,0.00006370034,0.0000782113,0.000013910329,0.0067220363],"category_scores_gemma":[0.0000032346818,0.00006215487,0.000060799957,0.000010363745,0.00007118287,0.00017672601,0.000024286584,0.000057866077,0.0014619548],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017887114,0.000042084997,0.00034949486,0.000029869512,0.000024263407,0.000007330893,0.048352826,0.0000030695971,0.000017466211,0.015902577,0.7772425,0.15801068],"study_design_scores_gemma":[0.00009093503,0.000025676016,0.000043036882,0.0000193155,0.000009413774,0.0000023287755,0.00018467206,0.00011178756,0.000009291745,0.0017033838,0.9977078,0.0000923577],"about_ca_topic_score_codex":0.00004442909,"about_ca_topic_score_gemma":0.00029767922,"teacher_disagreement_score":0.3714995,"about_ca_system_score_codex":0.000008735368,"about_ca_system_score_gemma":0.000004412685,"threshold_uncertainty_score":0.9993155},"labels":[],"label_agreement":null},{"id":"W4252086261","doi":"10.1353/ctr.2012.0031","title":"Tangible Archives of the Intangible, or Archiving the Ineluctable Modality of the Theatrical","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Modality (human–computer interaction); Visual arts; Art; World Wide Web; Multimedia; Computer science; Human–computer interaction","score_opus":0.03672690233718249,"score_gpt":0.2424191185421834,"score_spread":0.20569221620500092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252086261","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020964248,0.2973218,0.0000044342355,0.020085476,0.0013096024,0.0016647878,0.00037514864,0.000026807838,0.6582477],"genre_scores_gemma":[0.97605,0.0178346,0.000012804852,0.0013589496,0.0005124945,0.00003680486,0.0000021587969,0.000019510564,0.0041726464],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99863434,0.00024660624,0.00037929206,0.000113790855,0.00018571594,0.00044026764],"domain_scores_gemma":[0.9987191,0.00026904282,0.00015964732,0.0007057244,0.000036361722,0.00011011136],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004560468,0.00017594095,0.00038117854,0.00005327044,0.00062198855,0.00002056829,0.0006994611,0.000022484122,0.00070233457],"category_scores_gemma":[0.000051213625,0.00006316581,0.00032663232,0.0002154223,0.00067874446,0.000106048115,0.00014209672,0.00022100881,0.000012608064],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071415656,0.00022936604,0.07000531,0.01037608,0.00096306246,0.0000019277422,0.10463174,0.000022383778,0.000096185446,0.34638384,0.06660042,0.40061828],"study_design_scores_gemma":[0.000083989835,0.000023328668,0.0044222237,0.0020698411,0.00024927992,0.000011786905,0.0013183353,0.000009131837,0.00013456026,0.0015384299,0.9900031,0.00013598062],"about_ca_topic_score_codex":0.028446242,"about_ca_topic_score_gemma":0.13325478,"teacher_disagreement_score":0.95508575,"about_ca_system_score_codex":0.00003701645,"about_ca_system_score_gemma":0.00027950123,"threshold_uncertainty_score":0.9780234},"labels":[],"label_agreement":null},{"id":"W4252114332","doi":"10.1353/mdr.2003.0002","title":"Ambient Space in Twentieth-Century Theatre: The Space of Silence","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.017689366111675153,"score_gpt":0.22078195449974666,"score_spread":0.2030925883880715,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252114332","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7722425,0.004503504,0.00004481683,0.0012844327,0.0009130449,0.00022371724,0.000014718386,0.000031178795,0.22074208],"genre_scores_gemma":[0.9947317,0.00051420595,0.000023292536,0.000118448625,0.00011884949,0.000015521777,0.0000012561994,0.000012445712,0.00446424],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917203,0.000057868507,0.0001795263,0.00015660201,0.00017928549,0.00025468052],"domain_scores_gemma":[0.9995383,0.000056547746,0.00006575946,0.00027424534,0.000041535823,0.000023621184],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019098085,0.00013334845,0.0001772782,0.000049086695,0.00020506856,0.000050757924,0.00015563676,0.000027268532,0.00039175013],"category_scores_gemma":[0.000009453979,0.00008406884,0.00007408338,0.00004899397,0.0002562739,0.00011952821,0.000031853728,0.00014201527,0.000042446063],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000908769,0.00040208397,0.013164984,0.0001453492,0.00010294829,0.000009252911,0.48416677,0.0004725083,0.0011154622,0.47487554,0.009829563,0.015624651],"study_design_scores_gemma":[0.0007396812,0.00015126527,0.0016803545,0.0001338928,0.000040721658,0.00000347488,0.038870934,0.00053293235,0.004025559,0.015436311,0.9380429,0.0003419977],"about_ca_topic_score_codex":0.00040259658,"about_ca_topic_score_gemma":0.0011235304,"teacher_disagreement_score":0.9282133,"about_ca_system_score_codex":0.000020266476,"about_ca_system_score_gemma":0.000023079696,"threshold_uncertainty_score":0.42893893},"labels":[],"label_agreement":null},{"id":"W4252172537","doi":"10.1353/ctr.2012.0022","title":"Theatre Production, Experiential Learning, and Research–Creation in the Academy: An Anti-manifesto of Sorts","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Manifesto; Reflexivity; Experiential learning; Sociology; Visual arts; Art; Performance art; SAINT; Art history; Media studies; Aesthetics; Political science; Pedagogy; Social science; Law","score_opus":0.06382078448971171,"score_gpt":0.33364283757367197,"score_spread":0.26982205308396023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252172537","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38941646,0.39409548,1.5105206e-7,0.008356622,0.0004587017,0.0012557757,0.000024138319,0.00003073357,0.20636195],"genre_scores_gemma":[0.94114625,0.056903753,0.0000030208982,0.00027831263,0.0009316999,0.000060603303,0.00001601809,0.000013918987,0.00064643245],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985859,0.00038958158,0.0002471204,0.00017082093,0.00019668082,0.00040991875],"domain_scores_gemma":[0.9995184,0.000044771255,0.00005795181,0.00017898851,0.00006504549,0.0001348564],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015511343,0.00012801074,0.00025009847,0.00017220587,0.0005545474,0.000043245574,0.00014397329,0.00004004261,0.00047073787],"category_scores_gemma":[0.000026600554,0.00008256278,0.000044536835,0.0001328252,0.0003957085,0.0004023593,0.000019314957,0.0002941172,0.000028435374],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002104158,0.00018817445,0.07924643,0.0033072438,0.000092388516,0.000007895614,0.4005158,0.0000023631583,0.000036392103,0.07388741,0.040986657,0.40170822],"study_design_scores_gemma":[0.000050863375,0.00005713848,0.0024201032,0.00073203276,0.0000355585,0.00001715473,0.012230843,7.6575697e-7,0.000017877266,0.00015486804,0.98417777,0.00010500065],"about_ca_topic_score_codex":0.01796145,"about_ca_topic_score_gemma":0.08518761,"teacher_disagreement_score":0.9431911,"about_ca_system_score_codex":0.000042882006,"about_ca_system_score_gemma":0.00007954683,"threshold_uncertainty_score":0.988578},"labels":[],"label_agreement":null},{"id":"W4252519282","doi":"10.18357/sremd01201713551","title":"Saying It Like Indians: The Wooster Group’s Cry Trojans!, Sa(l)vage Ethnography, and the Politics of “Playing Injun”","year":2017,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Appropriation; Cultural appropriation; White (mutation); Politics; Genocide; Elite; Culture of the United States; Art; History; Literature; Sociology; Aesthetics; Law; Political science; Philosophy","score_opus":0.06194117408149835,"score_gpt":0.2873624696827272,"score_spread":0.22542129560122887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252519282","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79259896,0.12133862,0.000069663016,0.0043693595,0.0007138929,0.0014180406,0.000095611824,0.0000312509,0.07936458],"genre_scores_gemma":[0.9761976,0.021820799,0.00008195169,0.0005284789,0.0003888203,0.000036474095,0.0000024196406,0.000021468328,0.00092201284],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99850667,0.00015955881,0.0005953829,0.00019934626,0.00022250612,0.00031652363],"domain_scores_gemma":[0.9982914,0.00018415919,0.0005591041,0.00082274014,0.0000993822,0.000043263182],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0010478193,0.00023559888,0.0006686816,0.000077139775,0.0016758556,0.00028818782,0.0005874913,0.00005616836,0.00007843806],"category_scores_gemma":[0.00006879507,0.00011942318,0.0003005532,0.00002946903,0.0017368424,0.00041871762,0.00023541137,0.00026792914,0.00001043051],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002403293,0.00013057663,0.028724676,0.001980251,0.000604608,0.0000026924695,0.5172506,0.0000013090022,0.00014530383,0.084685996,0.0040314,0.36220226],"study_design_scores_gemma":[0.004050502,0.0006679601,0.0347563,0.004232546,0.0010228122,0.000012699672,0.019911477,0.00028442463,0.00013388158,0.026260322,0.90759826,0.0010688386],"about_ca_topic_score_codex":0.0011793708,"about_ca_topic_score_gemma":0.0009959385,"teacher_disagreement_score":0.90356684,"about_ca_system_score_codex":0.000007082306,"about_ca_system_score_gemma":0.000018328723,"threshold_uncertainty_score":0.99962384},"labels":[],"label_agreement":null},{"id":"W4252568409","doi":"10.1353/mdr.2011.0023","title":"Hearing Double: Acousmatic Authority and the Rise of the Theatre Director","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.04892092637293739,"score_gpt":0.22882907262483987,"score_spread":0.1799081462519025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252568409","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.751132,0.0015484231,0.000010815779,0.00043941947,0.0003039394,0.00020355755,0.000010059025,0.00003189088,0.24631986],"genre_scores_gemma":[0.99729013,0.000044721713,0.00001096314,0.00004936658,0.00015839259,0.000016144153,1.9368046e-7,0.000008761364,0.0024213032],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9994995,0.000040403684,0.00013817697,0.00009163858,0.00010441848,0.0001258645],"domain_scores_gemma":[0.99962914,0.000046385485,0.00004145188,0.00023479002,0.000031572785,0.000016686003],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019200667,0.0000943185,0.00016141399,0.000015545626,0.0004838907,0.000045173783,0.00015448227,0.00001964992,0.00016405135],"category_scores_gemma":[0.0000037104496,0.00004160632,0.00006691583,0.00001819285,0.0005793847,0.00009078197,0.00011228216,0.000106675696,0.000007310836],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041688318,0.000090556154,0.00886658,0.00016458254,0.00018472786,7.9446164e-7,0.8515151,0.000006405658,0.00006667328,0.11599511,0.001275493,0.021417083],"study_design_scores_gemma":[0.020839036,0.0006413333,0.11300609,0.0011809572,0.0014647318,0.000038262067,0.09050968,0.030120198,0.010117614,0.37158197,0.35819566,0.0023044562],"about_ca_topic_score_codex":0.0016299721,"about_ca_topic_score_gemma":0.0010858655,"teacher_disagreement_score":0.7610054,"about_ca_system_score_codex":0.000005704775,"about_ca_system_score_gemma":0.000012531335,"threshold_uncertainty_score":0.3721745},"labels":[],"label_agreement":null},{"id":"W4252581584","doi":"10.1353/ctr.0.0043","title":"“Moments You Just Cannot Write”: Suitcase In Point Theatre and the Spectacle of Improvisation","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Improvisation; Visual arts; Art; Performance art; Point (geometry); Art history; Political science","score_opus":0.01853482139900173,"score_gpt":0.23462235273017779,"score_spread":0.21608753133117606,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252581584","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35722452,0.1595716,2.5131916e-7,0.030795287,0.0012064427,0.0022622,0.00044355364,0.00003963617,0.4484565],"genre_scores_gemma":[0.9749461,0.022626454,0.000004819293,0.0014133939,0.00030565052,0.000044314715,0.000015563712,0.000015690572,0.00062803866],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990374,0.00006303758,0.0003289308,0.00016522178,0.00010129046,0.0003041215],"domain_scores_gemma":[0.9993732,0.00006047361,0.00008607826,0.00029987327,0.000050536946,0.00012985436],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000573079,0.00016044543,0.00037607597,0.000110850626,0.00028220777,0.00004491292,0.00015106089,0.000033385426,0.0010041919],"category_scores_gemma":[0.000017882383,0.00009774855,0.00008586552,0.00007762494,0.0003876928,0.00013744559,0.00002669476,0.00022307731,0.000028202452],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006911507,0.00006509595,0.007820663,0.0038654406,0.00015298993,0.000032320102,0.06312388,6.050966e-7,0.00005038654,0.13733454,0.015614602,0.7718704],"study_design_scores_gemma":[0.0008715595,0.00005972017,0.0012856828,0.0010893194,0.00014460793,0.000022840044,0.0058008446,0.000017054794,0.000024662493,0.0011578727,0.9892808,0.00024503533],"about_ca_topic_score_codex":0.22230923,"about_ca_topic_score_gemma":0.88243854,"teacher_disagreement_score":0.9736662,"about_ca_system_score_codex":0.000049172784,"about_ca_system_score_gemma":0.00016194835,"threshold_uncertainty_score":0.99990904},"labels":[],"label_agreement":null},{"id":"W4252585452","doi":"10.3138/md.48.2.440","title":"Book Reviews","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Performance art; Politics; Prison; Art history; Art; Resistance (ecology); Reading (process); History; Humanities; Literature; Law; Political science; Archaeology","score_opus":0.03566674173608595,"score_gpt":0.24729475079151925,"score_spread":0.2116280090554333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252585452","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006566724,0.10638504,0.000072442024,0.0043885983,0.00032628293,0.00017654077,0.000009326228,0.0001230259,0.88195205],"genre_scores_gemma":[0.475289,0.0053976206,0.000109879315,0.01446971,0.00417453,0.00004521225,0.0000072392286,0.000022607921,0.5004842],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995524,0.000010279172,0.00013012298,0.00009521077,0.000062354244,0.00014957649],"domain_scores_gemma":[0.9997827,0.000007873881,0.000027813974,0.00013950317,0.000018443128,0.000023666047],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006293589,0.00008481621,0.00013135142,0.000022825612,0.00022897842,0.0000599868,0.0000770697,0.000013595834,0.006264915],"category_scores_gemma":[0.000002688243,0.0000611989,0.000060384365,0.0000066766756,0.00006681357,0.00022502706,0.000024210902,0.000059771286,0.0023649556],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006108307,0.000027621216,0.00003303559,0.000019720754,0.000013902648,6.2152964e-7,0.043145947,0.0000067065703,0.000013197781,0.012697592,0.7010356,0.24299991],"study_design_scores_gemma":[0.000089643574,0.00001871284,0.000016012307,0.00001645167,0.000009046423,7.037693e-7,0.000119530996,0.00026850108,0.000039504797,0.0005767237,0.9987542,0.00009095958],"about_ca_topic_score_codex":0.000018723558,"about_ca_topic_score_gemma":0.00038524054,"teacher_disagreement_score":0.46872225,"about_ca_system_score_codex":0.0000121000085,"about_ca_system_score_gemma":0.0000047826243,"threshold_uncertainty_score":0.99841183},"labels":[],"label_agreement":null},{"id":"W4252812454","doi":"10.1017/s0149767716000097","title":"Catalyst","year":2016,"lang":"en","type":"article","venue":"Dance Research Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Peninsula; Work (physics); Delta; Geography; Archaeology; Confluence; Engineering; Computer science","score_opus":0.13171991064966806,"score_gpt":0.3625304024198768,"score_spread":0.2308104917702087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252812454","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28825828,0.0035101841,0.00007875313,0.01573139,0.0014567605,0.00013916523,0.00005843957,0.000058948874,0.6907081],"genre_scores_gemma":[0.9536373,0.0016205158,0.000015337937,0.00004470117,0.0031729683,0.0000063385646,5.104503e-7,0.000008625266,0.041493714],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988765,0.00007148782,0.00013066859,0.00008758709,0.0004137862,0.00041998178],"domain_scores_gemma":[0.9993269,0.00012475876,0.000028957511,0.00012524083,0.0003013141,0.00009286081],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010159999,0.00005952585,0.00008865964,0.00013310341,0.0011127035,0.00018106254,0.00021511715,0.000013054738,0.003039894],"category_scores_gemma":[0.0000682149,0.000029278535,0.000047915324,0.000037216185,0.0004845047,0.0004024906,0.00005835725,0.00025618647,0.0011646554],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010265263,0.00007029544,0.0036556162,0.000023610379,0.000105963736,0.00007956744,0.023258705,2.7635545e-7,0.001924368,0.13215046,0.4914727,0.34715578],"study_design_scores_gemma":[0.00021851134,0.0000909334,0.00041458337,0.000083531406,0.0000019862077,0.000032553893,0.0020195998,7.2465946e-7,0.00039308085,0.0048905043,0.9917917,0.00006226029],"about_ca_topic_score_codex":0.000034569213,"about_ca_topic_score_gemma":0.00032164739,"teacher_disagreement_score":0.66537905,"about_ca_system_score_codex":0.000054366563,"about_ca_system_score_gemma":0.00006173225,"threshold_uncertainty_score":0.99961305},"labels":[],"label_agreement":null},{"id":"W4253032648","doi":"10.1353/ctr.2011.0035","title":"Staging Ethics: The Promise and Perils of Research-based Performance","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Environmental ethics; Aesthetics; Art; Philosophy","score_opus":0.1982706748395279,"score_gpt":0.32041587796818716,"score_spread":0.12214520312865926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253032648","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026241874,0.36327523,3.9879657e-7,0.010791821,0.00022617521,0.001035142,0.00007794312,0.000032438358,0.598319],"genre_scores_gemma":[0.89972156,0.09750986,0.000017724291,0.0016274436,0.00015412862,0.000057054636,0.000003224275,0.000015752708,0.00089322776],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901766,0.00015652865,0.00020216803,0.00013560471,0.00016418072,0.0003238851],"domain_scores_gemma":[0.999244,0.00011064896,0.00004802911,0.00030052633,0.00017204735,0.0001247483],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014368461,0.00011208764,0.0002289254,0.00010139124,0.000795308,0.00002978701,0.00020560052,0.000028434364,0.0013525959],"category_scores_gemma":[0.000032304808,0.000066009976,0.00005347664,0.00007790247,0.0011311852,0.00010398766,0.000025039819,0.00035126682,0.000040845567],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048308673,0.00005153074,0.008588616,0.029105756,0.00019274969,0.000018310278,0.24747826,5.849445e-7,0.000005730166,0.11957273,0.027164154,0.5677733],"study_design_scores_gemma":[0.000077365905,0.000089584144,0.00047497757,0.0038272468,0.00004483427,0.0000021834596,0.0025900395,0.00001005256,0.000035503836,0.0003339582,0.9924041,0.000110163564],"about_ca_topic_score_codex":0.028828844,"about_ca_topic_score_gemma":0.136697,"teacher_disagreement_score":0.96523994,"about_ca_system_score_codex":0.00003686977,"about_ca_system_score_gemma":0.0004273857,"threshold_uncertainty_score":0.9995603},"labels":[],"label_agreement":null},{"id":"W4253242911","doi":"10.26522/br.v12i1.399","title":"Welcoming","year":2011,"lang":"en","type":"article","venue":"The Brock Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Philosophy; Art; Humanities","score_opus":0.1090588030937616,"score_gpt":0.24802823421315007,"score_spread":0.13896943111938848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253242911","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010457471,0.207072,0.0000015925687,0.0005165327,0.0002770487,0.0001485557,0.0000022181018,0.000044237397,0.79089206],"genre_scores_gemma":[0.4253438,0.4396838,0.000056154717,0.01527204,0.0020200703,0.00010609641,0.0000038802427,0.00003557384,0.11747858],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967223,0.000020091988,0.00010861055,0.000051646966,0.00004817502,0.00009926591],"domain_scores_gemma":[0.99976283,0.000015276097,0.000033637672,0.00015635222,0.000020141708,0.000011746754],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000066827946,0.00006219429,0.00012152172,0.000007043226,0.00028102208,0.000010847087,0.0001357624,0.0000047052786,0.004235573],"category_scores_gemma":[0.0000048746483,0.000030188748,0.00005902578,0.000013297617,0.00006515217,0.000062331754,0.000037515565,0.000051973722,0.0011456833],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010472848,0.000041605985,0.00021665407,0.0021050423,0.000106461004,0.000001790675,0.051187534,3.0145003e-8,0.0000041764206,0.20229991,0.5407263,0.20330001],"study_design_scores_gemma":[0.000023187244,0.000015452171,0.00008334151,0.0005931921,0.000044168275,0.000002204618,0.00044631207,1.8677588e-7,0.000008604406,0.0009318717,0.997799,0.000052520012],"about_ca_topic_score_codex":0.00006808252,"about_ca_topic_score_gemma":0.00017779227,"teacher_disagreement_score":0.6734135,"about_ca_system_score_codex":0.000002760507,"about_ca_system_score_gemma":0.000003730739,"threshold_uncertainty_score":0.99963206},"labels":[],"label_agreement":null},{"id":"W4253480712","doi":"10.3138/md.49.2.155","title":"<i>The Pillowman</i> and the Ethics of Allegory","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Allegory; Literature; Art; Philosophy","score_opus":0.02032872043628988,"score_gpt":0.2243150416186996,"score_spread":0.20398632118240972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253480712","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20772555,0.014997839,0.00011656238,0.025183614,0.0005957366,0.00027385788,0.000022100921,0.00006232281,0.7510224],"genre_scores_gemma":[0.98379344,0.0004525099,0.000005481902,0.00041173273,0.00036962013,0.000009434504,0.0000012216595,0.000006706925,0.014949875],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952817,0.00004157851,0.00012929522,0.00006632567,0.00011805099,0.00011658353],"domain_scores_gemma":[0.9994578,0.00030007947,0.00004396059,0.00013896829,0.000051487576,0.000007744026],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031957866,0.000068163165,0.00010144912,0.0000098457695,0.00084367837,0.00007633721,0.000098100776,0.00002347423,0.000034166907],"category_scores_gemma":[0.000009948879,0.000031454158,0.00004311894,0.000008125491,0.0009967289,0.000051366424,0.00004617211,0.00015156117,0.00000809017],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007191993,0.000015337098,0.00016171018,0.00002327273,0.000035032754,4.4554557e-7,0.06309057,0.000017503846,0.000013971072,0.9159898,0.013277598,0.0073028514],"study_design_scores_gemma":[0.0005640251,0.000027894615,0.00022809116,0.000012421862,0.000026950558,0.0000012510097,0.0036877864,0.0006608967,0.00006086093,0.13296562,0.8616858,0.0000783871],"about_ca_topic_score_codex":0.00065653684,"about_ca_topic_score_gemma":0.004617111,"teacher_disagreement_score":0.8484082,"about_ca_system_score_codex":0.0000021577166,"about_ca_system_score_gemma":0.00001074134,"threshold_uncertainty_score":0.6488977},"labels":[],"label_agreement":null},{"id":"W4253878016","doi":"10.3138/md.48.3.609","title":"Book Reviews","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Watson; Art history; Performance art; Miller; Musical; History; Biography; Art; Comedy; Literature","score_opus":0.03566674173608595,"score_gpt":0.24729475079151925,"score_spread":0.2116280090554333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253878016","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006566724,0.10638504,0.000072442024,0.0043885983,0.00032628293,0.00017654077,0.000009326228,0.0001230259,0.88195205],"genre_scores_gemma":[0.475289,0.0053976206,0.000109879315,0.01446971,0.00417453,0.00004521225,0.0000072392286,0.000022607921,0.5004842],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995524,0.000010279172,0.00013012298,0.00009521077,0.000062354244,0.00014957649],"domain_scores_gemma":[0.9997827,0.000007873881,0.000027813974,0.00013950317,0.000018443128,0.000023666047],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006293589,0.00008481621,0.00013135142,0.000022825612,0.00022897842,0.0000599868,0.0000770697,0.000013595834,0.006264915],"category_scores_gemma":[0.000002688243,0.0000611989,0.000060384365,0.0000066766756,0.00006681357,0.00022502706,0.000024210902,0.000059771286,0.0023649556],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006108307,0.000027621216,0.00003303559,0.000019720754,0.000013902648,6.2152964e-7,0.043145947,0.0000067065703,0.000013197781,0.012697592,0.7010356,0.24299991],"study_design_scores_gemma":[0.000089643574,0.00001871284,0.000016012307,0.00001645167,0.000009046423,7.037693e-7,0.000119530996,0.00026850108,0.000039504797,0.0005767237,0.9987542,0.00009095958],"about_ca_topic_score_codex":0.000018723558,"about_ca_topic_score_gemma":0.00038524054,"teacher_disagreement_score":0.46872225,"about_ca_system_score_codex":0.0000121000085,"about_ca_system_score_gemma":0.0000047826243,"threshold_uncertainty_score":0.99841183},"labels":[],"label_agreement":null},{"id":"W4253942679","doi":"10.3138/md.44.4.491","title":"Book Reviews","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Performance art; Tragedy (event); Art history; History; Textuality; Art; Literature","score_opus":0.04309627801675544,"score_gpt":0.25053397954174605,"score_spread":0.2074377015249906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253942679","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011568482,0.07150777,0.00009653818,0.0017301413,0.0004375936,0.00015802764,0.0000053725635,0.00010788828,0.9143882],"genre_scores_gemma":[0.383068,0.01450599,0.000028146464,0.009179387,0.002137811,0.000045907997,0.000008154404,0.000022542914,0.5910041],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995424,0.00001167059,0.00012369482,0.00009900057,0.00006356703,0.00015967486],"domain_scores_gemma":[0.9997712,0.000008603872,0.000027546848,0.00014732109,0.000020734304,0.000024641591],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000061677296,0.0000864439,0.00013744924,0.000024690919,0.00025248632,0.00006370034,0.0000782113,0.000013910329,0.0067220363],"category_scores_gemma":[0.0000032346818,0.00006215487,0.000060799957,0.000010363745,0.00007118287,0.00017672601,0.000024286584,0.000057866077,0.0014619548],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017887114,0.000042084997,0.00034949486,0.000029869512,0.000024263407,0.000007330893,0.048352826,0.0000030695971,0.000017466211,0.015902577,0.7772425,0.15801068],"study_design_scores_gemma":[0.00009093503,0.000025676016,0.000043036882,0.0000193155,0.000009413774,0.0000023287755,0.00018467206,0.00011178756,0.000009291745,0.0017033838,0.9977078,0.0000923577],"about_ca_topic_score_codex":0.00004442909,"about_ca_topic_score_gemma":0.00029767922,"teacher_disagreement_score":0.3714995,"about_ca_system_score_codex":0.000008735368,"about_ca_system_score_gemma":0.000004412685,"threshold_uncertainty_score":0.9993155},"labels":[],"label_agreement":null},{"id":"W4253976210","doi":"10.3138/md.59.2.1","title":"Rehearsing Age","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rehearsing; EPIC; Criticism; Bridge (graph theory); Psychoanalysis; Field (mathematics); Psychology; History; Aesthetics; Literature; Art; Visual arts; Medicine","score_opus":0.034430770299752174,"score_gpt":0.23228021903038734,"score_spread":0.19784944873063517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253976210","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41728768,0.0003356675,0.00028029637,0.002536156,0.0005435318,0.000062851,0.000015183213,0.00014595475,0.5787927],"genre_scores_gemma":[0.94648504,0.000029004834,0.000025035704,0.00021033266,0.00063838606,0.0000042903966,7.864382e-7,0.0000099956915,0.052597143],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999574,0.000008160334,0.00007965337,0.00009828733,0.00007457736,0.00016533303],"domain_scores_gemma":[0.99979174,0.000023831524,0.0000167164,0.00012338243,0.000021332597,0.000022991],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000043237862,0.000069051974,0.00008468319,0.000028179491,0.00023633934,0.00005881434,0.000062525345,0.000014450523,0.0010005074],"category_scores_gemma":[0.000003894743,0.000039060884,0.00003886625,0.0000066706893,0.00012996857,0.00015409787,0.000027052918,0.000030692492,0.0004450271],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047468362,0.000056776327,0.000901359,0.000028767758,0.000065768,0.000026440666,0.102414586,0.0000013031555,0.0023589777,0.19631962,0.03170738,0.66607153],"study_design_scores_gemma":[0.00023879559,0.000043508386,0.0003410156,0.000052112413,0.000008333458,0.0000014801927,0.0005493142,0.000025688447,0.00028706592,0.022157663,0.9761676,0.00012738198],"about_ca_topic_score_codex":0.000054426113,"about_ca_topic_score_gemma":0.0004081995,"teacher_disagreement_score":0.9444603,"about_ca_system_score_codex":0.000017356446,"about_ca_system_score_gemma":0.00000556315,"threshold_uncertainty_score":0.99991274},"labels":[],"label_agreement":null},{"id":"W4254015639","doi":"10.2307/j.ctv174zf.13","title":"THE WHITE SITE, PICKERING, ONTARIO","year":2018,"lang":"en","type":"book-chapter","venue":"Canadian Museum of History eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Geography; Geology; Biology","score_opus":0.027436253140059076,"score_gpt":0.16694550032199348,"score_spread":0.13950924718193441,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254015639","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00028994083,0.001805507,5.931639e-8,0.00013191452,0.003061288,0.00015425967,0.00010841843,0.00002671655,0.9944219],"genre_scores_gemma":[0.007887668,0.000028632601,0.0000036843571,0.00046596248,0.0011545138,0.000009652969,0.000017667171,0.000057782978,0.99037445],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989529,0.0000068606296,0.00030905433,0.00022382567,0.00016266333,0.00034467093],"domain_scores_gemma":[0.99895084,0.000018861248,0.0001918535,0.00049132085,0.0001579265,0.00018920781],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010225315,0.00030085092,0.00032621014,0.00020676936,0.0007009949,0.000036914054,0.0003012689,0.00012254757,0.017067911],"category_scores_gemma":[0.0000022998595,0.00023964883,0.00018656049,0.0000014123173,0.001378319,0.00003995191,0.000038556627,0.00032088932,0.00047733568],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010495566,0.0000011679502,0.00002642575,0.00003455637,0.00013378533,0.000012862148,0.13288164,7.056394e-8,7.5842036e-7,0.13635123,0.7294935,0.0010535363],"study_design_scores_gemma":[0.000069809685,0.00009300417,0.000023225217,0.0001036427,0.00006512492,0.0000020948196,0.00036466532,1.6949188e-7,7.721185e-7,0.0009832752,0.9980118,0.0002823922],"about_ca_topic_score_codex":0.41974744,"about_ca_topic_score_gemma":0.9994076,"teacher_disagreement_score":0.5796602,"about_ca_system_score_codex":0.0016207277,"about_ca_system_score_gemma":0.0016543807,"threshold_uncertainty_score":0.98383063},"labels":[],"label_agreement":null},{"id":"W4254032313","doi":"10.3138/tric.39.1.42","title":"Through the Fictive to the Real(ish): Affective Time and the Representation of “Real Newfoundland” in Rising Tide Theatre’s Trinity Pageant","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Representation (politics); Sociology; Aesthetics; Perception; Inclusion (mineral); Visual arts; Art; Epistemology; Law; Gender studies; Philosophy; Politics; Political science","score_opus":0.06384715016595914,"score_gpt":0.33360821313593514,"score_spread":0.269761062969976,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254032313","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56081593,0.00026155036,0.0000010772362,0.010267157,0.000160838,0.00094631524,0.00008736774,0.00000844602,0.4274513],"genre_scores_gemma":[0.9980513,0.0008231112,0.000003892712,0.0001630968,0.0005742236,0.00007913958,0.000005079296,0.0000137807565,0.0002863742],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9972515,0.0011474858,0.00029615156,0.000252709,0.0005678825,0.0004842746],"domain_scores_gemma":[0.99644136,0.0028780072,0.00006641201,0.00042934858,0.00014547573,0.000039414885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021661625,0.00015164743,0.0003016002,0.00009553692,0.0009004945,0.000101821424,0.00037553842,0.000026099844,0.000120527715],"category_scores_gemma":[0.00003293307,0.000068275476,0.00004475573,0.00033715944,0.0012564107,0.00017218129,0.00022302476,0.0004450687,0.0000122247775],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0046719383,0.0001328621,0.041419216,0.00009299277,0.00038486498,0.00004138125,0.6837987,0.00034171672,0.00007318629,0.025388973,0.038283672,0.20537053],"study_design_scores_gemma":[0.0072988165,0.0017255448,0.11285051,0.00088969176,0.00013749296,0.00002259945,0.53099674,0.0032927578,0.0010739419,0.051608995,0.2891757,0.00092725025],"about_ca_topic_score_codex":0.99399537,"about_ca_topic_score_gemma":0.9988707,"teacher_disagreement_score":0.4372354,"about_ca_system_score_codex":0.0004251952,"about_ca_system_score_gemma":0.00053022796,"threshold_uncertainty_score":0.6925967},"labels":[],"label_agreement":null},{"id":"W4254152344","doi":"10.3138/ctr.155.010","title":"Moving Thoughts","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Dance; Movement (music); Perspective (graphical); Visual arts; Aesthetics; Performance practice; Sociology; Function (biology); Performing arts; Vocabulary; Performance art; Art; Art history; Linguistics; Philosophy","score_opus":0.025004779960669198,"score_gpt":0.22412803843875656,"score_spread":0.19912325847808737,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254152344","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007625959,0.20811662,3.5768392e-7,0.006237373,0.0004077886,0.0003716487,0.00002171026,0.00004591382,0.784036],"genre_scores_gemma":[0.6607624,0.23655534,0.00007282114,0.036792304,0.0055198227,0.00037910073,0.000051199935,0.00008683604,0.059780173],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992818,0.000025656656,0.00016801695,0.00012828165,0.00006978177,0.00032641692],"domain_scores_gemma":[0.9994611,0.000020275083,0.000030787633,0.00022401569,0.000057650137,0.00020616449],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008785999,0.00013188118,0.00023155,0.000060967068,0.00037415107,0.00008630506,0.00014632201,0.00001829671,0.014129461],"category_scores_gemma":[0.000005326414,0.00009316377,0.00009105859,0.000039898165,0.000084364896,0.00022108188,0.000013783545,0.00008602812,0.0044314326],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[2.6943957e-7,0.0000050512126,0.00018503839,0.00093935867,0.000042459083,0.000005540134,0.003018467,1.1227642e-7,9.455494e-7,0.019543855,0.5009801,0.47527882],"study_design_scores_gemma":[0.000029442874,0.000012056423,0.000066259796,0.0009853101,0.000030695042,0.000003883885,0.00033882342,0.0000021865494,0.0000019282106,0.0007320618,0.99766153,0.0001358165],"about_ca_topic_score_codex":0.08681009,"about_ca_topic_score_gemma":0.41114476,"teacher_disagreement_score":0.7242558,"about_ca_system_score_codex":0.00005252503,"about_ca_system_score_gemma":0.00009186108,"threshold_uncertainty_score":0.99634373},"labels":[],"label_agreement":null},{"id":"W4254370645","doi":"10.1017/cbo9781139174558.010","title":"The arts","year":2003,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"The arts; Art; Visual arts","score_opus":0.03172385648684576,"score_gpt":0.18525954648899803,"score_spread":0.15353569000215228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254370645","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000017274106,0.00071616855,0.0000021603228,0.00007613,0.0008332823,0.00017992145,0.00014737861,0.00007454516,0.9979531],"genre_scores_gemma":[0.00029963918,0.0006651384,0.0000020116806,0.00016578409,0.00048858405,5.760627e-7,0.000011049739,0.00002753062,0.9983397],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992756,0.000013331202,0.00011594946,0.00021202669,0.00015111589,0.0002319247],"domain_scores_gemma":[0.9993136,0.00006365334,0.00011012797,0.00034943482,0.00010853403,0.00005463028],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00006536204,0.0002522891,0.00021878324,0.000050221774,0.0013655847,0.00011495118,0.00028173285,0.00008994489,0.000034773635],"category_scores_gemma":[0.000001847647,0.00019571885,0.0001743334,9.986961e-7,0.00065226457,0.00006076529,0.0001277468,0.0002889873,0.00006853607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018222609,0.0000014435789,1.351919e-7,0.000013312097,0.00009872424,0.000019596207,0.00048327536,7.0067635e-8,1.8109534e-7,0.6851999,0.31290263,0.0012624857],"study_design_scores_gemma":[0.00014972301,0.000031970176,5.8324616e-7,0.000047535203,0.00012263337,0.0000029042242,0.00041281633,9.3818085e-7,0.000011889891,0.000055803237,0.99891245,0.00025072636],"about_ca_topic_score_codex":0.000077584205,"about_ca_topic_score_gemma":0.000077247365,"teacher_disagreement_score":0.6860098,"about_ca_system_score_codex":0.000052777203,"about_ca_system_score_gemma":0.000028115512,"threshold_uncertainty_score":0.9999345},"labels":[],"label_agreement":null},{"id":"W4254405061","doi":"10.1017/s004055742000040x","title":"Endurance","year":2020,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Content (measure theory); Action (physics); Computer science; Advertising; Business; Mathematics; Physics","score_opus":0.08295010087678416,"score_gpt":0.2373029436000007,"score_spread":0.15435284272321653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254405061","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23978826,0.00073779514,0.00001179175,0.003350062,0.0005620312,0.000111281835,0.00022848944,0.00022417067,0.7549861],"genre_scores_gemma":[0.99560195,0.000061394785,0.0000065286185,0.0015959273,0.0009354806,0.000004204231,0.00002180303,0.000012734612,0.0017600013],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943566,0.00006259069,0.00011279078,0.00012930075,0.000090528345,0.00016912736],"domain_scores_gemma":[0.99970865,0.00006864013,0.00002381411,0.00010530308,0.000038348007,0.000055224114],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014234275,0.000101371406,0.00014620894,0.000013892982,0.00021053891,0.000046689835,0.00012080561,0.000013933012,0.0025754937],"category_scores_gemma":[0.000010883651,0.00007593308,0.000043613887,0.000033361423,0.000112938345,0.00011546598,0.00003254049,0.00008259094,0.0011024582],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00063341967,0.00012586197,0.120680645,0.00016277672,0.0003253804,0.00001906252,0.30542183,0.00002799867,0.00023235349,0.052215107,0.38653404,0.13362154],"study_design_scores_gemma":[0.00021260911,0.00007952216,0.021543467,0.000007794587,0.000008984891,4.9522237e-7,0.0013657189,0.000031282496,0.000107628526,0.00020287951,0.9762612,0.00017842653],"about_ca_topic_score_codex":0.0008080008,"about_ca_topic_score_gemma":0.0024238317,"teacher_disagreement_score":0.75581366,"about_ca_system_score_codex":0.000004312094,"about_ca_system_score_gemma":0.000010985562,"threshold_uncertainty_score":0.9996753},"labels":[],"label_agreement":null},{"id":"W4254414603","doi":"10.1353/ctr.2012.0020","title":"On Moderation in Social Networks","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moderation; Work (physics); Sociology; Media studies; Visual arts; Aesthetics; Art; Psychology; Engineering; Social psychology; Mechanical engineering","score_opus":0.03817923012660046,"score_gpt":0.25014040978293217,"score_spread":0.2119611796563317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254414603","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013780904,0.17716824,0.0000024819828,0.0036125022,0.0005439308,0.0003132418,0.000021338168,0.000021751717,0.81693846],"genre_scores_gemma":[0.98060316,0.011676412,0.0000013600788,0.005454898,0.0015847737,0.000031785756,0.000019591429,0.000010907478,0.00061711913],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994038,0.00003642598,0.00013036594,0.00006940388,0.000050038325,0.00030997323],"domain_scores_gemma":[0.99977374,0.000017585468,0.000021890986,0.00007924232,0.000013725127,0.000093842835],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016600412,0.00009306824,0.00017440575,0.000062504114,0.00030371474,0.000024322104,0.00005314248,0.000023791248,0.0014500174],"category_scores_gemma":[0.0000028904667,0.00007326805,0.00005209617,0.000036793856,0.000036529276,0.00013425556,0.0000047156755,0.000099744924,0.00020965884],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004785558,0.000026859429,0.00061898015,0.0004539498,0.000029100982,0.0000026854332,0.008895113,0.000017062563,7.1110655e-8,0.42294136,0.17850661,0.38850343],"study_design_scores_gemma":[0.000057722795,0.000013900231,0.00020496995,0.0004456877,0.000023824878,8.795045e-7,0.00016384291,0.00003991275,1.7709328e-7,0.00057096744,0.9983608,0.00011731726],"about_ca_topic_score_codex":0.012901748,"about_ca_topic_score_gemma":0.39640588,"teacher_disagreement_score":0.97922504,"about_ca_system_score_codex":0.00007843703,"about_ca_system_score_gemma":0.00003325846,"threshold_uncertainty_score":0.9994628},"labels":[],"label_agreement":null},{"id":"W4254540506","doi":"10.1353/shb.2012.0062","title":"Hamlet (review)","year":2012,"lang":"en","type":"article","venue":"Shakespeare bulletin","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"HAMLET (protein complex); Drama; Art; Art history; Politics; Humanities; Literature; Law","score_opus":0.02845724550345362,"score_gpt":0.23344429358834728,"score_spread":0.20498704808489365,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254540506","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0030090977,0.08178866,0.0000016810578,0.008654563,0.0009989962,0.00016395732,0.00004194086,0.00013383711,0.9052073],"genre_scores_gemma":[0.79110605,0.013817808,0.0001195584,0.015942879,0.007665503,0.000082397295,0.000061958104,0.000055906254,0.17114794],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999253,0.000026062255,0.00015264253,0.00010029986,0.00013005825,0.0003379406],"domain_scores_gemma":[0.99964505,0.000027684242,0.00003939234,0.00017446809,0.000046074787,0.00006734759],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021423165,0.00012448095,0.00016778367,0.000026109183,0.00024588034,0.000026460404,0.00010836072,0.000018087298,0.07055741],"category_scores_gemma":[0.000018752562,0.000093728915,0.00008210487,0.000017347968,0.00010687357,0.00007040584,0.00004701235,0.00010091444,0.012666107],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004584122,0.000033338674,0.0005130368,0.00014238262,0.00001900896,6.33157e-7,0.0058040232,4.0992454e-8,0.0000013708571,0.017722605,0.96928227,0.0064767185],"study_design_scores_gemma":[0.00008276831,0.000024818799,0.00047088173,0.00018260282,0.000019274963,0.000002454277,0.0009703434,1.2703553e-7,0.000017448847,0.000033165277,0.9980543,0.0001418167],"about_ca_topic_score_codex":0.000055910437,"about_ca_topic_score_gemma":0.00004872494,"teacher_disagreement_score":0.78809696,"about_ca_system_score_codex":0.0000112916305,"about_ca_system_score_gemma":0.000005842335,"threshold_uncertainty_score":0.9881027},"labels":[],"label_agreement":null},{"id":"W4254688427","doi":"10.32920/ryerson.14656278","title":"The amateur project.","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Amateur; Computer science; History; Archaeology","score_opus":0.04935264491119982,"score_gpt":0.25883992354411495,"score_spread":0.20948727863291514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254688427","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032354336,0.0026645244,0.000002042947,0.0012268141,0.0028323235,0.00018363266,0.000016941482,0.00011150508,0.9606079],"genre_scores_gemma":[0.64973587,0.0042490093,0.000033306387,0.00047245776,0.0029520777,0.0001433613,0.00004648205,0.00002426958,0.34234318],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942786,0.000021134107,0.00013840153,0.00014896662,0.00010378368,0.00015988266],"domain_scores_gemma":[0.99953294,0.000042151234,0.000044901208,0.00028234045,0.00008793205,0.00000972599],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009483791,0.00013196602,0.00014065843,0.000019301706,0.00069646613,0.0007270939,0.00018343687,0.000035564808,0.0011364763],"category_scores_gemma":[0.000005125343,0.00006605979,0.00010325371,0.0000074444865,0.00015921025,0.000042855925,0.00046912735,0.00024476813,0.00008884421],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017108083,0.00004590416,0.00017112274,0.00026645212,0.00043505925,0.0000087991975,0.20783924,0.0000060031252,0.0000020384098,0.34817192,0.41075704,0.032279342],"study_design_scores_gemma":[0.000029959157,0.000010166215,0.00003994046,0.000036286405,0.000019165998,5.671545e-7,0.029503953,0.000017986475,0.000022952549,0.0009462723,0.9692567,0.00011607334],"about_ca_topic_score_codex":0.0008696684,"about_ca_topic_score_gemma":0.014264351,"teacher_disagreement_score":0.6182647,"about_ca_system_score_codex":0.000009454443,"about_ca_system_score_gemma":0.000069460846,"threshold_uncertainty_score":0.9997766},"labels":[],"label_agreement":null},{"id":"W4254802649","doi":"10.1007/978-1-349-95810-8_1086","title":"The Society for Theatre Research","year":2018,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Arts and Humanities Research Council; Savoy Foundation; Menzies Foundation; Samuel H. Kress Foundation","keywords":"Sociology; Visual arts; Art","score_opus":0.08150564188888058,"score_gpt":0.2958012673562845,"score_spread":0.21429562546740388,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254802649","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000026376672,0.0040115276,0.0000020889509,0.00028878183,0.0010124454,0.00085455645,0.00039042707,0.00007499611,0.9933388],"genre_scores_gemma":[0.56941587,0.001029792,0.00003233392,0.00022102152,0.00871922,0.0001808104,0.000049170692,0.0001242118,0.42022756],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980578,0.000023274273,0.0003531619,0.00041448083,0.00046185733,0.0006894705],"domain_scores_gemma":[0.9980271,0.00061605684,0.0001287665,0.00065098616,0.00050067756,0.00007645163],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00083952444,0.00041170986,0.00038345595,0.00007819534,0.0034439713,0.00032122826,0.0005161486,0.00018782195,0.0015773292],"category_scores_gemma":[0.000006729651,0.00024707778,0.00090950535,0.00000502829,0.0022065877,7.424072e-7,0.00023439029,0.00046175905,0.0005596183],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057639216,1.701743e-7,0.000002492043,0.00006941601,0.00047283867,0.0000010194369,0.01783736,1.32359315e-8,0.0000014296978,0.92890257,0.023865575,0.028789451],"study_design_scores_gemma":[0.00011743569,0.00014747448,7.771689e-7,0.0000630942,0.00005202286,0.0000010358546,0.0015942376,0.000002480414,0.0000090325575,0.4916454,0.5061865,0.0001805157],"about_ca_topic_score_codex":0.0000621832,"about_ca_topic_score_gemma":0.0031869118,"teacher_disagreement_score":0.57311124,"about_ca_system_score_codex":0.00006079657,"about_ca_system_score_gemma":0.000089061105,"threshold_uncertainty_score":0.99999815},"labels":[],"label_agreement":null},{"id":"W4254828347","doi":"10.12745/et.19.1.2929","title":"Editorial","year":2016,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria; McMaster University","funders":"","keywords":"Art; Visual arts","score_opus":0.008510044890805526,"score_gpt":0.22592601820928407,"score_spread":0.21741597331847853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254828347","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000021427097,0.00038578996,2.1084662e-7,0.00011962532,0.6852767,0.00009669626,0.0008072181,0.00013935158,0.31315297],"genre_scores_gemma":[0.00022068621,0.0003144608,0.0000020229,0.000015261534,0.9014983,0.000033462737,0.00009025553,0.000072481635,0.09775308],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980642,0.000042344665,0.00028670617,0.00036901468,0.00078078493,0.00045694967],"domain_scores_gemma":[0.9987221,0.00038536207,0.00013442007,0.00042542088,0.00026105958,0.000071643844],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018371124,0.0004083304,0.00047265663,0.00010597432,0.00049872795,0.0002843507,0.00040982183,0.00046646214,0.0033439721],"category_scores_gemma":[0.000033820485,0.00025670035,0.00023770028,0.000018411516,0.00030865392,0.00027279544,0.00011692015,0.00064025953,0.003618598],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006291073,0.000016608727,0.000004693359,0.000034458088,0.00011829037,0.000001962915,0.0070218756,1.4394329e-8,9.192037e-7,0.001044213,0.98649883,0.005195223],"study_design_scores_gemma":[0.00041300646,0.0001983556,7.560749e-7,0.00016394685,0.00007384157,9.275044e-8,0.00018889217,2.6803502e-8,0.0000028190573,0.0012960648,0.99727076,0.00039142446],"about_ca_topic_score_codex":0.00054293196,"about_ca_topic_score_gemma":0.0007701988,"teacher_disagreement_score":0.21622157,"about_ca_system_score_codex":0.000055487402,"about_ca_system_score_gemma":0.000145676,"threshold_uncertainty_score":0.9999885},"labels":[],"label_agreement":null},{"id":"W4255005342","doi":"10.3138/md.2013-56.3brev","title":"Reviews","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Modernism (music); Frontier; Art history; Art; Representation (politics); Great Depression; History; Politics; Archaeology; Law","score_opus":0.04224312502037813,"score_gpt":0.2380601597191892,"score_spread":0.19581703469881107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255005342","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10993618,0.004475395,0.00005828646,0.0015216887,0.0004546358,0.0002708447,0.0000041890175,0.00009754906,0.8831812],"genre_scores_gemma":[0.92441756,0.00032144916,0.00004132387,0.00083636714,0.000682506,0.000063218955,0.0000027868448,0.000008571832,0.07362624],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999614,0.000009898452,0.000108645196,0.00008093459,0.00005099706,0.00013550028],"domain_scores_gemma":[0.999786,0.000008266255,0.000023613626,0.00012915494,0.000029750836,0.000023171322],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000042352116,0.000072742914,0.00011559897,0.000019151646,0.00019179632,0.000102943064,0.00007208861,0.0000114747645,0.007161283],"category_scores_gemma":[0.0000035318487,0.00004889882,0.00004748177,0.0000072816447,0.00006469955,0.00019879929,0.000024333067,0.000048473234,0.005957102],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000033036756,0.000041715928,0.00045593604,0.000056657955,0.000028180855,7.8946186e-7,0.084879234,0.0000018643527,0.00009281821,0.05059352,0.3821998,0.48164618],"study_design_scores_gemma":[0.00005950884,0.000019053197,0.00017739362,0.000014008976,0.0000054080033,4.064849e-7,0.0003784594,0.00019968301,0.000018260882,0.009607356,0.9894395,0.00008094711],"about_ca_topic_score_codex":0.00022376861,"about_ca_topic_score_gemma":0.00025273304,"teacher_disagreement_score":0.8144814,"about_ca_system_score_codex":0.000005703275,"about_ca_system_score_gemma":0.0000030385265,"threshold_uncertainty_score":0.9948169},"labels":[],"label_agreement":null},{"id":"W4255010370","doi":"10.1057/9780230289086","title":"Against Theatre","year":2006,"lang":"en","type":"book","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":28,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; Theatre director; Art; Theatre studies; Visual arts; Literature","score_opus":0.017752679866848607,"score_gpt":0.20979940465051267,"score_spread":0.19204672478366405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255010370","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008912775,0.0021484452,0.0000010282371,0.00004322691,0.0012035437,0.00038538387,0.00058658014,0.0002438909,0.9952988],"genre_scores_gemma":[0.5254132,0.00008559826,0.000008314906,0.0002737499,0.0043735853,0.000034329743,0.0003129296,0.00009204331,0.46940625],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981022,0.000029235494,0.00047584675,0.00046642768,0.00035787726,0.0005684516],"domain_scores_gemma":[0.9989301,0.00007537697,0.00021825828,0.0005743354,0.00011348708,0.0000884193],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010900082,0.0006734339,0.000694577,0.00022676536,0.0005978054,0.00018248588,0.0003697531,0.00021388225,0.0013410047],"category_scores_gemma":[0.0000018911958,0.000535885,0.00041108005,0.0000075935195,0.0005486213,8.1055606e-7,0.00014857043,0.00041975005,0.0010406218],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023131433,6.391413e-7,0.00003962992,0.00017023322,0.00025906612,0.000046042827,0.0068857153,7.9015166e-7,0.0000030619135,0.8985129,0.048859373,0.045199394],"study_design_scores_gemma":[0.00019785596,0.0000600035,0.00001191415,0.00014852834,0.00008931264,0.0000027306069,0.00020449398,0.00000202195,0.000009772443,0.3722611,0.6265097,0.00050253264],"about_ca_topic_score_codex":0.00018088413,"about_ca_topic_score_gemma":0.0038654073,"teacher_disagreement_score":0.57765037,"about_ca_system_score_codex":0.00010257372,"about_ca_system_score_gemma":0.0001339548,"threshold_uncertainty_score":0.9997372},"labels":[],"label_agreement":null},{"id":"W4255033115","doi":"10.1353/ctr.2011.0062","title":"Minstrels in the Classroom: Teaching, Race, and Blackface","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blackface; Race (biology); Representation (politics); Conversation; Visual arts; Performance art; Gender studies; Art; Sociology; Art history; Communication; Political science; Law","score_opus":0.041306271287887227,"score_gpt":0.23844545551569535,"score_spread":0.19713918422780813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255033115","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008793348,0.17756088,1.2695581e-7,0.0034296755,0.00013601738,0.00033274604,0.000027237204,0.000013873638,0.8097061],"genre_scores_gemma":[0.8384242,0.14447139,0.00003266356,0.010947306,0.00039619388,0.00006904917,0.000010858935,0.000024939736,0.005623403],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992365,0.00010176224,0.00017865287,0.00013935572,0.00006758736,0.00027614678],"domain_scores_gemma":[0.9995872,0.000036138405,0.000035679303,0.00023000428,0.000014778906,0.00009622162],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040934206,0.0001385371,0.00024104812,0.00007186248,0.00031869803,0.00004083516,0.00018944933,0.000023327351,0.0011899954],"category_scores_gemma":[0.0000091432685,0.000082519575,0.000054258766,0.000036212165,0.00016441448,0.00012028284,0.000014916851,0.0002022219,0.00015437978],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000040415366,0.000031056054,0.004910026,0.0010949575,0.00004294448,0.000043585642,0.08767049,2.9664816e-8,2.6332145e-7,0.12446453,0.3332227,0.4485154],"study_design_scores_gemma":[0.00006701599,0.000032340904,0.00057203375,0.0009001925,0.00004483772,0.000011980691,0.0026723223,7.311374e-7,4.518493e-7,0.00046010246,0.99511987,0.00011814028],"about_ca_topic_score_codex":0.04774405,"about_ca_topic_score_gemma":0.5573821,"teacher_disagreement_score":0.82963085,"about_ca_system_score_codex":0.000027668435,"about_ca_system_score_gemma":0.000059600596,"threshold_uncertainty_score":0.9997231},"labels":[],"label_agreement":null},{"id":"W4255058112","doi":"10.1002/9781405186407.wbiecv023.pub2","title":"Ventriloquism","year":2015,"lang":"en","type":"other","venue":"The International Encyclopedia of Communication","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Conversation; Utterance; Phenomenon; Linguistics; Communication; Aesthetics; Literature; History; Art; Psychology; Philosophy; Epistemology","score_opus":0.02631281614606601,"score_gpt":0.25990885168883254,"score_spread":0.23359603554276653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255058112","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000025853613,0.004281224,9.817907e-7,0.0015652013,0.0010085125,0.000107373824,0.00013217951,0.000051854942,0.9928268],"genre_scores_gemma":[0.0050470917,0.009677682,0.000044258704,0.00010241058,0.0011562095,0.00001923662,0.00024448088,0.00006992377,0.9836387],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942607,0.000032906668,0.00017483904,0.00006185095,0.00024156894,0.000062758896],"domain_scores_gemma":[0.9991193,0.000057975336,0.00023830956,0.00044541378,0.0001261587,0.000012842875],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017236074,0.00009804444,0.000130143,0.00008478773,0.00006638402,0.000022164064,0.0008350754,0.000036834932,0.005746616],"category_scores_gemma":[0.00002219728,0.00006548232,0.00004479634,0.00001607644,0.00024235758,0.000049635826,0.0001738519,0.00012478123,0.0002674757],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007519641,0.000019994863,0.000009310574,0.000006204288,0.00006764444,8.2686554e-8,0.004472656,9.397897e-7,2.8389837e-7,0.05859693,0.9350949,0.0017235281],"study_design_scores_gemma":[0.00010015115,0.0000104636265,0.0000121730745,0.0000893097,0.000027804515,7.15766e-7,0.00054984953,0.000005060995,9.942779e-7,0.003100081,0.9960325,0.00007092758],"about_ca_topic_score_codex":0.0009159669,"about_ca_topic_score_gemma":0.004361444,"teacher_disagreement_score":0.060937565,"about_ca_system_score_codex":0.000023080536,"about_ca_system_score_gemma":0.000040300412,"threshold_uncertainty_score":0.99516225},"labels":[],"label_agreement":null},{"id":"W4255087680","doi":"10.1353/ctr.2012.0035","title":"A Statement of Objectives (and a Conversation)","year":2012,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Conversation; Statement (logic); Politics; Ethnic group; Work (physics); Sociology; Media studies; Political science; Visual arts; Gender studies; Law; Art; Anthropology; Engineering","score_opus":0.027592890232649474,"score_gpt":0.24512039336696975,"score_spread":0.2175275031343203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255087680","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009940997,0.6162075,8.4693414e-7,0.003175848,0.00032348692,0.00042376627,0.00011044104,0.000014908553,0.36980224],"genre_scores_gemma":[0.927927,0.070330955,0.000010033981,0.0009267637,0.00017385643,0.000018259512,0.0000064325886,0.00000618223,0.00060049805],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999561,0.000023609931,0.00014330875,0.000052583226,0.000046628156,0.00017287362],"domain_scores_gemma":[0.99970233,0.000019598625,0.00004174863,0.00008422966,0.000032431304,0.00011968638],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016345383,0.000070034104,0.00017269343,0.00004611938,0.000100764235,0.000008528607,0.00003518207,0.000008235113,0.0016421694],"category_scores_gemma":[0.000004356361,0.000051752773,0.00003576505,0.000021002632,0.0001067069,0.00013982476,0.000007943487,0.000030847947,0.000055073437],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008450333,0.00004821803,0.019081164,0.008472363,0.00037428338,0.000002033712,0.17058769,1.2935115e-7,0.0000044445205,0.22499335,0.05850454,0.51792336],"study_design_scores_gemma":[0.000053684238,0.00002096313,0.0005569463,0.0006110739,0.0000580569,0.0000016167575,0.0023855148,3.1770549e-7,0.000006570833,0.00010709655,0.9961305,0.000067604735],"about_ca_topic_score_codex":0.019311618,"about_ca_topic_score_gemma":0.09118209,"teacher_disagreement_score":0.937626,"about_ca_system_score_codex":0.000032833213,"about_ca_system_score_gemma":0.000060628503,"threshold_uncertainty_score":0.99927044},"labels":[],"label_agreement":null},{"id":"W4255299009","doi":"10.3138/utq.83.2.351","title":"Drama","year":2014,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"U.S. Department of Homeland Security","keywords":"Drama; History; Art; Literature","score_opus":0.00872458577310635,"score_gpt":0.17399551795456072,"score_spread":0.1652709321814544,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255299009","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16972016,0.00013038123,0.000093524504,0.0001603098,0.00024085492,0.000035737234,0.000009738845,0.000042189604,0.8295671],"genre_scores_gemma":[0.98366535,0.000013754562,0.00006169763,0.000026623642,0.00016867822,2.933751e-8,0.0000021155847,0.000002569256,0.016059171],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997338,0.000013574672,0.00004371792,0.00006644598,0.00005753541,0.00008489777],"domain_scores_gemma":[0.9997905,0.00001575621,0.00003166216,0.00009943763,0.000040623505,0.000022059752],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000040772447,0.000049381033,0.000093264796,0.000009015312,0.00018694423,0.000010660539,0.00009952352,0.000013442156,0.004116627],"category_scores_gemma":[6.644454e-7,0.000049233324,0.000048636113,0.0000024717117,0.00012876563,0.00023353267,0.000007837314,0.000020712889,0.0000923551],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063412925,0.000064335145,0.00055442884,0.000036743797,0.000074415795,0.0000014548717,0.5094791,7.4569897e-7,0.000053676962,0.29684845,0.024759637,0.16806361],"study_design_scores_gemma":[0.0002426995,0.0004400315,0.0012125315,0.000009232087,0.000017865726,2.0098217e-7,0.050404355,0.000043320426,0.00000496208,0.00038475203,0.94716316,0.00007688323],"about_ca_topic_score_codex":0.016310768,"about_ca_topic_score_gemma":0.08968602,"teacher_disagreement_score":0.9224035,"about_ca_system_score_codex":0.00001845129,"about_ca_system_score_gemma":0.00000478953,"threshold_uncertainty_score":0.99679375},"labels":[],"label_agreement":null},{"id":"W4255320529","doi":"10.1386/jucs.2.3.325_1","title":"Homeless Projection: Place des Arts: An Interview with Krzysztof Wodiczko","year":2015,"lang":"en","type":"article","venue":"Journal of Urban Cultural Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Presentation (obstetrics); Realism; The arts; Visual arts; Key (lock); Art; Sociology; Aesthetics; Psychology; Computer science","score_opus":0.1955554246943472,"score_gpt":0.3184694770413302,"score_spread":0.12291405234698302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255320529","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93897426,0.04601688,0.000004777652,0.0011831995,0.0009673505,0.00012443843,0.0000074714353,0.000041702482,0.012679897],"genre_scores_gemma":[0.98871976,0.0027028136,0.00017507098,0.00019814767,0.0027457948,0.000009849127,0.0000016194746,0.000014802599,0.0054321177],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989609,0.00005976744,0.00036422306,0.00011072373,0.0002907984,0.00021356723],"domain_scores_gemma":[0.9982719,0.000028491133,0.00029301553,0.00008588787,0.0012235226,0.00009719752],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003481612,0.00020427741,0.000491164,0.00007248338,0.00047831354,0.00016206721,0.00015187767,0.000020609948,0.000054260236],"category_scores_gemma":[0.000029713354,0.00009960753,0.00009561764,0.00006432196,0.00055585464,0.0011990228,0.000050010305,0.00018973404,0.000014850385],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004990008,0.00019773483,0.0042513213,0.00023757908,0.0013806311,0.00006588783,0.71892875,0.000023309372,0.000010738016,0.0019380545,0.2525449,0.019922094],"study_design_scores_gemma":[0.0008527502,0.0020367333,0.0007145979,0.00044302168,0.00015579724,0.00014581978,0.4721508,0.000002686732,0.00004781978,0.00026884774,0.5229718,0.00020932186],"about_ca_topic_score_codex":0.00004896864,"about_ca_topic_score_gemma":0.0026163352,"teacher_disagreement_score":0.27042693,"about_ca_system_score_codex":0.00010774947,"about_ca_system_score_gemma":0.000039360584,"threshold_uncertainty_score":0.40618774},"labels":[],"label_agreement":null},{"id":"W4255430432","doi":"10.3138/tric.39.1.83","title":"Dramaturgy For Digital Natives","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Yale University","keywords":"Dramaturgy; Drama; Curriculum; Politics; The arts; Liberal arts education; Sociology; Performing arts; Pedagogy; Public relations; Political science; Media studies; Aesthetics; Visual arts; Higher education; Art; Law","score_opus":0.10375687951798178,"score_gpt":0.3353988343914951,"score_spread":0.2316419548735133,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255430432","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0953217,0.0003464966,0.0000013009117,0.002006068,0.00044663317,0.0002649154,0.00021059139,0.00001590033,0.9013864],"genre_scores_gemma":[0.9965349,0.00003059266,0.0000074553286,0.00007652279,0.0012625321,0.00004878251,0.000009130311,0.000012554124,0.0020175544],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988875,0.000031008705,0.00012635128,0.00014942019,0.00031225962,0.00049347914],"domain_scores_gemma":[0.99926907,0.0003622199,0.000013856393,0.00014399072,0.00015113194,0.000059735787],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028699668,0.00008420301,0.00012717272,0.000117456926,0.000450752,0.00012625319,0.00018634768,0.000013677768,0.00044024785],"category_scores_gemma":[0.000007648616,0.00006339986,0.000024835774,0.00007422942,0.0004420747,0.00019062146,0.000060780716,0.00014575862,0.0000341671],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003501351,0.000065978435,0.0033885723,0.00016475047,0.00010090326,0.000020630616,0.028751878,0.000002610001,0.000017160004,0.054115005,0.21567723,0.69734514],"study_design_scores_gemma":[0.00020893922,0.0001470163,0.00006737428,0.00004187094,0.0000011753045,7.4384064e-7,0.014287933,0.0000606283,0.00011947124,0.0074870815,0.9774857,0.000092033595],"about_ca_topic_score_codex":0.83587974,"about_ca_topic_score_gemma":0.9956597,"teacher_disagreement_score":0.90121317,"about_ca_system_score_codex":0.0002756645,"about_ca_system_score_gemma":0.0008314053,"threshold_uncertainty_score":0.48204052},"labels":[],"label_agreement":null},{"id":"W4255440368","doi":"10.1353/ctr.2011.0020","title":"Me Talking to Myself in the Future : An Interview with Marie Brassard","year":2011,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theme (computing); Identity (music); Sociology; Media studies; Art; Aesthetics; Visual arts; Computer science; World Wide Web","score_opus":0.04530262153529699,"score_gpt":0.23620348221530343,"score_spread":0.19090086068000645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255440368","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005641812,0.32624274,0.0000025395357,0.015690029,0.00060449686,0.0013952538,0.000087306136,0.00005627264,0.6502795],"genre_scores_gemma":[0.81374866,0.09700918,0.00012607653,0.084135436,0.002474103,0.00032239512,0.000061253006,0.00008823327,0.0020346479],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99899596,0.00013834957,0.0002090056,0.00019277097,0.00010542205,0.00035850637],"domain_scores_gemma":[0.99932057,0.000020264748,0.000039392653,0.00039821866,0.00004200823,0.00017955805],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004658573,0.00019180866,0.0003181105,0.00010000252,0.00027206657,0.00007009228,0.00039232726,0.000024877862,0.002535013],"category_scores_gemma":[0.0000031160525,0.00010350456,0.0000693096,0.00012502754,0.000075960284,0.00020026616,0.000019582538,0.00016886766,0.00018241192],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009304561,0.000031050902,0.0006272792,0.0011783319,0.00006425496,0.0000752747,0.16528559,1.4858111e-7,1.279444e-7,0.029257102,0.028295193,0.77517635],"study_design_scores_gemma":[0.0000560359,0.00013724528,0.00042136622,0.0020026565,0.00006273134,0.000013279334,0.009968679,3.6058486e-7,4.951972e-7,0.00018876008,0.98696923,0.00017918611],"about_ca_topic_score_codex":0.023184506,"about_ca_topic_score_gemma":0.8746008,"teacher_disagreement_score":0.958674,"about_ca_system_score_codex":0.00005622148,"about_ca_system_score_gemma":0.000111920475,"threshold_uncertainty_score":0.9983768},"labels":[],"label_agreement":null},{"id":"W4255498182","doi":"10.1353/mdr.0.0115","title":"Making the “Unstageable” Stageable: English Rewritings of Chekhov’s First Play","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Literature; Art; English literature; History","score_opus":0.03224538981746712,"score_gpt":0.2392507069670527,"score_spread":0.2070053171495856,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255498182","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35895193,0.0017245552,0.000077987504,0.00196498,0.0005052286,0.0002599335,0.00007229978,0.00018019203,0.6362629],"genre_scores_gemma":[0.98998946,0.000088666675,0.000034409662,0.00066344865,0.0009165064,0.000008562109,0.0000054719203,0.000015197531,0.008278255],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990051,0.00002045722,0.00026692668,0.00017727373,0.00021357676,0.0003166814],"domain_scores_gemma":[0.9993319,0.00008389644,0.00011630626,0.00029485664,0.00014900244,0.000024064393],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021875814,0.0001661483,0.00022663675,0.00005101277,0.000740166,0.00016345271,0.0002614532,0.00003864432,0.00069517933],"category_scores_gemma":[0.00003309625,0.0001118532,0.00008885841,0.000042167343,0.00020426902,0.00026739517,0.00005224617,0.00018503025,0.000020053407],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011194965,0.00017079746,0.0012664992,0.00016200762,0.00013262864,0.0000120857085,0.7355432,0.00041094737,0.00007907177,0.1656732,0.05134047,0.04509714],"study_design_scores_gemma":[0.0005478566,0.00023230992,0.0016410793,0.00021875843,0.000058157195,0.0000024230933,0.01975833,0.0012248026,0.00038239796,0.0079940315,0.9675901,0.00034975412],"about_ca_topic_score_codex":0.00011723527,"about_ca_topic_score_gemma":0.0005377307,"teacher_disagreement_score":0.91624963,"about_ca_system_score_codex":0.000020508149,"about_ca_system_score_gemma":0.000019360688,"threshold_uncertainty_score":0.7611726},"labels":[],"label_agreement":null},{"id":"W4255652567","doi":"10.1353/ctr.0.0037","title":"Theatre of the Unexpected: When the Spectator Becomes Actor","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Art; Visual arts; Performance art; Aesthetics; Art history","score_opus":0.01819550265363839,"score_gpt":0.22060625320323388,"score_spread":0.20241075054959548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255652567","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027310543,0.14894265,1.3067998e-7,0.05386586,0.0030489727,0.0012513254,0.00042322045,0.000060667622,0.7650966],"genre_scores_gemma":[0.970814,0.016536212,0.000011020543,0.005112593,0.0015459942,0.00006305161,0.000010178305,0.000042649623,0.0058643087],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99891347,0.00007722811,0.00030769996,0.00017143604,0.00017007535,0.0003600952],"domain_scores_gemma":[0.9987961,0.00010258991,0.000120074954,0.0007586353,0.000083602514,0.00013896932],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023398906,0.00021580223,0.00037274393,0.000053665157,0.0006860633,0.000059346814,0.0006663434,0.000041228122,0.006355262],"category_scores_gemma":[0.000020645428,0.00009766739,0.00028421602,0.000090654066,0.00051732943,0.00010368539,0.000051990322,0.00035576505,0.00018544248],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011973063,0.000054069675,0.00656885,0.002205692,0.00047838473,0.000007962426,0.040777445,2.8763975e-7,0.00009630033,0.17854784,0.49603477,0.2752164],"study_design_scores_gemma":[0.00006319072,0.000021152022,0.00047676568,0.00055914285,0.00012429038,0.000007971428,0.0012444605,6.8503647e-7,0.000041144856,0.0009290382,0.9963924,0.00013971239],"about_ca_topic_score_codex":0.040128,"about_ca_topic_score_gemma":0.76657,"teacher_disagreement_score":0.94350344,"about_ca_system_score_codex":0.00003826735,"about_ca_system_score_gemma":0.000304767,"threshold_uncertainty_score":0.9945531},"labels":[],"label_agreement":null},{"id":"W4255911321","doi":"10.7202/1062396ar","title":"Spirituality in Actor Training","year":2019,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brandon University","funders":"","keywords":"Buddhism; Spirituality; Taoism; Context (archaeology); Humanities; Sociology; Philosophy; Theology; History; Archaeology","score_opus":0.1834024099732778,"score_gpt":0.3368175095243158,"score_spread":0.15341509955103796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255911321","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56096196,0.00019187972,1.1315887e-8,0.0011421312,0.00020038473,0.00013379892,0.000020757503,0.0000056703147,0.4373434],"genre_scores_gemma":[0.99879164,0.000061467224,0.0000022988459,0.00013298237,0.00023646107,0.000018336403,0.0000038871804,0.000010489145,0.0007424431],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99844474,0.00013717257,0.00019301461,0.00018154322,0.0004409434,0.0006026059],"domain_scores_gemma":[0.9993991,0.00028321496,0.000014736295,0.0002085818,0.0000328957,0.000061463754],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00089342747,0.00009228204,0.00020381191,0.0001751568,0.00011247857,0.000042824544,0.00020190563,0.000019303157,0.002060919],"category_scores_gemma":[0.0000035571832,0.000075151795,0.000021072012,0.00012094195,0.00011156989,0.00013656859,0.00006498555,0.00042606847,0.00007986664],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026972202,0.00011554663,0.32669657,0.00043548152,0.00006113715,0.00019243354,0.13137263,0.00009649566,0.0001095232,0.021809159,0.022340843,0.49650043],"study_design_scores_gemma":[0.0005761479,0.00008033686,0.0070516816,0.00016853449,0.000001176808,0.0000012646391,0.087641954,0.00009255882,0.000047324087,0.0023575877,0.9017829,0.0001985706],"about_ca_topic_score_codex":0.9794607,"about_ca_topic_score_gemma":0.99942195,"teacher_disagreement_score":0.87944204,"about_ca_system_score_codex":0.0005780858,"about_ca_system_score_gemma":0.0013238142,"threshold_uncertainty_score":0.99885136},"labels":[],"label_agreement":null},{"id":"W4255913144","doi":"10.3138/ctr.163.017","title":"Affective Theatres","year":2015,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feeling; Empathy; Affect (linguistics); Aesthetics; Psychology; Visual arts; Sociology; Art; Social psychology; Communication","score_opus":0.04537716391311013,"score_gpt":0.2511797345490288,"score_spread":0.20580257063591867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255913144","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004392851,0.24205066,3.7233335e-7,0.0040707975,0.0004900216,0.00027856752,0.00005887282,0.00004948161,0.7525619],"genre_scores_gemma":[0.8635679,0.09524956,0.000031765725,0.018316956,0.003372478,0.00018543382,0.00007009192,0.0000838252,0.01912199],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914694,0.000061737686,0.00016009873,0.00016501427,0.00011804686,0.00034815082],"domain_scores_gemma":[0.99917096,0.000030287396,0.0000352483,0.00025785607,0.00009924374,0.00040641517],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002531529,0.00016974322,0.00030716055,0.00008662204,0.00025536504,0.000054828524,0.00016746053,0.000023826622,0.0015996172],"category_scores_gemma":[0.000016152348,0.000120672295,0.00010918148,0.000059968745,0.00014884154,0.00016017616,0.000018070987,0.000105149025,0.0015230689],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000046680425,0.00001306494,0.0005340503,0.00058957195,0.000091465176,0.000022947104,0.010507719,6.140901e-7,1.6872256e-7,0.045648884,0.6356939,0.30689296],"study_design_scores_gemma":[0.00009664389,0.00005778155,0.000022480195,0.00080536905,0.00006671903,0.0000089561045,0.00131406,0.0000012375044,0.0000019153956,0.0010483047,0.9964078,0.00016875083],"about_ca_topic_score_codex":0.08721172,"about_ca_topic_score_gemma":0.65266234,"teacher_disagreement_score":0.8631286,"about_ca_system_score_codex":0.0001345137,"about_ca_system_score_gemma":0.00031236597,"threshold_uncertainty_score":0.99931306},"labels":[],"label_agreement":null},{"id":"W4255922857","doi":"10.32920/ryerson.14654940.v1","title":"The Accommodating Showman","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Temporality; Underpinning; Pavilion; Reuse; Adaptability; Plan (archaeology); Computer science; Architectural engineering; Aesthetics; History; Engineering; Epistemology; Art; Management; Philosophy; Archaeology; Civil engineering","score_opus":0.05344431002101336,"score_gpt":0.2551386726706359,"score_spread":0.20169436264962254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255922857","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048949715,0.0020807653,0.000006910114,0.0025347404,0.0024648483,0.00010029386,0.000011724668,0.0000975519,0.9437534],"genre_scores_gemma":[0.93929493,0.00067314925,0.00004169048,0.00037985845,0.002135681,0.00003883645,0.00003392999,0.000014259887,0.057387654],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993939,0.000022642014,0.00016012615,0.00014894546,0.00010596914,0.00016844836],"domain_scores_gemma":[0.9994287,0.00009025776,0.000056295714,0.0003310605,0.00007822901,0.000015452708],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001287048,0.00013477115,0.00014895262,0.000015177316,0.0011234429,0.00090113044,0.00024269987,0.00003557465,0.0021899291],"category_scores_gemma":[0.000008782739,0.00007294464,0.00010968407,0.0000061440096,0.00014511259,0.00006152541,0.00076418655,0.00032613106,0.000054875647],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010534596,0.00004340383,0.0006042261,0.00020112937,0.00054016785,0.000006707002,0.17427473,0.000037910482,0.000004072297,0.53931934,0.13320176,0.15175602],"study_design_scores_gemma":[0.00003742395,0.000008566533,0.00010838432,0.00006443936,0.000026203676,5.184466e-7,0.043787602,0.00009098487,0.000032353662,0.002586142,0.9530883,0.00016909857],"about_ca_topic_score_codex":0.00050375547,"about_ca_topic_score_gemma":0.016091546,"teacher_disagreement_score":0.8903452,"about_ca_system_score_codex":0.0000114400145,"about_ca_system_score_gemma":0.000034413428,"threshold_uncertainty_score":0.9987222},"labels":[],"label_agreement":null},{"id":"W4255984168","doi":"10.12745/et.12.2.810","title":"Editorial","year":2009,"lang":"es","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Art","score_opus":0.008415407055338962,"score_gpt":0.2256084446034778,"score_spread":0.21719303754813882,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255984168","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00086584705,0.0018154505,2.1269125e-7,0.00030657032,0.74063903,0.00028184569,0.00077001133,0.00018849396,0.25513256],"genre_scores_gemma":[0.004879294,0.002250163,0.0000079563915,0.00006573305,0.9572021,0.000028876666,0.00027755703,0.00011177236,0.03517658],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99604756,0.00012819846,0.0006976938,0.000752799,0.0013907442,0.0009830091],"domain_scores_gemma":[0.9979282,0.0004021986,0.0003226682,0.0007507063,0.00041614374,0.00018010497],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00036858136,0.0009879983,0.0011256448,0.00024060042,0.0015354861,0.0015872499,0.0007444472,0.001071491,0.0021796774],"category_scores_gemma":[0.000038592403,0.0008029861,0.0006074995,0.00006314002,0.00048202134,0.0005011842,0.00016596359,0.0017923298,0.0035478019],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002868255,0.00012275332,0.000047186797,0.00010755038,0.00030445858,0.000009117366,0.015410841,9.1905395e-7,0.0000027054919,0.0030068231,0.9651967,0.015504063],"study_design_scores_gemma":[0.00092980446,0.00125786,0.000051158728,0.0004232791,0.00035474508,7.437841e-7,0.00080013217,6.3313706e-7,0.0000058722308,0.0013311396,0.99389875,0.0009459106],"about_ca_topic_score_codex":0.001538721,"about_ca_topic_score_gemma":0.00045389665,"teacher_disagreement_score":0.21995598,"about_ca_system_score_codex":0.00011985269,"about_ca_system_score_gemma":0.00029331967,"threshold_uncertainty_score":0.9997644},"labels":[],"label_agreement":null},{"id":"W4256175108","doi":"10.12745/et.20.2.3367","title":"Editorial","year":2017,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria; McMaster University","funders":"","keywords":"Media studies; Art; Political science; Visual arts; Sociology; Advertising; Business","score_opus":0.01318797219838333,"score_gpt":0.2393785707066054,"score_spread":0.22619059850822207,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4256175108","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000024020776,0.00041053846,5.058022e-8,0.00006503329,0.61528486,0.00009134109,0.00050430204,0.00009701659,0.38352284],"genre_scores_gemma":[0.0003871051,0.00030047234,0.0000024248684,0.000009217236,0.8892691,0.000029637727,0.00017912839,0.00006706198,0.10975582],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99812484,0.000032967167,0.0002542038,0.00037379572,0.00078392087,0.0004303033],"domain_scores_gemma":[0.9984617,0.00021500957,0.00022796798,0.0007577124,0.00026848126,0.00006909765],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021693707,0.0004160001,0.0005334553,0.0000887981,0.0013761647,0.0008773818,0.0007140265,0.0005074258,0.0014450181],"category_scores_gemma":[0.000060769104,0.00031962802,0.00025675804,0.000008436492,0.00041747457,0.00035667833,0.00016268576,0.0009927524,0.0019976795],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052904266,0.000019331015,0.0000068541913,0.00004675716,0.00012842292,0.0000035045887,0.009820234,5.18125e-8,2.397325e-7,0.0004751842,0.98554593,0.0039006122],"study_design_scores_gemma":[0.0003502151,0.0001839346,0.0000021973701,0.00012987276,0.00010494647,1.0659143e-7,0.00023608386,1.15358596e-7,0.0000013035344,0.0008015203,0.9977891,0.00040060998],"about_ca_topic_score_codex":0.0017753921,"about_ca_topic_score_gemma":0.0026081856,"teacher_disagreement_score":0.27398428,"about_ca_system_score_codex":0.00003974433,"about_ca_system_score_gemma":0.00019695071,"threshold_uncertainty_score":0.99992555},"labels":[],"label_agreement":null},{"id":"W4256207432","doi":"10.1353/mdr.2001.0042","title":"Why Modern Plays Are Not Culture: Disciplinary Blind Spots","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Medicine","score_opus":0.04767045373828676,"score_gpt":0.2581534435091066,"score_spread":0.2104829897708198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4256207432","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7884567,0.0018689142,0.00044765527,0.0045730905,0.00079989654,0.00029148778,0.00020444179,0.00028394687,0.20307389],"genre_scores_gemma":[0.9692221,0.00022326646,0.000024678962,0.0015464119,0.0013510432,0.000029963363,0.000042090574,0.000027667033,0.027532764],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878633,0.000019564766,0.00022245059,0.00031409072,0.00024952154,0.00040801507],"domain_scores_gemma":[0.99942136,0.00002231897,0.00008349528,0.0003085285,0.00008485439,0.00007946553],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000070717215,0.00025931365,0.00027441914,0.00007446813,0.0008460506,0.00021788209,0.00022405355,0.000071583665,0.00083785865],"category_scores_gemma":[0.000004637794,0.00019516029,0.00012758428,0.00003725381,0.00019295633,0.00039030623,0.00013650475,0.00021233741,0.00034900208],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015184396,0.0008972342,0.0069301017,0.00021199415,0.00044959187,0.00028947846,0.65965724,0.0013045055,0.0004647494,0.016248731,0.25661692,0.055410977],"study_design_scores_gemma":[0.0015724294,0.00020369992,0.0019917293,0.00012136508,0.00009902496,0.000033102882,0.0076707206,0.009683249,0.00016859708,0.02260114,0.95505524,0.00079971185],"about_ca_topic_score_codex":0.00009255731,"about_ca_topic_score_gemma":0.0018927759,"teacher_disagreement_score":0.6984383,"about_ca_system_score_codex":0.000029613506,"about_ca_system_score_gemma":0.000012997568,"threshold_uncertainty_score":0.9173964},"labels":[],"label_agreement":null},{"id":"W4256436723","doi":"10.3138/md.44.1.103","title":"Book Reviews","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Performance art; Irish; Art history; Art; History; Criticism; George (robot); The Holocaust; Literature; Philosophy; Theology","score_opus":0.04309627801675544,"score_gpt":0.25053397954174605,"score_spread":0.2074377015249906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4256436723","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011568482,0.07150777,0.00009653818,0.0017301413,0.0004375936,0.00015802764,0.0000053725635,0.00010788828,0.9143882],"genre_scores_gemma":[0.383068,0.01450599,0.000028146464,0.009179387,0.002137811,0.000045907997,0.000008154404,0.000022542914,0.5910041],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995424,0.00001167059,0.00012369482,0.00009900057,0.00006356703,0.00015967486],"domain_scores_gemma":[0.9997712,0.000008603872,0.000027546848,0.00014732109,0.000020734304,0.000024641591],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000061677296,0.0000864439,0.00013744924,0.000024690919,0.00025248632,0.00006370034,0.0000782113,0.000013910329,0.0067220363],"category_scores_gemma":[0.0000032346818,0.00006215487,0.000060799957,0.000010363745,0.00007118287,0.00017672601,0.000024286584,0.000057866077,0.0014619548],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017887114,0.000042084997,0.00034949486,0.000029869512,0.000024263407,0.000007330893,0.048352826,0.0000030695971,0.000017466211,0.015902577,0.7772425,0.15801068],"study_design_scores_gemma":[0.00009093503,0.000025676016,0.000043036882,0.0000193155,0.000009413774,0.0000023287755,0.00018467206,0.00011178756,0.000009291745,0.0017033838,0.9977078,0.0000923577],"about_ca_topic_score_codex":0.00004442909,"about_ca_topic_score_gemma":0.00029767922,"teacher_disagreement_score":0.3714995,"about_ca_system_score_codex":0.000008735368,"about_ca_system_score_gemma":0.000004412685,"threshold_uncertainty_score":0.9993155},"labels":[],"label_agreement":null},{"id":"W4256608821","doi":"10.4324/9780203754641-13","title":"Measure for Measure","year":2014,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Measure (data warehouse); Computer science; Data mining","score_opus":0.059285938436987144,"score_gpt":0.21605360587483194,"score_spread":0.1567676674378448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4256608821","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[9.083918e-7,0.0012181156,0.00011755649,0.000428449,0.0009608575,0.00028338277,0.00011157917,0.00011663383,0.9967625],"genre_scores_gemma":[0.004909458,0.000073797426,0.00002626013,0.00047034814,0.0044963383,0.000027304932,0.000040032635,0.00005759386,0.98989886],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992339,0.0000031077423,0.0001894566,0.0002041018,0.00018501403,0.00018438984],"domain_scores_gemma":[0.9993889,0.000047889265,0.0000786693,0.00021622816,0.00023243694,0.00003591668],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013902677,0.00027564925,0.00036099658,0.00006318111,0.00037334723,0.00007530317,0.0001283044,0.00012063248,0.007838334],"category_scores_gemma":[0.0000051887637,0.0001940686,0.00024696984,0.0000013587372,0.00014517082,0.000042611864,0.000026197136,0.00014437125,0.00069740793],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016116308,0.0000018213823,5.53931e-7,0.000061093524,0.00012025531,1.8638389e-7,0.0016422855,7.528664e-8,2.6163477e-7,0.74573314,0.23224038,0.020183831],"study_design_scores_gemma":[0.00017623526,0.000103870596,3.4665544e-7,0.00011235944,0.000115852235,6.347768e-7,0.000120656725,0.000001868509,0.0000036625418,0.024283785,0.9747899,0.00029082893],"about_ca_topic_score_codex":0.00002011492,"about_ca_topic_score_gemma":0.0032115725,"teacher_disagreement_score":0.74254954,"about_ca_system_score_codex":0.000016079946,"about_ca_system_score_gemma":0.000024673729,"threshold_uncertainty_score":0.99306864},"labels":[],"label_agreement":null},{"id":"W4280504476","doi":"10.3138/tric.43.1.a04","title":"Autobiography in the Audience: Emergent Dramaturgies of Loss in <i>Lost Together</i> and <i>Foreign Radical</i>","year":2022,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Humanities; Art; Biography; Ethnology; Art history; Sociology","score_opus":0.03709649055661474,"score_gpt":0.28232813012007585,"score_spread":0.2452316395634611,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4280504476","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6899424,0.07263952,6.49248e-8,0.020393468,0.0005616777,0.00071558886,0.00063082617,0.000004671161,0.21511176],"genre_scores_gemma":[0.9837159,0.015238065,0.000004288711,0.0003100541,0.00015661742,0.00014001365,0.000009050155,0.000017790333,0.00040820462],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99587065,0.0010903131,0.0005515005,0.0003321911,0.0011381439,0.0010172043],"domain_scores_gemma":[0.9986378,0.00080853584,0.0000683376,0.00035647047,0.000046949423,0.00008190253],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0030334003,0.00022096945,0.00041456195,0.0005598764,0.00070142496,0.000054267355,0.000626181,0.000042617954,0.0010253171],"category_scores_gemma":[0.000006820038,0.00017058902,0.00006982298,0.0010586735,0.0016285365,0.00016940542,0.00040546656,0.0013326982,0.000002540472],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010105215,0.0010968337,0.4101143,0.0020428372,0.00022261757,0.0016791847,0.17710266,0.0017601021,0.000042675267,0.15696627,0.10590308,0.14205894],"study_design_scores_gemma":[0.00067878637,0.00030788805,0.003786085,0.00027252376,0.00000933132,0.000020443333,0.16969447,0.00013472555,0.000024877172,0.008238649,0.8166104,0.00022180093],"about_ca_topic_score_codex":0.9762429,"about_ca_topic_score_gemma":0.9905452,"teacher_disagreement_score":0.7107073,"about_ca_system_score_codex":0.00061784434,"about_ca_system_score_gemma":0.0013651183,"threshold_uncertainty_score":0.9998879},"labels":[],"label_agreement":null},{"id":"W4280562106","doi":"10.3726/b18844","title":"‘I love craft. I love the word’","year":2022,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gender studies; Irish; Identity (music); Narrative; Ethnic group; Sociology; Intersectionality; Craft; Mainland; History; Literature; Aesthetics; Art; Anthropology; Linguistics","score_opus":0.02591844376133889,"score_gpt":0.21474023070682996,"score_spread":0.18882178694549107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4280562106","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000062714016,0.002354719,4.1492623e-7,0.0030650804,0.0017136817,0.00020074449,0.00015692218,0.00004765006,0.9924545],"genre_scores_gemma":[0.00024488958,0.000520366,0.0000018424491,0.0020374523,0.00370813,0.0000071409295,0.00005506916,0.00003892291,0.9933862],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908656,0.00001884842,0.0001979276,0.00020027862,0.00026151663,0.00023488818],"domain_scores_gemma":[0.99938315,0.00011627144,0.000089088026,0.00034449645,0.000043824937,0.000023188893],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001105161,0.0002575573,0.0002695115,0.0000588525,0.00038070994,0.00014352032,0.0003306254,0.00004823055,0.35755736],"category_scores_gemma":[0.0000023721366,0.00014345671,0.00020016605,0.00001066342,0.00032411836,0.00007613407,0.0002405326,0.00048246395,0.012133942],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000075571634,0.000007729073,0.0000013486159,0.000021523627,0.00011761237,0.00000316029,0.03148987,7.564712e-7,1.8889718e-8,0.194441,0.7719184,0.0019910175],"study_design_scores_gemma":[0.00007340513,0.000058848455,0.0000019708687,0.000018387373,0.00007287067,0.0000017224686,0.0075434763,0.0000016777593,4.0524432e-7,0.012109943,0.9798891,0.00022821304],"about_ca_topic_score_codex":0.00007963964,"about_ca_topic_score_gemma":0.0024031668,"teacher_disagreement_score":0.3454234,"about_ca_system_score_codex":0.00007489552,"about_ca_system_score_gemma":0.00010522721,"threshold_uncertainty_score":0.98863524},"labels":[],"label_agreement":null},{"id":"W4281672406","doi":"10.12745/et.25.1.5181","title":"Callan Davies. Strangeness in Jacobean Drama. London: Routledge, 2021. Pp 203.","year":2022,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Strangeness; Drama; Art; Literature; History; Nuclear physics; Physics; Hadron","score_opus":0.015748173814150664,"score_gpt":0.21458795203063633,"score_spread":0.19883977821648566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281672406","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6752731,0.0051022684,7.581635e-7,0.00079100777,0.001172769,0.00024287132,0.00021617864,0.00006818205,0.31713286],"genre_scores_gemma":[0.98185235,0.000219831,0.0000050154617,0.00018802391,0.0012225324,0.00008223362,0.000046407025,0.000032506123,0.016351117],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986763,0.00009451201,0.0002620758,0.00027962838,0.00027434283,0.0004131303],"domain_scores_gemma":[0.9995194,0.000042072992,0.000053883297,0.00029622184,0.00003321789,0.000055192642],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021999892,0.00021554616,0.0002884688,0.000112447735,0.0007776943,0.00012725199,0.0002971077,0.000030259225,0.011535465],"category_scores_gemma":[0.0000018714475,0.00018837507,0.00010903924,0.000108344815,0.00014375338,0.00019464202,0.00017686306,0.00034653855,0.00034376248],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006011448,0.00090738136,0.13157855,0.0001926283,0.0004246158,0.00035220597,0.52512956,0.00050380843,0.00021816592,0.04114475,0.112869896,0.1860773],"study_design_scores_gemma":[0.0007150086,0.00027023605,0.0063846745,0.00002522296,0.000029333249,0.000005353063,0.015337388,0.000022017017,0.000040549363,0.00082208787,0.9760025,0.0003456169],"about_ca_topic_score_codex":0.0026058918,"about_ca_topic_score_gemma":0.010174174,"teacher_disagreement_score":0.8631326,"about_ca_system_score_codex":0.00006931254,"about_ca_system_score_gemma":0.000045293164,"threshold_uncertainty_score":0.98936814},"labels":[],"label_agreement":null},{"id":"W4281738712","doi":"10.31390/gradschool_dissertations.5720","title":"The Orlando International Fringe Festival: An Historical and Administrative Overview","year":2021,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Ticket; The arts; Haven; Visual arts; Performing arts; History; Geography; Media studies; Art; Sociology; Archaeology; Computer science","score_opus":0.08832212141339135,"score_gpt":0.32382957268606594,"score_spread":0.23550745127267458,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281738712","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038465876,0.014876444,3.8346343e-7,0.0010281664,0.0048403344,0.00012210355,0.000034018296,0.000051238047,0.94058144],"genre_scores_gemma":[0.1759189,0.009328681,0.000015975273,0.00013460666,0.0020859572,0.00004621995,0.0005649404,0.000022228296,0.8118825],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938697,0.00002371059,0.00016533419,0.00016797734,0.00015109188,0.00010491956],"domain_scores_gemma":[0.99958587,0.00007933251,0.0000723309,0.00010059546,0.00012966795,0.000032209704],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000068912974,0.00014673149,0.00016902156,0.00002576095,0.0005656416,0.00026637324,0.00011289605,0.0000427227,0.0011704514],"category_scores_gemma":[0.00001470202,0.0000865476,0.000052825617,0.000010309396,0.00004846141,0.00012902418,0.000020857264,0.0001549057,0.00001156133],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025728418,0.00013480421,0.00050701987,0.00020361689,0.0005440727,0.000023577895,0.14577094,1.0006675e-7,0.0000070229135,0.64456147,0.09313664,0.11485345],"study_design_scores_gemma":[0.00009812844,0.0000778883,0.0011121398,0.000060156468,0.00003711352,0.0000019057876,0.025148764,0.0000039615493,0.000013622894,0.0006705567,0.97264177,0.0001340013],"about_ca_topic_score_codex":0.00040066883,"about_ca_topic_score_gemma":0.04288154,"teacher_disagreement_score":0.8795051,"about_ca_system_score_codex":0.000053268897,"about_ca_system_score_gemma":0.000051961724,"threshold_uncertainty_score":0.9997426},"labels":[],"label_agreement":null},{"id":"W4283277090","doi":"10.36744/pt.1169","title":"Reimagining Theatre History","year":2022,"lang":"en","type":"article","venue":"Pamiętnik Teatralny","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Scholarship; Metaphor; Narrative; History; Literature; Sociology; Media studies; Classics; Art; Linguistics; Political science; Philosophy; Law","score_opus":0.033249173499660306,"score_gpt":0.2038023947639887,"score_spread":0.1705532212643284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283277090","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024483653,0.004039482,0.00000286203,0.0017861462,0.0031854059,0.00013217084,0.00005161145,0.0002884147,0.96603024],"genre_scores_gemma":[0.92514807,0.000047577236,0.000030309191,0.0009877338,0.0010098906,0.00007742894,0.000019868023,0.000026549624,0.07265257],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905056,0.000054149987,0.0001723988,0.00020614058,0.0002143342,0.00030243385],"domain_scores_gemma":[0.9996208,0.000035872934,0.000054001688,0.00022584297,0.000022891603,0.00004060323],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017860098,0.00014781467,0.00016864072,0.000097065116,0.0009373209,0.00003139547,0.0002134899,0.000010811774,0.024285687],"category_scores_gemma":[0.0000023024775,0.00011488183,0.000109680535,0.00002662792,0.00018151036,0.0001723313,0.00013755105,0.0003244574,0.00022215517],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006607872,0.00013062096,0.0032215586,0.000041079318,0.00012285436,0.00002848086,0.19248065,0.000048062695,0.0001249785,0.09787455,0.65792596,0.047935106],"study_design_scores_gemma":[0.0001991366,0.00010303652,0.00017592405,0.000004600952,0.0000267438,0.000007392998,0.009693808,0.000038215745,0.000010200418,0.0007807994,0.9887677,0.00019243108],"about_ca_topic_score_codex":0.00044595453,"about_ca_topic_score_gemma":0.00020596849,"teacher_disagreement_score":0.9006644,"about_ca_system_score_codex":0.00020599103,"about_ca_system_score_gemma":0.000054736724,"threshold_uncertainty_score":0.97660625},"labels":[],"label_agreement":null},{"id":"W4284669498","doi":"10.3138/md-65-2-br2","title":"Alex Ferrone, <i>Stage Business and the Neoliberal Theatre of London</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Neoliberalism (international relations); Stage (stratigraphy); Theatre studies; Theatre director; Performance art; Political theatre; Work (physics); Management; Art history; Art; Sociology; Visual arts; Engineering; Political economy; Drama; Economics; Mechanical engineering; Geology","score_opus":0.01586132890716837,"score_gpt":0.2064166690402702,"score_spread":0.19055534013310182,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4284669498","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8189941,0.004654533,0.000031306834,0.0028036204,0.0003909149,0.0002400572,0.00014520132,0.00005050405,0.17268975],"genre_scores_gemma":[0.96945447,0.00011891731,0.0000050361145,0.0005929924,0.00020644754,0.00004056052,0.000008580326,0.000013912553,0.029559072],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993623,0.00004730706,0.00014797664,0.00012101693,0.00016258891,0.00015883576],"domain_scores_gemma":[0.99964637,0.00005388095,0.000059116614,0.00018319889,0.00004107601,0.000016346457],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014021382,0.00010748535,0.00019494272,0.000033246633,0.0006882506,0.000053311433,0.00014824011,0.000010532966,0.0008999885],"category_scores_gemma":[0.0000018350096,0.000066796805,0.0000533217,0.000034302648,0.00044018152,0.00010147025,0.00020493887,0.000120995246,0.0000049929317],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0019163165,0.00026383458,0.0020836415,0.00028829245,0.0003467656,0.000018086972,0.62330216,0.0022475924,0.00014249851,0.28727847,0.022920355,0.059191957],"study_design_scores_gemma":[0.0029356892,0.00013745064,0.00074934406,0.000018653802,0.00008301553,0.0000140403745,0.013456889,0.0033067528,0.00006365766,0.025321156,0.95361614,0.00029719315],"about_ca_topic_score_codex":0.0016006354,"about_ca_topic_score_gemma":0.0007885427,"teacher_disagreement_score":0.93069583,"about_ca_system_score_codex":0.000009216553,"about_ca_system_score_gemma":0.000017309769,"threshold_uncertainty_score":0.9854243},"labels":[],"label_agreement":null},{"id":"W4284686422","doi":"10.3138/md-65-2-1219","title":"Deadly Pinter: Ghostly Precedents and New Possibilities for Staging","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Afterlife; Context (archaeology); Interpretation (philosophy); Argument (complex analysis); Scope (computer science); Literature; Performance art; Fidelity; History; Art; Art history; Philosophy; Computer science; Linguistics","score_opus":0.044448234269067445,"score_gpt":0.2570213096171633,"score_spread":0.21257307534809586,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4284686422","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9730712,0.0014967517,0.00031337017,0.0010773219,0.00067050266,0.00032949497,0.00022558268,0.000111457965,0.02270432],"genre_scores_gemma":[0.93161273,0.000019867733,0.00006772506,0.000365164,0.0003753126,0.000068144764,0.000013213441,0.00001884985,0.067458995],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934095,0.000015219321,0.00013369884,0.00017764403,0.000119340766,0.00021312608],"domain_scores_gemma":[0.9997353,0.000043642292,0.000036726055,0.00011698361,0.000028242233,0.000039090362],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009099575,0.00010802827,0.00013520522,0.000049901304,0.0008638361,0.00016326214,0.000106615924,0.000009440578,0.0006406508],"category_scores_gemma":[0.000005461151,0.00009728934,0.000052271833,0.000010111087,0.00007361458,0.00017460118,0.00015035823,0.000081175625,0.0000062121517],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028556038,0.00008751963,0.004092713,0.00016605521,0.00017215204,0.0000022623663,0.81221557,0.000102663515,0.000078956116,0.0355984,0.03362686,0.11357127],"study_design_scores_gemma":[0.0011917863,0.0005735166,0.0007559851,0.000033076423,0.000058433874,0.0000050253116,0.040053923,0.003033263,0.00012946682,0.06861303,0.88517076,0.00038174412],"about_ca_topic_score_codex":0.00047380754,"about_ca_topic_score_gemma":0.00097555725,"teacher_disagreement_score":0.8515439,"about_ca_system_score_codex":0.00003171022,"about_ca_system_score_gemma":0.000026645077,"threshold_uncertainty_score":0.7014677},"labels":[],"label_agreement":null},{"id":"W4284691508","doi":"10.3138/md-65-2-1217","title":"Performing the Other: Post-Humanism and Mediatized Senses in The Wooster Group’s Production of <i>The Room</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanism; Aesthetics; Embodied cognition; Racism; Agency (philosophy); Sociology; Identity (music); Art; Gender studies; Social science; Philosophy; Political science; Epistemology; Law","score_opus":0.01689935584411237,"score_gpt":0.20497741453260013,"score_spread":0.18807805868848776,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4284691508","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9841169,0.00072269497,8.957221e-7,0.007181869,0.0005366894,0.00030937896,0.000020179466,0.000013926961,0.007097473],"genre_scores_gemma":[0.99591064,0.0000309446,0.0000023245252,0.0012635612,0.00040469502,0.00007009744,0.0000025871918,0.000011211467,0.0023039135],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992033,0.00013946544,0.00016069358,0.00012475622,0.00022876129,0.00014301951],"domain_scores_gemma":[0.99957424,0.000081283186,0.00007655919,0.00023317253,0.000028210103,0.0000065275126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045230822,0.00009667679,0.00011314555,0.00003113932,0.0011522747,0.000059956572,0.00019771433,0.0000126500245,0.00014212467],"category_scores_gemma":[0.000012551848,0.000044500695,0.000049818795,0.00003450056,0.00018952224,0.00011556383,0.00013627483,0.00022009782,0.0000020027767],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000102095626,0.000092289534,0.0025003524,0.00005336642,0.000040751525,0.0000011635815,0.96077394,0.00009271264,0.00079322874,0.01451047,0.0018054171,0.019234195],"study_design_scores_gemma":[0.0013394196,0.00048598798,0.013196187,0.000074136464,0.0001424334,0.000065632805,0.26554877,0.0013119109,0.0006829353,0.013170564,0.7035327,0.00044934737],"about_ca_topic_score_codex":0.00042040675,"about_ca_topic_score_gemma":0.0041129612,"teacher_disagreement_score":0.7017273,"about_ca_system_score_codex":0.000015980135,"about_ca_system_score_gemma":0.000011086184,"threshold_uncertainty_score":0.8862481},"labels":[],"label_agreement":null},{"id":"W4284701981","doi":"10.3138/md-65-2-br8","title":"Hana Worthen, <i>Humanism, Drama, and Performance: Unwriting Theatre</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Humanism; Theatre studies; Art; Literature; Art history; Visual arts; Philosophy; Theology","score_opus":0.02018175865760381,"score_gpt":0.2099294515323619,"score_spread":0.1897476928747581,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4284701981","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7338866,0.0015264142,0.0000127651965,0.0006183673,0.00037227166,0.00016490146,0.000046457335,0.00015628988,0.26321596],"genre_scores_gemma":[0.98467684,0.00015809652,0.000022320073,0.0008213096,0.0006662066,0.00008396302,0.000020923993,0.00003842084,0.013511907],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987279,0.00004265732,0.000240977,0.0002961727,0.00028582168,0.00040646232],"domain_scores_gemma":[0.9995453,0.000042449712,0.00007366156,0.00024160092,0.00003945593,0.000057525936],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022009137,0.00021607126,0.0002392156,0.000093458,0.0028682721,0.00022686027,0.00020040767,0.00002317047,0.0017827806],"category_scores_gemma":[0.0000019649292,0.00019365558,0.00007403639,0.000040839976,0.00022807317,0.0002953629,0.00030945518,0.00031079844,0.00004726635],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000256,0.000279137,0.016952867,0.0002883088,0.00027439906,0.000037355556,0.37312183,0.0004924664,0.0001495022,0.08251828,0.0136678545,0.511962],"study_design_scores_gemma":[0.0009602738,0.0005617908,0.0008634513,0.000048045535,0.00008528085,0.000039434435,0.030150471,0.0074395617,0.000097277756,0.008497648,0.9505685,0.0006882614],"about_ca_topic_score_codex":0.00013568811,"about_ca_topic_score_gemma":0.0003908703,"teacher_disagreement_score":0.9369007,"about_ca_system_score_codex":0.000043047716,"about_ca_system_score_gemma":0.000024915618,"threshold_uncertainty_score":0.9991297},"labels":[],"label_agreement":null},{"id":"W4284708764","doi":"10.3138/md-65-2-br4","title":"Lindsay Brandon Hunter, <i>Playing Real: Mimesis, Media and Mischief</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Framing (construction); Literature; Art; Aesthetics; Media studies; Sociology; Visual arts; History","score_opus":0.02090228058742228,"score_gpt":0.219054008233632,"score_spread":0.19815172764620972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4284708764","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82716775,0.0032054423,0.000012469824,0.0013143924,0.0007632744,0.00014106961,0.00010484169,0.00013552423,0.16715524],"genre_scores_gemma":[0.9923739,0.00042446013,0.00002229983,0.00062683306,0.0005776115,0.000042057796,0.000026945207,0.00002431796,0.005881583],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991585,0.000042402346,0.00016601561,0.00020678819,0.00018864156,0.0002376387],"domain_scores_gemma":[0.99964696,0.000080812344,0.000049443603,0.00015372536,0.000022375865,0.00004669145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015402758,0.0001404771,0.00019435983,0.000066723565,0.0012529432,0.00011997641,0.0001227297,0.000018790237,0.0008436905],"category_scores_gemma":[0.0000046151936,0.00012243893,0.000058159363,0.000021373653,0.00011515377,0.00014314905,0.00017231476,0.00018551294,0.000022262004],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000620561,0.00029926188,0.013435551,0.00017451368,0.00031817314,0.000049739418,0.75172627,0.000094141156,0.00088241603,0.040418368,0.062184207,0.12979683],"study_design_scores_gemma":[0.0018891713,0.00020126313,0.0014767057,0.000031435942,0.00008477368,0.000017855,0.00974774,0.0016163953,0.00012998338,0.006173187,0.978134,0.00049751037],"about_ca_topic_score_codex":0.0006584067,"about_ca_topic_score_gemma":0.0014167398,"teacher_disagreement_score":0.91594976,"about_ca_system_score_codex":0.00002014996,"about_ca_system_score_gemma":0.000014544429,"threshold_uncertainty_score":0.96367526},"labels":[],"label_agreement":null},{"id":"W4284712042","doi":"10.3138/md-65-2-1218","title":"“These People in This House”: Intermedial Approaches to Decentring the Domestic in Harold Pinter’s <i>A Slight Ache</i> and <i>The Homecoming</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Arts and Humanities Research Council","keywords":"Homecoming; Art; Representation (politics); Focus (optics); Embodied cognition; Orchestration; Literature; Aesthetics; Sociology; Visual arts; Philosophy; Law; Political science; Epistemology; Politics; Musical","score_opus":0.039321283804603195,"score_gpt":0.21694021521226578,"score_spread":0.17761893140766258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4284712042","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97457826,0.00155546,0.000023305452,0.012089134,0.000567041,0.0005733273,0.000019555537,0.000062052335,0.010531886],"genre_scores_gemma":[0.99642104,0.000090339236,0.000006869989,0.0013907418,0.00027255266,0.00034235444,0.000002340406,0.000029967192,0.0014438058],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881166,0.0001416245,0.00026122044,0.00024493205,0.00019216682,0.0003484221],"domain_scores_gemma":[0.9994207,0.00024045384,0.00005332778,0.00023911675,0.000009723919,0.000036647656],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005778345,0.0001752465,0.00028683158,0.00012279284,0.0004990339,0.00019125329,0.00036545878,0.000019512043,0.0002118928],"category_scores_gemma":[0.000028139304,0.00010551184,0.000064402935,0.000093033996,0.00021478714,0.00013081632,0.0005235554,0.0003881492,0.000020090802],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00054828473,0.00012426227,0.0058965157,0.000038419326,0.00004087085,0.000013596526,0.9678221,0.00059495925,0.00001117451,0.010023835,0.0027398423,0.012146185],"study_design_scores_gemma":[0.01166737,0.00060884777,0.0059952578,0.0002665352,0.00016274353,0.00009256868,0.14639379,0.037413675,0.00013437039,0.02569708,0.770103,0.0014647646],"about_ca_topic_score_codex":0.0007597628,"about_ca_topic_score_gemma":0.02174261,"teacher_disagreement_score":0.8214283,"about_ca_system_score_codex":0.000072074436,"about_ca_system_score_gemma":0.000020815287,"threshold_uncertainty_score":0.99610806},"labels":[],"label_agreement":null},{"id":"W4284714700","doi":"10.3138/md-65-2-1201","title":"A Mother’s Touch: Ethics and Maternal Corporeality in Harold Pinter’s <i>Mountain Language</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Undo; Ethnic group; Aesthetics; Sociology; Gender studies; History; Art; Law; Political science; Anthropology; Computer science","score_opus":0.04160104103950709,"score_gpt":0.2646197302002352,"score_spread":0.22301868916072812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4284714700","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9627186,0.00049593893,0.000020429809,0.0017871215,0.00022043774,0.00012366784,0.00016852794,0.0000612793,0.03440399],"genre_scores_gemma":[0.98985106,0.000040761282,0.000011591884,0.0018363418,0.0001893125,0.00004787134,0.000013100655,0.000017770812,0.00799217],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991545,0.00009959394,0.00016551447,0.00017886171,0.00018921499,0.00021230502],"domain_scores_gemma":[0.9997059,0.000053102416,0.00004953258,0.00014439081,0.000018073146,0.000029017123],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003189222,0.00011892255,0.00016389084,0.00008749234,0.0004934713,0.00010195685,0.00012732297,0.000026106442,0.0010013873],"category_scores_gemma":[0.0000066234225,0.000106048574,0.000034785273,0.000027895141,0.00012947153,0.00010822947,0.0001782904,0.00048354545,0.000012066865],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002705641,0.000164661,0.03297556,0.00014027776,0.00007099312,0.000085775144,0.8778663,0.00013248097,0.00024923394,0.06513352,0.0044115363,0.018499082],"study_design_scores_gemma":[0.0030720297,0.0006915201,0.012854751,0.00013416071,0.0000663407,0.000087787594,0.10971226,0.009273727,0.00049711776,0.05418192,0.8082857,0.0011426529],"about_ca_topic_score_codex":0.0046048025,"about_ca_topic_score_gemma":0.011255553,"teacher_disagreement_score":0.8038742,"about_ca_system_score_codex":0.00004831336,"about_ca_system_score_gemma":0.000021659029,"threshold_uncertainty_score":0.99991184},"labels":[],"label_agreement":null},{"id":"W4285072239","doi":"","title":"“ruth weiss: a poetics grounded in intermediality and performance”","year":2021,"lang":"en","type":"article","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Heritage","funders":"","keywords":"Poetics; Sociology; Art; Computer science; Literature; Poetry","score_opus":0.019224610542018232,"score_gpt":0.2144803164181519,"score_spread":0.19525570587613367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285072239","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75959295,0.0006607405,0.00014525265,0.00381257,0.00015942664,0.00007147758,0.000012891233,0.000048509468,0.23549618],"genre_scores_gemma":[0.9858463,0.00110381,0.00056991476,0.00013698776,0.000043752847,0.000012879348,0.000043598604,0.000010935573,0.012231857],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985497,0.0006570607,0.00023263093,0.00022975032,0.0001312991,0.0001995837],"domain_scores_gemma":[0.9986659,0.00031553648,0.00007207484,0.00039772442,0.00049460196,0.000054120126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011584989,0.0001195912,0.00017042427,0.00006847653,0.0003328005,0.00022523901,0.0001673058,0.000037476657,0.00038608655],"category_scores_gemma":[0.000165325,0.00011333883,0.000042740005,0.00008809481,0.00032148772,0.00020990435,0.00020900415,0.00016375996,0.000023147933],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031512136,0.0004590406,0.036789387,0.00020900818,0.000058819318,0.000009812778,0.3196891,0.0000011643564,0.00027409548,0.4932965,0.0010292408,0.1481523],"study_design_scores_gemma":[0.0036035718,0.000006008344,0.16962563,0.0030747317,0.00010456173,0.00005125909,0.030841755,0.0064819907,0.030954104,0.014819564,0.73904413,0.0013926944],"about_ca_topic_score_codex":0.0005604297,"about_ca_topic_score_gemma":0.020304248,"teacher_disagreement_score":0.7380149,"about_ca_system_score_codex":0.00002953887,"about_ca_system_score_gemma":0.000057006746,"threshold_uncertainty_score":0.99757266},"labels":[],"label_agreement":null},{"id":"W4285292033","doi":"10.2991/assehr.k.220502.042","title":"Traditions and Challenges of Modern British Theatre: The Proper Role Played by the British Government","year":2022,"lang":"en","type":"article","venue":"Advances in Social Science, Education and Humanities Research/Advances in social science, education and humanities research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Government (linguistics); Computer science; History; Political science; Linguistics; Philosophy","score_opus":0.0808969843991989,"score_gpt":0.377229527957462,"score_spread":0.2963325435582631,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285292033","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19112995,0.12161633,4.3560016e-7,0.0021496061,0.0007915112,0.0010084271,0.00015861854,0.000022558146,0.6831226],"genre_scores_gemma":[0.913428,0.0714833,0.00000808773,0.0002390466,0.00103779,0.0009013777,0.00001052176,0.00001906028,0.012872829],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9943322,0.00063125585,0.0005021675,0.0007032085,0.00279863,0.0010325691],"domain_scores_gemma":[0.99833167,0.00045234873,0.00016422855,0.00021719639,0.00073510467,0.00009944901],"candidate_categories":["sts","scholarly_communication"],"consensus_categories":["sts"],"category_scores_codex":[0.005677335,0.00020845879,0.00031397908,0.00051518116,0.032804158,0.0026738704,0.0011419535,0.00004423918,0.00039487839],"category_scores_gemma":[0.00011915904,0.00018378595,0.00004838916,0.0010231198,0.034778927,0.0030101978,0.00057274505,0.0009823412,0.0000015900386],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018849254,0.00035569907,0.00033222683,0.00007569965,0.0000041428502,3.0066047e-7,0.21893886,8.052546e-7,0.000017644294,0.5356284,0.0016075999,0.24301982],"study_design_scores_gemma":[0.00014880805,0.00012229879,0.0023747343,0.00004617908,0.0000034780755,0.000006453039,0.47145334,0.000014364931,0.000006106059,0.067376435,0.45830333,0.00014447016],"about_ca_topic_score_codex":0.0028009412,"about_ca_topic_score_gemma":0.03610142,"teacher_disagreement_score":0.722298,"about_ca_system_score_codex":0.0007128118,"about_ca_system_score_gemma":0.0018257876,"threshold_uncertainty_score":0.99836147},"labels":[],"label_agreement":null},{"id":"W4286284856","doi":"10.1177/10778004221098988","title":"Wading the Quagmire: Aesthetics and Ethics in Verbatim Theater Act 1","year":2022,"lang":"en","type":"article","venue":"Qualitative Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Humber Polytechnic","funders":"","keywords":"Mirroring; Aesthetics; EXPOSE; Sociology; Salient; Storytelling; Epistemology; Philosophy; Law; Art; Narrative; Literature; Political science; Communication","score_opus":0.2075168441515697,"score_gpt":0.3920234228816498,"score_spread":0.1845065787300801,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4286284856","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9552489,0.0016122513,0.000010209946,0.01628243,0.00085741066,0.00021481956,0.000044730725,0.00003995327,0.02568931],"genre_scores_gemma":[0.9951631,0.00013544038,0.000017880979,0.0017203368,0.0002204746,0.00007209044,0.000008041385,0.000013411024,0.0026492488],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99852383,0.0007306764,0.00019628655,0.00014564452,0.00020615979,0.00019742362],"domain_scores_gemma":[0.9988232,0.0009374751,0.00005617263,0.00013116516,0.000033963963,0.000017974775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017748052,0.000113295515,0.00014510467,0.000061532555,0.0011456443,0.00006391841,0.00012792383,0.000020988682,0.0007557322],"category_scores_gemma":[0.000044962926,0.00007355869,0.000035608726,0.000049422997,0.00073660124,0.00012892435,0.00013912685,0.00052358734,0.000020539577],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002725243,0.000019179592,0.0001488196,0.000015371756,0.000016798396,0.0000018802365,0.83181274,0.000009992139,0.0000040860714,0.16318692,0.0032239973,0.0015329554],"study_design_scores_gemma":[0.00016465744,0.0001065684,0.00014128789,0.000013408619,0.0000072567923,0.0000017877976,0.609722,0.000029161498,0.000008820797,0.013196675,0.37650427,0.000104109815],"about_ca_topic_score_codex":0.00019004631,"about_ca_topic_score_gemma":0.0008448087,"teacher_disagreement_score":0.37328026,"about_ca_system_score_codex":0.00003905713,"about_ca_system_score_gemma":0.000027939002,"threshold_uncertainty_score":0.88114864},"labels":[],"label_agreement":null},{"id":"W4286383564","doi":"10.3138/seminar.58.2.4","title":"Multicultural Politics at the Stratford Festival: Birgit Schreyer Duarte’ <i>Nathan the Wise</i> and Antoni Cimolino’s <i>Birds of a Kind</i>","year":2022,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Ottawa; University of Waterloo","funders":"","keywords":"Multiculturalism; Universalism; Politics; Ideology; Pluralism (philosophy); Sociology; Identity politics; Gender studies; Art; Art history; Humanities; Religious studies; Philosophy; Political science; Law; Epistemology","score_opus":0.034143906903755045,"score_gpt":0.2688333645316581,"score_spread":0.23468945762790308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4286383564","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93670666,0.052509356,1.8195296e-7,0.00616451,0.00091877865,0.00019354896,0.00009288411,0.000013960917,0.0034001416],"genre_scores_gemma":[0.987577,0.004548498,0.000007123166,0.0005804208,0.0008268934,0.00001568936,0.0000015368614,0.000019664407,0.0064231665],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983445,0.000114866656,0.0005694441,0.0001379542,0.00049622887,0.00033703688],"domain_scores_gemma":[0.998503,0.00039479262,0.0005156818,0.00020261823,0.00033660396,0.000047296413],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0005585267,0.00023892915,0.00046891658,0.00007135793,0.0023308925,0.000062006104,0.00032462174,0.000020895755,0.00018206402],"category_scores_gemma":[0.000038339203,0.000115512456,0.00020947303,0.00007886919,0.0011202381,0.00019501684,0.00048501257,0.00041565613,0.000004282905],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004238665,0.0002608715,0.0031130358,0.00027457598,0.0026273956,0.00010749859,0.6667752,0.000082111226,0.0016666078,0.011747575,0.3104188,0.0025023827],"study_design_scores_gemma":[0.0011544013,0.0012749473,0.0024464594,0.00018789996,0.0006205688,0.00077096646,0.34369576,0.000025897376,0.0010319552,0.0010155874,0.64745414,0.00032141947],"about_ca_topic_score_codex":0.00006374782,"about_ca_topic_score_gemma":0.00049920066,"teacher_disagreement_score":0.3370353,"about_ca_system_score_codex":0.00008461698,"about_ca_system_score_gemma":0.000054813736,"threshold_uncertainty_score":0.99896795},"labels":[],"label_agreement":null},{"id":"W4287448156","doi":"10.1080/13569783.2022.2083490","title":"Policy and protocol in Indigenous theatre projects: Hul’q’umi’num’ voices, consensus and relationality","year":2022,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Victoria","funders":"","keywords":"Indigenous; Colonialism; Injustice; Colonisation; Government (linguistics); Political science; The arts; Indigenous culture; Sociology; Public administration; History; Law; Colonization; Ecology","score_opus":0.051457015392415,"score_gpt":0.3506611385039294,"score_spread":0.2992041231115144,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287448156","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93372506,0.00081567245,8.8183775e-8,0.0033307334,0.00007781642,0.006622366,0.000012369159,0.000005650044,0.055410217],"genre_scores_gemma":[0.9951752,0.0008422571,0.000019331894,0.00015186844,0.0005304257,0.0029051483,0.0000027668716,0.0000127442445,0.0003602931],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983406,0.00027459132,0.00045046015,0.00015572344,0.00044312817,0.0003355132],"domain_scores_gemma":[0.9990226,0.00044488307,0.00018088873,0.0001591759,0.0001225341,0.00006993951],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033441319,0.00014117424,0.00022426242,0.0005835874,0.0012359961,0.00011953525,0.00019446429,0.000035735193,0.000064839856],"category_scores_gemma":[0.000012703095,0.00009468377,0.00002035918,0.00029753396,0.0005705875,0.00019629495,0.00016752665,0.0008772882,0.0000020296332],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0036380833,0.000776024,0.08130305,0.00096024544,0.000095800155,0.0000057177494,0.45417282,0.00022079141,0.000079425416,0.039333776,0.0018087,0.41760558],"study_design_scores_gemma":[0.004420394,0.0025112107,0.0670326,0.0005537857,0.000047694808,0.0005049707,0.27902028,0.00041536576,0.0002169948,0.07585784,0.56876004,0.00065883744],"about_ca_topic_score_codex":0.0009788685,"about_ca_topic_score_gemma":0.0005978817,"teacher_disagreement_score":0.56695133,"about_ca_system_score_codex":0.00014129005,"about_ca_system_score_gemma":0.0008403199,"threshold_uncertainty_score":0.9506408},"labels":[],"label_agreement":null},{"id":"W4287772324","doi":"","title":"The Live History Company, Museum Theatre, “Four Spectators” and “That Guy”: A Complex Relationship","year":2020,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Art history; Media studies; History; Sociology","score_opus":0.512097357624887,"score_gpt":0.47623132145651403,"score_spread":0.03586603616837292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287772324","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6557657,0.09609747,0.000021047039,0.006706979,0.0019796733,0.0009303146,0.00014564469,0.00015130709,0.23820187],"genre_scores_gemma":[0.9868397,0.009967493,0.00002400336,0.0010084552,0.00085697405,0.000024993504,0.000007878393,0.00004172246,0.0012287557],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99806803,0.00022460357,0.00057814224,0.00032162637,0.00045166715,0.0003559272],"domain_scores_gemma":[0.99805796,0.0007249194,0.0005185685,0.00030674486,0.00017829984,0.00021350032],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005466829,0.00031578602,0.0006001309,0.00020328075,0.0014398188,0.0011989956,0.0013201694,0.00004849668,0.012943351],"category_scores_gemma":[0.00008392102,0.00021965733,0.00016746257,0.00012218332,0.000718812,0.0014968271,0.00065456366,0.00046410874,0.00007625537],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003242777,0.000091671594,0.3517447,0.00013301434,0.00042347275,0.000024103163,0.04533113,0.0000150681435,0.000431974,0.009345575,0.58637685,0.0057581756],"study_design_scores_gemma":[0.00036737762,0.000023833942,0.28934562,0.000114860006,0.00010127894,0.0000069756047,0.0050019394,0.000079415804,0.000057726375,0.0036923399,0.7008935,0.0003150657],"about_ca_topic_score_codex":0.0010646745,"about_ca_topic_score_gemma":0.0012174917,"teacher_disagreement_score":0.33107403,"about_ca_system_score_codex":0.000099893485,"about_ca_system_score_gemma":0.000085676715,"threshold_uncertainty_score":0.99986017},"labels":[],"label_agreement":null},{"id":"W4291289364","doi":"10.1386/jdsp_00073_1","title":"Break-in’ Point: Somatic narratives: The convergence of arts and science in the transformation of temporal communities","year":2022,"lang":"en","type":"article","venue":"Journal of Dance & Somatic Practices","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Community Based Research Centre","funders":"","keywords":"The arts; Dance; Embodied cognition; Psychological resilience; Narrative; Sociology; Performing arts; Dance education; Visual arts; Community resilience; Point (geometry); Interrogation; Aesthetics; Pedagogy; Psychology; Media studies; Art; Social psychology; Epistemology; Political science; Engineering; Literature","score_opus":0.0512433585069808,"score_gpt":0.2994618032815973,"score_spread":0.24821844477461652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4291289364","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9911216,0.0014326028,0.0000067706974,0.0031276403,0.00016822279,0.00015638207,0.000007533913,0.0000017457189,0.003977496],"genre_scores_gemma":[0.9993812,0.00040251302,0.000049794304,0.00010529939,0.000032383083,0.000010700385,4.6451018e-7,0.0000028739053,0.00001476209],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984963,0.00027433754,0.00062254455,0.000040101677,0.00045360043,0.00011310591],"domain_scores_gemma":[0.9976545,0.00060746144,0.0014881016,0.00013086108,0.00010761739,0.000011466384],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002768782,0.000078882345,0.00023676748,0.00013012497,0.0005363628,0.0000610496,0.0004300875,0.0000072538696,0.00010750106],"category_scores_gemma":[0.000084372106,0.000042852047,0.000039203707,0.00015923471,0.00068562693,0.0018722493,0.000047822094,0.000267216,3.3712288e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000648177,0.0001364737,0.00769277,0.00022199587,0.000021453867,0.000002205727,0.9798184,0.00009597007,0.00016328634,0.011299166,0.00005198892,0.00043147817],"study_design_scores_gemma":[0.0003641428,0.0003571284,0.009819175,0.00024913205,0.000027997825,0.00007784899,0.9810675,0.00072389253,0.00017624989,0.0050799157,0.0019952152,0.000061809485],"about_ca_topic_score_codex":0.00032380476,"about_ca_topic_score_gemma":0.0014727262,"teacher_disagreement_score":0.008259604,"about_ca_system_score_codex":0.000021118312,"about_ca_system_score_gemma":0.000115772054,"threshold_uncertainty_score":0.41253233},"labels":[],"label_agreement":null},{"id":"W4292780308","doi":"","title":"Theatre in Exile: Defining the Field as Performing Odyssey","year":2011,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); History; Art; Mathematics","score_opus":0.2730789200473056,"score_gpt":0.49637167498593493,"score_spread":0.22329275493862932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4292780308","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53181976,0.0125149125,0.0000023317593,0.0002437902,0.0006543311,0.00020296786,0.000011226927,0.000022933815,0.45452774],"genre_scores_gemma":[0.9902899,0.0068230093,0.000022202,0.0009837935,0.0003784055,0.000040728006,0.0000027041992,0.00003079889,0.0014284604],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99831235,0.00010843201,0.0005994226,0.00024637277,0.00033398095,0.00039946038],"domain_scores_gemma":[0.9986613,0.00044899428,0.00033530913,0.00035666916,0.00011945315,0.00007830752],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00090197264,0.00026293704,0.0004843379,0.0003852405,0.0007973223,0.00078695116,0.0016852904,0.000058573944,0.039118167],"category_scores_gemma":[0.00008661668,0.00016964278,0.00015154603,0.00019775447,0.00020966225,0.0019763715,0.0006147112,0.00048133067,0.000100767764],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047218188,0.0002754549,0.6818106,0.00013186778,0.00033172566,0.000057375673,0.09740572,0.000017067603,0.00041681246,0.02767978,0.06827842,0.123122975],"study_design_scores_gemma":[0.001228732,0.00014173136,0.33648974,0.0017121703,0.0002389851,0.000038987255,0.03436286,0.00006762022,0.012410243,0.052223623,0.55974126,0.0013440477],"about_ca_topic_score_codex":0.0075388355,"about_ca_topic_score_gemma":0.0032407038,"teacher_disagreement_score":0.49146286,"about_ca_system_score_codex":0.000030169513,"about_ca_system_score_gemma":0.00007156213,"threshold_uncertainty_score":0.99907005},"labels":[],"label_agreement":null},{"id":"W4292935753","doi":"10.3138/tric.36.1.178","title":"Guidelines For Submissions","year":2015,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mandate; Library science; Multidisciplinary approach; Section (typography); Context (archaeology); Position (finance); Political science; History; Media studies; Sociology; Law; Computer science; Archaeology","score_opus":0.5486789100735152,"score_gpt":0.44176358935158844,"score_spread":0.10691532072192678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4292935753","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03493996,0.0023685116,0.0000026088242,0.029259993,0.00092877867,0.00048526842,0.0001723987,0.000026933874,0.93181556],"genre_scores_gemma":[0.9944488,0.00009397424,0.00007056828,0.0003115713,0.0011832288,0.00009556805,0.000011254616,0.0000151702825,0.0037698646],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99874693,0.00005461784,0.00018725226,0.00013143958,0.00041929173,0.00046047845],"domain_scores_gemma":[0.9989531,0.00023072114,0.000013682417,0.0001719832,0.00047691198,0.00015359286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009415096,0.00007932458,0.0001365239,0.00010986017,0.00026824584,0.00004144793,0.00018659608,0.000013865918,0.00020254123],"category_scores_gemma":[0.00003471323,0.000056834087,0.000023362145,0.000071435104,0.000109054454,0.0000821174,0.00005692085,0.00014534048,0.000017504377],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006298992,0.000014158691,0.0012430692,0.000033575936,0.000014415861,0.000009590602,0.003262444,0.00003512779,0.000003941119,0.0069298586,0.9006041,0.087786704],"study_design_scores_gemma":[0.00027702595,0.000057879133,0.000013926577,0.000039068877,0.0000018736092,8.445803e-7,0.02160968,0.0001913646,0.00004073464,0.005195003,0.97249514,0.00007743547],"about_ca_topic_score_codex":0.9697954,"about_ca_topic_score_gemma":0.9985108,"teacher_disagreement_score":0.95950884,"about_ca_system_score_codex":0.00039204647,"about_ca_system_score_gemma":0.0025587892,"threshold_uncertainty_score":0.45391822},"labels":[],"label_agreement":null},{"id":"W4293056260","doi":"10.3138/ctr.191.013","title":"Performing at Home in the Pandemic: Boca del Lupo’s <i>Plays2Perform@Home</i> Collection","year":2022,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Listing (finance); Visual arts; Pandemic; Data collection; General partnership; Sociology; Art; Coronavirus disease 2019 (COVID-19); Political science; Business; Social science; Medicine; Law","score_opus":0.031203227768490324,"score_gpt":0.22841777786992026,"score_spread":0.19721455010142994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293056260","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13660033,0.40135548,2.4290753e-7,0.009009752,0.0016649204,0.0017096591,0.0003450568,0.000092498456,0.44922206],"genre_scores_gemma":[0.88097686,0.09814393,0.0000031101395,0.011549134,0.0005446895,0.0005428305,0.00009553945,0.00003920483,0.00810471],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99842393,0.00016590669,0.00036431113,0.000246582,0.00025226205,0.00054702174],"domain_scores_gemma":[0.99933904,0.000082381266,0.00008245828,0.00033953015,0.00003440067,0.0001221895],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00088267255,0.0002279772,0.00038573524,0.0001913157,0.0026301593,0.000060890918,0.00038511326,0.000028285836,0.0058990796],"category_scores_gemma":[0.000006300797,0.00015999151,0.00015596923,0.0002616534,0.00010929805,0.00017507035,0.00008065882,0.0003983727,0.00015889939],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006701408,0.0000873477,0.056857,0.0026441696,0.00016448318,0.00009516484,0.084183075,0.000042701515,0.000004092374,0.0102525465,0.5955483,0.25005412],"study_design_scores_gemma":[0.00019475231,0.00010198106,0.00037236346,0.00032451493,0.00007066811,0.0001242515,0.005009104,0.000028515258,5.256714e-7,0.00016657075,0.99335855,0.00024821053],"about_ca_topic_score_codex":0.036538668,"about_ca_topic_score_gemma":0.679374,"teacher_disagreement_score":0.74437654,"about_ca_system_score_codex":0.00073248055,"about_ca_system_score_gemma":0.00029167903,"threshold_uncertainty_score":0.99866825},"labels":[],"label_agreement":null},{"id":"W4293056374","doi":"10.3138/ctr.191.016","title":"When in Quarantine: Bringing Theatre Home with Boca del Lupo","year":2022,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Art; Visual arts; Pandemic; Coronavirus disease 2019 (COVID-19); Art history; Medicine","score_opus":0.017316921629526187,"score_gpt":0.2081965821602705,"score_spread":0.19087966053074432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293056374","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015355898,0.38136333,8.303345e-7,0.0102789765,0.00045300927,0.0008298642,0.00023430774,0.00008715515,0.59139663],"genre_scores_gemma":[0.9633217,0.02510594,0.000023473907,0.0060800966,0.00044387463,0.00024445783,0.00006293377,0.00006710944,0.0046504084],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985867,0.000092020804,0.00029535065,0.0002732053,0.000192131,0.00056059257],"domain_scores_gemma":[0.99937034,0.000035313442,0.000066315966,0.00033518785,0.000030488036,0.00016233457],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034921238,0.00023683117,0.00046743912,0.00023438022,0.000769755,0.00005969405,0.00029390017,0.000016779333,0.006505279],"category_scores_gemma":[0.0000020822313,0.00018456613,0.000108212684,0.00015009112,0.00010175982,0.00015600582,0.00005301665,0.0003002107,0.00009866638],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000832548,0.00012432283,0.027889054,0.0061276965,0.00037292545,0.000629569,0.06182942,0.00010194694,0.0000020693035,0.047886774,0.22028041,0.6346726],"study_design_scores_gemma":[0.00023037929,0.000089809924,0.00018081788,0.001280749,0.000066279856,0.000043944452,0.0027539274,0.000016059746,4.3975427e-7,0.00022170434,0.9948199,0.00029603668],"about_ca_topic_score_codex":0.10557957,"about_ca_topic_score_gemma":0.64460653,"teacher_disagreement_score":0.9479658,"about_ca_system_score_codex":0.00020394627,"about_ca_system_score_gemma":0.00029983802,"threshold_uncertainty_score":0.9944029},"labels":[],"label_agreement":null},{"id":"W4293056381","doi":"10.3138/ctr.191.004","title":"On How to Live Well: Houses as Theatres of the Good Life in Mexico City","year":2022,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Vision; Capital (architecture); Citizenship; National capital; Sculpture; Middle class; Sociology; Visual arts; Art; Political science; Law; Anthropology; Business; Politics","score_opus":0.029806025275455946,"score_gpt":0.2323421414962092,"score_spread":0.20253611622075324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293056381","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.093037926,0.1565269,7.631368e-8,0.06751461,0.0010280159,0.0017965065,0.000665008,0.00004730974,0.67938364],"genre_scores_gemma":[0.9693289,0.009561237,0.0000013399633,0.017081361,0.00015782817,0.00013679634,0.000005380717,0.000023788814,0.0037034038],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881685,0.00018465331,0.00023580894,0.00020636343,0.0002221862,0.00033414332],"domain_scores_gemma":[0.9991731,0.00010176413,0.00008041677,0.00043230978,0.000032615488,0.00017978899],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029758317,0.0001844565,0.00041468738,0.00013968554,0.0005795626,0.00003396794,0.0004393716,0.000017647644,0.0063947937],"category_scores_gemma":[0.00003879792,0.000121000834,0.00017663214,0.00017275057,0.00011103818,0.000059398793,0.00010254661,0.00023794331,0.00013456194],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000717574,0.00021034222,0.017507236,0.0024853507,0.00031745163,0.000048632955,0.07526972,0.0001453231,0.0000027447606,0.13058653,0.6912831,0.08207179],"study_design_scores_gemma":[0.00009644023,0.00016794959,0.00047244263,0.0009789292,0.000046597605,0.0000032298692,0.0043399413,8.1452276e-7,0.0000085146485,0.00054150395,0.9931842,0.00015942076],"about_ca_topic_score_codex":0.07589434,"about_ca_topic_score_gemma":0.5975034,"teacher_disagreement_score":0.8762909,"about_ca_system_score_codex":0.00015371208,"about_ca_system_score_gemma":0.0003370179,"threshold_uncertainty_score":0.9945135},"labels":[],"label_agreement":null},{"id":"W4293056384","doi":"10.3138/ctr.191.001","title":"Editorial: The Politics of Performing House: Transnational Perspectives","year":2022,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Aesthetics; Politics; Sociology; CONTEST; Performativity; Gender studies; Media studies; Political science; Art; Law","score_opus":0.015818402938711534,"score_gpt":0.2458295917265044,"score_spread":0.23001118878779286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293056384","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000016047583,0.21708111,4.434687e-8,0.0032349676,0.7294124,0.0003659793,0.00223314,0.000029874222,0.047640897],"genre_scores_gemma":[0.00028685483,0.10324961,0.0000015656451,0.00018676682,0.89216584,0.00010468624,0.00020914475,0.00007295842,0.0037225648],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99792975,0.00012912048,0.00046573527,0.00027747452,0.0007636426,0.00043425386],"domain_scores_gemma":[0.99832493,0.00048265047,0.00020538708,0.00043003776,0.00041745853,0.00013950758],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00061874266,0.00033468063,0.0006885027,0.00016270312,0.0013270909,0.00006705747,0.00060260796,0.00013856386,0.006994453],"category_scores_gemma":[0.00008652025,0.00022861837,0.00037388626,0.00008790605,0.00041335993,0.000114746144,0.000042657142,0.0008848669,0.000024525583],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000021934418,0.000009336088,0.0000010113743,0.0017037196,0.0001415299,0.0000012383504,0.011900654,4.4905676e-7,1.888934e-8,0.045521535,0.93875086,0.0019674355],"study_design_scores_gemma":[0.000090985115,0.00006861738,3.73223e-7,0.00077297515,0.00037112023,0.0000011937407,0.005831765,3.488439e-7,1.2673426e-7,0.0003417374,0.9922649,0.00025580847],"about_ca_topic_score_codex":0.027460134,"about_ca_topic_score_gemma":0.16095683,"teacher_disagreement_score":0.16275348,"about_ca_system_score_codex":0.00043772813,"about_ca_system_score_gemma":0.0023363223,"threshold_uncertainty_score":0.99997306},"labels":[],"label_agreement":null},{"id":"W4293262603","doi":"10.1017/cbo9781139016391","title":"The Cambridge Introduction to Theatre Directing","year":2013,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":40,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Stanislavski's system; Craft; Politics; Visual arts; Space (punctuation); Performance art; Art; Media studies; Sociology; History; Aesthetics; Art history; Political science; Law; Philosophy; Linguistics","score_opus":0.01690535590731708,"score_gpt":0.18390750661724656,"score_spread":0.16700215070992946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293262603","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031183288,0.00039690544,0.0000050839585,0.000444776,0.0023678297,0.00061599974,0.00018438332,0.00021473049,0.9954585],"genre_scores_gemma":[0.00065940217,0.00020461695,0.000006248639,0.00011895968,0.008058211,0.000006985497,0.000045713237,0.000051052193,0.99084884],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985426,0.00006790892,0.00021575011,0.0004641698,0.00025246615,0.00045708098],"domain_scores_gemma":[0.99873495,0.00013851283,0.00017089423,0.0005969161,0.0002375469,0.00012120409],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00016163643,0.00039867495,0.00037311512,0.00013616234,0.002152926,0.00031986815,0.0005300741,0.00012405173,0.000020048948],"category_scores_gemma":[0.0000076912775,0.00031206792,0.00020924257,0.000009375593,0.00044239906,0.00017080094,0.0003900117,0.0004981243,0.00021448081],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039851802,0.0000042739994,7.078047e-7,0.000038264858,0.00013265485,0.0000062756135,0.0013971876,0.0000010382895,0.0000030115361,0.32722116,0.6610826,0.010072949],"study_design_scores_gemma":[0.00015845722,0.00007286193,0.000005378685,0.00007820186,0.00016036864,0.000004360786,0.0018520997,0.0000073232754,0.000051037245,0.00000410424,0.9972154,0.0003904179],"about_ca_topic_score_codex":0.0009815857,"about_ca_topic_score_gemma":0.00015445279,"teacher_disagreement_score":0.33613274,"about_ca_system_score_codex":0.0002781248,"about_ca_system_score_gemma":0.00010949942,"threshold_uncertainty_score":0.9999331},"labels":[],"label_agreement":null},{"id":"W4296867906","doi":"10.3366/edinburgh/9781474435925.003.0007","title":"Only Northerners Need Apply? Northern Broadsides and No-nonsense Shakespeare","year":2021,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rutter; Drama; Character (mathematics); Nonsense; Broadside; Northern ireland; Literature; Focus (optics); History; Art; Geography; Cartography; Ethnology; Mathematics","score_opus":0.023750113897646086,"score_gpt":0.18328166011234143,"score_spread":0.15953154621469534,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296867906","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022985323,0.0009114947,0.0000010202499,0.00008314319,0.0007739462,0.00026761924,0.0003105043,0.00014434794,0.9952094],"genre_scores_gemma":[0.0057734605,0.00058772607,0.000013710968,0.00012352059,0.0016411709,9.4628507e-7,0.00006294081,0.000054524695,0.991742],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986538,0.000019219422,0.0002091982,0.00050093024,0.0002839313,0.00033287474],"domain_scores_gemma":[0.99888796,0.00008691162,0.00017869184,0.00037329918,0.00033585852,0.00013729074],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000070788235,0.0004864003,0.00053596974,0.00015350942,0.0007243447,0.00016226788,0.00024556826,0.00020980905,0.0012738883],"category_scores_gemma":[0.000005136989,0.0004910084,0.00022856126,0.0000042517468,0.0007207389,0.00013087019,0.00033401875,0.0004663069,0.000028416862],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00069488754,0.00005340711,0.00034073796,0.00039676475,0.0024413797,0.0009011168,0.076004,0.000010372309,0.000013995228,0.62854856,0.26403934,0.026555419],"study_design_scores_gemma":[0.0004664468,0.00008120877,0.0000049223568,0.00028486783,0.0002794053,0.000012591854,0.0035422277,0.0000072327707,0.0000052905157,0.00018208279,0.9945665,0.0005672085],"about_ca_topic_score_codex":0.0014566741,"about_ca_topic_score_gemma":0.010837288,"teacher_disagreement_score":0.73052716,"about_ca_system_score_codex":0.000075428376,"about_ca_system_score_gemma":0.00012685855,"threshold_uncertainty_score":0.99975413},"labels":[],"label_agreement":null},{"id":"W4297033369","doi":"10.3102/1880248","title":"Smallest Circles First: Exploring Teacher Reconciliatory Praxis and Agency Through Drama and Theater Education in Canada","year":2022,"lang":"en","type":"article","venue":"Proceedings of the 2022 AERA Annual Meeting","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Praxis; Drama; Agency (philosophy); Sociology; Art; Visual arts; Political science; Social science; Law","score_opus":0.02149860892792584,"score_gpt":0.20113403939668983,"score_spread":0.17963543046876398,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4297033369","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96943164,0.0018982984,5.2531184e-9,0.001065031,0.00040610207,0.00015749477,0.000021611711,0.000010269102,0.027009564],"genre_scores_gemma":[0.9982268,0.00023230257,0.000015664094,0.00016867038,0.00019817564,0.00011863677,8.410776e-7,0.000012725597,0.0010261898],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992339,0.000012095317,0.00022016717,0.00018180069,0.00017120638,0.00018080598],"domain_scores_gemma":[0.9997026,0.000037310958,0.00011989333,0.00004948286,0.00007058108,0.000020183288],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002825996,0.00011260904,0.00015306158,0.000039536484,0.0007928623,0.00004080031,0.00013730323,0.000008854839,0.00018030078],"category_scores_gemma":[0.000035155237,0.000090289075,0.000020732428,0.00004979147,0.0000811772,0.00032169648,0.00028732713,0.0001973696,2.5062172e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057681693,0.0000678019,0.39509904,0.0003578479,0.000048956095,5.5788485e-7,0.57298446,0.000010040552,0.0002364248,0.004122397,0.006880617,0.020134196],"study_design_scores_gemma":[0.00035953484,0.00019776377,0.069128394,0.00031088744,0.000045565615,0.000012543056,0.78272176,0.000040954834,0.0005370695,0.0026262915,0.14362323,0.0003960033],"about_ca_topic_score_codex":0.28862795,"about_ca_topic_score_gemma":0.36846697,"teacher_disagreement_score":0.32597065,"about_ca_system_score_codex":0.000128077,"about_ca_system_score_gemma":0.0001603888,"threshold_uncertainty_score":0.71610916},"labels":[],"label_agreement":null},{"id":"W4298097660","doi":"10.5281/zenodo.4609375","title":"Looking Seriously At Improvisational Comedians: An Existential-Phenomenological Analysis","year":2018,"lang":"en","type":"dissertation","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity Western University","funders":"","keywords":"Existentialism; Improvisation; Psychoanalysis; Psychology; Phenomenology (philosophy); Interpretative phenomenological analysis; Cognitive science; Epistemology; Aesthetics; Sociology; Philosophy; Art; Visual arts; Social science; Qualitative research","score_opus":0.044693019109966994,"score_gpt":0.2580833128239465,"score_spread":0.2133902937139795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4298097660","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23678458,0.00023630162,0.000034960663,0.00014071228,0.0006934072,0.00041605707,0.0009097955,0.0007604097,0.7600238],"genre_scores_gemma":[0.8538899,0.0002542993,0.00008556665,0.00017186857,0.002157816,3.5786653e-7,0.07799572,0.0012808873,0.064163625],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980429,0.00016754387,0.00037901194,0.0005460609,0.00045926697,0.0004052629],"domain_scores_gemma":[0.99837744,0.000016566497,0.00024046247,0.000416299,0.0008132216,0.00013603184],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003710947,0.00027165134,0.00036150697,0.0005132419,0.0058592325,0.0011804611,0.0007741484,0.00012390835,0.11930618],"category_scores_gemma":[0.00006535243,0.00025474268,0.0001659488,0.00024890422,0.0003695661,0.00034321187,0.00038533786,0.0002897496,0.0064808973],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011740227,0.0007565396,0.000032427582,0.00067390717,0.00464279,0.000038668342,0.44865024,0.000041203548,0.0011011848,0.07404485,0.2735847,0.19525948],"study_design_scores_gemma":[0.00024719193,0.00043158504,0.0006060595,0.000024368535,0.00033549944,0.000006703684,0.012892932,0.00008970453,0.000025860574,0.00029883636,0.9847225,0.0003187611],"about_ca_topic_score_codex":0.00007485521,"about_ca_topic_score_gemma":0.00027572928,"teacher_disagreement_score":0.71113783,"about_ca_system_score_codex":0.00019378598,"about_ca_system_score_gemma":0.0000060048133,"threshold_uncertainty_score":0.99999046},"labels":[],"label_agreement":null},{"id":"W4300002101","doi":"10.29173/pandpr29478","title":"Phenomenological Actor","year":2022,"lang":"en","type":"article","venue":"Phenomenology & Practice","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Phenomenology (philosophy); Phenomenological method; Epistemology; Performing arts; Presentation (obstetrics); Sociology; Point (geometry); Set (abstract data type); Aesthetics; Psychology; Computer science; Philosophy; Visual arts; Art; Mathematics","score_opus":0.045197390900361956,"score_gpt":0.26551600424015687,"score_spread":0.2203186133397949,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4300002101","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07290018,0.0020790163,0.000008410479,0.020225963,0.0016611393,0.00019306593,0.000053604752,0.00024241471,0.90263623],"genre_scores_gemma":[0.98171866,0.00014771086,0.000120316196,0.005347846,0.0008749812,0.00020488475,0.00002040687,0.000021559186,0.011543665],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864745,0.00021669173,0.00022604043,0.00029409956,0.0002001742,0.00041551984],"domain_scores_gemma":[0.9991234,0.00034335352,0.00015348698,0.00026721472,0.000066109584,0.00004646501],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00036577086,0.00016536903,0.00022497548,0.00010163196,0.0017760491,0.00006112023,0.00032217818,0.000025044023,0.023858747],"category_scores_gemma":[0.00008210007,0.0001466952,0.00005656946,0.0000638231,0.00035063227,0.0004466739,0.0004217159,0.00051655923,0.0007846964],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034922452,0.00043507817,0.00014255552,0.000007429506,0.00026080917,0.00003541697,0.09617715,0.000025028188,0.00005726264,0.8817051,0.011505266,0.00929969],"study_design_scores_gemma":[0.0002967734,0.00056375423,0.00002987103,5.712286e-7,0.000058846414,0.000037962775,0.06911348,0.0000062804797,0.000003051861,0.0070617716,0.92265147,0.00017617569],"about_ca_topic_score_codex":0.00009396213,"about_ca_topic_score_gemma":0.000038247792,"teacher_disagreement_score":0.9111462,"about_ca_system_score_codex":0.00010097056,"about_ca_system_score_gemma":0.000042033418,"threshold_uncertainty_score":0.9999933},"labels":[],"label_agreement":null},{"id":"W4300666907","doi":"","title":"English-Canadian Theatre: Embracing a Country’s Diversity","year":2017,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Diversity (politics); Political science; Geography; Sociology; Anthropology","score_opus":0.22609835986858268,"score_gpt":0.4633377754291663,"score_spread":0.23723941556058364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4300666907","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3755058,0.0050275424,0.0000015431368,0.00027320234,0.0021883964,0.00023622601,0.00020840639,0.000034530098,0.61652434],"genre_scores_gemma":[0.99130017,0.0042393226,0.000008105389,0.00040944436,0.001437402,0.000010062345,0.00000883155,0.00002886282,0.0025577995],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982707,0.00006918961,0.00040925381,0.00030513553,0.00044371327,0.0005020125],"domain_scores_gemma":[0.99800897,0.00010711227,0.00055456697,0.00066231895,0.00037415195,0.00029286664],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00075039885,0.00028732838,0.0005847733,0.00044700032,0.006290022,0.004354452,0.0032469262,0.000068086665,0.024279127],"category_scores_gemma":[0.00011231723,0.0002414141,0.00017011215,0.000073074945,0.00047668122,0.0046687294,0.0018342544,0.00035662288,0.000060152084],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014078392,0.000103843675,0.7821164,0.00010785984,0.0004903969,0.000055268014,0.02924274,0.000014255877,0.00017705648,0.006785649,0.15865837,0.022107385],"study_design_scores_gemma":[0.0004746873,0.000012157769,0.32222423,0.0003172415,0.00013542676,0.0000028875952,0.002379108,0.000013122352,0.00032513012,0.0061844564,0.66744405,0.00048748017],"about_ca_topic_score_codex":0.19001204,"about_ca_topic_score_gemma":0.23202807,"teacher_disagreement_score":0.61579436,"about_ca_system_score_codex":0.0001063425,"about_ca_system_score_gemma":0.00015826421,"threshold_uncertainty_score":0.9966791},"labels":[],"label_agreement":null},{"id":"W4301020770","doi":"","title":"Dear Mama - An Artistic Statement","year":2014,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Statement (logic); Art; Art history; Visual arts; Philosophy; Epistemology","score_opus":0.30377321250008005,"score_gpt":0.5340578827819059,"score_spread":0.23028467028182587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4301020770","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86596686,0.004699918,0.00012714775,0.00024339455,0.0012667427,0.0003288608,0.00009049792,0.00006507163,0.1272115],"genre_scores_gemma":[0.9924888,0.0030606738,0.000061009774,0.0004616989,0.0009439747,0.000029835934,0.000016380696,0.000038643142,0.0028990053],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980407,0.00016979381,0.0006717596,0.00028565415,0.0004464507,0.00038563885],"domain_scores_gemma":[0.99863917,0.00014368334,0.0004259057,0.00038236644,0.00022695106,0.00018190546],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009688663,0.00026241792,0.0005430863,0.0003391777,0.0006961376,0.0017071479,0.0012613394,0.000036109537,0.04043085],"category_scores_gemma":[0.00005228076,0.00020804115,0.00011242616,0.00010540828,0.00024018247,0.0022999425,0.0004157392,0.00021889507,0.00013860597],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00060855213,0.0013927255,0.26772463,0.00040238464,0.00095872435,0.000043048716,0.025028905,0.0002918101,0.0054394444,0.051466975,0.44124237,0.20540042],"study_design_scores_gemma":[0.0005432913,0.00008646977,0.11595627,0.00024296988,0.000117657786,0.0000038348794,0.00124431,0.0001484186,0.0017073803,0.018880574,0.86053777,0.0005310681],"about_ca_topic_score_codex":0.0013852975,"about_ca_topic_score_gemma":0.0013033315,"teacher_disagreement_score":0.4192954,"about_ca_system_score_codex":0.00004190636,"about_ca_system_score_gemma":0.00004204821,"threshold_uncertainty_score":0.99932915},"labels":[],"label_agreement":null},{"id":"W4301524259","doi":"10.25071/1913-5874/37348","title":"Performance, Revolution, Pedagogy: Theatre and Its Objects","year":2010,"lang":"en","type":"article","venue":"InTensions","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Politics; Scholarship; Action (physics); Latin Americans; Government (linguistics); Sociology; Media studies; Art; Visual arts; Aesthetics; History; Political science; Law; Philosophy","score_opus":0.022370654926950385,"score_gpt":0.25006998575384326,"score_spread":0.22769933082689287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4301524259","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77623326,0.0003439173,1.7906727e-7,0.0010668149,0.0011371318,0.00007690025,0.000014847329,0.000063509884,0.22106344],"genre_scores_gemma":[0.98838663,0.0003727585,0.000013510561,0.00039312005,0.0007755638,0.000011705109,0.000004959788,0.000011426498,0.010030301],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994518,0.000007694803,0.00012420521,0.00013938948,0.0000795749,0.00019731696],"domain_scores_gemma":[0.9995363,0.000037539412,0.000028564527,0.00014461669,0.00019732263,0.000055670414],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000747806,0.000112251655,0.00012909228,0.00007164513,0.00070995523,0.000037322858,0.00006960141,0.000036771242,0.0009971628],"category_scores_gemma":[0.000025048666,0.00007974477,0.00003708014,0.000025323106,0.00019487929,0.00020225761,0.000064776155,0.00023738299,0.00031220686],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017436311,0.00028092487,0.030793045,0.00027271558,0.00028867277,0.00002454504,0.27084154,0.0000073751885,0.017497739,0.381236,0.24274291,0.055840194],"study_design_scores_gemma":[0.00025022848,0.00014146425,0.009154701,0.00006391798,0.000048993115,0.000045544286,0.008942809,0.00063149893,0.00038852557,0.000615229,0.9794656,0.0002514865],"about_ca_topic_score_codex":0.00008147003,"about_ca_topic_score_gemma":0.0031396314,"teacher_disagreement_score":0.7367227,"about_ca_system_score_codex":0.000004231093,"about_ca_system_score_gemma":0.000025827321,"threshold_uncertainty_score":0.9999161},"labels":[],"label_agreement":null},{"id":"W4301737597","doi":"10.25071/1913-5874/37342","title":"Suspended","year":2009,"lang":"en","type":"article","venue":"InTensions","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performing arts; Art; Illusion; Mythology; Absurdism; Visual arts; Art history; Aesthetics; Literature; Psychology","score_opus":0.03802676093661773,"score_gpt":0.24658778836270026,"score_spread":0.20856102742608254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4301737597","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.069982864,0.00015399056,0.0000031035547,0.006936077,0.00056861655,0.00004292969,0.0000057413804,0.00008408842,0.9222226],"genre_scores_gemma":[0.98027045,0.000022852986,0.000015221604,0.0022930035,0.00037439234,0.0000011540232,0.0000025116701,0.0000025616964,0.017017832],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997185,0.000003791735,0.000065963104,0.000059367387,0.0000456231,0.00010674351],"domain_scores_gemma":[0.9997923,0.000013542962,0.000011036628,0.00008864777,0.0000728552,0.00002161802],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00002309163,0.00004914774,0.00006708936,0.000030036936,0.0002382066,0.0000255816,0.000045556546,0.000008998891,0.002669065],"category_scores_gemma":[0.000011400266,0.000034317374,0.000037020563,0.000010979139,0.000059362366,0.0000671174,0.00001014188,0.00005451175,0.0005862831],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001179217,0.000038084498,0.000058253805,0.0000011413817,0.000014344076,0.0000072876937,0.021894207,7.224502e-7,0.00024037942,0.7282172,0.23773086,0.01178573],"study_design_scores_gemma":[0.00008493891,0.00009290708,0.000842318,0.000012691979,0.000009334833,0.0000035626367,0.00426185,0.000013302153,0.00018046195,0.015558291,0.97886276,0.000077568286],"about_ca_topic_score_codex":0.000039660175,"about_ca_topic_score_gemma":0.00034030178,"teacher_disagreement_score":0.9102876,"about_ca_system_score_codex":0.000004357046,"about_ca_system_score_gemma":0.000004963097,"threshold_uncertainty_score":0.9982426},"labels":[],"label_agreement":null},{"id":"W4301820481","doi":"10.4000/ht.2763","title":"Quand la philosophie se joue de l’art à l’école","year":2013,"lang":"fr","type":"article","venue":"Horizons/Théâtre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval; Université du Québec en Outaouais","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.034347783232416884,"score_gpt":0.24214448197669727,"score_spread":0.2077966987442804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4301820481","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13781336,0.013679947,0.000012951945,0.03455066,0.0023875919,0.000459271,0.00027067223,0.00016883867,0.8106567],"genre_scores_gemma":[0.4486739,0.0035304013,0.0001018227,0.0007290702,0.0056916308,0.00011597052,0.000031740583,0.00007121322,0.54105425],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978814,0.00015800733,0.00042271594,0.0003895019,0.000258402,0.00088996685],"domain_scores_gemma":[0.99880457,0.00021065587,0.00012886617,0.0004363541,0.0001662524,0.0002533138],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00026178343,0.00046622718,0.00047450417,0.00014373996,0.001193406,0.00047536028,0.00028054556,0.00023642415,0.015258941],"category_scores_gemma":[0.000024289604,0.00042146983,0.0002588515,0.0000989769,0.00087232556,0.0006921554,0.00014208438,0.00052060356,0.009262618],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031330732,0.00025418,0.0014894068,0.00023015759,0.00022132299,0.00004403334,0.007242991,0.000014394114,0.00004179803,0.45353663,0.52046627,0.016427502],"study_design_scores_gemma":[0.00053301745,0.0004695326,0.0013609171,0.00025240122,0.0001660125,0.0000517813,0.0035399033,0.00011064396,0.00007433954,0.015657905,0.9772528,0.0005307764],"about_ca_topic_score_codex":0.0027332802,"about_ca_topic_score_gemma":0.0017016723,"teacher_disagreement_score":0.4567865,"about_ca_system_score_codex":0.00008913346,"about_ca_system_score_gemma":0.00012630646,"threshold_uncertainty_score":0.9998237},"labels":[],"label_agreement":null},{"id":"W4301899241","doi":"10.25071/1913-5874/37352","title":"Revealed By Fire, One Woman's Narrative of Transformation","year":2010,"lang":"en","type":"article","venue":"InTensions","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Dance; Dream; History; Narrative; Art history; Crash; Art; Visual arts; Aeronautics; Engineering; Literature; Psychology; Computer science","score_opus":0.021693193439019952,"score_gpt":0.2318192029119463,"score_spread":0.21012600947292634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4301899241","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92454976,0.00007451658,0.0000060457096,0.002217873,0.00045836795,0.00009924036,0.00007353604,0.000028681357,0.07249197],"genre_scores_gemma":[0.99559724,0.000052973926,0.000023290057,0.00029276006,0.00013068045,0.000010382486,0.000020282328,0.000005601368,0.0038667847],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959165,0.0000082835695,0.00016088106,0.00006242494,0.00007853563,0.00009820694],"domain_scores_gemma":[0.99959266,0.000042840045,0.000045028526,0.0000989291,0.0001967738,0.000023737393],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000055706252,0.00006677361,0.00013000789,0.000029925946,0.00025106609,0.000012436373,0.000055826054,0.000025105246,0.0012087032],"category_scores_gemma":[0.000025428728,0.000050782746,0.0000477095,0.000020357613,0.00019620633,0.00015705317,0.000010485637,0.00013660417,0.00004803527],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006814075,0.00019008858,0.00016095072,0.000042425527,0.00011518945,8.248299e-7,0.68262273,8.969446e-7,0.033809908,0.07498451,0.1993951,0.008609239],"study_design_scores_gemma":[0.00052731327,0.0002883564,0.00074217975,0.000108773784,0.000059580398,0.000003868042,0.06875499,0.00013025696,0.0103338715,0.0029070757,0.9158914,0.0002523033],"about_ca_topic_score_codex":0.00025474955,"about_ca_topic_score_gemma":0.001397803,"teacher_disagreement_score":0.7164963,"about_ca_system_score_codex":0.000003302684,"about_ca_system_score_gemma":0.000009288332,"threshold_uncertainty_score":0.9997043},"labels":[],"label_agreement":null},{"id":"W4302026766","doi":"10.3138/tric.43.2.f02","title":"Space for Multiple Voices: An Interview with Director Reneltta Arluk","year":2022,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Humanities; Art","score_opus":0.12651654024412426,"score_gpt":0.32682969487878205,"score_spread":0.2003131546346578,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4302026766","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35760188,0.14623849,0.000010967206,0.095060274,0.0057665417,0.0045152334,0.011150657,0.000103828046,0.37955213],"genre_scores_gemma":[0.9807259,0.0020164263,0.00005802523,0.00030557511,0.0011899701,0.000805272,0.00009350415,0.00007430424,0.01473105],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99619627,0.00085691764,0.00032659105,0.00047883662,0.0009055176,0.0012358912],"domain_scores_gemma":[0.9980112,0.0010197202,0.00006714404,0.00051445776,0.00016004893,0.00022744505],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0019385866,0.00027454615,0.00043175204,0.00023585223,0.0020288555,0.00014811209,0.00059279136,0.00003151723,0.0023857679],"category_scores_gemma":[0.000007741133,0.00023241938,0.00006860325,0.00029531884,0.00044449704,0.00026741976,0.00031950916,0.0008442792,0.00000941451],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0022779088,0.00082325784,0.016422104,0.00356942,0.0006020875,0.00043883253,0.04276388,0.0019002623,0.000029364182,0.013329128,0.24374653,0.67409724],"study_design_scores_gemma":[0.0007985693,0.0010561084,0.0001553942,0.00033288938,0.000023301312,0.000011055802,0.05950943,0.0010098049,0.00004216559,0.00046998524,0.93628854,0.00030277675],"about_ca_topic_score_codex":0.9920725,"about_ca_topic_score_gemma":0.9995224,"teacher_disagreement_score":0.69254196,"about_ca_system_score_codex":0.0020973824,"about_ca_system_score_gemma":0.0031980132,"threshold_uncertainty_score":0.9992704},"labels":[],"label_agreement":null},{"id":"W4302081669","doi":"10.3138/jeunesse.2.1.45","title":"Going Beyond Our Directive: <i>Wall-E</i> and the Limits of Social Commentary","year":2010,"lang":"en","type":"article","venue":"Jeunesse Young People Texts Cultures","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Directive; Position (finance); Consumption (sociology); Aesthetics; Sociology; Advertising; Psychology; Media studies; Art; Business; Computer science","score_opus":0.01062742969423179,"score_gpt":0.2523846463511153,"score_spread":0.2417572166568835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4302081669","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8586582,0.00082788226,3.741089e-7,0.016682921,0.00096004666,0.00027736535,0.00006647958,0.00007416307,0.122452594],"genre_scores_gemma":[0.9940332,0.00014143715,0.000009573018,0.0008193054,0.0011376693,0.000036585152,0.000016150567,0.000015393769,0.0037906773],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992069,0.00004738466,0.0002041178,0.0001597786,0.00017273765,0.0002090625],"domain_scores_gemma":[0.99953514,0.0000807168,0.0001203706,0.00013201816,0.00010312648,0.000028642808],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020212286,0.000178257,0.00030472843,0.0000329831,0.0010738622,0.00012516178,0.00016122476,0.00005067,0.0001099077],"category_scores_gemma":[0.00001804519,0.00010152215,0.00009733422,0.00004283419,0.00035284477,0.00021808277,0.00007684439,0.00025872097,0.000011489045],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023261768,0.000125314,0.01448806,0.00012712156,0.00024013284,0.0000013902134,0.5628142,5.656661e-7,0.0011208499,0.21663988,0.20234592,0.0018639687],"study_design_scores_gemma":[0.003505876,0.00010701168,0.087822154,0.000048603568,0.00037242394,0.000025475716,0.13493726,0.00003692319,0.001817893,0.0072389646,0.76341736,0.00067004655],"about_ca_topic_score_codex":0.00089011027,"about_ca_topic_score_gemma":0.045334093,"teacher_disagreement_score":0.56107146,"about_ca_system_score_codex":0.000006436381,"about_ca_system_score_gemma":0.00001029418,"threshold_uncertainty_score":0.9720861},"labels":[],"label_agreement":null},{"id":"W4303192453","doi":"10.1017/s0040557422000242","title":"Postdramatic Theatre and Form Edited by Michael Shane Boyle, Matt Cornish, and Brandon Woolf. Methuen Drama Engage. London: Methuen Drama, 2019; pp. xi + 266. $115.00 cloth, $40.95 paper, $36.85 e-book.","year":2022,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Cornish; Drama; Performance art; Art; Art history; History; Literature; Archaeology","score_opus":0.01696673474632706,"score_gpt":0.22776382144664883,"score_spread":0.21079708670032177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4303192453","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7231712,0.17917326,0.00002356955,0.005279606,0.003022491,0.003008226,0.009206842,0.0008570482,0.07625778],"genre_scores_gemma":[0.9591887,0.014196851,0.00008920062,0.0035163958,0.0014621498,0.0003016649,0.0018987423,0.0002884735,0.019057803],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99465656,0.0014425527,0.0009770264,0.00097054604,0.00077560695,0.0011777116],"domain_scores_gemma":[0.9967122,0.0015665038,0.0003660839,0.00083929667,0.00018869508,0.00032720738],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0030166365,0.0009476131,0.0013789374,0.00022934008,0.002853676,0.000581311,0.0006118323,0.00019079453,0.0051447824],"category_scores_gemma":[0.000053958553,0.0007834629,0.0002548917,0.00025877505,0.0008915877,0.0010014109,0.00071431824,0.0011240923,0.00012466207],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0046772105,0.0007736098,0.008744983,0.0008103884,0.0019631125,0.00006815397,0.07636698,0.000016084707,0.0015566241,0.0017818721,0.8326512,0.07058978],"study_design_scores_gemma":[0.004776089,0.001274082,0.004614792,0.00012769974,0.00044143008,0.000108379325,0.013816591,0.00017174329,0.0002991222,0.002289893,0.9705527,0.0015274804],"about_ca_topic_score_codex":0.0135980155,"about_ca_topic_score_gemma":0.005986509,"teacher_disagreement_score":0.23601754,"about_ca_system_score_codex":0.00011962787,"about_ca_system_score_gemma":0.000099266064,"threshold_uncertainty_score":0.99946165},"labels":[],"label_agreement":null},{"id":"W4303432277","doi":"10.11606/t.8.2022.tde-07102022-110938","title":"O papel do épico na dramaturgia de Elmer Rice: uma análise de Street Scene","year":2022,"lang":"pt","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Discovery Air (Canada)","funders":"","keywords":"Dramaturgy; Drama; EPIC; Context (archaeology); Criticism; Situated; Scope (computer science); Representation (politics); Working class; Sociology; Art; Aesthetics; History; Literature; Political science; Law; Computer science; Artificial intelligence; Politics","score_opus":0.01462998624057207,"score_gpt":0.2647733961328946,"score_spread":0.25014340989232253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4303432277","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.55739206,0.009567091,0.0000074292016,0.00022449679,0.0025902037,0.0004962873,0.0006348619,0.00020562165,0.42888194],"genre_scores_gemma":[0.80078274,0.0037079619,0.000065985696,0.0006405508,0.0011383586,0.00014433559,0.0013000631,0.00010318936,0.19211681],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99713707,0.0001419183,0.00062427897,0.0005972997,0.00052037457,0.0009790333],"domain_scores_gemma":[0.9986844,0.00015016567,0.0003224124,0.00047956573,0.00017960112,0.00018382656],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035387772,0.00073302025,0.00071728416,0.00029232784,0.0025684913,0.0005721721,0.0004943558,0.00028642695,0.056006722],"category_scores_gemma":[0.000019861154,0.0006479705,0.00040967623,0.00013328643,0.00016767044,0.00033398301,0.00014614516,0.00094020396,0.0002904358],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017086421,0.0013655628,0.027206352,0.0039130645,0.0027724758,0.00019983787,0.59163374,0.00015971554,0.00048448428,0.09095352,0.19698785,0.08261475],"study_design_scores_gemma":[0.0015234493,0.00065172394,0.025635578,0.00047448944,0.000996336,0.000013757374,0.38378182,0.0006228126,0.00044259586,0.0008714718,0.58300173,0.0019842112],"about_ca_topic_score_codex":0.0046987836,"about_ca_topic_score_gemma":0.0088216225,"teacher_disagreement_score":0.3860139,"about_ca_system_score_codex":0.00024372723,"about_ca_system_score_gemma":0.00036395242,"threshold_uncertainty_score":0.99959713},"labels":[],"label_agreement":null},{"id":"W4305041225","doi":"10.3138/md-65-3-1222","title":"Ibsen Postcards / Postcard Ibsens: Domesticating Modernism","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Portrait; Modernism (music); Inscribed figure; Drama; Literature; Painting; Visual arts; Sculpture; Art history; History","score_opus":0.02898568115926196,"score_gpt":0.23956258585309378,"score_spread":0.21057690469383183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4305041225","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48194608,0.0019384163,0.00027442467,0.0031077955,0.0014569398,0.00036748612,0.00032662076,0.00040699937,0.5101752],"genre_scores_gemma":[0.9766831,0.00003065225,0.00011146163,0.0009761598,0.0007153284,0.00009491382,0.000039683287,0.000040209445,0.021308541],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99857897,0.000063970816,0.0002519681,0.00030344797,0.00038992334,0.00041175325],"domain_scores_gemma":[0.9993687,0.000063428786,0.0000816317,0.00034620083,0.00007888076,0.00006111406],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000196612,0.00020733108,0.00025806215,0.000098533215,0.0017794605,0.00015473625,0.0002781369,0.000023489454,0.0025365944],"category_scores_gemma":[0.000013279975,0.00019224337,0.00013771445,0.000037005695,0.0001537592,0.00017852968,0.0003440828,0.0002938956,0.00021844405],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026683352,0.00042348163,0.0022235194,0.00013146113,0.00056329876,0.00011523869,0.56728214,0.0045352313,0.0014243418,0.2605061,0.026787933,0.13574043],"study_design_scores_gemma":[0.0008254739,0.0003941973,0.00041302637,0.00002883705,0.00010342291,0.000057854988,0.017645035,0.021240178,0.00010627403,0.024585318,0.93386364,0.0007367534],"about_ca_topic_score_codex":0.00022753786,"about_ca_topic_score_gemma":0.0001146466,"teacher_disagreement_score":0.9070757,"about_ca_system_score_codex":0.00005434879,"about_ca_system_score_gemma":0.00003666603,"threshold_uncertainty_score":0.99952006},"labels":[],"label_agreement":null},{"id":"W4305042068","doi":"10.3138/md-65-3-br04","title":"Hermione Lee, <i>Tom Stoppard: A Life</i>","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Biography; Reading (process); Art; Literature; Art history; Visual arts; History; Philosophy; Linguistics","score_opus":0.026382451308011375,"score_gpt":0.21868080863300665,"score_spread":0.19229835732499528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4305042068","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57976615,0.0024906103,0.000056511937,0.003272138,0.0013905157,0.00020803287,0.00014100817,0.00026989,0.41240513],"genre_scores_gemma":[0.95194834,0.000030597737,0.0000122625115,0.0018928915,0.00068392034,0.00007661784,0.000017186174,0.000020383502,0.045317773],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991856,0.000033984128,0.00014746207,0.000171846,0.00022147884,0.00023959983],"domain_scores_gemma":[0.9996566,0.000022640437,0.000042926415,0.0001987428,0.000029253632,0.00004979877],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000105195715,0.00011907696,0.00016320852,0.00005028644,0.0012129415,0.000081864426,0.00016545555,0.000012290726,0.0045238645],"category_scores_gemma":[0.000003821651,0.00010680115,0.0000783372,0.000027329754,0.00009291359,0.00012841598,0.0001766328,0.0001760416,0.000196123],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002923952,0.00054880505,0.0023415466,0.00009103377,0.00033837088,0.000053358606,0.39461172,0.0017157405,0.00019072935,0.15560317,0.3572595,0.086953625],"study_design_scores_gemma":[0.0003144914,0.00010958876,0.000117832176,0.0000037340687,0.000019344365,0.0000040193254,0.004889865,0.00087873527,0.000014372644,0.0042056246,0.98926806,0.00017430914],"about_ca_topic_score_codex":0.00018836338,"about_ca_topic_score_gemma":0.00023711765,"teacher_disagreement_score":0.6320086,"about_ca_system_score_codex":0.00002906216,"about_ca_system_score_gemma":0.000031616375,"threshold_uncertainty_score":0.9963861},"labels":[],"label_agreement":null},{"id":"W4306893947","doi":"10.3138/utq.91.3.04.en","title":"Drama","year":2022,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Drama; Art; History; Literature","score_opus":0.010591806131528585,"score_gpt":0.1764726803586928,"score_spread":0.16588087422716422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4306893947","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30250025,0.00048564546,0.000009193143,0.00027100413,0.00044516753,0.000065466265,0.000083153835,0.000049091585,0.69609106],"genre_scores_gemma":[0.97095865,0.0000108075565,0.000020752406,0.000030624164,0.00007506665,1.4863554e-7,0.000005161655,0.0000026446398,0.028896173],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996984,0.00001850864,0.00004227426,0.000067274275,0.00009122213,0.000082335966],"domain_scores_gemma":[0.99982876,0.000009600104,0.00003392974,0.0000878656,0.000023565559,0.000016267386],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000039346076,0.000042757252,0.00007900207,0.000011637157,0.0005945144,0.000007109638,0.00013164351,0.000005285882,0.02821796],"category_scores_gemma":[1.9214268e-7,0.000048519898,0.000052689324,0.0000042535435,0.00008906645,0.00017840973,0.000028366261,0.000036250105,0.000025949737],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001046027,0.00010004773,0.0003414221,0.000015765167,0.00007910462,0.000009218181,0.8100801,0.0000047399153,0.000035109068,0.09861867,0.04858947,0.042021718],"study_design_scores_gemma":[0.00017385404,0.00045767298,0.0003507121,0.0000013612278,0.000012064379,5.1102876e-7,0.2357439,0.000013287397,0.000001073246,0.00014335931,0.7630488,0.00005337845],"about_ca_topic_score_codex":0.023516873,"about_ca_topic_score_gemma":0.045277357,"teacher_disagreement_score":0.71445936,"about_ca_system_score_codex":0.000057225174,"about_ca_system_score_gemma":0.000011277052,"threshold_uncertainty_score":0.9829856},"labels":[],"label_agreement":null},{"id":"W4307423004","doi":"10.25071/28169344.13","title":"Reimagining consensual engagement in drama education: the possibilities of intimacy choreography in a “post”-COVID-19 world","year":2022,"lang":"en","type":"article","venue":"YU-WRITE Journal of Graduate Student Research in Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Drama; Context (archaeology); Choreography; Apprenticeship; Coronavirus disease 2019 (COVID-19); Psychology; Sociology; Scholarship; Pedagogy; Dance; Political science; Visual arts; Medicine; Law; Art","score_opus":0.24025213519056662,"score_gpt":0.4666877306837159,"score_spread":0.22643559549314926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4307423004","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9580668,0.003029378,2.6680792e-7,0.026877107,0.0013325858,0.0005566495,0.00001164084,0.0000047903295,0.0101207355],"genre_scores_gemma":[0.9964067,0.0009812912,0.00004091088,0.00043630807,0.00056942,0.00017182209,0.000011459627,0.000013099088,0.0013690097],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9959848,0.0013263185,0.00096111285,0.00020194575,0.0011455489,0.00038029687],"domain_scores_gemma":[0.99800295,0.00074055116,0.00031420164,0.00024704705,0.0006102603,0.00008501388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0077214087,0.0001470567,0.0003035503,0.0028177577,0.000631051,0.00017508303,0.00054607703,0.000013893723,0.00041638303],"category_scores_gemma":[0.00023877525,0.00010509632,0.00010927063,0.00091423426,0.0005485184,0.0003402464,0.0002624999,0.0015633403,0.0000031158097],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003960952,0.0030070478,0.2880673,0.00021856042,0.00008998702,0.00001202157,0.6401767,0.00019683699,0.00003992331,0.0235458,0.015738448,0.028511282],"study_design_scores_gemma":[0.0007387284,0.0004356075,0.13591386,0.00026290954,0.000013309396,0.00001367023,0.75320405,0.000010930835,0.000013877079,0.009232579,0.10002639,0.00013405581],"about_ca_topic_score_codex":0.0057124677,"about_ca_topic_score_gemma":0.00915206,"teacher_disagreement_score":0.15215343,"about_ca_system_score_codex":0.0006535811,"about_ca_system_score_gemma":0.0026395805,"threshold_uncertainty_score":0.86355805},"labels":[],"label_agreement":null},{"id":"W4307934923","doi":"10.4324/9781003228769-11","title":"Cultural Resurgence and the Trickster in Tomson Highway's The Rez Sisters","year":2022,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Trickster; Sociology; Art; Anthropology","score_opus":0.03910116830789131,"score_gpt":0.2196949826476774,"score_spread":0.18059381433978608,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4307934923","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006769678,0.0034689924,5.000442e-8,0.005902575,0.00063919945,0.00026990243,0.000030149018,0.000029586854,0.98898256],"genre_scores_gemma":[0.072201096,0.0033964578,9.90067e-7,0.0011163332,0.00050307997,0.00003914952,0.000010598075,0.000016251084,0.922716],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919635,0.00003455434,0.00024046979,0.0001869162,0.00018492155,0.00015676116],"domain_scores_gemma":[0.9994408,0.00020796602,0.0000855313,0.00022420478,0.000027147356,0.000014389554],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00028958404,0.00020466428,0.00026622825,0.0000520744,0.00066575693,0.00013953552,0.00019784798,0.00003605571,0.007446733],"category_scores_gemma":[0.000003840195,0.000082456834,0.000115834824,0.000009188575,0.00071656745,0.00011934874,0.00018301814,0.00034933223,0.0000412686],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011469337,0.000002580686,0.000014402354,0.000014331314,0.00005647511,0.0000035084222,0.04252169,4.9954394e-7,8.200989e-8,0.92006963,0.03386766,0.0033344305],"study_design_scores_gemma":[0.0003203962,0.000031547366,0.000040527873,0.00002803058,0.000041553314,0.0000029672728,0.0062766382,0.000003963062,3.433181e-7,0.004098106,0.9890044,0.00015156616],"about_ca_topic_score_codex":0.0006662715,"about_ca_topic_score_gemma":0.0052088047,"teacher_disagreement_score":0.9551367,"about_ca_system_score_codex":0.000025521878,"about_ca_system_score_gemma":0.000011303146,"threshold_uncertainty_score":0.9934606},"labels":[],"label_agreement":null},{"id":"W4308290969","doi":"10.25071/2292-4736/40289","title":"Water Memory","year":2022,"lang":"en","type":"article","venue":"UnderCurrents Journal of Critical Environmental Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Invocation; Human sexuality; Politics; Gender studies; Femininity; Narrative; Aesthetics; Physical body; Sociology; Psychoanalysis; Psychology; Literature; Art; Philosophy; Anthropology; Epistemology; Political science","score_opus":0.04833776250657926,"score_gpt":0.28082509087026786,"score_spread":0.2324873283636886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4308290969","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9470998,0.025518034,0.000012387652,0.0051459647,0.0065959482,0.00012696486,0.000101392565,0.000023450382,0.015376059],"genre_scores_gemma":[0.99740624,0.0005179436,0.000009691104,0.00039647677,0.0005935711,0.000008032467,0.000002849228,0.000012017044,0.0010531924],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987204,0.000072952775,0.00036791663,0.00010347415,0.0004685328,0.0002667168],"domain_scores_gemma":[0.99967635,0.000109184926,0.0000577736,0.00007475359,0.0000220987,0.00005986982],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025319814,0.00013992068,0.00027945897,0.00007918292,0.0011034448,0.000029192639,0.00016820568,0.000009142689,0.0063411184],"category_scores_gemma":[0.000018466402,0.000090639536,0.00014952065,0.000010370668,0.000848464,0.00024443923,0.00032504223,0.00029935827,0.000067934365],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009484863,0.00722077,0.0041939886,0.00065448164,0.0038295235,0.0006332638,0.7227809,0.0008813103,0.0031779746,0.056861784,0.12402847,0.07478909],"study_design_scores_gemma":[0.0011249401,0.0013905165,0.00022944174,0.000036370402,0.00030302632,0.00017606575,0.27722675,0.000011746254,0.0010778775,0.01576688,0.7022482,0.0004081896],"about_ca_topic_score_codex":0.0000023179418,"about_ca_topic_score_gemma":0.0000033071917,"teacher_disagreement_score":0.5782197,"about_ca_system_score_codex":0.00014741461,"about_ca_system_score_gemma":0.0000060284997,"threshold_uncertainty_score":0.9945672},"labels":[],"label_agreement":null},{"id":"W4309217232","doi":"10.3138/ctr.192.001","title":"Editorial: Ethics and Socially Engaged Theatre","year":2022,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aesthetics; Sociology; Visual arts; Art; Media studies; Environmental ethics; Philosophy","score_opus":0.035805780610360924,"score_gpt":0.27361669624695,"score_spread":0.23781091563658907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4309217232","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.1203668e-7,0.22986057,1.7027702e-8,0.0044600703,0.6153947,0.00043853128,0.0019450109,0.000060875806,0.14784001],"genre_scores_gemma":[0.000011577484,0.34807566,0.0000030009742,0.0012197777,0.6456237,0.00012640921,0.0006034605,0.000084101855,0.004252349],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9957081,0.0014701344,0.00056397467,0.0005978305,0.00092454796,0.000735416],"domain_scores_gemma":[0.995844,0.0026179436,0.00023962367,0.0005778091,0.0003033264,0.00041730757],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.004133643,0.0006320862,0.001232063,0.00020427503,0.0054187626,0.00026778798,0.00057867204,0.00060627796,0.0075458554],"category_scores_gemma":[0.00063047797,0.0005402629,0.0003418962,0.00009335644,0.00042242126,0.00016627857,0.0001517205,0.008130205,0.00016868077],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000049997884,0.0000070099272,0.0000011270859,0.0039108493,0.00016334004,0.000010783588,0.01256797,4.1664574e-8,2.6055913e-8,0.0022034263,0.95904386,0.022086559],"study_design_scores_gemma":[0.00016651349,0.00009393343,1.6547412e-7,0.0026016575,0.00054145063,0.0000016081616,0.0022916675,8.8393946e-8,3.733179e-8,0.00061425206,0.9930834,0.000605232],"about_ca_topic_score_codex":0.101019725,"about_ca_topic_score_gemma":0.7103365,"teacher_disagreement_score":0.60931677,"about_ca_system_score_codex":0.00045240988,"about_ca_system_score_gemma":0.006393752,"threshold_uncertainty_score":0.9997049},"labels":[],"label_agreement":null},{"id":"W4309688973","doi":"10.4324/9781003033295","title":"The English Theatrical Avant-Garde 1900-1925","year":2022,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Avant garde; Art; Aesthetics; Visual arts; Literature; Art history","score_opus":0.019616639895308305,"score_gpt":0.21057083489089756,"score_spread":0.19095419499558924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4309688973","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00000668643,0.0041519986,2.8386248e-7,0.00044809873,0.0048628463,0.00022550128,0.00013872267,0.0002015952,0.98996425],"genre_scores_gemma":[0.00037131124,0.0028064393,0.0000022200877,0.00043706407,0.0080448035,0.000060995444,0.00007435308,0.00004852844,0.9881543],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986476,0.000040834988,0.0002975113,0.0002614181,0.00038425412,0.00036842882],"domain_scores_gemma":[0.9989673,0.00037880635,0.000094648094,0.00040685473,0.00010714763,0.000045265246],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022934495,0.00030980856,0.00033718284,0.00006899036,0.0025090643,0.00027083387,0.0004611721,0.000073946074,0.049585804],"category_scores_gemma":[0.00001564891,0.00017081069,0.00027666014,0.000004537183,0.000404822,0.00007102504,0.00030554712,0.0006465143,0.0006742969],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017193717,0.000010467798,0.0000044061294,0.000016750471,0.00012196385,0.00000367028,0.03539597,4.7269918e-7,9.8416155e-9,0.18370087,0.7747537,0.0059745135],"study_design_scores_gemma":[0.00011664774,0.00010614382,0.0000023685197,0.000012016441,0.00007990597,0.000001243735,0.0044914465,0.000002733334,3.4961357e-7,0.006086007,0.9888304,0.00027077808],"about_ca_topic_score_codex":0.00006968198,"about_ca_topic_score_gemma":0.004586418,"teacher_disagreement_score":0.21407665,"about_ca_system_score_codex":0.000103150785,"about_ca_system_score_gemma":0.00016164526,"threshold_uncertainty_score":0.99878955},"labels":[],"label_agreement":null},{"id":"W4311883862","doi":"10.1093/oxfordhb/9780190247867.013.30","title":"Make the Letters Dance","year":2022,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Dance; Visual arts; Creativity; Openness to experience; The arts; Art; Aesthetics; Sociology; Psychology; Social psychology","score_opus":0.029836251996073704,"score_gpt":0.1784030568515337,"score_spread":0.14856680485546,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311883862","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009967896,0.00019555802,0.0000017286555,0.00024896752,0.00062563835,0.00020663072,0.00028898194,0.00008571548,0.9982471],"genre_scores_gemma":[0.0008681367,0.00051965093,0.0000042761394,0.00047275508,0.00050445437,0.0000016869325,0.000024501835,0.00002853906,0.997576],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924344,0.000017912647,0.00010215915,0.00022653691,0.00020819968,0.00020173067],"domain_scores_gemma":[0.99941283,0.000046863115,0.00012088984,0.00035726491,0.00003192066,0.00003024961],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005858975,0.00023734511,0.00021644833,0.000062603605,0.001364758,0.00006411183,0.0004877097,0.000045162073,0.0014998622],"category_scores_gemma":[5.7907357e-7,0.00019242193,0.00017854523,0.0000016181899,0.0004900525,0.000067016255,0.0004127697,0.00041874,0.00000395286],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004599322,0.0000028253721,0.0000010585991,0.000026150909,0.00015981818,0.000033364737,0.0076918765,0.0000038448934,7.618508e-7,0.96150416,0.025823029,0.0047071166],"study_design_scores_gemma":[0.00015476522,0.000035289897,0.0000016337224,0.000027941163,0.00013607148,0.00000216196,0.00074212335,0.000002057831,0.0000021677836,0.00031230447,0.99833566,0.00024784968],"about_ca_topic_score_codex":0.00016988508,"about_ca_topic_score_gemma":0.0006235096,"teacher_disagreement_score":0.9725126,"about_ca_system_score_codex":0.000067860594,"about_ca_system_score_gemma":0.00002160672,"threshold_uncertainty_score":0.9999353},"labels":[],"label_agreement":null},{"id":"W4312039323","doi":"10.12745/et.25.2.5347","title":"Editorial","year":2022,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.009805600184953954,"score_gpt":0.21931804754467119,"score_spread":0.20951244735971722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312039323","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00003944691,0.0005677539,3.6030098e-8,0.000068455774,0.6933028,0.00011408943,0.0009775895,0.00014393294,0.30478588],"genre_scores_gemma":[0.00018215734,0.00024392443,0.0000019535537,0.00002312069,0.9281378,0.00008539096,0.0004483314,0.00007961666,0.0707977],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99775535,0.00006849057,0.00028522516,0.00038879467,0.001085136,0.00041703464],"domain_scores_gemma":[0.99890757,0.00032190335,0.00013640945,0.0004293652,0.00014599266,0.00005876505],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024835885,0.00038061722,0.0004630025,0.00012579019,0.0010803341,0.00031092102,0.0005023422,0.0002724069,0.019573454],"category_scores_gemma":[0.000027450069,0.00031737678,0.00025547584,0.00003568445,0.00020313515,0.00020680063,0.00025787757,0.0013827989,0.00087639666],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006819614,0.000030811763,0.0000051662655,0.00003733831,0.00012464961,0.0000038390535,0.018161193,4.7696864e-7,1.9778084e-7,0.000811052,0.97905034,0.0017067345],"study_design_scores_gemma":[0.00031541762,0.00031128665,6.8542454e-7,0.000027975912,0.000093210954,1.43119e-7,0.0013701192,1.4654005e-7,5.027961e-7,0.0005529906,0.99693847,0.00038903274],"about_ca_topic_score_codex":0.0016917367,"about_ca_topic_score_gemma":0.0009290142,"teacher_disagreement_score":0.23483498,"about_ca_system_score_codex":0.00008890369,"about_ca_system_score_gemma":0.00018511333,"threshold_uncertainty_score":0.9999278},"labels":[],"label_agreement":null},{"id":"W4312039362","doi":"10.12745/et.25.2.4733","title":"Artist Development and Collective Therapy in the Repertory: The Case of After Edward","year":2022,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Praxis; Globe; Repertoire; Embodied cognition; Art; Visual arts; Art history; Sociology; Aesthetics; Literature; Psychology; Philosophy; Epistemology","score_opus":0.02003079725764549,"score_gpt":0.21490394642204289,"score_spread":0.1948731491643974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312039362","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9643472,0.001633814,1.2881624e-7,0.00083504955,0.00013970211,0.00021451998,0.000021285705,0.000008121707,0.032800168],"genre_scores_gemma":[0.99677086,0.000039075512,0.0000050904687,0.0003829283,0.00014133082,0.00021429938,9.787121e-7,0.0000069436464,0.0024384707],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943215,0.00011710478,0.00012680983,0.00010094123,0.000100686055,0.00012231212],"domain_scores_gemma":[0.99970025,0.00009125327,0.00003489584,0.00014380572,0.000020857802,0.000008924002],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029768475,0.00008413364,0.00010442944,0.000039182076,0.00079365144,0.000044809018,0.00009959567,0.000008257066,0.00045606165],"category_scores_gemma":[0.0000017744973,0.00004170936,0.000030673124,0.00005383038,0.00017586963,0.000053228963,0.000060896375,0.00013669477,0.0000035626026],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002027357,0.00006897176,0.006397714,0.0000068066174,0.00006023723,0.00012542545,0.9486569,0.0000031961038,0.0000028595664,0.0019638336,0.0034842365,0.03902704],"study_design_scores_gemma":[0.00055784464,0.0005160458,0.018850526,0.000013496636,0.000016386113,0.000117870746,0.1964773,0.000007826859,0.00007058318,0.0013812069,0.7818209,0.00017005665],"about_ca_topic_score_codex":0.00072762434,"about_ca_topic_score_gemma":0.004673575,"teacher_disagreement_score":0.77833664,"about_ca_system_score_codex":0.00002358209,"about_ca_system_score_gemma":0.000037699985,"threshold_uncertainty_score":0.6104205},"labels":[],"label_agreement":null},{"id":"W4312039721","doi":"10.12745/et.25.2.4431","title":"‘Pretie conveyance’: Jack Juggler and the Idea of Play","year":2022,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Prologue; Drama; Comedy; Reading (process); Literature; Art; Performance art; Close reading; Visual arts; Aesthetics; Sociology; Media studies; Political science; Law; Art history","score_opus":0.012343290522502146,"score_gpt":0.1956165672311495,"score_spread":0.18327327670864735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312039721","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6848781,0.0028127176,6.120817e-7,0.0015812884,0.0004815814,0.00017778711,0.000111357964,0.00002948376,0.30992708],"genre_scores_gemma":[0.990199,0.00011113256,0.0000034553516,0.00031176177,0.00029684397,0.000039376995,0.0000037739755,0.000010857366,0.009023758],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935913,0.000071428694,0.00015275789,0.000109426255,0.00016083938,0.0001464108],"domain_scores_gemma":[0.9996042,0.000119299526,0.00006189147,0.00017110085,0.000025946276,0.000017539363],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022537237,0.00009614685,0.00018862859,0.000032124703,0.0006767458,0.000039368453,0.0001423008,0.000010715144,0.0032291792],"category_scores_gemma":[0.0000026594678,0.000057577094,0.000066145156,0.000027388423,0.0005853241,0.00008697355,0.0001379668,0.00014908466,0.000023532546],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00068273523,0.000079702004,0.0094014155,0.00006159679,0.0002882936,0.000004681534,0.540953,0.000022046468,0.00004220636,0.39152804,0.04281976,0.014116554],"study_design_scores_gemma":[0.0015812952,0.00030949918,0.0024450507,0.000017321421,0.00006310406,0.0000058293476,0.026797926,0.000026840584,0.00009204916,0.008188279,0.96029335,0.0001794422],"about_ca_topic_score_codex":0.00060862233,"about_ca_topic_score_gemma":0.00020073069,"teacher_disagreement_score":0.9174736,"about_ca_system_score_codex":0.0000073081187,"about_ca_system_score_gemma":0.000013066629,"threshold_uncertainty_score":0.997682},"labels":[],"label_agreement":null},{"id":"W4312127079","doi":"10.5430/wjel.v12n7p303","title":"Monodrama and Self- Reconstruction: Exploration of Form in Selected Arab Plays","year":2022,"lang":"en","type":"article","venue":"World Journal of English Language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aesthetics; Psyche; Unconscious mind; Alienation; Isolationism; The Imaginary; Consciousness; Subconscious; Internal monologue; Narrative; Self; Dilemma; Prologue; Sociology; Epistemology; Literature; Psychoanalysis; Philosophy; Art; Psychology; Political science; Law","score_opus":0.0126921926597491,"score_gpt":0.21134507176293588,"score_spread":0.19865287910318677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312127079","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96511894,0.0014874985,0.0000011505339,0.000075305376,0.00067669316,0.000053083117,0.000012146633,0.00001286543,0.032562297],"genre_scores_gemma":[0.9985193,0.00014256743,0.000086396656,0.00002546703,0.00069448916,0.00000399871,0.000002482351,0.000005985506,0.00051933853],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994331,0.00003333331,0.00027932858,0.000050335333,0.00011645301,0.00008747471],"domain_scores_gemma":[0.9995345,0.00003812073,0.00019164654,0.00004745194,0.00016955574,0.000018740173],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021203076,0.00006132657,0.00016408159,0.00025933256,0.00012284036,0.000025087264,0.000058351645,0.000007831309,0.0005878095],"category_scores_gemma":[0.000030364878,0.000052604788,0.000033922075,0.00011207969,0.000037093207,0.00048180987,0.000026650021,0.00019698069,3.5744324e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001640503,0.00013378398,0.0039552366,0.000049848797,0.000094602125,0.000024804303,0.9680159,0.0001147003,0.00008648315,0.0068111476,0.0019650492,0.01858437],"study_design_scores_gemma":[0.0029022582,0.00097475585,0.0027210072,0.00015880611,0.000102689955,0.00008255799,0.64949155,0.00015076662,0.0010573553,0.0014254722,0.34058836,0.0003444308],"about_ca_topic_score_codex":0.00003585048,"about_ca_topic_score_gemma":0.0016173334,"teacher_disagreement_score":0.33862332,"about_ca_system_score_codex":0.000034359124,"about_ca_system_score_gemma":0.000024054898,"threshold_uncertainty_score":0.6436102},"labels":[],"label_agreement":null},{"id":"W4312184772","doi":"10.5325/rectr.34.0060","title":"Wycherley’s <i>The Gentleman Dancing Master</i>: Aristocratic Order and Its Imitation","year":2022,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dawson College","funders":"","keywords":"Symbol (formal); Betrayal; Dance; Sophistication; Social order; Order (exchange); Harmony (color); Art; Imitation; Ideology; Meaning (existential); Aesthetics; Literature; Visual arts; Philosophy; Psychology; Law; Social psychology; Epistemology; Political science","score_opus":0.08982724942650501,"score_gpt":0.2993258460065164,"score_spread":0.2094985965800114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312184772","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8381103,0.04466224,0.000020938878,0.010314419,0.0011885791,0.0014095779,0.000078602905,0.00010937443,0.10410593],"genre_scores_gemma":[0.9919211,0.0051833754,0.000012928455,0.00018440977,0.0004966933,0.00016128713,0.00004406127,0.000021383452,0.001974717],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99798846,0.00045035727,0.00024783507,0.00028481273,0.0006068732,0.00042167908],"domain_scores_gemma":[0.9992729,0.00019350635,0.00006384179,0.00020063335,0.00017662035,0.00009253871],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012402716,0.00015313181,0.00015762133,0.00018959587,0.003828971,0.00031957333,0.00015202885,0.00002785246,0.0009231345],"category_scores_gemma":[0.000017778577,0.000108296896,0.00003413913,0.00017240162,0.00021042033,0.00033165904,0.00023691962,0.00045871868,0.00003938959],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008780066,0.0006068619,0.004268322,0.0007116348,0.0003787064,0.00003760839,0.3535178,0.00025398642,0.0023511553,0.35048923,0.11628337,0.17022331],"study_design_scores_gemma":[0.00047626326,0.00032518632,0.0004938582,0.000026852062,0.000028394395,0.00001175798,0.042692617,0.0018378894,0.000043747303,0.0007038046,0.9531664,0.00019320451],"about_ca_topic_score_codex":0.00014734006,"about_ca_topic_score_gemma":0.00055396813,"teacher_disagreement_score":0.83688307,"about_ca_system_score_codex":0.00009703403,"about_ca_system_score_gemma":0.00006982888,"threshold_uncertainty_score":0.99999017},"labels":[],"label_agreement":null},{"id":"W4312337448","doi":"10.7146/peri.v5i10.110796","title":"Dramaturgisk navigation","year":2008,"lang":"en","type":"article","venue":"Peripeti","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Field (mathematics); Art; Aesthetics; Mathematics","score_opus":0.029816464655583724,"score_gpt":0.22014162431898873,"score_spread":0.19032515966340502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312337448","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6164524,0.00033457731,0.000001917405,0.00024240167,0.00040165376,0.000032439548,0.0000066994403,0.0000691358,0.38245878],"genre_scores_gemma":[0.9770389,0.000112994014,0.000023552062,0.00014932865,0.0008072518,0.000008390134,0.000010806255,0.000006311463,0.021842418],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966806,0.0000060192096,0.000073789684,0.000071649556,0.000074338335,0.00010615555],"domain_scores_gemma":[0.9998412,0.000009381901,0.000018067221,0.00008001644,0.000032813823,0.000018523664],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000025818998,0.000060279337,0.00007023493,0.000020232737,0.00047024013,0.00002522618,0.00004705269,0.000011763158,0.0018344859],"category_scores_gemma":[0.0000022336553,0.00004690799,0.00003519922,0.0000126562745,0.00016438316,0.00012910902,0.000012905301,0.000052189913,0.00051807443],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007129187,0.00013951924,0.009972035,0.00009245332,0.00009432248,0.00005393243,0.5792164,0.0000116721385,0.0003479326,0.26459783,0.11177858,0.033623986],"study_design_scores_gemma":[0.000092988055,0.000029966854,0.0016982133,0.000010070985,0.0000043057844,0.000011871025,0.0017825224,0.000015693357,0.00012944987,0.00033304765,0.99580824,0.00008362409],"about_ca_topic_score_codex":0.00008855237,"about_ca_topic_score_gemma":0.000064304804,"teacher_disagreement_score":0.8840297,"about_ca_system_score_codex":0.0000070668343,"about_ca_system_score_gemma":0.000007684592,"threshold_uncertainty_score":0.999078},"labels":[],"label_agreement":null},{"id":"W4312443400","doi":"10.7146/peri.v9i17.108241","title":"Barrie Kosky’s The Lost Echo: rethinking tragic catharsis through affective emergenc(e)y","year":2012,"lang":"en","type":"article","venue":"Peripeti","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Catharsis; Tragedy (event); Subject (documents); Echo (communications protocol); Object (grammar); Point (geometry); Philosophy; Psychoanalysis; Literature; Psychology; Art; Computer science; Linguistics; Mathematics","score_opus":0.04534444830078054,"score_gpt":0.25414303643305985,"score_spread":0.2087985881322793,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312443400","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31993192,0.0049731866,0.000013402013,0.0014259374,0.0021853377,0.00021837973,0.00004387061,0.000093733615,0.67111427],"genre_scores_gemma":[0.98717755,0.0004627871,0.000027937387,0.0006896129,0.002816798,0.00003592534,0.0000069572134,0.000023851677,0.008758575],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896675,0.00006622557,0.00016835892,0.00016417832,0.00018639,0.00044806703],"domain_scores_gemma":[0.99948174,0.000082915874,0.00006218983,0.00026411726,0.000058988535,0.00005004503],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027035043,0.0001999142,0.00019130399,0.000028211296,0.0011162728,0.00008889061,0.00020300833,0.00004152595,0.011120995],"category_scores_gemma":[0.00002086707,0.00012235931,0.00013847506,0.000048592705,0.00032541686,0.0005083189,0.0000698929,0.00023795638,0.0010076399],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023833916,0.00006766062,0.003401021,0.000039760467,0.00013648314,0.000001560743,0.8844102,0.000002971611,0.00007580196,0.086838804,0.020427091,0.004574829],"study_design_scores_gemma":[0.00014450205,0.00007294579,0.0020160046,0.00003104539,0.000080570964,0.0000054272605,0.035715677,0.000008062277,0.00054654485,0.0041759377,0.95694333,0.00025993912],"about_ca_topic_score_codex":0.0004202399,"about_ca_topic_score_gemma":0.0011612322,"teacher_disagreement_score":0.9365162,"about_ca_system_score_codex":0.000034629273,"about_ca_system_score_gemma":0.000016334594,"threshold_uncertainty_score":0.99977016},"labels":[],"label_agreement":null},{"id":"W4313134863","doi":"10.7202/1084476ar","title":"A Mutual Parody of Meaning in Circus Clown and Ethnographic Discourse","year":2021,"lang":"en","type":"article","venue":"Culture","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"McMaster University; Rice University; University of Houston","keywords":"Ethnography; Intertextuality; Meaning (existential); Identity (music); Power (physics); Key (lock); Sociology; Aesthetics; Order (exchange); Art; Reflexive pronoun; Literature; Anthropology; Philosophy; Epistemology; Computer science","score_opus":0.02580201069781986,"score_gpt":0.25479130442855996,"score_spread":0.2289892937307401,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313134863","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86626136,0.004467439,3.3772997e-7,0.00034049718,0.00016205884,0.000037225676,0.000019041194,0.000010838286,0.12870122],"genre_scores_gemma":[0.99559814,0.00042880076,0.000011550798,0.00006867749,0.00020165033,0.0000022592199,0.00000752763,0.000004000093,0.003677421],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996351,0.000014232331,0.000096963195,0.00009404989,0.000059757134,0.000099882214],"domain_scores_gemma":[0.9998405,0.000009920734,0.000024778177,0.00006870934,0.000039982315,0.000016113449],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000041893476,0.00006731212,0.0001297424,0.000028278044,0.00007787338,0.000025522348,0.00003185975,0.0000260053,0.0002222884],"category_scores_gemma":[0.000007056622,0.000047130383,0.00003401986,0.000042125135,0.00016572952,0.00009144956,0.000026906591,0.000100759695,0.0000060174707],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014362298,0.000066414395,0.014719515,0.00011000286,0.00006324143,0.000021520544,0.8878384,0.0000028465263,0.00068981183,0.08734839,0.0050729825,0.004052478],"study_design_scores_gemma":[0.0009393984,0.00013325205,0.008119597,0.00032152742,0.00008015771,0.000013749192,0.5451397,0.00002172391,0.0010420141,0.005098798,0.43874624,0.00034387718],"about_ca_topic_score_codex":0.000041251402,"about_ca_topic_score_gemma":0.0038230869,"teacher_disagreement_score":0.43367326,"about_ca_system_score_codex":0.0000026362186,"about_ca_system_score_gemma":0.000009399579,"threshold_uncertainty_score":0.24339022},"labels":[],"label_agreement":null},{"id":"W4313560324","doi":"10.1162/pajj_r_00650","title":"Architecture Against Theatre","year":2023,"lang":"en","type":"article","venue":"PAJ A Journal of Performance and Art","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Architecture; Art; Visual arts","score_opus":0.016823214613528426,"score_gpt":0.21529367102928768,"score_spread":0.19847045641575925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313560324","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.857589,0.0005239862,0.000003753283,0.0012183823,0.000510784,0.000039877777,0.0000067560013,0.000026726088,0.14008075],"genre_scores_gemma":[0.98697585,0.004166158,0.000017283708,0.00032529517,0.0013420028,0.000001907512,0.0000028792404,0.000009395297,0.007159238],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999338,0.00001194655,0.00022940803,0.000067285975,0.00015293735,0.00020044169],"domain_scores_gemma":[0.9996787,0.000034549965,0.000099008816,0.0000717641,0.00006242448,0.000053592354],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022732384,0.00010856899,0.00018692722,0.00017116831,0.00033700277,0.000066101704,0.00009440015,0.00001913579,0.00023982473],"category_scores_gemma":[0.000003997536,0.000069117814,0.00007364143,0.00005710181,0.00014285569,0.00027975737,0.000034076606,0.0001834951,0.00026265622],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024636346,0.00007229445,0.018344183,0.0003172839,0.00028150287,0.00006141517,0.10982205,0.00038339148,0.00038638187,0.0041111503,0.1763675,0.6896065],"study_design_scores_gemma":[0.00030471574,0.0002389851,0.0015479798,0.00011639416,0.000020681953,0.000030500185,0.0030465273,0.00011833747,0.000097354015,0.0002894687,0.9940801,0.00010892056],"about_ca_topic_score_codex":9.2523806e-7,"about_ca_topic_score_gemma":0.000021717004,"teacher_disagreement_score":0.8177126,"about_ca_system_score_codex":0.0000056807635,"about_ca_system_score_gemma":0.000017501765,"threshold_uncertainty_score":0.3376002},"labels":[],"label_agreement":null},{"id":"W4313651954","doi":"10.1080/10486801.2022.2119964","title":"To Expand the Possibilities of Performance: Laura Nanni on SummerWorks","year":2022,"lang":"en","type":"article","venue":"Contemporary Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Economic Justice; Art; Coronavirus disease 2019 (COVID-19); Sociology; Performance art; Art history; Visual arts; Aesthetics; Media studies; Political science; Law","score_opus":0.05955976754709887,"score_gpt":0.26540660067565514,"score_spread":0.20584683312855626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313651954","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06695406,0.39883247,6.539275e-7,0.007801556,0.000876423,0.0012502553,0.00022431738,0.00007223676,0.523988],"genre_scores_gemma":[0.9700843,0.016824221,0.0000024855515,0.004670719,0.0003010074,0.0002667492,0.000024665469,0.000022005466,0.00780381],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986147,0.00017674999,0.00046487356,0.00021406588,0.00031128654,0.00021826974],"domain_scores_gemma":[0.9990753,0.00015114051,0.00014315228,0.00051887176,0.00006517429,0.000046382665],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006892435,0.00020990604,0.00048127535,0.00006776974,0.00088762736,0.000032056563,0.00041031337,0.000013443561,0.002441596],"category_scores_gemma":[0.000008625607,0.00012159644,0.00019669702,0.0001172277,0.00019769704,0.00015102785,0.00019477142,0.0002496324,0.000092999864],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004052812,0.00032141947,0.002876922,0.0051474245,0.00036510782,0.000007352995,0.06992459,0.00003444313,0.00001418188,0.048648983,0.63256407,0.23969024],"study_design_scores_gemma":[0.00014864029,0.00059026404,0.000058906804,0.0014873152,0.00003660583,0.0000026330638,0.0075240345,0.0000028470843,0.00002630684,0.000118877324,0.9898377,0.00016585195],"about_ca_topic_score_codex":0.00008536653,"about_ca_topic_score_gemma":0.000025942376,"teacher_disagreement_score":0.9031303,"about_ca_system_score_codex":0.000029452249,"about_ca_system_score_gemma":0.00007735208,"threshold_uncertainty_score":0.9984703},"labels":[],"label_agreement":null},{"id":"W4317659280","doi":"","title":"You’re Invited to a Party: Three Women’s Autobiographical Plays in a Festival Context","year":2021,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Psychology; History; Aesthetics; Art; Archaeology","score_opus":0.259000836660269,"score_gpt":0.48027989702788715,"score_spread":0.22127906036761813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4317659280","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9723747,0.008953201,0.000008736104,0.0020480074,0.0007759709,0.00036763836,0.0001469124,0.00004723646,0.015277636],"genre_scores_gemma":[0.99331284,0.0024246876,0.000021535103,0.0026426057,0.0004731438,0.00015399289,0.000014986626,0.000040606385,0.0009155994],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974772,0.00017367436,0.0007948517,0.0004488201,0.0004905387,0.0006149709],"domain_scores_gemma":[0.9984817,0.00025063136,0.00027693444,0.00039112885,0.00032392784,0.00027570585],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00077996857,0.00035266968,0.00091808056,0.00091772905,0.00048831693,0.0014466405,0.0011585327,0.00008588868,0.025164077],"category_scores_gemma":[0.00014398994,0.00029702074,0.00020518358,0.0006933881,0.0002725704,0.0013980436,0.0008747936,0.0004963204,0.000047386126],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00077782426,0.00073596195,0.73545295,0.00017295324,0.0006259647,0.00030960498,0.047548577,0.000054342625,0.003327201,0.0034755953,0.17632493,0.031194068],"study_design_scores_gemma":[0.0013982813,0.00006609653,0.4459938,0.000923742,0.00007571508,0.000015476016,0.012706789,0.000033383894,0.0016728558,0.010002284,0.52629733,0.0008142468],"about_ca_topic_score_codex":0.0017080187,"about_ca_topic_score_gemma":0.01862011,"teacher_disagreement_score":0.34997237,"about_ca_system_score_codex":0.00011041209,"about_ca_system_score_gemma":0.00011667112,"threshold_uncertainty_score":0.9999482},"labels":[],"label_agreement":null},{"id":"W4318065879","doi":"10.32920/21948509","title":"The Shock and Awe of the Real: Political Performance and the War on Terror","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Citizen journalism; Representation (politics); Terrorism; Postmodernism; Power (physics); Aesthetics; Media studies; Political science; Art; Sociology; Visual arts; History; Literature; Law","score_opus":0.04192314008227245,"score_gpt":0.2514109494781057,"score_spread":0.20948780939583328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318065879","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6161705,0.0005891289,2.6699905e-7,0.022336481,0.0011369351,0.00047295858,0.00006529988,0.00006022619,0.3591682],"genre_scores_gemma":[0.9682363,0.0043254104,0.000001620192,0.0003652048,0.0005007751,0.00004299986,0.000001925824,0.000015172719,0.026510537],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991407,0.00005656192,0.00022002358,0.00017170508,0.00017142679,0.00023959111],"domain_scores_gemma":[0.9991271,0.00033320911,0.0000730448,0.0003970115,0.00004482223,0.000024813055],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033646706,0.00017393615,0.0002318765,0.000023144967,0.0009770067,0.000094867166,0.0002599586,0.000050475654,0.00004406395],"category_scores_gemma":[0.00001843418,0.000057982805,0.00008453528,0.00001300764,0.0017025027,0.000031863794,0.0007145942,0.00034757334,0.00001155851],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014623912,0.000013359242,0.0028859696,0.00022055602,0.00015540658,2.538164e-7,0.039768353,0.0000047469375,4.736701e-7,0.94314617,0.0105150435,0.0031434577],"study_design_scores_gemma":[0.002275857,0.00052926055,0.1033636,0.0012097599,0.0005403288,0.00000893984,0.12580194,0.0027085638,0.00021366862,0.10370895,0.65866154,0.0009775603],"about_ca_topic_score_codex":0.0012385586,"about_ca_topic_score_gemma":0.0032631243,"teacher_disagreement_score":0.8394372,"about_ca_system_score_codex":0.000010609052,"about_ca_system_score_gemma":0.00002561191,"threshold_uncertainty_score":0.75144446},"labels":[],"label_agreement":null},{"id":"W4318484032","doi":"10.1017/s0266464x22000355","title":"Critical Disengagement: The Epistemic and White Supremacist Violence of Theatre Criticism in Canada and the USA","year":2023,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Theatre director; Sociology; White supremacy; White (mutation); Political theatre; Disengagement theory; Aesthetics; Art; Media studies; Gender studies; Racism; Visual arts; Literature","score_opus":0.014946251710395767,"score_gpt":0.22995921323629026,"score_spread":0.2150129615258945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318484032","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9551903,0.0014272394,0.0000030500994,0.014503002,0.0004472554,0.00033385164,0.00010689201,0.00002852537,0.027959896],"genre_scores_gemma":[0.99811363,0.00036734837,0.0000029941675,0.00033779623,0.00024970406,0.000024798084,0.0000029156386,0.000012840159,0.0008879824],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99880266,0.00015428243,0.0003081877,0.00020261518,0.00021037711,0.00032184852],"domain_scores_gemma":[0.99874777,0.00085796026,0.000037665155,0.0002646694,0.00003413198,0.000057779613],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035940326,0.00017574539,0.00028439576,0.000053382195,0.00044966035,0.000102178325,0.00019049805,0.000021528176,0.00017852827],"category_scores_gemma":[0.000010446099,0.000092012175,0.000046451387,0.00007824489,0.000846726,0.00014408141,0.000045736953,0.00020494143,0.00001196544],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048550777,0.00005250764,0.0984356,0.00065557513,0.00016336051,0.00004915645,0.36740452,0.000010960219,0.00004517263,0.21976891,0.010228172,0.30270055],"study_design_scores_gemma":[0.0073768967,0.0011716707,0.16040023,0.0019051682,0.0004909976,0.00008305754,0.54115456,0.0021630868,0.000082575585,0.20697816,0.07681282,0.0013807977],"about_ca_topic_score_codex":0.58200276,"about_ca_topic_score_gemma":0.9642966,"teacher_disagreement_score":0.3822938,"about_ca_system_score_codex":0.000026537007,"about_ca_system_score_gemma":0.00011291717,"threshold_uncertainty_score":0.4207807},"labels":[],"label_agreement":null},{"id":"W4318966121","doi":"10.1080/08929092.2022.2147620","title":"<i>Surviving in the Cracks</i>: A community-engaged methodology with an applied theatre collaborative script-analysis","year":2022,"lang":"en","type":"article","venue":"Youth Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Vancouver Island University","funders":"","keywords":"Visual arts; Sociology; Pedagogy; Psychology; Art","score_opus":0.10168983072682247,"score_gpt":0.2800992766091726,"score_spread":0.17840944588235014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318966121","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7901256,0.00071399106,0.00016806199,0.0012970523,0.00046390842,0.00042438565,0.00031340175,0.00006763645,0.20642598],"genre_scores_gemma":[0.99742335,0.000046907222,0.00024566718,0.0013561568,0.0005158855,0.00006592849,0.000052360952,0.000030224555,0.00026351595],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98317504,0.015180451,0.00045524075,0.00020758905,0.00051713595,0.0004645201],"domain_scores_gemma":[0.9974792,0.0015382408,0.00027895285,0.00050940603,0.00011998541,0.00007422559],"candidate_categories":["sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0128293,0.00029868275,0.00062150205,0.00061345287,0.012801431,0.0003719438,0.0008086443,0.00003562652,0.0013051241],"category_scores_gemma":[0.000026377062,0.00017259258,0.00017713725,0.00084983493,0.00034217356,0.0003132879,0.00015625865,0.0049304934,0.0000063662624],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00056887965,0.00026773737,0.0038636657,0.000008477922,0.00096783193,0.00002357334,0.9860249,0.0010494136,0.000020504152,0.0026150402,0.0003622819,0.004227669],"study_design_scores_gemma":[0.0008070627,0.00075305765,0.0009067702,0.000010146392,0.0010247225,0.000056145505,0.97233266,0.000048819762,0.000009227472,0.0014867656,0.022306018,0.00025862502],"about_ca_topic_score_codex":0.0009846989,"about_ca_topic_score_gemma":0.021574805,"teacher_disagreement_score":0.20729777,"about_ca_system_score_codex":0.00008130976,"about_ca_system_score_gemma":0.00011412741,"threshold_uncertainty_score":0.9996078},"labels":[],"label_agreement":null},{"id":"W4319081376","doi":"10.1017/s1752196322000402","title":"Against the Grain Theatre's<i>Messiah/Complex</i>and Indigenous Sovereignty","year":2023,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Messiah; Indigenous; Sovereignty; Colonialism; Power (physics); Sociology; Racism; Visual arts; Media studies; Aesthetics; Law; History; Gender studies; Political science; Art; Politics; Archaeology","score_opus":0.033822226336884975,"score_gpt":0.24446577966795144,"score_spread":0.21064355333106646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4319081376","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9758495,0.0007280546,0.000011759945,0.007423328,0.0012744407,0.00034230028,0.0001081974,0.000042220785,0.014220213],"genre_scores_gemma":[0.992043,0.00068673305,0.000058117254,0.0040515373,0.0017402805,0.000010980777,0.0000023966957,0.000022613003,0.0013843487],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990696,0.00004037209,0.00027235816,0.00009131368,0.00023509534,0.00029130772],"domain_scores_gemma":[0.99910164,0.00019591975,0.0003925051,0.00017653941,0.0000933572,0.000040053437],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00052400696,0.0001432978,0.000271631,0.00002887037,0.0015181155,0.000111862566,0.00035518804,0.000017697175,0.0000736503],"category_scores_gemma":[0.0000137509205,0.00006644034,0.0009490554,0.0001409779,0.001017987,0.00011345156,0.000105844774,0.00023448434,0.0000068163886],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007116397,0.000060784852,0.00092688145,0.00007690314,0.0012444924,0.0000017813654,0.48472813,0.000069508336,0.00019822575,0.005889919,0.40077493,0.10595731],"study_design_scores_gemma":[0.00058660074,0.00032533464,0.0041071377,0.000054273347,0.0002338119,0.000017332113,0.16502437,0.00014337468,0.000022001672,0.006518192,0.8227635,0.00020407159],"about_ca_topic_score_codex":0.00006233028,"about_ca_topic_score_gemma":0.00010807187,"teacher_disagreement_score":0.42198858,"about_ca_system_score_codex":0.00003554331,"about_ca_system_score_gemma":0.00006515223,"threshold_uncertainty_score":0.9997818},"labels":[],"label_agreement":null},{"id":"W4319156330","doi":"10.5040/9781350903128","title":"Crossing Body Shadow","year":2007,"lang":"en","type":"other","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Shadow (psychology); Computer science; Computer graphics (images); Computer vision; Psychology; Psychoanalysis","score_opus":0.027686019554311117,"score_gpt":0.2592578099767584,"score_spread":0.2315717904224473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4319156330","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000007607233,0.0015734326,0.000008971219,0.00004459881,0.0010420987,0.00006368058,0.000026175594,0.00029887367,0.99693453],"genre_scores_gemma":[0.0015664508,0.000098050805,0.000037282847,0.0003724339,0.0045888047,0.0000025662716,0.000013381476,0.00017243541,0.99314857],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995131,0.000002972082,0.00009161983,0.00011786523,0.00008832528,0.00018609967],"domain_scores_gemma":[0.99978733,0.000008802831,0.000043973927,0.00012583604,0.000012824503,0.000021257416],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00004291551,0.00014918782,0.00016626538,0.00017070907,0.0002699379,0.00020672267,0.00007568025,0.000062589614,0.15444325],"category_scores_gemma":[9.4022096e-7,0.00010425202,0.000058571084,0.00001129143,0.00028002347,0.000032246313,0.000027203925,0.00009140566,0.0024207323],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017917222,0.000008117465,0.000023915984,0.000032771328,0.000042650183,0.000002329123,0.0033357781,7.3162494e-9,2.5473366e-7,0.075633824,0.91596544,0.0049531204],"study_design_scores_gemma":[0.00006348304,0.000015343534,0.0000060038956,0.00007138354,0.000015280435,5.058937e-7,0.0007267019,7.402791e-7,0.0000037183634,0.00012189248,0.99881154,0.00016343033],"about_ca_topic_score_codex":0.0015895832,"about_ca_topic_score_gemma":0.011803866,"teacher_disagreement_score":0.15202251,"about_ca_system_score_codex":0.000007209981,"about_ca_system_score_gemma":0.000013692583,"threshold_uncertainty_score":0.998356},"labels":[],"label_agreement":null},{"id":"W4319727206","doi":"10.26034/vd.jrea.2023.3586","title":"Arts education in Ireland: Visions of a performative teaching, learning and research culture","year":2023,"lang":"en","type":"article","venue":"Journal de recherche en éducations artistiques (JREA)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Performative utterance; Vision; Argument (complex analysis); Sociology; Curriculum; The arts; Pedagogy; Context (archaeology); Drama; Aesthetics; Visual arts; Art; History; Anthropology","score_opus":0.23910971315456492,"score_gpt":0.5051920277420803,"score_spread":0.26608231458751536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4319727206","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8020417,0.0009575347,0.000043986947,0.0030026215,0.0002024455,0.00015696991,0.000007980685,0.00004777724,0.19353895],"genre_scores_gemma":[0.96236825,0.006134768,0.0017744467,0.000042260534,0.00052809063,0.00004038933,0.000018524808,0.000014703404,0.029078584],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99731034,0.0018299875,0.00030607168,0.00011457213,0.00018184562,0.0002571933],"domain_scores_gemma":[0.998318,0.0011053741,0.00010757282,0.00008753073,0.00030166443,0.00007983517],"candidate_categories":["research_integrity"],"consensus_categories":[],"category_scores_codex":[0.007953272,0.0001001126,0.00016276582,0.0005078828,0.0011716437,0.00014779072,0.000106193474,0.000113168586,0.00019673089],"category_scores_gemma":[0.0016058661,0.000080173915,0.000044872693,0.00018282028,0.00014273194,0.0003682012,0.000053543317,0.0028188517,0.00004518242],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020804224,0.0001818194,0.012759382,0.00007061244,0.000038939885,0.0000021786184,0.83026063,0.000022791777,0.00024027095,0.044929028,0.040059235,0.07141433],"study_design_scores_gemma":[0.00021504342,0.00027650307,0.02280511,0.00056058913,0.000027689404,0.00007337805,0.44516245,0.0005779265,0.00015621862,0.04643205,0.48352545,0.00018759457],"about_ca_topic_score_codex":0.0003816383,"about_ca_topic_score_gemma":0.00086696347,"teacher_disagreement_score":0.44346622,"about_ca_system_score_codex":0.00030434283,"about_ca_system_score_gemma":0.00054927,"threshold_uncertainty_score":0.9994817},"labels":[],"label_agreement":null},{"id":"W4320031378","doi":"10.3138/md-65-4-1239","title":"The Afterlives of Enslavement: Histories of Racial Injustice in Contemporary Black British Theatre","year":2022,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Injustice; Resistance (ecology); History; Racism; Art; Indigenous; Literature; Sociology; Gender studies; Law","score_opus":0.024660877326999005,"score_gpt":0.22259600268137536,"score_spread":0.19793512535437635,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4320031378","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87140185,0.008287395,0.0000043188124,0.0004923338,0.0004955018,0.00020199623,0.0001867266,0.000019010431,0.11891087],"genre_scores_gemma":[0.9954148,0.00010176254,0.0000035392889,0.0000632095,0.00013199326,0.000032005853,0.0000074201166,0.000010123042,0.004235135],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992307,0.00005939605,0.00027878975,0.000104456216,0.00019056672,0.0001360969],"domain_scores_gemma":[0.9996074,0.00008570626,0.00011024114,0.00013828462,0.00004658738,0.000011808414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017168338,0.00008114509,0.00018933661,0.00004126317,0.0004042768,0.000033076285,0.0001681174,0.000012071942,0.00026580747],"category_scores_gemma":[0.000005712958,0.00006971569,0.00006218732,0.000029897645,0.000455382,0.00010507479,0.00013080827,0.00011259304,0.0000013736685],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043587884,0.0002453503,0.005886481,0.00020869996,0.000114642295,0.000014670424,0.91513956,0.0001362374,0.00013434711,0.038094647,0.0066710324,0.03291846],"study_design_scores_gemma":[0.0010570728,0.00053732406,0.0017521906,0.00007298522,0.00004485283,0.000002294587,0.1451303,0.0004354379,0.00021418462,0.013027813,0.8374594,0.00026613194],"about_ca_topic_score_codex":0.0013537194,"about_ca_topic_score_gemma":0.008094517,"teacher_disagreement_score":0.8307884,"about_ca_system_score_codex":0.000030865198,"about_ca_system_score_gemma":0.00004320138,"threshold_uncertainty_score":0.45169303},"labels":[],"label_agreement":null},{"id":"W4321453946","doi":"10.4324/9781003207207-21","title":"Creating ambiance through music in Dublin's cultural quarter","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Psychology; Sociology; History; Archaeology","score_opus":0.086323544669962,"score_gpt":0.25709879095088956,"score_spread":0.17077524628092755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321453946","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00055352226,0.00033653242,6.026939e-7,0.0003966094,0.0009411973,0.00015093123,0.00004707836,0.00018859188,0.9973849],"genre_scores_gemma":[0.024500893,0.00051434536,0.000022792148,0.000494061,0.0020946746,0.000018461518,0.00005414512,0.000047714842,0.9722529],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989585,0.0000055145615,0.00032186563,0.0002759748,0.00016793062,0.00027017127],"domain_scores_gemma":[0.9995766,0.000055169825,0.0000936194,0.0001842851,0.00007021766,0.000020083946],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006386719,0.00029937236,0.00038208484,0.00008143708,0.0002925461,0.00015983314,0.00013038178,0.00010100576,0.009738604],"category_scores_gemma":[0.0000035985324,0.00021833998,0.00014074586,0.000011461755,0.00019781853,0.0003363356,0.00006596389,0.0003108277,0.0022781969],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008217552,0.0000056326903,0.000016674803,0.00006092153,0.000056062145,0.000014133223,0.059966814,9.997692e-7,3.9417887e-7,0.841618,0.09667021,0.0015819672],"study_design_scores_gemma":[0.00019268696,0.00006277387,0.00003768871,0.00033255012,0.000025494497,0.0000011964459,0.008366979,0.000010616089,0.0000016054262,0.021110186,0.9694713,0.00038693304],"about_ca_topic_score_codex":0.0009498396,"about_ca_topic_score_gemma":0.037541606,"teacher_disagreement_score":0.87280107,"about_ca_system_score_codex":0.000030917407,"about_ca_system_score_gemma":0.000015735723,"threshold_uncertainty_score":0.9984986},"labels":[],"label_agreement":null},{"id":"W4321463477","doi":"10.7202/1096480ar","title":"Working Interviews: Blending Fieldwork and Technical Work on Tour with Cirque du Soleil","year":2023,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cirque; Ethnography; Musical; Participant observation; Sociology; Mode (computer interface); Performing arts; Visual arts; Emotional labor; Aesthetics; Media studies; Psychology; Art; Social science; Social psychology; Computer science; Anthropology; Geography","score_opus":0.04442932411772871,"score_gpt":0.21945121971731313,"score_spread":0.17502189559958442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321463477","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9385751,0.0003111719,0.000054127217,0.0030968972,0.0034176835,0.00008590814,0.0000052629484,0.00003428606,0.054419603],"genre_scores_gemma":[0.99707204,0.000042047253,0.000014949797,0.00039031357,0.0012249156,0.0000047657286,7.625616e-7,0.000012410389,0.0012377778],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994147,0.000021242866,0.00019870805,0.00008414964,0.000073536605,0.00020768397],"domain_scores_gemma":[0.9995761,0.0000766622,0.000082202016,0.00007810276,0.00005830933,0.00012863892],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001691732,0.00009958597,0.00015233515,0.00047467434,0.000608511,0.00016658564,0.000101371195,0.000029150227,0.0007177514],"category_scores_gemma":[0.000018542536,0.000073743686,0.00006835856,0.0001454026,0.00017822755,0.00011395964,0.000014537234,0.00030624255,0.000027093154],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025765863,0.000049787737,0.03475245,0.00005824206,0.0006144122,0.0007474296,0.25873178,0.00037301617,0.00002693201,0.017467128,0.5928465,0.094074674],"study_design_scores_gemma":[0.00051285955,0.0009940326,0.008784021,0.0025174136,0.00009793261,0.00050023163,0.069157735,0.000016118736,0.000023770752,0.0006507293,0.9164138,0.00033134336],"about_ca_topic_score_codex":0.0020634432,"about_ca_topic_score_gemma":0.49674234,"teacher_disagreement_score":0.4946789,"about_ca_system_score_codex":0.0000635062,"about_ca_system_score_gemma":0.000082779916,"threshold_uncertainty_score":0.7858874},"labels":[],"label_agreement":null},{"id":"W4321503937","doi":"10.3138/ctr.193.006","title":"The Scarcity Mindset Has a Death Grip on Casting","year":2023,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mindset; Casting; Scarcity; Economic shortage; Process (computing); Aesthetics; Engineering; Sociology; Visual arts; Computer science; Art; Artificial intelligence; Economics; Philosophy; Market economy","score_opus":0.10294995075232895,"score_gpt":0.26429201678188957,"score_spread":0.16134206602956064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321503937","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008048415,0.15801825,1.1879885e-7,0.035637755,0.0012960619,0.0007386277,0.0003258823,0.0001679786,0.7957669],"genre_scores_gemma":[0.8190731,0.14442523,0.000004172805,0.009763353,0.0024086046,0.00019934804,0.000094500574,0.00006810959,0.023963626],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989273,0.000058989765,0.0002066038,0.00017364278,0.00013159773,0.00050186284],"domain_scores_gemma":[0.9992551,0.00015585124,0.000047073085,0.0003157159,0.000047447134,0.0001787722],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00043295466,0.00016666256,0.00024195248,0.00008132308,0.002100829,0.0001705511,0.00023027025,0.000022124166,0.00056149665],"category_scores_gemma":[0.00003255588,0.00009875717,0.00013078132,0.00011999716,0.00017101807,0.000063801046,0.000025762174,0.0001538508,0.001810398],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000391383,0.0000047998738,0.0005326447,0.0006739923,0.00007449837,0.00004344364,0.0044586547,0.000001413195,2.0437318e-7,0.029483456,0.5254662,0.4392568],"study_design_scores_gemma":[0.00004680124,0.000034920686,0.00026143834,0.0013487972,0.000043720873,0.000005821263,0.0005837802,0.0000094240495,0.0000010768821,0.00038847662,0.99714226,0.00013351651],"about_ca_topic_score_codex":0.032409564,"about_ca_topic_score_gemma":0.5938124,"teacher_disagreement_score":0.81102467,"about_ca_system_score_codex":0.00008456382,"about_ca_system_score_gemma":0.00019431641,"threshold_uncertainty_score":0.9991983},"labels":[],"label_agreement":null},{"id":"W4321503969","doi":"10.3138/ctr.193.008","title":"“There Is No Such Thing as Colour-Blindness”: Artistic Directors on Culturally Specific Casting","year":2023,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Perspective (graphical); Blindness; Variety (cybernetics); Casting; Visual arts; Culturally appropriate; Aesthetics; Sociology; Psychology; Art; Optometry; Medicine; Computer science; Gerontology; Artificial intelligence","score_opus":0.053804385407443915,"score_gpt":0.2640664396186133,"score_spread":0.2102620542111694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321503969","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020829385,0.09128902,1.1256085e-7,0.006603977,0.0018328696,0.00068560004,0.0003060099,0.00024765736,0.87820536],"genre_scores_gemma":[0.6673519,0.22418626,0.000014590612,0.014142169,0.004235221,0.0001615486,0.00024453815,0.00015031389,0.08951345],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984785,0.0000671768,0.0003322207,0.00031710404,0.00020107916,0.0006039175],"domain_scores_gemma":[0.9990882,0.00012059558,0.000087303146,0.00031145487,0.000120004464,0.0002723922],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002895004,0.00028809105,0.00046265638,0.00015353545,0.0009805175,0.00017178703,0.00023674956,0.000047473033,0.00803006],"category_scores_gemma":[0.000040893257,0.00021189777,0.0001722342,0.00020937395,0.00011862558,0.00014233858,0.000027900358,0.00023928641,0.013342448],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012772153,0.000019616315,0.00040429164,0.0026244042,0.00015666528,0.00025321735,0.021146096,0.0000036241302,0.000004956667,0.014200177,0.78902686,0.17214733],"study_design_scores_gemma":[0.00008879957,0.00008217608,0.00012076068,0.003681708,0.000058870904,0.000010722009,0.0015818339,0.000008112176,0.000004558441,0.00015813252,0.99391437,0.000289984],"about_ca_topic_score_codex":0.024696933,"about_ca_topic_score_gemma":0.1248082,"teacher_disagreement_score":0.78869194,"about_ca_system_score_codex":0.00016457724,"about_ca_system_score_gemma":0.00017032646,"threshold_uncertainty_score":0.9928767},"labels":[],"label_agreement":null},{"id":"W4321504033","doi":"10.3138/ctr.193.017","title":"A Generous Incantation: <i>Interdependent Magic: Disability Performance in Canada</i>","year":2023,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interdependence; MAGIC (telescope); Framing (construction); Diversity (politics); Disability studies; Performance art; The arts; Sociology; Visual arts; Media studies; Art; Art history; Gender studies; History; Social science; Anthropology","score_opus":0.025961841822724374,"score_gpt":0.22952330115635855,"score_spread":0.20356145933363418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321504033","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17422448,0.070192635,1.7759629e-7,0.011718539,0.0013819601,0.00092508324,0.00039792337,0.00010276086,0.74105644],"genre_scores_gemma":[0.9492081,0.04625384,0.0000014167715,0.0029962556,0.0002890484,0.000049964976,0.000063774765,0.00001808506,0.0011195163],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987686,0.00007070819,0.00032881525,0.00021348085,0.0001579244,0.00046041893],"domain_scores_gemma":[0.9994283,0.000032358566,0.000044326018,0.00027637865,0.000035592697,0.0001830789],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031478802,0.00017052903,0.00030531478,0.00006941109,0.00022609594,0.000033873905,0.0002089153,0.0000142017325,0.0015449752],"category_scores_gemma":[0.0000058732358,0.00013961626,0.00006264529,0.000165934,0.00009984923,0.00013205546,0.000032826687,0.00013555723,0.00051888486],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005954126,0.00001299035,0.056567375,0.0032907352,0.00004514598,0.000112971415,0.005026837,0.000026467056,3.3246943e-7,0.0013951214,0.07525884,0.85825723],"study_design_scores_gemma":[0.000093205206,0.000013935447,0.0107836425,0.0010939913,0.000023015604,0.000007751538,0.0012598985,0.000049344708,0.0000015080548,0.00004353763,0.986429,0.00020120789],"about_ca_topic_score_codex":0.988275,"about_ca_topic_score_gemma":0.9999471,"teacher_disagreement_score":0.9111701,"about_ca_system_score_codex":0.0008628339,"about_ca_system_score_gemma":0.00093824713,"threshold_uncertainty_score":0.9993678},"labels":[],"label_agreement":null},{"id":"W4321504064","doi":"10.3138/ctr.193.010","title":"Casting Audiences: How Theatre Passe Muraille’s ‘Black Out Nights’ Challenge Conventional Approaches to Audience","year":2023,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Art; Black British; White (mutation); Visual arts; Political theatre; Media studies; Aesthetics; Sociology; Political science; Gender studies; Law","score_opus":0.20856913222850565,"score_gpt":0.26179199241546064,"score_spread":0.05322286018695499,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321504064","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028935273,0.0772593,0.0000064791507,0.10566786,0.0016104071,0.0015009964,0.00044665654,0.00030694672,0.8103078],"genre_scores_gemma":[0.89439267,0.071522884,0.00004772215,0.0036106317,0.0021873135,0.00038385272,0.00012708335,0.000077549026,0.027650313],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99788,0.00009543966,0.0003512331,0.00050558144,0.00029288125,0.0008748641],"domain_scores_gemma":[0.99879014,0.00011148176,0.000103241415,0.00041342835,0.00008808405,0.000493624],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000530837,0.00036352733,0.0005789035,0.0002596282,0.0010105,0.0001655167,0.0004317399,0.000054527594,0.0013168717],"category_scores_gemma":[0.00003067153,0.00027107692,0.00024812485,0.00025300813,0.00035919165,0.00028300352,0.00008517763,0.00020378984,0.0025934037],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011364881,0.000053841635,0.00077069004,0.0064568524,0.00031809622,0.0001673938,0.08382241,0.000024463205,0.0000017310756,0.09960301,0.43841904,0.3703511],"study_design_scores_gemma":[0.00009991633,0.00008463998,0.00009156829,0.0024527395,0.00007527507,0.000007116314,0.0073703765,0.000048905855,0.0000012359942,0.0005510812,0.98883104,0.00038608813],"about_ca_topic_score_codex":0.00477037,"about_ca_topic_score_gemma":0.4577029,"teacher_disagreement_score":0.8914991,"about_ca_system_score_codex":0.00015236846,"about_ca_system_score_gemma":0.00026255287,"threshold_uncertainty_score":0.99997413},"labels":[],"label_agreement":null},{"id":"W4321504080","doi":"10.3138/ctr.193.005","title":"The Conscious-Casting Conundrum","year":2023,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Juncture; Aesthetics; Sociology; Casting; Visual arts; Art; Linguistics; Philosophy","score_opus":0.04326542246541669,"score_gpt":0.25058671728304605,"score_spread":0.20732129481762934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321504080","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008484564,0.24142425,8.7948784e-8,0.027906323,0.0010999833,0.00038990084,0.00008733216,0.00014667392,0.728097],"genre_scores_gemma":[0.3307054,0.58892137,0.0000033364765,0.015358153,0.0024992859,0.0001965768,0.00006552714,0.00007573704,0.062174592],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990919,0.000030917676,0.00019967266,0.00012588046,0.00009153049,0.00046007434],"domain_scores_gemma":[0.9993508,0.00015889519,0.000041554358,0.0002462985,0.00005493348,0.00014754773],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004030488,0.00012426416,0.00020190395,0.000058554644,0.0016133946,0.000116037285,0.00020033127,0.000016225718,0.0009123401],"category_scores_gemma":[0.00002941171,0.00007463583,0.000097678625,0.00011071603,0.000255467,0.0000667477,0.000025333526,0.000108833425,0.0029457912],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.154351e-7,0.000001299342,0.00022097366,0.0004717639,0.00005188716,0.000017946366,0.0022244083,3.5495358e-7,3.6094698e-7,0.05202233,0.6066376,0.33835015],"study_design_scores_gemma":[0.000037178692,0.000012428588,0.000036207923,0.00078084244,0.000034821656,0.0000058769024,0.0012175963,0.000007746307,6.8357855e-7,0.00050426094,0.9972532,0.000109153116],"about_ca_topic_score_codex":0.016838945,"about_ca_topic_score_gemma":0.58843625,"teacher_disagreement_score":0.6659224,"about_ca_system_score_codex":0.000045583412,"about_ca_system_score_gemma":0.00017588635,"threshold_uncertainty_score":0.99968636},"labels":[],"label_agreement":null},{"id":"W4321504192","doi":"10.3138/ctr.193.011","title":"“Transformation Is Imperative”: Play Selection and Casting at Theatre Training Institutions","year":2023,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Variety (cybernetics); Selection (genetic algorithm); Project commissioning; Casting; Training (meteorology); Publishing; Engineering; Political science; Sociology; Visual arts; Art; Computer science; Geography; Artificial intelligence","score_opus":0.07942127769633037,"score_gpt":0.2771205271712084,"score_spread":0.19769924947487802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321504192","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08252258,0.06935459,0.0000054392144,0.014652971,0.0006885319,0.0011078104,0.000590956,0.00031615724,0.83076096],"genre_scores_gemma":[0.93168,0.06314469,0.000009275728,0.0022917043,0.00046291534,0.00007727554,0.000114180744,0.000022340744,0.0021975795],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913645,0.00003759866,0.00022796408,0.0001674152,0.00008751232,0.00034303725],"domain_scores_gemma":[0.99962735,0.000037101458,0.000039473354,0.00009371361,0.000046730634,0.00015560875],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021755339,0.00016302874,0.00024739682,0.00016383891,0.0016459177,0.000071842056,0.00006017646,0.00003371309,0.0010632899],"category_scores_gemma":[0.000006217366,0.00013086377,0.000070977345,0.00016840303,0.000105019615,0.00030270906,0.000013194992,0.00011958058,0.0002996428],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005713697,0.000007255745,0.000736651,0.0025328272,0.00018298136,0.000015223575,0.2559441,0.000023790442,0.000027255559,0.048465878,0.055747412,0.63631094],"study_design_scores_gemma":[0.0000966325,0.000031801654,0.00009858684,0.0011541952,0.00007309345,0.000034729223,0.0036126724,0.00011294443,0.000009706408,0.00013385262,0.9944689,0.00017286564],"about_ca_topic_score_codex":0.010795141,"about_ca_topic_score_gemma":0.4969048,"teacher_disagreement_score":0.9387215,"about_ca_system_score_codex":0.00013799149,"about_ca_system_score_gemma":0.00020349208,"threshold_uncertainty_score":0.99984986},"labels":[],"label_agreement":null},{"id":"W4321614422","doi":"10.3138/tric-2022-0006","title":"A Crowd of Shadows: Performances, Protests, Streets and Stages","year":2023,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Performative utterance; Parallels; Embodied cognition; Consciousness; Aesthetics; Sociology; Performance studies; White (mutation); Media studies; History; Gender studies; Art; Anthropology; Psychology; Epistemology","score_opus":0.09704736526885147,"score_gpt":0.3168012828985514,"score_spread":0.21975391762969995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321614422","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8683935,0.0011091048,2.3178057e-8,0.0014251033,0.000114477094,0.00031202033,0.00013163056,0.000023511011,0.12849067],"genre_scores_gemma":[0.9977796,0.0012753685,0.0000039059905,0.000023880712,0.00015730764,0.000055594435,0.000007981631,0.00001196547,0.00068441324],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99860334,0.00007209198,0.00019502766,0.00016089054,0.0004781289,0.00049050624],"domain_scores_gemma":[0.9994315,0.0002265715,0.000025957885,0.00017672907,0.00007104917,0.00006821435],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064942817,0.00009998642,0.00019097894,0.00025720685,0.00026427928,0.000038064634,0.00016665096,0.00001724311,0.00023150854],"category_scores_gemma":[0.0000051482916,0.000076912336,0.00001646269,0.00021582766,0.0003238203,0.00013983072,0.00012911444,0.000240406,0.000012666537],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001993744,0.00006579815,0.20350008,0.0017609807,0.00011832562,0.00014581537,0.03332866,0.00007097673,0.00013269186,0.0062570563,0.07728638,0.67713386],"study_design_scores_gemma":[0.0009349013,0.0004636366,0.024888987,0.00067356473,0.00000992062,0.0000046442656,0.07067099,0.00075945066,0.00079444685,0.0034237592,0.89696115,0.00041454055],"about_ca_topic_score_codex":0.93462557,"about_ca_topic_score_gemma":0.99402326,"teacher_disagreement_score":0.8196748,"about_ca_system_score_codex":0.00013063267,"about_ca_system_score_gemma":0.00078956835,"threshold_uncertainty_score":0.31363943},"labels":[],"label_agreement":null},{"id":"W4323789047","doi":"10.33137/ic.v26i.39632","title":"A Tribute to Bruno Mesaglio and Il Piccolo Teatro Italiano di Toronto (1949-1973)","year":2022,"lang":"it","type":"article","venue":"Italian Canadiana","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tribute; Art; Humanities; Art history","score_opus":0.013824410531313907,"score_gpt":0.21706295842209436,"score_spread":0.20323854789078044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323789047","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4174164,0.04151345,0.000003167271,0.07382274,0.0111143775,0.002801844,0.029869493,0.00030983303,0.42314872],"genre_scores_gemma":[0.77068377,0.00022715602,0.000010751867,0.0034789823,0.0013905724,0.00020397588,0.000098560115,0.00007873976,0.2238275],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99673504,0.00013021624,0.00055502786,0.0007521342,0.00051956146,0.0013080325],"domain_scores_gemma":[0.9981985,0.000076239776,0.00014103141,0.000597201,0.00010821577,0.0008788005],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034239862,0.0005853672,0.00070108846,0.00023732195,0.003103261,0.00053985714,0.00050210103,0.00009321905,0.014894952],"category_scores_gemma":[0.000025642476,0.0006258536,0.00023459939,0.00018337855,0.0002739518,0.0005178417,0.00039343355,0.00036598087,0.00026842413],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013887067,0.00009479387,0.002214245,0.00010741604,0.0005823541,0.00026544143,0.057446755,0.000022037411,0.000017682465,0.01959651,0.90549713,0.014016744],"study_design_scores_gemma":[0.00064375356,0.0012272175,0.0031086847,0.00005129079,0.00021582059,0.00003422949,0.036761012,0.00002604894,0.000009246233,0.00020377163,0.95691115,0.0008077832],"about_ca_topic_score_codex":0.37354448,"about_ca_topic_score_gemma":0.8758274,"teacher_disagreement_score":0.50228286,"about_ca_system_score_codex":0.0015313348,"about_ca_system_score_gemma":0.00050096633,"threshold_uncertainty_score":0.9996193},"labels":[],"label_agreement":null},{"id":"W4323789735","doi":"10.33137/ic.v30i.39486","title":"They Tell Me / On Cumberland / Reading Ferlinghetti in North Beach","year":2022,"lang":"en","type":"article","venue":"Italian Canadiana","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reading (process); History; Archaeology; Geography; Oceanography; Geology; Linguistics; Philosophy","score_opus":0.021492480087749267,"score_gpt":0.20952080385603625,"score_spread":0.188028323768287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323789735","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.721904,0.00028412926,3.2736747e-8,0.0009083609,0.0006339947,0.000119590106,0.00025695126,0.00002915305,0.2758638],"genre_scores_gemma":[0.9758234,0.000010295256,0.0000018330959,0.001120827,0.0004035542,0.000035750905,0.000063905034,0.000019946776,0.022520479],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911344,0.00003142528,0.00015926585,0.00018950485,0.000160146,0.00034622292],"domain_scores_gemma":[0.9996267,0.00003383298,0.000036475903,0.0001768398,0.000015127338,0.00011103111],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011469408,0.00012992535,0.00015797801,0.0001959186,0.0006651296,0.000066860535,0.00016127032,0.000013819169,0.0019973228],"category_scores_gemma":[0.0000076460365,0.00012366832,0.000049834383,0.00006337857,0.000049863174,0.00009464173,0.000030716557,0.00021998172,0.000074263444],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012538127,0.00017801877,0.17026602,0.00008225545,0.0002074407,0.0005189051,0.37485316,0.0014810321,0.000007833845,0.12170641,0.31338114,0.017192395],"study_design_scores_gemma":[0.00020328294,0.0001283536,0.0046557714,0.000011744075,0.000009845751,0.0000038800886,0.009151627,0.000044104618,0.0000036389615,0.0003141227,0.98526174,0.00021187904],"about_ca_topic_score_codex":0.07965913,"about_ca_topic_score_gemma":0.88720745,"teacher_disagreement_score":0.80754834,"about_ca_system_score_codex":0.00023157772,"about_ca_system_score_gemma":0.00007957495,"threshold_uncertainty_score":0.99891496},"labels":[],"label_agreement":null},{"id":"W4327571452","doi":"10.1080/17510694.2023.2189361","title":"Creating LGBTQ + drama in the age of COVID-19: an interview with Tom Wright","year":2023,"lang":"en","type":"article","venue":"Creative Industries Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Wright; Film director; Drama; Scholarship; Sociology; Art history; Art; Coronavirus disease 2019 (COVID-19); Star trek; Media studies; Visual arts; Movie theater; Political science; Medicine; Law","score_opus":0.12062657414524597,"score_gpt":0.3189882925147573,"score_spread":0.19836171836951133,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4327571452","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8025049,0.0006444296,0.000049066573,0.005784354,0.00019948577,0.0002608565,0.000067365465,0.000057002864,0.19043256],"genre_scores_gemma":[0.9927848,0.00032966086,0.000014501585,0.0008327081,0.00074962934,0.00001890837,0.00002349345,0.000014659123,0.0052316245],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879116,0.00025892412,0.0003329448,0.00011857449,0.00024327554,0.00025510616],"domain_scores_gemma":[0.99918985,0.00026148293,0.00018504573,0.00014356885,0.00013088793,0.00008917201],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00088696665,0.00015808767,0.00027819755,0.00019637824,0.00085258094,0.0002566922,0.00027888006,0.000043684864,0.0023903823],"category_scores_gemma":[0.00015782766,0.00008204322,0.000051575968,0.00023710565,0.0006741999,0.0004336236,0.00004349829,0.00050415494,0.000014284006],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002049823,0.00013749591,0.020016035,0.0000965932,0.00023069956,0.0003773795,0.8949195,0.00010481871,0.000013866618,0.02302572,0.0364832,0.024389714],"study_design_scores_gemma":[0.00063287275,0.00074926444,0.0060762158,0.00032256983,0.00005195725,0.0000668669,0.4081969,0.000016255359,0.00007009858,0.0013213244,0.58233005,0.00016562648],"about_ca_topic_score_codex":0.00033486699,"about_ca_topic_score_gemma":0.0017096719,"teacher_disagreement_score":0.5458468,"about_ca_system_score_codex":0.00005182611,"about_ca_system_score_gemma":0.00021516942,"threshold_uncertainty_score":0.99852157},"labels":[],"label_agreement":null},{"id":"W4361250581","doi":"10.33137/ic.v9i.40772","title":"Teatro metastasiano in Ontario?","year":2023,"lang":"en","type":"article","venue":"Italian Canadiana","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Aurora College; University of Toronto","funders":"","keywords":"Art","score_opus":0.03872300931960913,"score_gpt":0.21543493731704177,"score_spread":0.17671192799743266,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4361250581","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38671476,0.00012321062,7.220464e-8,0.0018840955,0.00073239015,0.000099856275,0.00009042655,0.00007611517,0.6102791],"genre_scores_gemma":[0.8886405,0.000007315065,0.0000042415145,0.00037380477,0.00019404403,0.000017000748,0.000029005789,0.000012024998,0.11072201],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928385,0.000009772624,0.00012912152,0.00013415555,0.00008876465,0.00035435508],"domain_scores_gemma":[0.9997326,0.0000145394915,0.000016998383,0.00013194511,0.000015817195,0.000088098765],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000087016575,0.00010048599,0.00013641929,0.00024755945,0.00017496833,0.00006625847,0.000101986996,0.000018882216,0.0045802784],"category_scores_gemma":[0.0000042326033,0.000091976406,0.00004895271,0.00008573427,0.00008159137,0.00014740293,0.000016405334,0.00010748487,0.0012679425],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000116066085,0.00002143658,0.051510576,0.000031224314,0.00013096379,0.00036880796,0.1467033,0.000025553061,0.000006364864,0.14613038,0.64142895,0.0136308335],"study_design_scores_gemma":[0.00012291304,0.000023864503,0.022761911,0.00001319406,0.000008763268,0.0000011302598,0.005101833,0.0000059051877,0.000005036954,0.001006001,0.9708221,0.00012733342],"about_ca_topic_score_codex":0.8205706,"about_ca_topic_score_gemma":0.9994794,"teacher_disagreement_score":0.50192577,"about_ca_system_score_codex":0.0001859082,"about_ca_system_score_gemma":0.00015371434,"threshold_uncertainty_score":0.9995097},"labels":[],"label_agreement":null},{"id":"W4361756611","doi":"10.2139/ssrn.4393346","title":"The Role of Time-shifting in Serial Drama Viewing: Implications for Drama Producers and Advertisers","year":2023,"lang":"en","type":"article","venue":"SSRN Electronic Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Drama; Advertising; Business; Art; Literature","score_opus":0.012991603341238419,"score_gpt":0.23944160373684018,"score_spread":0.22645000039560176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4361756611","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9857965,0.0049175173,0.000008031187,0.0041138097,0.00019898816,0.0002880625,0.000012681865,0.000032319374,0.0046320856],"genre_scores_gemma":[0.9933453,0.004003316,0.000004799319,0.000017601866,0.0005350507,0.000028287852,0.0000036888932,0.000012967483,0.002048983],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99880004,0.000023001166,0.00021698975,0.000096260956,0.000062100844,0.0008016242],"domain_scores_gemma":[0.99965197,0.000094336174,0.000092080605,0.00008152396,0.000060729857,0.000019334244],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085719937,0.000079476195,0.00012323182,0.00006977106,0.00076441374,0.00007287004,0.0001181357,0.000018188426,0.000008394396],"category_scores_gemma":[0.000038030725,0.000054388423,0.00005416233,0.00006557261,0.00010232447,0.00013895259,0.000028173054,0.00028311517,0.00000667737],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022045695,0.00003871195,0.00983919,0.000034969224,0.00029488103,1.8864203e-7,0.059178606,0.00007369887,0.0014168656,0.58006746,0.00080337643,0.34803158],"study_design_scores_gemma":[0.0014027699,0.0006414306,0.0052990927,0.000086301145,0.00009127709,0.000027212813,0.08943021,0.0005219989,0.00031465475,0.6261772,0.2756899,0.00031797984],"about_ca_topic_score_codex":0.0000626499,"about_ca_topic_score_gemma":0.002617263,"teacher_disagreement_score":0.3477136,"about_ca_system_score_codex":0.0000838062,"about_ca_system_score_gemma":0.00026519736,"threshold_uncertainty_score":0.587933},"labels":[],"label_agreement":null},{"id":"W4361811761","doi":"","title":"Uma Comparação entre Presença Cênica e Presença na Realidade Virtual","year":2016,"lang":"pt","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Physics","score_opus":0.28915940286603387,"score_gpt":0.5137136599047258,"score_spread":0.22455425703869197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4361811761","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.703059,0.080349095,0.000096308926,0.0028175719,0.005494409,0.0018418164,0.0019771191,0.0001911836,0.20417348],"genre_scores_gemma":[0.892157,0.046846297,0.00001076729,0.0003216935,0.0021649976,0.00007005035,0.00002504216,0.00013078628,0.058273345],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99351215,0.0006597602,0.00204883,0.0009855258,0.0014792607,0.0013144719],"domain_scores_gemma":[0.99452764,0.0012218261,0.0016792694,0.0012613292,0.00073288166,0.00057704624],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013622676,0.0010194285,0.0020680977,0.0009827074,0.0018239901,0.00411071,0.0048826034,0.00026711973,0.106972285],"category_scores_gemma":[0.00022092424,0.00070501375,0.00068268593,0.00042965848,0.001189274,0.0053247423,0.0028504194,0.000789507,0.0005851692],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016096644,0.0009927526,0.1400594,0.00036535563,0.002281903,0.00010180244,0.015534325,0.000041691048,0.0068933973,0.0062732603,0.75573,0.07011648],"study_design_scores_gemma":[0.0026464716,0.00016543265,0.12951,0.003500341,0.00063091883,0.000031066418,0.004498028,0.00007961357,0.0069125122,0.0036340542,0.84663165,0.0017599332],"about_ca_topic_score_codex":0.0028139644,"about_ca_topic_score_gemma":0.0013735106,"teacher_disagreement_score":0.189098,"about_ca_system_score_codex":0.00019263913,"about_ca_system_score_gemma":0.00031796587,"threshold_uncertainty_score":0.9995401},"labels":[],"label_agreement":null},{"id":"W4361982031","doi":"10.33871/19805071.2021.24.1.4277","title":"DRAMATURGIA DE AUTORIA FEMININA CONTEMPORÂNEA PARANAENSE: UMA ESCRITURA DA FALTA","year":2023,"lang":"pt","type":"article","venue":"Revista Cientí­fica/FAP","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cascades (Canada)","funders":"","keywords":"Humanities; Art; Philosophy; Sociology","score_opus":0.0486404342196318,"score_gpt":0.2878163705823022,"score_spread":0.2391759363626704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4361982031","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7415341,0.033087,0.00002481259,0.0062105027,0.012054189,0.0021513877,0.0022094082,0.0016602186,0.20106836],"genre_scores_gemma":[0.8453568,0.0036079062,0.000014950896,0.00051521853,0.002982364,0.000086629116,0.00027233694,0.000123983,0.14703979],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9948883,0.00020024287,0.0012348769,0.0010684197,0.00083966425,0.0017684657],"domain_scores_gemma":[0.9971827,0.00039903802,0.0004653593,0.0012033891,0.00032504412,0.00042442585],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0012821953,0.00090828666,0.0012959706,0.00039528758,0.0023709598,0.0020191788,0.000836984,0.0003062232,0.0023293367],"category_scores_gemma":[0.0001505464,0.0007907447,0.0006303494,0.000650946,0.0008236972,0.00049531966,0.00041687474,0.00081926584,0.003896497],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022965649,0.00032250388,0.0022644105,0.0018316807,0.00060292595,0.00030064207,0.06714921,0.000012324662,0.00040185705,0.16829222,0.751486,0.0071065845],"study_design_scores_gemma":[0.0011745675,0.00032370808,0.0024982549,0.00095542526,0.00031760224,0.000022768549,0.014138104,0.00056539796,0.00008416346,0.00017617481,0.97874296,0.0010008519],"about_ca_topic_score_codex":0.00032555326,"about_ca_topic_score_gemma":0.0001823453,"teacher_disagreement_score":0.227257,"about_ca_system_score_codex":0.0002790316,"about_ca_system_score_gemma":0.00032800582,"threshold_uncertainty_score":0.9994543},"labels":[],"label_agreement":null},{"id":"W4362503662","doi":"10.1007/978-3-031-23936-6_4","title":"Science in the Spotlight: What Are Monsters Made of? (A Performative Inquiry)","year":2023,"lang":"en","type":"book-chapter","venue":"Contemporary trends and issues in science education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia; Simon Fraser University","funders":"","keywords":"Curiosity; Drama; Performative utterance; Memoir; Shadow (psychology); Science education; Pedagogy; Mathematics education; Visual arts; Sociology; Psychology; Art; Aesthetics; Literature; Social psychology","score_opus":0.0886588730466595,"score_gpt":0.3199994398712442,"score_spread":0.2313405668245847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362503662","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.077614516,0.008248934,8.993076e-8,0.004152697,0.0034559402,0.00021559912,0.000016585776,0.000021549948,0.9062741],"genre_scores_gemma":[0.80701077,0.0023895367,0.0000056963368,0.00014345767,0.00031482385,0.000015091711,0.000010731053,0.000009869622,0.19010004],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99853593,0.000026953261,0.00038763645,0.00035959098,0.00046606813,0.00022384709],"domain_scores_gemma":[0.9991617,0.00008854708,0.00026108962,0.00029690162,0.00015127409,0.000040456678],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.001541441,0.0002076801,0.00029389668,0.0017755881,0.00066207256,0.00045654905,0.00056218996,0.000045760044,0.00008913387],"category_scores_gemma":[0.00003237778,0.00013884911,0.00004004351,0.0003826122,0.0049554505,0.0029164352,0.00012107159,0.00029999716,0.000015804615],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014409115,0.000050785016,0.0012342896,0.000076998585,0.0000048361658,0.000002074647,0.6795596,9.4322365e-7,0.0000072385265,0.24356402,0.0039510853,0.071533754],"study_design_scores_gemma":[0.00019291014,0.00023979353,0.014527083,0.0021208625,0.000013277128,0.000003068342,0.6191246,0.000044101875,0.00003331034,0.008139182,0.3551472,0.0004146155],"about_ca_topic_score_codex":0.00019445433,"about_ca_topic_score_gemma":0.00043392213,"teacher_disagreement_score":0.7293962,"about_ca_system_score_codex":0.000060406343,"about_ca_system_score_gemma":0.000692674,"threshold_uncertainty_score":0.9977525},"labels":[],"label_agreement":null},{"id":"W4362576670","doi":"10.3138/md-66-1-rev6","title":"Martin Revermann. <i>Brecht and Tragedy: Radicalism, Traditionalism, Eristics</i>","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Political radicalism; Literature; Traditionalism; Art; Philosophy; Law; Humanities; Political science","score_opus":0.033340947514209976,"score_gpt":0.2314758567192928,"score_spread":0.1981349092050828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362576670","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85283643,0.0011413819,0.00013085724,0.008909734,0.0010461429,0.00028274945,0.0006966291,0.0007305457,0.1342255],"genre_scores_gemma":[0.9766917,0.00026055422,0.000026892465,0.00096721156,0.0009887846,0.000031259977,0.00012292128,0.000026168078,0.020884456],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991316,0.000028593444,0.00018843217,0.00020393427,0.00017836105,0.00026903953],"domain_scores_gemma":[0.99965316,0.00006462858,0.000037418435,0.0001424001,0.000033222805,0.000069195405],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015812808,0.00014592317,0.00018570626,0.00007728714,0.0004995676,0.00013815677,0.0000930488,0.00003930677,0.00073470705],"category_scores_gemma":[0.000011332193,0.00012514068,0.000058424786,0.00004534779,0.00027350057,0.00016468803,0.00004275745,0.00013662109,0.00038157857],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006808013,0.0000900827,0.0005662494,0.00018371268,0.00014460084,0.000082092665,0.11876249,0.000031486856,0.00014516787,0.1417449,0.6977755,0.04040567],"study_design_scores_gemma":[0.00041303996,0.000057859703,0.0017603961,0.000036977308,0.00003973121,0.000009852264,0.0011111272,0.0025464937,0.000038635844,0.03048747,0.9632427,0.00025568434],"about_ca_topic_score_codex":0.000055337743,"about_ca_topic_score_gemma":0.00014157087,"teacher_disagreement_score":0.26546726,"about_ca_system_score_codex":0.000012422811,"about_ca_system_score_gemma":0.000014192995,"threshold_uncertainty_score":0.8044527},"labels":[],"label_agreement":null},{"id":"W4362576730","doi":"10.3138/md-66-1-rev2","title":"Penny Farfan and Lesley Ferris, eds. <i>Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century</i>.","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; History; Sociology; Environmental ethics; Media studies; Political science; Law; Philosophy","score_opus":0.02342761536742082,"score_gpt":0.23629444573822642,"score_spread":0.2128668303708056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362576730","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89154595,0.009019111,0.00000554486,0.011124764,0.00055159663,0.00029547478,0.00029967332,0.00026226245,0.0868956],"genre_scores_gemma":[0.9910307,0.0015065557,0.0000014532554,0.0007992075,0.0005493485,0.00007051578,0.000017396758,0.00003299202,0.005991827],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987462,0.000047437858,0.00018285464,0.0003297361,0.00024469238,0.00044906558],"domain_scores_gemma":[0.9993607,0.00020750982,0.000036559628,0.00024761236,0.00005591423,0.00009174553],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017677744,0.00023214966,0.00024036647,0.00007169586,0.0012978467,0.00037087168,0.00018721646,0.000049154587,0.00023871136],"category_scores_gemma":[0.000023342398,0.00015441918,0.00006795517,0.000046985606,0.00062480493,0.00024239492,0.00012143283,0.00025756223,0.00021195115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002134831,0.00017427657,0.0015737284,0.000067811765,0.00016136101,0.00002009456,0.7462162,0.000005224288,0.000048741727,0.08346857,0.16381854,0.0042319926],"study_design_scores_gemma":[0.00058349996,0.0003947851,0.0014350516,0.000052890726,0.000018208284,0.0000025608729,0.12089549,0.00026861866,0.000028026445,0.004384629,0.8715981,0.00033810627],"about_ca_topic_score_codex":0.00027868454,"about_ca_topic_score_gemma":0.0001885706,"teacher_disagreement_score":0.7077796,"about_ca_system_score_codex":0.00003765391,"about_ca_system_score_gemma":0.000019702482,"threshold_uncertainty_score":0.99821186},"labels":[],"label_agreement":null},{"id":"W4362576747","doi":"10.3138/md-66-1-rev4","title":"Bess Rowen. <i>The Lines Between the Lines: How Stage Directions Affect Embodiment</i>","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Centring; Stage (stratigraphy); Affect (linguistics); Aesthetics; Sociology; Psychology; Visual arts; Art; Communication; Geology","score_opus":0.04529500188599328,"score_gpt":0.26459905566146674,"score_spread":0.21930405377547346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362576747","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8842632,0.0023148863,0.00009939939,0.04170776,0.0022509142,0.00070988346,0.00043724684,0.00085658045,0.06736009],"genre_scores_gemma":[0.90251637,0.00025255486,0.0000027378696,0.00027875145,0.0030288848,0.00010259851,0.000036241614,0.000029535924,0.09375232],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901664,0.000067164925,0.00015259178,0.00020241788,0.00021755314,0.00034363035],"domain_scores_gemma":[0.9992219,0.00024253088,0.00006426839,0.00036602237,0.00007080525,0.00003443424],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00026470755,0.00019540351,0.00020504424,0.00006414095,0.0018789193,0.00040893402,0.00029516555,0.00003790646,0.00016014389],"category_scores_gemma":[0.00001868531,0.0001012136,0.00014214919,0.00010831917,0.00027975542,0.00019608132,0.00013859729,0.00020724832,0.00028469524],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007630709,0.00018838856,0.030688457,0.00029354342,0.0013415326,0.000019461007,0.42144945,0.00082210917,0.00023610375,0.025390679,0.38874647,0.13074751],"study_design_scores_gemma":[0.0002036398,0.00006450204,0.0018622683,0.000030879477,0.00009532736,6.396808e-7,0.009610412,0.0009904564,0.0002127488,0.0015671491,0.98516047,0.0002015276],"about_ca_topic_score_codex":0.00022201957,"about_ca_topic_score_gemma":0.002366314,"teacher_disagreement_score":0.59641397,"about_ca_system_score_codex":0.000015995913,"about_ca_system_score_gemma":0.000017774664,"threshold_uncertainty_score":0.9994205},"labels":[],"label_agreement":null},{"id":"W4362720414","doi":"10.1080/20567790.2023.2196286","title":"The Stanislavsky-Grotowski lineage: part I","year":2023,"lang":"en","type":"article","venue":"Stanislavski Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Stanislavski's system; Historiography; Embodied cognition; Phenomenology (philosophy); Context (archaeology); Aesthetics; Art; Visual arts; History; Epistemology; Philosophy","score_opus":0.08005447618458457,"score_gpt":0.30536388673998094,"score_spread":0.22530941055539638,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362720414","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.144661,0.047193404,0.000005515662,0.018228905,0.016920751,0.0018489719,0.0006450748,0.0031597656,0.7673366],"genre_scores_gemma":[0.76777226,0.03697841,0.000016603299,0.0005767803,0.005043923,0.0005261219,0.000027215316,0.00008883673,0.18896982],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980059,0.000055404696,0.000441035,0.0003331589,0.00041795423,0.00074653246],"domain_scores_gemma":[0.99845964,0.000616323,0.00012003395,0.0004443621,0.00030638147,0.000053264084],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006504516,0.00032815503,0.00038345516,0.00008759919,0.004160579,0.00027602568,0.00026759465,0.00003613031,0.00029193377],"category_scores_gemma":[0.00012379675,0.00019076023,0.0001699044,0.00019482264,0.0011075839,0.00023378686,0.00029992516,0.00021734874,0.0017078011],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057203142,0.000028656801,0.00020505668,0.000072257004,0.00073698873,0.000035049725,0.09949262,0.0000053995354,0.000014649234,0.23682824,0.65447855,0.008045347],"study_design_scores_gemma":[0.0002392557,0.00015044078,0.00011479255,0.000042028714,0.0000501371,0.0000017211091,0.11208252,0.000010179512,0.00012812352,0.007626993,0.8793056,0.0002482286],"about_ca_topic_score_codex":0.00004115715,"about_ca_topic_score_gemma":0.0036169197,"teacher_disagreement_score":0.6231113,"about_ca_system_score_codex":0.000052670042,"about_ca_system_score_gemma":0.00003928475,"threshold_uncertainty_score":0.9990695},"labels":[],"label_agreement":null},{"id":"W4365999656","doi":"10.4324/9781003297666-18","title":"BLack Box of Imagination","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Black box; Art; Imagination; Aesthetics; Visual arts; Psychology; Computer science; Artificial intelligence; Cognitive psychology","score_opus":0.03991975483952323,"score_gpt":0.23185504273963206,"score_spread":0.19193528790010883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4365999656","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000016949403,0.00013876795,0.0000012155956,0.00025111536,0.00040524453,0.00006263156,0.00006406428,0.00007319681,0.99898684],"genre_scores_gemma":[0.005390109,0.00057931675,0.000004807035,0.000058091962,0.00062572607,0.0000015415173,0.000033339038,0.000023759529,0.99328333],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995947,0.0000011600579,0.00014444793,0.000085192245,0.00010579291,0.00006872022],"domain_scores_gemma":[0.9997067,0.000020594603,0.00006763527,0.00010205396,0.000093680894,0.000009364767],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000038289556,0.00010825202,0.00016962962,0.00008715449,0.000061218474,0.00001865846,0.00005622745,0.000033762863,0.008359517],"category_scores_gemma":[0.0000012052984,0.000082165556,0.00007811084,0.000002460105,0.00023424634,0.0000581698,0.000032623182,0.0000706164,0.0016331085],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002454935,0.0000020175585,0.0000015664086,0.000058019967,0.00005106086,6.059538e-7,0.0059964485,2.017417e-7,5.130665e-7,0.91087097,0.07957914,0.0034369812],"study_design_scores_gemma":[0.00004770553,0.00003285553,0.00000489401,0.000057988254,0.00003235144,9.627415e-8,0.0005158692,0.0000034914378,0.000013823031,0.064939596,0.93424946,0.00010186172],"about_ca_topic_score_codex":0.000058511778,"about_ca_topic_score_gemma":0.0008340879,"teacher_disagreement_score":0.85467035,"about_ca_system_score_codex":0.00000679793,"about_ca_system_score_gemma":0.000010015531,"threshold_uncertainty_score":0.99914426},"labels":[],"label_agreement":null},{"id":"W4366000113","doi":"10.4324/9781003297666-27","title":"Janus/In Time","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Janus; Computer science","score_opus":0.04264616804463942,"score_gpt":0.21057786597977715,"score_spread":0.16793169793513774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4366000113","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00002334976,0.00015132973,3.1945948e-8,0.00021620617,0.00040933106,0.00007803059,0.0000452509,0.00013260159,0.99894387],"genre_scores_gemma":[0.0003539244,0.00033597628,0.0000015491638,0.00016678877,0.0010066148,0.000004806312,0.000030194751,0.00003659471,0.99806356],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994592,0.0000016016156,0.00015094125,0.00013456016,0.00011741754,0.0001362491],"domain_scores_gemma":[0.9997795,0.00003115223,0.000029651808,0.00012374314,0.000019807587,0.000016144093],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00005656182,0.0001584133,0.00022249106,0.00012380228,0.0000902258,0.000050746872,0.000102413964,0.000060266593,0.03913526],"category_scores_gemma":[9.0365717e-7,0.000120142446,0.00008005939,0.000002981968,0.00009894575,0.000045882767,0.00006216113,0.00014282764,0.03405866],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000043036653,0.000002841259,0.0000064450796,0.000018611749,0.000036893245,0.0000109938765,0.003726772,1.582174e-7,1.0924924e-7,0.8624809,0.13112527,0.0025867426],"study_design_scores_gemma":[0.00006180631,0.000025772373,0.000008539122,0.000078416815,0.000012558574,3.2534456e-7,0.000113352406,0.0000021208125,5.5784164e-7,0.030378873,0.96915066,0.00016700731],"about_ca_topic_score_codex":0.00010117108,"about_ca_topic_score_gemma":0.004356965,"teacher_disagreement_score":0.8380254,"about_ca_system_score_codex":0.00001350038,"about_ca_system_score_gemma":0.000010560171,"threshold_uncertainty_score":0.96669346},"labels":[],"label_agreement":null},{"id":"W4378174631","doi":"10.7202/1099878ar","title":"The Unwieldy Otherwise: Rethinking the Roots of Performance Studies in and through the Black Freedom Struggle","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Syllabus; Politics; Aesthetics; Theatre studies; Sociology; Performance studies; Resistance (ecology); Field (mathematics); Gender studies; Visual arts; Political science; Pedagogy; Art; Drama; Law; Anthropology","score_opus":0.06103754323278439,"score_gpt":0.27645792134754843,"score_spread":0.21542037811476406,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378174631","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9726701,0.0022681365,8.6995095e-7,0.013603753,0.0007955099,0.00031403248,0.000010138564,0.00005963981,0.010277811],"genre_scores_gemma":[0.9842718,0.011576241,0.0000054670386,0.0010948242,0.00036371098,0.00006606858,0.0000021022804,0.000022127011,0.0025976049],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998664,0.000053871838,0.0003800603,0.00018862342,0.0002833489,0.00043005816],"domain_scores_gemma":[0.99887,0.00049775006,0.00015023552,0.0003976429,0.00006943183,0.000014929549],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00078356336,0.000214318,0.00025093526,0.00005876397,0.0016359977,0.00011560876,0.00044232278,0.0000306129,0.00004985299],"category_scores_gemma":[0.000017910212,0.00009474919,0.0000589085,0.00018731716,0.0022975188,0.00038440677,0.00023585548,0.0003051757,0.00006637563],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016647785,0.000029639988,0.023743205,0.0007838859,0.00030382953,0.0000032268579,0.86995214,0.0027732612,0.000039618066,0.01247522,0.07272727,0.017002206],"study_design_scores_gemma":[0.00089245616,0.00031885688,0.04130462,0.00076272537,0.00007833109,0.000010611752,0.29833102,0.007808402,0.00035130183,0.0030816607,0.6465363,0.00052369776],"about_ca_topic_score_codex":0.00015007307,"about_ca_topic_score_gemma":0.001970984,"teacher_disagreement_score":0.573809,"about_ca_system_score_codex":0.000026329823,"about_ca_system_score_gemma":0.000019209252,"threshold_uncertainty_score":0.9996637},"labels":[],"label_agreement":null},{"id":"W4378194150","doi":"10.7202/1099888ar","title":"Pedagogies of Praxis: Exercises in Embodying Social Justice for Performance Studies Seminars","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Praxis; Embodied cognition; Social justice; Sociology; Identity (music); Economic Justice; Field (mathematics); Pedagogy; TRACE (psycholinguistics); Inclusion (mineral); Epistemology; Engineering ethics; Social science; Aesthetics; Political science; Law; Engineering","score_opus":0.09737203912696642,"score_gpt":0.33109708212507966,"score_spread":0.23372504299811325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378194150","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99081665,0.0007290757,0.0000016553096,0.0019066153,0.0011104848,0.0003734539,0.00004906488,0.00016479922,0.004848185],"genre_scores_gemma":[0.99003935,0.0049465937,0.000054942608,0.000501102,0.0006406618,0.00029891002,0.0000225248,0.000037121983,0.0034587788],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984296,0.000018246652,0.00048973016,0.00025896722,0.00024115731,0.0005622772],"domain_scores_gemma":[0.9992852,0.00019896546,0.0001752161,0.00016353415,0.0001516968,0.000025376396],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004447498,0.00026266385,0.0005041866,0.00037338005,0.00076927664,0.000048807335,0.00024148176,0.000044220706,0.00006543584],"category_scores_gemma":[0.000026936408,0.00022622038,0.00010958419,0.00019919597,0.0004584216,0.0006288267,0.00012820227,0.00013838247,0.00008015948],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008322255,0.00015296061,0.03275454,0.018507795,0.00037485047,0.000005931017,0.66698074,0.0015751425,0.00032034362,0.0031995648,0.20577239,0.06952348],"study_design_scores_gemma":[0.0027557157,0.0009877037,0.035667554,0.002425571,0.00056390144,0.000006482712,0.57846,0.0062621105,0.003568105,0.00034247368,0.36740696,0.0015534679],"about_ca_topic_score_codex":0.000020662132,"about_ca_topic_score_gemma":0.000107450935,"teacher_disagreement_score":0.16163456,"about_ca_system_score_codex":0.000056352783,"about_ca_system_score_gemma":0.000032752087,"threshold_uncertainty_score":0.92249995},"labels":[],"label_agreement":null},{"id":"W4378194283","doi":"10.7202/1099880ar","title":"The Studio in the Seminar: Performing Theory in an MFA Classroom","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Syllabus; Studio; Scholarship; Embodied cognition; Class (philosophy); Sociology; Field (mathematics); Pedagogy; Mathematics education; Performance studies; Visual arts; Epistemology; Psychology; Art","score_opus":0.028014373126995437,"score_gpt":0.2516375818193226,"score_spread":0.22362320869232716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378194283","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97780734,0.00024718093,3.4420745e-7,0.004602544,0.00055282237,0.00025095293,0.000005668784,0.00007376955,0.01645935],"genre_scores_gemma":[0.99409264,0.00081682805,0.0000020138846,0.0017818211,0.00045465486,0.00015936648,0.00000989079,0.000020907672,0.0026618629],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856323,0.000114120456,0.0003048987,0.00020058709,0.0002539401,0.0005632345],"domain_scores_gemma":[0.9992407,0.00029861453,0.00005951489,0.00035190245,0.000025500753,0.00002375639],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016902047,0.00019232162,0.00017914378,0.0001755924,0.0011431872,0.00022395723,0.00050914753,0.000030584048,0.0001089009],"category_scores_gemma":[0.000008979113,0.00010288904,0.000052993535,0.0002121189,0.00033355283,0.00055409456,0.000094304465,0.0003531625,0.00032907954],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025900072,0.00011775993,0.2072837,0.00018257716,0.00005391467,0.000028034745,0.63074905,0.0004651824,0.00003833443,0.019405048,0.03211634,0.109301046],"study_design_scores_gemma":[0.00074971496,0.00033079932,0.17606543,0.00019846985,0.000025723068,0.000009406852,0.29581136,0.003343561,0.00004941863,0.001489157,0.52142775,0.0004992453],"about_ca_topic_score_codex":0.00007779486,"about_ca_topic_score_gemma":0.0041593253,"teacher_disagreement_score":0.4893114,"about_ca_system_score_codex":0.0000473924,"about_ca_system_score_gemma":0.00001962778,"threshold_uncertainty_score":0.8792587},"labels":[],"label_agreement":null},{"id":"W4378194355","doi":"10.7202/1099889ar","title":"Bathtub Dramaturgy: An Experimental Syllabus for Theatre and Performance Studies Classrooms","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Syllabus; Dramaturgy; Presentation (obstetrics); Bathtub; Expansive; Theme (computing); Pedagogy; Unit (ring theory); Mathematics education; Sociology; Psychology; Computer science; Art; Visual arts; World Wide Web; History","score_opus":0.04866876301080044,"score_gpt":0.2817606189775959,"score_spread":0.23309185596679546,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378194355","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9890931,0.0016081808,0.0000011033261,0.0015607538,0.0013263421,0.00041835755,0.000048118935,0.00038782274,0.0055561666],"genre_scores_gemma":[0.9897928,0.0021704799,0.000048768088,0.0015076695,0.0009335216,0.0003306224,0.00005423829,0.000057843805,0.0051040505],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841464,0.000020369343,0.00031989726,0.00039583107,0.0002192272,0.00063006213],"domain_scores_gemma":[0.99936044,0.00008501887,0.00008837445,0.00028689526,0.000086359156,0.00009290209],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00028067507,0.00035013558,0.00039160714,0.00020776158,0.0013110853,0.00018790258,0.00020606584,0.00005023268,0.00019872219],"category_scores_gemma":[0.0000035810124,0.00027457936,0.000081002916,0.00009724366,0.00052093813,0.0009797754,0.00012998731,0.00014122912,0.00019701451],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014973806,0.00034425437,0.03824207,0.004066721,0.0009486905,0.000013571239,0.52464885,0.00037748305,0.0015661834,0.007484389,0.1767525,0.24405792],"study_design_scores_gemma":[0.0020763364,0.0023825187,0.0062560667,0.0003958327,0.0001298284,0.000024842,0.12529036,0.013402817,0.003280898,0.0002112099,0.8452588,0.0012905061],"about_ca_topic_score_codex":0.000014998877,"about_ca_topic_score_gemma":0.00006107655,"teacher_disagreement_score":0.6685063,"about_ca_system_score_codex":0.00005147015,"about_ca_system_score_gemma":0.000018197055,"threshold_uncertainty_score":0.9999891},"labels":[],"label_agreement":null},{"id":"W4378419001","doi":"10.1080/13569783.2023.2168187","title":"Post Alice in conversation","year":2023,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Alice (programming language); Conversation; Indigenous; Character (mathematics); Style (visual arts); Art history; Sociology; History; Genealogy; Art; Gender studies; Literature; Biology; Communication; Ecology; Mathematics","score_opus":0.05299393875784564,"score_gpt":0.3261891873168115,"score_spread":0.2731952485589659,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378419001","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91635966,0.00039598488,1.320247e-7,0.004568576,0.0002818757,0.00017437564,0.0000023555676,0.0000067244496,0.078210324],"genre_scores_gemma":[0.9945688,0.00411605,0.0000045365286,0.00016030033,0.0005710026,0.000017038448,0.000003830579,0.000008333718,0.00055010844],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99896055,0.00008429315,0.00030682105,0.000077700846,0.00030778346,0.00026286423],"domain_scores_gemma":[0.99925095,0.00031295427,0.00008600947,0.00012224275,0.00018715432,0.00004066932],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026230116,0.00008194141,0.00013883263,0.00060143135,0.00029362764,0.000076598175,0.00019809126,0.000029856867,0.00010706804],"category_scores_gemma":[0.000009151518,0.00005219065,0.000020642692,0.00033364457,0.00025230594,0.00029014185,0.000047050074,0.0004327166,0.00006507591],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012930653,0.00025382405,0.018962715,0.0003595544,0.000048916405,0.0000030936917,0.49335933,0.00029698157,0.00048315988,0.031452227,0.009709163,0.44377798],"study_design_scores_gemma":[0.0016690273,0.00085132796,0.08329556,0.00065152056,0.000027654905,0.00003870989,0.51285064,0.0010557692,0.0012337717,0.017665999,0.38029408,0.0003659255],"about_ca_topic_score_codex":0.00028467237,"about_ca_topic_score_gemma":0.0005827445,"teacher_disagreement_score":0.44341207,"about_ca_system_score_codex":0.000058817,"about_ca_system_score_gemma":0.00021336666,"threshold_uncertainty_score":0.22583762},"labels":[],"label_agreement":null},{"id":"W4378439190","doi":"10.1515/9780773598683","title":"Robert Lepage on the Toronto Stage","year":2016,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); History; Geology; Paleontology","score_opus":0.018912222472248604,"score_gpt":0.19760762673821639,"score_spread":0.17869540426596778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378439190","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000008964859,0.0000104447045,0.000001327527,0.00032187218,0.0006437426,0.00043662623,0.0018971737,0.00019135817,0.9964885],"genre_scores_gemma":[0.00095535564,0.00041851492,0.0000022710808,0.0004199893,0.0008436804,0.0000041749686,0.000028564906,0.000057012585,0.99727046],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99850345,0.00009115221,0.00019196511,0.00043560792,0.0003458927,0.0004319147],"domain_scores_gemma":[0.9986836,0.00021234104,0.0002029007,0.00068583735,0.00012699066,0.00008837377],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011517831,0.000490798,0.00043872985,0.00007079593,0.0016608976,0.00008506802,0.00063699676,0.0001871441,0.0019369966],"category_scores_gemma":[0.000004427926,0.00031759008,0.00029366196,0.000002859098,0.00048374906,0.00021604607,0.00039533127,0.00036677273,0.00013817294],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009429563,0.000013645534,3.7594938e-7,0.00005383427,0.00023972173,0.00003367108,0.0025917871,4.610445e-7,5.0650453e-7,0.80383277,0.19186081,0.0012781123],"study_design_scores_gemma":[0.00035106344,0.00014450523,0.0000014873236,0.00025560462,0.00013853109,2.787448e-7,0.0010247126,5.588328e-7,0.00004595549,0.00038091218,0.99719375,0.00046263996],"about_ca_topic_score_codex":0.0041641146,"about_ca_topic_score_gemma":0.00022659484,"teacher_disagreement_score":0.80533296,"about_ca_system_score_codex":0.0005095738,"about_ca_system_score_gemma":0.000059923594,"threshold_uncertainty_score":0.99992764},"labels":[],"label_agreement":null},{"id":"W4378650161","doi":"10.32920/23257214.v1","title":"Gav-khouni","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Relocation; Identity (music); Documentary film; Sociology; Point (geometry); Abstraction; Affect (linguistics); Aesthetics; Gender studies; Epistemology; Art; Media studies; Computer science; Philosophy; Communication","score_opus":0.1131463094206274,"score_gpt":0.26983671866079534,"score_spread":0.15669040924016794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378650161","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009779996,0.00030489758,0.00000673752,0.0016533356,0.004717381,0.00012411921,0.00008566293,0.00060847896,0.98271936],"genre_scores_gemma":[0.35781237,0.00062849955,0.000030661708,0.00036966777,0.0037017444,0.000051999414,0.00006757319,0.000036216632,0.63730127],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939305,0.0000081501785,0.00014095832,0.00018272751,0.00010620595,0.00016891203],"domain_scores_gemma":[0.9996159,0.00002687448,0.00003859393,0.00024654678,0.000050279938,0.000021780748],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00007470818,0.00015192204,0.00019052114,0.00007337104,0.00022540812,0.00015952458,0.0001624577,0.0000525374,0.0059773778],"category_scores_gemma":[0.0000035114526,0.00011083382,0.00010562546,0.000008283874,0.000113173315,0.00004116567,0.00045349263,0.00023775859,0.0035391906],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000066949956,0.000019192823,0.000263736,0.00020505766,0.00018362537,0.000005897969,0.047712166,0.000021715126,5.8665876e-7,0.27745166,0.66993725,0.0041924217],"study_design_scores_gemma":[0.00004531542,0.000015953428,0.00015918707,0.000054105814,0.000025336465,1.7879586e-7,0.0037566244,0.00003080872,0.0000082976985,0.020467538,0.97524637,0.00019029921],"about_ca_topic_score_codex":0.0012245453,"about_ca_topic_score_gemma":0.0071130497,"teacher_disagreement_score":0.3480324,"about_ca_system_score_codex":0.000012537837,"about_ca_system_score_gemma":0.000024209354,"threshold_uncertainty_score":0.99723667},"labels":[],"label_agreement":null},{"id":"W4378672607","doi":"10.32920/23257214","title":"Gav-khouni","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Relocation; Identity (music); Documentary film; Sociology; Point (geometry); Abstraction; Affect (linguistics); Aesthetics; Gender studies; Epistemology; Media studies; Art; Computer science; Philosophy; Communication","score_opus":0.1131463094206274,"score_gpt":0.26983671866079534,"score_spread":0.15669040924016794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378672607","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009779996,0.00030489758,0.00000673752,0.0016533356,0.004717381,0.00012411921,0.00008566293,0.00060847896,0.98271936],"genre_scores_gemma":[0.35781237,0.00062849955,0.000030661708,0.00036966777,0.0037017444,0.000051999414,0.00006757319,0.000036216632,0.63730127],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939305,0.0000081501785,0.00014095832,0.00018272751,0.00010620595,0.00016891203],"domain_scores_gemma":[0.9996159,0.00002687448,0.00003859393,0.00024654678,0.000050279938,0.000021780748],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00007470818,0.00015192204,0.00019052114,0.00007337104,0.00022540812,0.00015952458,0.0001624577,0.0000525374,0.0059773778],"category_scores_gemma":[0.0000035114526,0.00011083382,0.00010562546,0.000008283874,0.000113173315,0.00004116567,0.00045349263,0.00023775859,0.0035391906],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000066949956,0.000019192823,0.000263736,0.00020505766,0.00018362537,0.000005897969,0.047712166,0.000021715126,5.8665876e-7,0.27745166,0.66993725,0.0041924217],"study_design_scores_gemma":[0.00004531542,0.000015953428,0.00015918707,0.000054105814,0.000025336465,1.7879586e-7,0.0037566244,0.00003080872,0.0000082976985,0.020467538,0.97524637,0.00019029921],"about_ca_topic_score_codex":0.0012245453,"about_ca_topic_score_gemma":0.0071130497,"teacher_disagreement_score":0.3480324,"about_ca_system_score_codex":0.000012537837,"about_ca_system_score_gemma":0.000024209354,"threshold_uncertainty_score":0.99723667},"labels":[],"label_agreement":null},{"id":"W4379141256","doi":"10.3138/tric-2022-0017","title":"Soulpepper 2022: Decolonizing Toronto Theatre","year":2023,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Western University","funders":"","keywords":"Indigenous; The arts; Mainstream; Ethnography; Visual arts; Media studies; Performing arts; Sociology; Narrative; Decolonization; Politics; Inclusion (mineral); Puppetry; Art; Gender studies; Political science; Anthropology; Literature","score_opus":0.09676434416619038,"score_gpt":0.32872867958106383,"score_spread":0.23196433541487343,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379141256","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17597948,0.0022682243,7.499418e-8,0.003701675,0.00076023967,0.00027579354,0.000086944994,0.00007955524,0.81684804],"genre_scores_gemma":[0.99463844,0.0011849134,0.0000035355667,0.00015101138,0.0008262689,0.00008919166,0.000017985647,0.000031935117,0.0030566985],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975082,0.00016565513,0.00024120838,0.00028617174,0.00073785515,0.0010608692],"domain_scores_gemma":[0.9989743,0.00045501546,0.000020899712,0.00034364447,0.0000743462,0.0001317423],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010132896,0.000164966,0.0002389342,0.00017000597,0.0007279303,0.000099067096,0.00036119996,0.000033768643,0.003123026],"category_scores_gemma":[0.0000046261166,0.00013194012,0.00004915545,0.00023972314,0.0001942663,0.00024336982,0.00020348009,0.00037999684,0.0002700269],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000117168966,0.000049588652,0.020195572,0.00018598055,0.000119808625,0.00033639715,0.030609045,0.00008167487,0.000064900494,0.007569251,0.41696185,0.52370876],"study_design_scores_gemma":[0.00025615195,0.00006614353,0.0008401502,0.000079081736,0.0000040967493,0.000002199777,0.069592714,0.00016970169,0.00004893163,0.0016256339,0.92711747,0.00019773263],"about_ca_topic_score_codex":0.9898376,"about_ca_topic_score_gemma":0.9998242,"teacher_disagreement_score":0.81865895,"about_ca_system_score_codex":0.0012793625,"about_ca_system_score_gemma":0.001325712,"threshold_uncertainty_score":0.99778825},"labels":[],"label_agreement":null},{"id":"W4379163372","doi":"10.3138/tric-2023-0002","title":"Ric Knowles, <i>International Theatre Festivals and Twenty-First-Century Interculturalism</i>","year":2023,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interculturalism; Art; Visual arts; Media studies; Sociology; Pedagogy; Multiculturalism","score_opus":0.06867752973072412,"score_gpt":0.3051649863453852,"score_spread":0.23648745661466108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379163372","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30683804,0.002685512,6.5009345e-8,0.014494706,0.0016463104,0.0003478162,0.0002613021,0.00008443165,0.6736418],"genre_scores_gemma":[0.9920435,0.0050483947,0.0000027820352,0.0001468791,0.0007649393,0.00005090027,0.000047567188,0.000021047588,0.001874006],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99806505,0.00012255285,0.00023956683,0.0002906015,0.00063114736,0.0006510673],"domain_scores_gemma":[0.9991808,0.00037360218,0.00002766918,0.00020475982,0.00008894692,0.00012423018],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059206085,0.00017126274,0.00021448727,0.00029569288,0.0005183592,0.0001498664,0.00034053408,0.000029320874,0.0006037458],"category_scores_gemma":[0.0000063385537,0.0001259555,0.000038242124,0.00023408531,0.00027522322,0.00020719561,0.0002792054,0.000388003,0.00010542137],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001838465,0.000083495754,0.032725748,0.00030859266,0.00023851251,0.00034616838,0.03561249,0.00006310325,0.00004622518,0.009365614,0.51988447,0.40114173],"study_design_scores_gemma":[0.00030754635,0.000039026647,0.0011840445,0.0001630651,0.0000048328693,0.0000069867983,0.02486243,0.00014076168,0.00001799029,0.00094938924,0.9721625,0.00016142377],"about_ca_topic_score_codex":0.8767665,"about_ca_topic_score_gemma":0.9884948,"teacher_disagreement_score":0.68520546,"about_ca_system_score_codex":0.00046410726,"about_ca_system_score_gemma":0.00039254778,"threshold_uncertainty_score":0.6610593},"labels":[],"label_agreement":null},{"id":"W4379163405","doi":"10.3138/tric-2023-0010","title":"The Hierarchy on Its Side Becomes a Circle: The Directing Practices and Mentorship of Yvette Nolan","year":2023,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scholarship; Mentorship; Excellence; Indigenous; Ceremony; Sociology; Hierarchy; Media studies; Art; Visual arts; History; Political science; Law","score_opus":0.20130044587864665,"score_gpt":0.36927995584331647,"score_spread":0.16797950996466982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379163405","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79672414,0.0016815846,4.163085e-9,0.0219895,0.00024604562,0.0002498632,0.000030622996,0.000016875558,0.17906134],"genre_scores_gemma":[0.9968033,0.0017509769,3.34392e-7,0.000091035225,0.0002912933,0.00004454174,0.0000018262228,0.000012090444,0.001004622],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99819314,0.0003656986,0.000187328,0.00015430493,0.0005944596,0.00050505047],"domain_scores_gemma":[0.9948481,0.0047194054,0.000083464874,0.00023418307,0.00006587525,0.000048969458],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023525357,0.00009191805,0.00013984813,0.0001256569,0.0011575926,0.00012307541,0.00028460316,0.000014069177,0.000037869097],"category_scores_gemma":[0.00008988988,0.000050027866,0.000021890528,0.00022155116,0.00029073222,0.00010556446,0.00014185377,0.0004237707,0.0000110741885],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040876173,0.000052586965,0.03375665,0.00043924677,0.00035599177,0.00009084713,0.07929921,0.00004868813,0.00017907927,0.011682943,0.046592563,0.8270934],"study_design_scores_gemma":[0.00029779554,0.00018946613,0.013920284,0.00021990552,0.000012022432,0.0000032963494,0.09766118,0.00018258725,0.00069021917,0.0027917025,0.8838672,0.00016430444],"about_ca_topic_score_codex":0.828972,"about_ca_topic_score_gemma":0.99151456,"teacher_disagreement_score":0.8372747,"about_ca_system_score_codex":0.00013848199,"about_ca_system_score_gemma":0.000439307,"threshold_uncertainty_score":0.89033836},"labels":[],"label_agreement":null},{"id":"W4379512780","doi":"10.1353/tj.2023.a899358","title":"The Breach by Naomi Wallace (review)","year":2023,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; German; Performance art; Repertoire; History; Art; Art history; Humanities; Literature","score_opus":0.01821439474266743,"score_gpt":0.2419776510368674,"score_spread":0.2237632562942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379512780","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022634361,0.2685332,0.0000027826084,0.08234625,0.0035139497,0.0002891452,0.000065817396,0.0003016101,0.6223129],"genre_scores_gemma":[0.1483147,0.5794665,0.0000057491684,0.0028634921,0.0053835767,0.000026334019,0.000018375515,0.000055791297,0.26386544],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990622,0.000060916867,0.0002340878,0.00008284216,0.00022371922,0.00033625096],"domain_scores_gemma":[0.999518,0.000122375,0.00007923671,0.00015943786,0.000060822385,0.000060142804],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000662187,0.00012578044,0.00016564537,0.000034427554,0.0017774717,0.00016161641,0.00025551216,0.000016638285,0.0011454318],"category_scores_gemma":[0.00000787075,0.00006400505,0.00012497568,0.000055621582,0.000116994765,0.0001358302,0.00005071803,0.00026995267,0.0011561293],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011357426,0.000007955056,0.000042652875,0.000025927597,0.000056599347,0.0000041302287,0.0061792657,3.0764e-7,0.000011362344,0.00087550364,0.8613453,0.13143963],"study_design_scores_gemma":[0.00014066571,0.000052129704,0.000038204264,0.00014853882,0.000035220924,0.000046228684,0.003020127,0.000010587345,0.000010872137,0.001128759,0.99527156,0.00009709352],"about_ca_topic_score_codex":0.00004348449,"about_ca_topic_score_gemma":0.00023396609,"teacher_disagreement_score":0.35844743,"about_ca_system_score_codex":0.000041455016,"about_ca_system_score_gemma":0.000036506928,"threshold_uncertainty_score":0.99976766},"labels":[],"label_agreement":null},{"id":"W4380230270","doi":"10.1515/9780228003236","title":"Political Adaptation in Canadian Theatre","year":2020,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Adaptation (eye); Political theatre; Political science; Visual arts; Art; Biology; Law","score_opus":0.023804308239531335,"score_gpt":0.1955007488776341,"score_spread":0.17169644063810277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380230270","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000057553607,0.0000034175853,5.993483e-7,0.000721275,0.0002780867,0.00028312582,0.0013904357,0.000091492366,0.9972258],"genre_scores_gemma":[0.031227311,0.000035864425,0.0000094166835,0.0004842176,0.00050202094,0.0000019199729,0.00014595009,0.000039235638,0.9675541],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859643,0.000058278718,0.0001848944,0.00035400374,0.00019464231,0.0006117732],"domain_scores_gemma":[0.99924105,0.000055533874,0.00007354974,0.0002178265,0.00008337608,0.00032863082],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00005071792,0.00032639832,0.0003958156,0.00031113037,0.0005774254,0.000054247426,0.0002850939,0.00019776773,0.0001618717],"category_scores_gemma":[0.0000036641857,0.00034480318,0.00014488016,0.000009029596,0.00026373347,0.00013550754,0.00012570308,0.00049648783,0.0000527228],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041517596,0.0000065918252,0.000006134865,0.000085291606,0.00008181851,0.0001617821,0.004540693,0.000003862744,4.3110187e-8,0.97078025,0.023502676,0.00078934914],"study_design_scores_gemma":[0.00032518938,0.00006922399,0.0000070555784,0.00012967091,0.00010401244,6.069079e-7,0.002523905,0.000026494436,0.000003688645,0.001333045,0.99510425,0.00037287013],"about_ca_topic_score_codex":0.4477022,"about_ca_topic_score_gemma":0.055487398,"teacher_disagreement_score":0.97160155,"about_ca_system_score_codex":0.0007618303,"about_ca_system_score_gemma":0.00037980644,"threshold_uncertainty_score":0.9999004},"labels":[],"label_agreement":null},{"id":"W4380249283","doi":"10.1515/9780773582521","title":"Shouting, Embracing, and Dancing","year":2010,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Visual arts; Art; Computer science","score_opus":0.016039258789463415,"score_gpt":0.19562398311898685,"score_spread":0.17958472432952344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380249283","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010846854,0.000010021176,0.000001822234,0.00005404578,0.00065243826,0.00025758083,0.00043243828,0.00022981038,0.99825335],"genre_scores_gemma":[0.003255994,0.00012584482,0.000032040654,0.00014112353,0.0008028052,0.0000012744698,0.000037893198,0.000056032168,0.995547],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986442,0.00003663297,0.00020720817,0.00047688442,0.00023030769,0.0004047696],"domain_scores_gemma":[0.9990502,0.00008067817,0.00022845724,0.0003842136,0.00013477603,0.000121675526],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00010852734,0.0004483898,0.0005056623,0.00020016746,0.0016418514,0.00011818399,0.0003052874,0.00028412283,0.00016846538],"category_scores_gemma":[0.0000060827247,0.00044753446,0.00015953493,0.0000045544266,0.00054988574,0.00020108913,0.0005102129,0.00086020614,0.00001833484],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046087174,0.000010693435,0.0000066667512,0.00025036116,0.00020970838,0.000055903434,0.0074556647,7.3214585e-7,0.000003596667,0.9560333,0.032813128,0.0031141632],"study_design_scores_gemma":[0.00036823095,0.00006521897,0.0000050405374,0.00023703076,0.0002566288,0.0000023300684,0.0008019079,0.0000041289463,0.00006571752,0.00059148704,0.9970744,0.0005278814],"about_ca_topic_score_codex":0.0014872231,"about_ca_topic_score_gemma":0.00007089255,"teacher_disagreement_score":0.9642613,"about_ca_system_score_codex":0.00010167318,"about_ca_system_score_gemma":0.000058128826,"threshold_uncertainty_score":0.99979764},"labels":[],"label_agreement":null},{"id":"W4380446303","doi":"10.3138/tric-2022-0019","title":"Theatrical Recycling as Colonial Prequel: <i>The Provocation!</i>, Nootka Sound, and British Columbia’s “First” Play","year":2023,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Sound (geography); Colonialism; Provocation test; History; Art; Acoustics; Archaeology; Medicine","score_opus":0.06373331317419478,"score_gpt":0.3017486079941702,"score_spread":0.2380152948199754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380446303","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8002166,0.0010728372,1.5648268e-7,0.007495838,0.00059222785,0.0007815224,0.000109529756,0.000071841874,0.18965943],"genre_scores_gemma":[0.9948269,0.0009715514,0.000002618885,0.00020713358,0.00074386224,0.00014770897,0.000016552853,0.00002717459,0.003056509],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977466,0.00020029482,0.00027411233,0.00030927794,0.0007087864,0.00076092896],"domain_scores_gemma":[0.9984943,0.0009935418,0.000032355423,0.00025722172,0.00010398645,0.000118560994],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0012486477,0.00011345636,0.00021477994,0.00009496306,0.0016736625,0.0006595172,0.00030926222,0.000041176132,0.00030374413],"category_scores_gemma":[0.000024056828,0.00011287039,0.00003263109,0.00032769697,0.00050509867,0.00015416485,0.00019114945,0.0005356458,0.0000498647],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022490427,0.00011528376,0.17292161,0.00045778858,0.00019490054,0.00053988525,0.035510164,0.00012356295,0.000010259344,0.0035967315,0.52555525,0.26074964],"study_design_scores_gemma":[0.00057272543,0.0001683624,0.004547221,0.00013084133,0.000012729898,0.000036069247,0.01818297,0.0002670319,0.000004414198,0.011846399,0.963978,0.0002532358],"about_ca_topic_score_codex":0.99629563,"about_ca_topic_score_gemma":0.99991155,"teacher_disagreement_score":0.4384227,"about_ca_system_score_codex":0.00040408387,"about_ca_system_score_gemma":0.0011339519,"threshold_uncertainty_score":0.99962604},"labels":[],"label_agreement":null},{"id":"W4380792671","doi":"10.5325/haropintrevi.7.1.v","title":"Editor’s Note","year":2023,"lang":"en","type":"article","venue":"The Harold Pinter Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Feeling; Character (mathematics); Agency (philosophy); History; Sociology; Classics; Art history; Media studies; Law; Psychology; Political science; Social science","score_opus":0.04259580080526082,"score_gpt":0.2865821549408249,"score_spread":0.24398635413556408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380792671","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010070011,0.20601459,0.000009837729,0.08770425,0.030309107,0.0011065751,0.00008798635,0.0009192153,0.6728414],"genre_scores_gemma":[0.11101978,0.5280476,0.000009096096,0.041400023,0.06836125,0.0003550098,0.000053253316,0.00008400357,0.25067],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944055,0.000032206077,0.00015704276,0.00009144389,0.00010672826,0.00017205787],"domain_scores_gemma":[0.999623,0.000044666773,0.000038132286,0.0002440475,0.00003166698,0.000018513227],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028322265,0.00009637659,0.00017811883,0.000021908325,0.00025494557,0.000044636006,0.00021044233,0.000008781051,0.0032444817],"category_scores_gemma":[0.000011231283,0.00004882801,0.00011373066,0.00004622597,0.000101769285,0.00008549924,0.00008248223,0.00009787258,0.011090006],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000019278298,0.000003654549,0.0000049541604,0.0004166793,0.000021757154,8.5581485e-7,0.0044109463,1.3015489e-7,0.0000010782514,0.0062242025,0.976001,0.012912786],"study_design_scores_gemma":[0.000039251347,0.000019531099,0.000022849143,0.0010442281,0.00004176125,9.5233435e-7,0.00014863572,0.00000914759,0.0000045967768,0.0003372506,0.9982589,0.00007292005],"about_ca_topic_score_codex":0.000032688815,"about_ca_topic_score_gemma":0.000109228306,"teacher_disagreement_score":0.42217147,"about_ca_system_score_codex":0.0000062807703,"about_ca_system_score_gemma":0.000006379216,"threshold_uncertainty_score":0.9976667},"labels":[],"label_agreement":null},{"id":"W4380873956","doi":"10.3138/ctr.104.004","title":"<i>Le Madonne Feministe:</i> Italian Canadian Women Playwrights","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; Art; Literature; Performance art; Feminism; History; Art history; Sociology; Gender studies","score_opus":0.014130623830663535,"score_gpt":0.20099744774096318,"score_spread":0.18686682391029963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380873956","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025674128,0.058916602,1.7422906e-8,0.00801789,0.0003033741,0.00039051406,0.0005731758,0.000051565752,0.92917943],"genre_scores_gemma":[0.74096316,0.08749578,0.000011335222,0.038916066,0.0018068969,0.00025828468,0.00028019547,0.000106483116,0.13016182],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982018,0.000051090792,0.00032981922,0.00029455897,0.00012847011,0.0009942974],"domain_scores_gemma":[0.9983023,0.000020445712,0.00003997013,0.00044289423,0.000048944,0.0011454734],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020995938,0.00028807684,0.00047867929,0.00015990627,0.0011525565,0.00012921875,0.00033682951,0.000057461566,0.04466349],"category_scores_gemma":[0.0000031326065,0.00024056244,0.00014096181,0.00010927372,0.00021527524,0.0002100847,0.000008609861,0.00017225913,0.00404955],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000072449334,0.00002196255,0.00012926127,0.0011656972,0.00014835119,0.00014916247,0.017170873,7.142914e-7,2.491203e-7,0.069274746,0.4777253,0.43420643],"study_design_scores_gemma":[0.00012088744,0.000045287874,0.000018660321,0.00092036184,0.0000404232,0.000022890543,0.0010889401,7.076883e-7,9.74668e-7,0.0005375219,0.9968631,0.00034024016],"about_ca_topic_score_codex":0.8243348,"about_ca_topic_score_gemma":0.99604696,"teacher_disagreement_score":0.7990176,"about_ca_system_score_codex":0.0003530218,"about_ca_system_score_gemma":0.0014091186,"threshold_uncertainty_score":0.9967259},"labels":[],"label_agreement":null},{"id":"W4380873994","doi":"10.3138/ctr.102.012","title":"Special Festivals Review Section","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Headline; History; Section (typography); Art; Power (physics); Visual arts; White (mutation); Estate; Art history; Media studies; Advertising; Sociology; Law; Political science","score_opus":0.028539597787211563,"score_gpt":0.23974606516257116,"score_spread":0.21120646737535959,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380873994","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000049483002,0.40006953,2.1047681e-8,0.004761415,0.00062961824,0.00030919665,0.00004333578,0.000027282567,0.59411013],"genre_scores_gemma":[0.0007753988,0.9284835,0.0000033219665,0.017789418,0.01328729,0.000048832477,0.000035487577,0.000020403322,0.03955636],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990112,0.000065205255,0.0002858429,0.00018755694,0.000113303904,0.00033688179],"domain_scores_gemma":[0.99941725,0.000018589551,0.000041740674,0.00026454133,0.000049605987,0.00020825924],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023255277,0.00018262982,0.00042097855,0.000051874064,0.0004346304,0.000041566916,0.00014594621,0.000026110016,0.13614169],"category_scores_gemma":[0.000008013902,0.00013961396,0.00016666415,0.00008386819,0.00009840314,0.00015858948,0.000006219945,0.00013561804,0.0036678154],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.1259774e-7,0.0000029757643,0.000010040272,0.0020175825,0.000015702393,0.000004666708,0.0002597736,4.3694623e-8,2.6054511e-8,0.0010398859,0.5376621,0.45898652],"study_design_scores_gemma":[0.00004563786,0.000027636988,0.00002564208,0.013582957,0.00013353709,0.000018919083,0.000036580208,1.6246537e-7,2.905702e-7,0.00009298784,0.98585576,0.00017987695],"about_ca_topic_score_codex":0.020649374,"about_ca_topic_score_gemma":0.29743388,"teacher_disagreement_score":0.55455375,"about_ca_system_score_codex":0.000097087286,"about_ca_system_score_gemma":0.0001527336,"threshold_uncertainty_score":0.9971079},"labels":[],"label_agreement":null},{"id":"W4380874039","doi":"10.3138/ctr.124.015","title":"<i>Say Nothing</i> by Ridiculusmus: The Northern Irish Conflict in a Suitcase","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nothing; Comedy; Irish; Performance art; Art history; Space (punctuation); Art; Comics; Visual arts; Media studies; History; Sociology; Literature; Philosophy","score_opus":0.022987241326297255,"score_gpt":0.23474979993729123,"score_spread":0.21176255861099397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874039","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048714783,0.54938054,2.4010495e-7,0.060354587,0.00024131291,0.0006501513,0.00023701113,0.000043857934,0.38422084],"genre_scores_gemma":[0.55531055,0.28674433,0.00000743567,0.1369477,0.0025284393,0.00027655228,0.000113815535,0.000099206496,0.017972004],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987735,0.00006975209,0.00033347053,0.00020911616,0.00013144642,0.00048272804],"domain_scores_gemma":[0.99927324,0.00006519889,0.00006748367,0.0003565447,0.000050605533,0.00018691916],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00037629894,0.00022031981,0.0003579057,0.00006546494,0.0004433981,0.00009328708,0.00030128483,0.00003550223,0.002123826],"category_scores_gemma":[0.000012983236,0.00013778471,0.00013558658,0.000090080495,0.00019548222,0.00017385223,0.000022167938,0.00024081659,0.00069881126],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003271387,0.000023027538,0.00061268837,0.00043849164,0.000049411123,0.000022644523,0.024317862,0.0000019373574,0.0000010375666,0.0010965487,0.7305564,0.24287665],"study_design_scores_gemma":[0.000137544,0.000019580939,0.000018846522,0.0008975746,0.000049844257,0.00001312748,0.0008797548,0.0000057490306,0.000003560669,0.000014690832,0.9977623,0.00019740255],"about_ca_topic_score_codex":0.13043427,"about_ca_topic_score_gemma":0.9137498,"teacher_disagreement_score":0.78331554,"about_ca_system_score_codex":0.0001639562,"about_ca_system_score_gemma":0.00018682863,"threshold_uncertainty_score":0.99878836},"labels":[],"label_agreement":null},{"id":"W4380874049","doi":"10.3138/ctr.122.016","title":"Stage Ability: A Terrific Theatre Experience","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theatre director; Visual arts; Performance art; Political theatre; Art; Management; Art history; History; Economics","score_opus":0.03378805915530784,"score_gpt":0.25587696871545246,"score_spread":0.22208890956014463,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874049","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008021168,0.24035786,7.0672263e-7,0.00965619,0.0003833363,0.00058135745,0.00020785654,0.00009923532,0.74069226],"genre_scores_gemma":[0.90509933,0.066934,0.000040895582,0.0106603,0.0016499897,0.00018201886,0.000034803972,0.00004695837,0.015351688],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99861646,0.000057606125,0.00033889813,0.0003035278,0.00014773723,0.0005357655],"domain_scores_gemma":[0.9989936,0.00003339728,0.000057971374,0.0005398922,0.000054199747,0.00032093775],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022261425,0.00025241362,0.0004045535,0.00007271702,0.00055711775,0.00009881221,0.00030059423,0.000036046073,0.015007244],"category_scores_gemma":[0.000007098634,0.00018814833,0.00017455849,0.00007667571,0.00028223108,0.0003051664,0.00002531476,0.00016033802,0.0011707237],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004213181,0.000028700691,0.0007719519,0.0012457868,0.0000550702,0.000014838249,0.026775556,0.0000014152033,0.000004151219,0.013375272,0.05447481,0.90324825],"study_design_scores_gemma":[0.00007613551,0.000030083598,0.000042549324,0.0008680536,0.000040620067,0.0000066029243,0.0020418707,0.0000058315723,0.000008412076,0.00006928867,0.9965625,0.00024804458],"about_ca_topic_score_codex":0.0348858,"about_ca_topic_score_gemma":0.5765586,"teacher_disagreement_score":0.9420877,"about_ca_system_score_codex":0.00017535554,"about_ca_system_score_gemma":0.00021156797,"threshold_uncertainty_score":0.99960697},"labels":[],"label_agreement":null},{"id":"W4380874051","doi":"10.3138/ctr.112.010","title":"Zulu Time","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Admiration; Wonder; Trilogy; Performance art; Art; Patience; Art history; Visual arts; History; Literature; Theology; Philosophy","score_opus":0.03238393465228046,"score_gpt":0.2111056067805305,"score_spread":0.17872167212825005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874051","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008904244,0.27362156,3.8859273e-8,0.005530333,0.00017926616,0.00014252275,0.000046096662,0.00003507789,0.72035605],"genre_scores_gemma":[0.13321452,0.52400947,0.000022439672,0.037421487,0.0030689875,0.00010083765,0.000054897304,0.000085248575,0.3020221],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993119,0.000024418094,0.00015786401,0.00012703569,0.000072525945,0.0003062314],"domain_scores_gemma":[0.99949676,0.00001668318,0.000027298374,0.00022872609,0.00003790139,0.000192649],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008840196,0.00013013255,0.00024671527,0.00006312143,0.0003313464,0.000043017753,0.00014047706,0.000018525681,0.07675245],"category_scores_gemma":[0.0000053807607,0.00009839887,0.00010272908,0.000044271645,0.000097646225,0.00010664414,0.0000098520795,0.000080328966,0.015754722],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[2.284368e-7,0.00000549172,0.000025103305,0.00036373019,0.000028510802,0.000009475624,0.0017269622,4.594828e-8,2.4315287e-7,0.0068749227,0.74260855,0.24835671],"study_design_scores_gemma":[0.000039348266,0.000019506278,0.0000054632187,0.00074466405,0.00004651127,0.0000071005175,0.000062899526,0.000007973609,5.771445e-7,0.0001083319,0.9988193,0.0001383484],"about_ca_topic_score_codex":0.0114856195,"about_ca_topic_score_gemma":0.14449847,"teacher_disagreement_score":0.41833398,"about_ca_system_score_codex":0.00005137689,"about_ca_system_score_gemma":0.00002960683,"threshold_uncertainty_score":0.995097},"labels":[],"label_agreement":null},{"id":"W4380874058","doi":"10.3138/ctr.126.008","title":"Theatre for Small Audiences","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nothing; Art; Visual arts; Art history; Media studies; Sociology; Philosophy","score_opus":0.03430341232239109,"score_gpt":0.2303931999444015,"score_spread":0.1960897876220104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874058","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004352466,0.25475666,0.0000033747071,0.0057624574,0.00047197918,0.0006181416,0.00022893447,0.000052147345,0.7376711],"genre_scores_gemma":[0.689621,0.19580042,0.00044501756,0.024442224,0.0125741055,0.0012758218,0.00047872966,0.00019309511,0.07516961],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989773,0.000023783867,0.0002574735,0.00020876541,0.00007100804,0.00046164176],"domain_scores_gemma":[0.9994529,0.00005858706,0.00005672139,0.00022730303,0.00007280446,0.00013169806],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019679008,0.00019261012,0.00034247103,0.00008239237,0.0006242174,0.00007242345,0.00020577677,0.000028746232,0.0011408221],"category_scores_gemma":[0.000004383134,0.00013805812,0.00019260729,0.000053737243,0.00016263033,0.00009787373,0.000011423981,0.00006864025,0.00026445667],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005229852,0.000021488728,0.00049389194,0.0025762594,0.00006960673,0.0000075452,0.00157499,0.0000016480648,0.0000012734602,0.18874644,0.3801539,0.42634773],"study_design_scores_gemma":[0.000088561574,0.000047047914,0.000038819857,0.0009050084,0.00009287251,0.000004039813,0.0002927527,0.0000030608905,0.0000038981566,0.002685444,0.99563813,0.00020036155],"about_ca_topic_score_codex":0.07651115,"about_ca_topic_score_gemma":0.83258116,"teacher_disagreement_score":0.75607,"about_ca_system_score_codex":0.00006525893,"about_ca_system_score_gemma":0.00016745822,"threshold_uncertainty_score":0.99977225},"labels":[],"label_agreement":null},{"id":"W4380874088","doi":"10.3138/ctr.108.005","title":"Redrawing <i>The Drawer Boy</i>","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Art history; Art; Performance art; History; Visual arts; Archaeology","score_opus":0.026574717039159312,"score_gpt":0.2323363021087888,"score_spread":0.2057615850696295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874088","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031801092,0.295486,3.3217097e-7,0.023991348,0.00045583126,0.00024460867,0.00002106168,0.000035994435,0.6794468],"genre_scores_gemma":[0.39140096,0.5075084,0.000009575974,0.056377724,0.0033286964,0.00010888547,0.000030723062,0.000059164504,0.041175902],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991065,0.00004403785,0.00020612702,0.00014827166,0.0001010606,0.00039399494],"domain_scores_gemma":[0.99937177,0.000029707904,0.00003977056,0.0003468755,0.000048707094,0.00016314935],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002447674,0.00015470915,0.00024250019,0.00004947358,0.00085731345,0.000092172544,0.0002400034,0.000020665373,0.004480241],"category_scores_gemma":[0.0000072059597,0.000092739254,0.00013493042,0.00007923477,0.00013518643,0.00013447578,0.000018185285,0.00013951898,0.0010722603],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002145597,0.000006155697,0.0003745531,0.00038710106,0.000057760244,0.00003377326,0.0038705375,3.182666e-7,5.68744e-7,0.020680267,0.5434211,0.43116575],"study_design_scores_gemma":[0.0000444837,0.000015057598,0.000024809007,0.0008909811,0.000067356785,0.000026415177,0.00064855354,0.0000010043007,8.1076047e-7,0.0003156362,0.99782586,0.00013901593],"about_ca_topic_score_codex":0.037058935,"about_ca_topic_score_gemma":0.49233517,"teacher_disagreement_score":0.6382709,"about_ca_system_score_codex":0.0000597416,"about_ca_system_score_gemma":0.00012964006,"threshold_uncertainty_score":0.9997055},"labels":[],"label_agreement":null},{"id":"W4380874095","doi":"10.3138/ctr.123.001","title":"How Much Fun Is That?","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Work (physics); Subject (documents); Public relations; Balance (ability); Task (project management); Sociology; Quality (philosophy); Focus (optics); Psychology; Management; Political science; Engineering; Computer science; Epistemology; Economics; World Wide Web","score_opus":0.04413941008478535,"score_gpt":0.2316124798864062,"score_spread":0.18747306980162087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874095","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00039013542,0.3781362,3.0200871e-7,0.075457126,0.00025444228,0.000236252,0.00012324635,0.000040395124,0.54536194],"genre_scores_gemma":[0.5834441,0.2810599,0.000033555694,0.0509427,0.0031553325,0.00006811328,0.000035115438,0.000048687885,0.08121245],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914885,0.000024121786,0.00013548217,0.00017920566,0.00011061736,0.00040173982],"domain_scores_gemma":[0.99935097,0.00001617844,0.000042724252,0.00030663636,0.000047038895,0.0002364731],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011790577,0.00018239538,0.00030732073,0.0000780384,0.0004135371,0.0001374606,0.0001870081,0.00002868408,0.008340004],"category_scores_gemma":[0.0000035225282,0.00013570824,0.00014875951,0.000043561122,0.00010782235,0.00025522255,0.000015142713,0.000114735776,0.0011700165],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[5.981234e-7,0.0000044127905,0.00011238121,0.00045654402,0.000039492676,0.000003930274,0.0030907814,1.8205185e-8,1.8879106e-7,0.011905581,0.49175715,0.49262893],"study_design_scores_gemma":[0.00005927182,0.000017195276,0.00001722747,0.00076053815,0.000066612294,0.00000691116,0.00079591805,0.0000012936599,0.0000106054085,0.0001838766,0.9978922,0.00018832425],"about_ca_topic_score_codex":0.012973695,"about_ca_topic_score_gemma":0.51553357,"teacher_disagreement_score":0.583054,"about_ca_system_score_codex":0.00008854088,"about_ca_system_score_gemma":0.000120871235,"threshold_uncertainty_score":0.9996077},"labels":[],"label_agreement":null},{"id":"W4380874107","doi":"10.3138/ctr.123.fm","title":"Editorial","year":2005,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Equity (law); Sociology; Media studies; Political science; Law","score_opus":0.014417958599754631,"score_gpt":0.24037281636279967,"score_spread":0.22595485776304503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874107","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.2076476e-8,0.20857489,1.0136875e-8,0.00073029834,0.52718616,0.0002237287,0.0009285641,0.000038087142,0.26231828],"genre_scores_gemma":[0.0000012680425,0.2760601,0.0000019117288,0.0006371435,0.7059595,0.000060532024,0.00052429666,0.000056783116,0.016698457],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99789363,0.00006405671,0.00046118343,0.0003872748,0.0005352721,0.00065860956],"domain_scores_gemma":[0.9984319,0.00016676268,0.00015027076,0.0005496255,0.0003102958,0.0003911007],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003682561,0.00048919534,0.0009274952,0.00016840367,0.0005461796,0.0001668076,0.00051176123,0.00037840684,0.0072285747],"category_scores_gemma":[0.000080997306,0.00039009398,0.0003516189,0.00005254227,0.00019445238,0.00016298865,0.000037863723,0.00088949146,0.0033107386],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000019461052,0.00000457732,1.9329958e-7,0.0017361754,0.0000788683,0.000003851707,0.00050742575,2.829989e-8,4.3700203e-9,0.00037546948,0.9424763,0.054815207],"study_design_scores_gemma":[0.000102181606,0.00004024209,3.1017166e-8,0.0050334926,0.00031782573,6.299399e-7,0.000050979837,7.0545816e-8,3.860316e-8,0.000053764084,0.99393946,0.00046127927],"about_ca_topic_score_codex":0.08837285,"about_ca_topic_score_gemma":0.79041874,"teacher_disagreement_score":0.7020459,"about_ca_system_score_codex":0.000378136,"about_ca_system_score_gemma":0.001791017,"threshold_uncertainty_score":0.9998551},"labels":[],"label_agreement":null},{"id":"W4380874120","doi":"10.3138/ctr.119.001","title":"Dramaturgy: Forging Definition","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Aesthetics; Courage; Skepticism; Theatre studies; Political theatre; Power (physics); Politics; Idealism; Art; Sociology; Visual arts; Drama; Political science; Law; Philosophy; Epistemology","score_opus":0.03602876201053841,"score_gpt":0.22880985514106836,"score_spread":0.19278109313052993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874120","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00079986465,0.17942241,0.0000022076244,0.008003005,0.0004026522,0.00024671643,0.000058688383,0.000062534105,0.81100196],"genre_scores_gemma":[0.81707,0.15875284,0.00010791059,0.020684198,0.0014188598,0.00009033379,0.00010998094,0.00005188066,0.0017139732],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931204,0.00001382705,0.00016642277,0.00012654446,0.000074432486,0.00030673784],"domain_scores_gemma":[0.9995763,0.000012136969,0.000034915105,0.00017838838,0.000039879633,0.00015841787],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010822963,0.0001309197,0.0002180034,0.00007906938,0.00045288677,0.00005911663,0.00010421289,0.000021574448,0.0017271115],"category_scores_gemma":[0.0000057375732,0.00010327921,0.00010373185,0.000049601447,0.00008470283,0.00015794391,0.000009334917,0.00009654705,0.00090450974],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000022135669,0.000013521461,0.00005952698,0.0018207435,0.000065249995,0.000030980005,0.006236233,0.0000020979699,0.0000010473689,0.74954045,0.030470658,0.2117573],"study_design_scores_gemma":[0.000098672586,0.000020019668,0.000014621678,0.0022496106,0.00005247571,0.00001213396,0.00033707867,1.9593827e-7,0.000003293382,0.0074833366,0.98958355,0.00014498337],"about_ca_topic_score_codex":0.035381906,"about_ca_topic_score_gemma":0.42901978,"teacher_disagreement_score":0.95911294,"about_ca_system_score_codex":0.00012867688,"about_ca_system_score_gemma":0.00018469284,"threshold_uncertainty_score":0.9998734},"labels":[],"label_agreement":null},{"id":"W4380874121","doi":"10.3138/ctr.119.012","title":"New-Play Development","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Politics; Meaning (existential); Political theatre; Performing arts; Aesthetics; Sociology; Transformative learning; Parliament; Media studies; Facilitator; Law; Political science; Art; Visual arts; Pedagogy; Philosophy; Epistemology","score_opus":0.0279234112581202,"score_gpt":0.22709595513586242,"score_spread":0.19917254387774222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874121","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00041912193,0.23945576,0.0000074903182,0.007353639,0.00051881414,0.0003182051,0.000019771665,0.00005601394,0.7518512],"genre_scores_gemma":[0.4545302,0.33889958,0.002764409,0.07761278,0.008344741,0.00028131745,0.00026567836,0.00023663255,0.11706466],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992644,0.000009355409,0.00019137048,0.00013431907,0.00008582594,0.0003147193],"domain_scores_gemma":[0.9994671,0.0000070762453,0.000029121098,0.00017467476,0.000029912764,0.00029212062],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009479347,0.00014256222,0.00022504147,0.000066890294,0.00038548184,0.000043699594,0.00014285928,0.000018779447,0.0050854664],"category_scores_gemma":[0.0000029731066,0.00010774048,0.00006794584,0.000042900818,0.00004533303,0.000098742734,0.000011972532,0.00007902859,0.0021148417],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000001198405,0.000007178986,0.000071984425,0.0006288174,0.00007265712,0.000018435521,0.0127961645,0.0000013783158,4.2481489e-7,0.06719271,0.1447145,0.7744945],"study_design_scores_gemma":[0.00009972367,0.000014423838,0.000045696583,0.0014008149,0.000028646067,0.000006522616,0.00018004523,2.1171743e-8,0.000011309591,0.0005092653,0.99754524,0.00015827737],"about_ca_topic_score_codex":0.05828777,"about_ca_topic_score_gemma":0.73978823,"teacher_disagreement_score":0.85283077,"about_ca_system_score_codex":0.0001703302,"about_ca_system_score_gemma":0.0008725283,"threshold_uncertainty_score":0.9986621},"labels":[],"label_agreement":null},{"id":"W4380874126","doi":"10.3138/ctr.118.018","title":"Dramatic Instabilities: Diasporic Aesthetics as a Question for and about Nation","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sensibility; Context (archaeology); Aesthetics; Consciousness; Constitution; Gender studies; Sociology; History; Art; Political science; Literature; Law; Epistemology; Philosophy","score_opus":0.023608590062250863,"score_gpt":0.24876021353162805,"score_spread":0.2251516234693772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874126","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0400484,0.77850413,0.000025850632,0.016398778,0.0008657404,0.002561182,0.00023728714,0.000117397096,0.16124122],"genre_scores_gemma":[0.7213428,0.2691935,0.00014211003,0.0060677715,0.0006946673,0.00037467468,0.00009584615,0.000047286565,0.0020413278],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934065,0.000020896801,0.00021040752,0.00013604347,0.0000699417,0.00022206684],"domain_scores_gemma":[0.9995576,0.00003535047,0.00005066207,0.00014135028,0.00008369351,0.00013134629],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021184997,0.00013294371,0.00023711116,0.000085947,0.00033205375,0.00005313224,0.0000670342,0.00002818952,0.00019110962],"category_scores_gemma":[0.000029915891,0.00010625656,0.00006610465,0.000043044318,0.00012716174,0.00015209593,0.0000064122823,0.00005863972,0.00005929487],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000041074945,0.000016055323,0.000054993023,0.0047513465,0.000033687775,0.0000025774905,0.020443907,0.000003164811,2.9933219e-7,0.51036125,0.0019516266,0.462377],"study_design_scores_gemma":[0.00018545533,0.00011848772,0.000045055625,0.0028406463,0.00009095953,0.0000111991285,0.0012340439,0.000004387215,0.0000017783789,0.0242701,0.971031,0.00016686127],"about_ca_topic_score_codex":0.03282277,"about_ca_topic_score_gemma":0.28583816,"teacher_disagreement_score":0.9690794,"about_ca_system_score_codex":0.00014999541,"about_ca_system_score_gemma":0.00022708629,"threshold_uncertainty_score":0.97361773},"labels":[],"label_agreement":null},{"id":"W4380874133","doi":"10.3138/ctr.119.002","title":"All Statements Are Insecure Questions: Eight Words toward a Theatre","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Performance art; History; Art; Art history","score_opus":0.04619384045665436,"score_gpt":0.2852188198167024,"score_spread":0.23902497936004802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874133","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014197668,0.5660307,0.0000039041774,0.042234138,0.001013197,0.0011327193,0.00088866707,0.00014821997,0.3871287],"genre_scores_gemma":[0.6459785,0.3258061,0.00005671923,0.023702526,0.0013091895,0.00024880937,0.00021023164,0.00008131108,0.0026065728],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984561,0.000060835617,0.00039425495,0.00029935964,0.00019890386,0.00059052504],"domain_scores_gemma":[0.99899894,0.000019576697,0.00011242397,0.00040384525,0.000092756105,0.00037247222],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002103328,0.00032354763,0.00049334,0.00015492411,0.00047815352,0.00011427976,0.00028909318,0.000053650827,0.0030821755],"category_scores_gemma":[0.000008390244,0.0002432284,0.00019083492,0.00011049161,0.00016600812,0.0003527049,0.00003171302,0.0002231323,0.00091985665],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003159318,0.00023567295,0.0013952663,0.0107140355,0.0011949996,0.00062822725,0.06542926,0.000022139735,0.0000013798827,0.1768772,0.32366276,0.4198075],"study_design_scores_gemma":[0.00024099724,0.00006059515,0.00006358859,0.0050016893,0.00016248478,0.000018202021,0.0014935618,3.9597734e-7,0.0000017023208,0.0027090316,0.98993456,0.0003131996],"about_ca_topic_score_codex":0.07569468,"about_ca_topic_score_gemma":0.6925974,"teacher_disagreement_score":0.6662718,"about_ca_system_score_codex":0.00032149986,"about_ca_system_score_gemma":0.0003735081,"threshold_uncertainty_score":0.999858},"labels":[],"label_agreement":null},{"id":"W4380874137","doi":"10.3138/ctr.127.006","title":"Theatre Channel: Exploring the Dramaturgy of Juxtaposed Media","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Art; Visual arts; MAGIC (telescope); Mainstream; Perspective (graphical); Aesthetics; Literature; Philosophy","score_opus":0.04499581636143325,"score_gpt":0.21907059719772506,"score_spread":0.1740747808362918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874137","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004659415,0.34851417,7.395038e-7,0.007383791,0.0012841519,0.00058660144,0.00021028137,0.00006773567,0.6372931],"genre_scores_gemma":[0.9251078,0.06958446,0.000006893439,0.001735856,0.0019495629,0.00012421285,0.000054759366,0.00004424895,0.0013922288],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879307,0.00006611549,0.00037474313,0.00017588443,0.00016649121,0.00042368946],"domain_scores_gemma":[0.9991823,0.00011394472,0.00009517795,0.0004111209,0.00007954631,0.00011791038],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027299987,0.00022081014,0.0004411061,0.000104478015,0.0004567648,0.000047187423,0.00031282933,0.000026919683,0.00093725626],"category_scores_gemma":[0.000007428664,0.00013094308,0.0002061207,0.00011384245,0.00026867204,0.0001675795,0.000025869957,0.00015197908,0.00016555366],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016676615,0.000058315625,0.00032023183,0.0043951487,0.00025954226,0.00003624463,0.025676383,0.000013380655,0.000008624158,0.14942284,0.21569642,0.6040962],"study_design_scores_gemma":[0.00008894207,0.000021609641,0.00012849164,0.0015583927,0.00010993145,0.000005868367,0.0012942866,0.0000032078767,0.000026588452,0.0012620962,0.9953273,0.00017328883],"about_ca_topic_score_codex":0.086919345,"about_ca_topic_score_gemma":0.54512036,"teacher_disagreement_score":0.92044836,"about_ca_system_score_codex":0.000055048935,"about_ca_system_score_gemma":0.00014019637,"threshold_uncertainty_score":0.99997604},"labels":[],"label_agreement":null},{"id":"W4380874141","doi":"10.3138/ctr.117.008","title":"Towards a Poetics of Popular Theatre","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mainstream; Action (physics); Poetics; Aesthetics; Wish; Sociology; Visual arts; Art; Media studies; Literature; Political science; Law; Poetry","score_opus":0.030337698641979702,"score_gpt":0.2433846459832311,"score_spread":0.2130469473412514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874141","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013942424,0.36703187,0.0000016450886,0.011131055,0.00039465778,0.00040203115,0.00021698124,0.000038279744,0.61938924],"genre_scores_gemma":[0.7979953,0.19333768,0.00010982416,0.005798756,0.00080667937,0.00004182816,0.000054861575,0.00005437151,0.001800669],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999005,0.000027008475,0.0003171439,0.00015895847,0.00014415984,0.00034773911],"domain_scores_gemma":[0.9992956,0.0000071761738,0.000070776274,0.0003424345,0.00008065165,0.00020335201],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016561258,0.00018962538,0.00044731656,0.0001054184,0.00022723452,0.000025436766,0.00022071338,0.000035580426,0.0015456269],"category_scores_gemma":[0.000006865837,0.00014116417,0.00019508411,0.00008272082,0.00019241153,0.00009726325,0.000020450076,0.000112250666,0.0001972098],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008091075,0.00006329253,0.0003251095,0.0076815505,0.0002588734,0.000051743038,0.017365798,0.000007793994,0.000004268707,0.36136913,0.027575728,0.58528864],"study_design_scores_gemma":[0.00013856919,0.00007034067,0.000021585818,0.0024472328,0.00012687949,0.000010469992,0.0007049557,2.6711015e-7,0.000015157251,0.002675026,0.99361527,0.00017426927],"about_ca_topic_score_codex":0.07263531,"about_ca_topic_score_gemma":0.3658259,"teacher_disagreement_score":0.96603954,"about_ca_system_score_codex":0.00010827864,"about_ca_system_score_gemma":0.00037894156,"threshold_uncertainty_score":0.9993671},"labels":[],"label_agreement":null},{"id":"W4380874146","doi":"10.3138/ctr.115.005","title":"Theorizing New Play Development in Canada","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dominion; Favourite; Drama; Musical; Art history; Art; Performance art; Plot (graphics); Buckingham; Visual arts; History; Law; Archaeology; Political science","score_opus":0.025375741642765005,"score_gpt":0.20882388564428958,"score_spread":0.18344814400152457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874146","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002700373,0.24258757,5.257028e-7,0.0016078652,0.00055208814,0.00030984453,0.00001592564,0.000012110103,0.7522137],"genre_scores_gemma":[0.91254085,0.058509957,0.0001110868,0.015243254,0.0004788437,0.00006987769,0.000027103004,0.00005276528,0.012966271],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907535,0.00004194592,0.00025109004,0.00014109102,0.00009575938,0.00039476214],"domain_scores_gemma":[0.99951404,0.000028656039,0.000032980985,0.00015689067,0.000019996733,0.00024742645],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018108112,0.00014890109,0.00027237964,0.0000674361,0.00022106414,0.000025221767,0.000119727134,0.000013293893,0.0042248564],"category_scores_gemma":[0.000011645934,0.0001177797,0.000034834895,0.0000651073,0.000024927307,0.00007147411,0.0000066731914,0.0001046627,0.00013389121],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000001978049,0.000007859004,0.0057291877,0.0010707759,0.000079763646,0.00007837589,0.012761911,0.0000030893434,3.4416993e-7,0.16945806,0.20250897,0.6082997],"study_design_scores_gemma":[0.00007300604,0.000004237216,0.00012295981,0.0011695472,0.000011940773,0.0000043257764,0.0007120556,1.7036525e-7,0.0000069835814,0.00020933307,0.99751955,0.00016585964],"about_ca_topic_score_codex":0.99166363,"about_ca_topic_score_gemma":0.9999749,"teacher_disagreement_score":0.90984046,"about_ca_system_score_codex":0.0006890864,"about_ca_system_score_gemma":0.006664905,"threshold_uncertainty_score":0.9989664},"labels":[],"label_agreement":null},{"id":"W4380874171","doi":"10.3138/ctr.111.008","title":"Shakespeare in a Blender","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Improvisation; Art; Mandate; Performance art; Style (visual arts); Visual arts; MOZART; Presentational and representational acting; Literature; Art history; Aesthetics; Law","score_opus":0.0511042638802289,"score_gpt":0.22921021435226915,"score_spread":0.17810595047204025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874171","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034624446,0.32625702,3.0994908e-8,0.0057969824,0.00014501692,0.00017072754,0.000031754043,0.000018175182,0.66723406],"genre_scores_gemma":[0.63539445,0.32117745,0.000008293488,0.014749474,0.0007994305,0.00008182118,0.000016670088,0.000038311147,0.027734132],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999277,0.000028011726,0.00017652816,0.00013436594,0.000066152475,0.00031797073],"domain_scores_gemma":[0.9996116,0.000017560906,0.000021489988,0.0001921947,0.000022501574,0.00013462614],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000095646756,0.00012045988,0.00023867565,0.000105063446,0.00015734613,0.00003301894,0.000120408564,0.00001943574,0.02842907],"category_scores_gemma":[0.0000061677147,0.00009423269,0.00007308332,0.00006857127,0.00006816977,0.000107035354,0.000008928337,0.00010818177,0.0016881819],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.359354e-7,0.000021361939,0.0008833031,0.0014539742,0.000036087764,0.00006478605,0.0141814705,4.7987953e-7,1.487675e-7,0.022408297,0.446572,0.5143772],"study_design_scores_gemma":[0.00006741439,0.000013938656,0.000051213483,0.0013335673,0.000018263238,0.00000542353,0.0004983049,0.000006711893,2.130915e-7,0.00013362942,0.99774307,0.00012826337],"about_ca_topic_score_codex":0.028602794,"about_ca_topic_score_gemma":0.7476119,"teacher_disagreement_score":0.71900904,"about_ca_system_score_codex":0.000076350014,"about_ca_system_score_gemma":0.00003644473,"threshold_uncertainty_score":0.9990891},"labels":[],"label_agreement":null},{"id":"W4380874195","doi":"10.3138/ctr.125.007","title":"Can I Get a Witness? Performing Community in African-Nova Scotian Theatre","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Modernity; Ambivalence; Witness; Narrative; Indigenous; Sociology; Art; History; Aesthetics; Gender studies; Art history; Political science; Literature; Law","score_opus":0.03408337458482892,"score_gpt":0.2384324935973066,"score_spread":0.20434911901247765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874195","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033675235,0.11373112,2.532796e-7,0.010729667,0.0005310396,0.00070323644,0.00025806393,0.00007227427,0.8402991],"genre_scores_gemma":[0.9866737,0.008604823,0.000008965436,0.0021833417,0.0005463885,0.00005022394,0.000092170085,0.000039940667,0.0018004456],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982295,0.00020544656,0.00046504947,0.00022003156,0.00016374192,0.0007162183],"domain_scores_gemma":[0.99901146,0.000075163225,0.00009093375,0.00054660224,0.00006600778,0.00020981606],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00057612784,0.00033016835,0.0006124079,0.00026447844,0.0009130948,0.00009592689,0.0003930715,0.000055371605,0.0021852371],"category_scores_gemma":[0.00000788893,0.00026630578,0.00015958166,0.00020766047,0.0003367478,0.00020372469,0.000045360623,0.0005117789,0.00016607036],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031840966,0.00029851537,0.028542548,0.010831639,0.00023152141,0.00020728781,0.062997036,0.000034626395,0.0000067453366,0.10803324,0.12556367,0.66322136],"study_design_scores_gemma":[0.00020698248,0.000055081127,0.00082628004,0.0031891156,0.00007866241,0.000019570743,0.0043539847,0.0000076119777,0.0000035660064,0.0016452388,0.98922205,0.0003918548],"about_ca_topic_score_codex":0.76080304,"about_ca_topic_score_gemma":0.9913943,"teacher_disagreement_score":0.95299846,"about_ca_system_score_codex":0.0003134841,"about_ca_system_score_gemma":0.00035841594,"threshold_uncertainty_score":0.9999789},"labels":[],"label_agreement":null},{"id":"W4380874197","doi":"10.3138/ctr.122.004","title":"Being Disabled?","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Hollywood; Event (particle physics); Visual arts; Representation (politics); Art; Art history; Political science; Politics; Law","score_opus":0.02358638813552951,"score_gpt":0.23433909872456604,"score_spread":0.21075271058903652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874197","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026115356,0.14463195,2.3335143e-7,0.012258468,0.00019733483,0.00016509123,0.000028980427,0.000037507834,0.84241927],"genre_scores_gemma":[0.6745549,0.24846977,0.000058285525,0.032616597,0.0048337243,0.00008057335,0.000048529,0.000056907265,0.03928071],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927604,0.000020183392,0.00017567904,0.00012828773,0.00007112315,0.00032868],"domain_scores_gemma":[0.99952716,0.00001764959,0.000025045427,0.00020876715,0.000031878495,0.00018952746],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012522156,0.00012943632,0.0002322728,0.00005580856,0.00039623634,0.000050099574,0.00013717615,0.000016714112,0.009742786],"category_scores_gemma":[0.000004887982,0.00009788556,0.000097278054,0.00003824803,0.00008882792,0.00017281823,0.000011973837,0.00008713885,0.0020403473],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[6.892245e-7,0.0000063320094,0.00021315247,0.0005890337,0.000036977883,0.000004325945,0.0031994923,4.772279e-7,2.6127583e-7,0.104857296,0.20471731,0.68637466],"study_design_scores_gemma":[0.000042174084,0.000011370694,0.000014086595,0.0010087022,0.000049902486,0.0000043986206,0.0001519717,0.0000023377672,0.0000019858783,0.00040863222,0.99816555,0.00013888106],"about_ca_topic_score_codex":0.015860505,"about_ca_topic_score_gemma":0.63351995,"teacher_disagreement_score":0.80313855,"about_ca_system_score_codex":0.00009021393,"about_ca_system_score_gemma":0.000095529926,"threshold_uncertainty_score":0.9987367},"labels":[],"label_agreement":null},{"id":"W4380874202","doi":"10.3138/ctr.112.008","title":"Issues of the Night Time","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Performance art; History","score_opus":0.02768495315951905,"score_gpt":0.217781766745282,"score_spread":0.19009681358576294,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874202","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006573373,0.38657612,8.432756e-9,0.010620883,0.00019891592,0.00018083317,0.000055458102,0.000011475486,0.601699],"genre_scores_gemma":[0.4285787,0.3033138,0.000008815955,0.011377345,0.00093323854,0.000040120176,0.000009379182,0.00004363698,0.25569496],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994506,0.000035725247,0.00016572553,0.00008231804,0.00008140114,0.00018419365],"domain_scores_gemma":[0.99954647,0.000015101221,0.000044666278,0.0002807032,0.000041380532,0.00007167736],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008315422,0.00009745847,0.00023559446,0.000032447104,0.00025021585,0.000015801948,0.00020589403,0.000015217718,0.02396311],"category_scores_gemma":[0.000006004405,0.000054252043,0.00012528701,0.000051720104,0.00015842465,0.000059924587,0.000015412827,0.00006368716,0.0011666964],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[3.9980827e-7,0.000011101886,0.00027042764,0.0009067383,0.000061758576,0.000004079781,0.0054964665,1.3100674e-7,0.0000012414831,0.012024275,0.87924194,0.10198143],"study_design_scores_gemma":[0.000026970076,0.000014348039,0.00004554626,0.0011314063,0.000049253093,0.000004988771,0.00007838413,0.0000024670137,0.0000057526663,0.00012260796,0.99844337,0.00007493179],"about_ca_topic_score_codex":0.0154599985,"about_ca_topic_score_gemma":0.13095963,"teacher_disagreement_score":0.42792135,"about_ca_system_score_codex":0.000024932337,"about_ca_system_score_gemma":0.000027646129,"threshold_uncertainty_score":0.999611},"labels":[],"label_agreement":null},{"id":"W4380874204","doi":"10.3138/ctr.104.003","title":"The Worlds Within Worlds of Vittorio Rossi","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Irony; Mainstream; Dissenting opinion; Ethnic group; Sociology; Class (philosophy); Aesthetics; Media studies; Gender studies; Art; Literature; Law; Philosophy; Anthropology; Epistemology; Political science","score_opus":0.019281754381797304,"score_gpt":0.2286239491400819,"score_spread":0.2093421947582846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874204","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019312205,0.33846027,4.4295014e-8,0.0044921623,0.00045236896,0.00027648118,0.00006110942,0.00002391165,0.6543024],"genre_scores_gemma":[0.41901317,0.40663546,0.00001573981,0.005749131,0.0017989218,0.000102190104,0.000024329707,0.00005962258,0.16660142],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989815,0.000054888445,0.00035260693,0.00013864801,0.00012714163,0.0003452455],"domain_scores_gemma":[0.9992697,0.00005850495,0.00007125579,0.0003819141,0.000057169025,0.00016142133],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00033329366,0.0001646533,0.00032803172,0.000049132643,0.00075931754,0.00007416138,0.00027765028,0.000022827018,0.007073436],"category_scores_gemma":[0.0000063584557,0.0000968077,0.00014618605,0.000103952974,0.00032898743,0.00010137224,0.000010291502,0.00013796544,0.00041592275],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000082543365,0.000009313265,0.00020326492,0.0006016085,0.000091875896,0.0000053576377,0.00663895,0.0000016125249,3.8656773e-7,0.03835572,0.11537635,0.8387073],"study_design_scores_gemma":[0.000057621237,0.000028909102,0.000051097682,0.0012560791,0.00006448582,0.000003453954,0.00033023572,0.0000018442605,0.0000037964853,0.00038148594,0.99769235,0.0001286424],"about_ca_topic_score_codex":0.030720606,"about_ca_topic_score_gemma":0.7009976,"teacher_disagreement_score":0.882316,"about_ca_system_score_codex":0.00006095558,"about_ca_system_score_gemma":0.00022057215,"threshold_uncertainty_score":0.99383426},"labels":[],"label_agreement":null},{"id":"W4380874211","doi":"10.3138/ctr.121.006","title":"Enacting <i>This Is for You, Anna</i>","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Visual arts; Sociology; Process (computing); Media studies; Art; Aesthetics; History; Computer science; Archaeology","score_opus":0.037942925748162444,"score_gpt":0.25514059876934375,"score_spread":0.21719767302118131,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874211","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018599638,0.31286538,0.0000012974119,0.028417008,0.0003685666,0.0005373806,0.00031453322,0.000048331065,0.65726155],"genre_scores_gemma":[0.18706462,0.42660874,0.00045466333,0.2128552,0.01490077,0.0006085954,0.00017764636,0.0001980029,0.15713178],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990679,0.000016343589,0.00023847196,0.00018428738,0.00007370179,0.00041926862],"domain_scores_gemma":[0.99939805,0.00003859896,0.000056645218,0.00023562768,0.00007745821,0.00019361396],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020788085,0.00016925704,0.00031040586,0.00006760239,0.0005834448,0.00006176336,0.00015507604,0.000028507255,0.0069077164],"category_scores_gemma":[0.000010285324,0.00013385327,0.00018208973,0.000040337472,0.00007222008,0.00019123661,0.000011073237,0.000091285685,0.0007291817],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000013955998,0.000004375904,0.000027680157,0.00070158736,0.00003331998,8.3066016e-7,0.0049978425,9.279499e-8,4.7351978e-7,0.0043590534,0.53508484,0.4547885],"study_design_scores_gemma":[0.00008926726,0.000029154759,0.0000016084604,0.00096555095,0.0000862711,0.000004274921,0.00038870002,0.0000062719814,0.000016022032,0.00010283074,0.9981245,0.0001855703],"about_ca_topic_score_codex":0.016059538,"about_ca_topic_score_gemma":0.31579608,"teacher_disagreement_score":0.50012976,"about_ca_system_score_codex":0.00009665064,"about_ca_system_score_gemma":0.0001397641,"threshold_uncertainty_score":0.9940001},"labels":[],"label_agreement":null},{"id":"W4380874220","doi":"10.3138/ctr.124.002","title":"Memory from the Deep Rodeo Barrel","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Drama; Visual arts; Art; Barrel (horology); Performance art; Contemporary dance; Art history; History","score_opus":0.022601885423684007,"score_gpt":0.2200674956668533,"score_spread":0.19746561024316928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874220","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00037703908,0.53768015,6.6259867e-7,0.026004955,0.00034507783,0.00023919626,0.00011564106,0.000031782347,0.43520552],"genre_scores_gemma":[0.44392228,0.42308462,0.000054932043,0.10528885,0.011311901,0.00014683236,0.00013544114,0.00008196268,0.01597318],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991326,0.000053831325,0.0002128484,0.00016678973,0.000102728634,0.00033119947],"domain_scores_gemma":[0.9992694,0.00007573302,0.000041217943,0.00039867108,0.000039885264,0.0001750595],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017662477,0.00016786091,0.00026435542,0.000029273326,0.0006235316,0.00007044349,0.0002979263,0.000024697352,0.013725733],"category_scores_gemma":[0.000009815125,0.00009876468,0.00013769105,0.000040542167,0.0001494623,0.00013957037,0.000021118103,0.00014963833,0.0023407154],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.790145e-7,0.0000040189307,0.00006737297,0.00010681047,0.00005207647,0.000002856267,0.005607128,0.0000010142385,1.2712152e-7,0.0037898817,0.24733537,0.74303234],"study_design_scores_gemma":[0.00006126713,0.000008797709,0.00006897484,0.0006945682,0.00010127831,0.0000025420704,0.00080209796,0.0000074226878,0.0000019350719,0.00020316143,0.9979007,0.00014720797],"about_ca_topic_score_codex":0.09360127,"about_ca_topic_score_gemma":0.89086694,"teacher_disagreement_score":0.79726565,"about_ca_system_score_codex":0.00008083071,"about_ca_system_score_gemma":0.00012814361,"threshold_uncertainty_score":0.9984361},"labels":[],"label_agreement":null},{"id":"W4380874236","doi":"10.3138/ctr.111.007","title":"Dancing With Shakespeare","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Context (archaeology); Narrative; Contemplation; Visual arts; Movement (music); Art; Choreography; Contemporary dance; Statement (logic); Aesthetics; Literature; History; Philosophy; Linguistics; Epistemology","score_opus":0.03589685553291179,"score_gpt":0.2085820528901946,"score_spread":0.17268519735728283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874236","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005003377,0.26276693,2.6573696e-7,0.0040769563,0.00011750376,0.00018134083,0.000037025075,0.000036560927,0.7322831],"genre_scores_gemma":[0.7107036,0.2227279,0.00004564398,0.020299973,0.0019064981,0.00009514532,0.00003103946,0.00008196819,0.044108216],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993174,0.000018483885,0.0001318506,0.00013959176,0.00008445164,0.0003082406],"domain_scores_gemma":[0.99951565,0.000013398739,0.00002994056,0.00022301658,0.00004016707,0.00017780224],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00007102913,0.00013757285,0.0002344811,0.000057088087,0.0003801438,0.000051340383,0.00011830972,0.000014272323,0.0162786],"category_scores_gemma":[0.0000028934116,0.00009101116,0.000059198424,0.00005458116,0.00009676381,0.00012621787,0.000007275827,0.000093363175,0.001100026],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002033772,0.000013662604,0.00091875833,0.0021977131,0.00010697679,0.00007199056,0.0153314285,5.9960394e-7,3.0507186e-7,0.018352719,0.4195619,0.54344195],"study_design_scores_gemma":[0.00005837347,0.000037632602,0.000028892227,0.0024681082,0.00005076021,0.000015254029,0.00044138447,0.0000042954234,6.388077e-7,0.000037614496,0.99670565,0.00015138932],"about_ca_topic_score_codex":0.016238466,"about_ca_topic_score_gemma":0.5770044,"teacher_disagreement_score":0.7102033,"about_ca_system_score_codex":0.00005806296,"about_ca_system_score_gemma":0.000039950937,"threshold_uncertainty_score":0.9996777},"labels":[],"label_agreement":null},{"id":"W4380874241","doi":"10.3138/ctr.126.019","title":"On Site with the Electric Company: What Lures Artists out of the Theatre and into the Woods?","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Dirt; Art history; Ground level; Engineering; Ground floor; Cartography; Geography","score_opus":0.010734597290981574,"score_gpt":0.2060107046890044,"score_spread":0.1952761073980228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874241","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06770399,0.71514785,4.811856e-7,0.057036024,0.00035522034,0.0012061623,0.00004360583,0.000027514914,0.15847917],"genre_scores_gemma":[0.9450433,0.048265733,0.0000012180175,0.0049905567,0.0003341228,0.000042788033,0.0000054993397,0.00002028744,0.001296481],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900347,0.00013301395,0.00020939662,0.00017165608,0.00017370503,0.0003087693],"domain_scores_gemma":[0.9991364,0.0001525053,0.00010579998,0.00048648973,0.00005424161,0.000064548265],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024193326,0.0002168224,0.00031859963,0.000046694782,0.0009704403,0.00016336805,0.0003040808,0.000024343186,0.00018466242],"category_scores_gemma":[0.0000035627484,0.000079066565,0.00011068575,0.0001183184,0.00044803927,0.00012947546,0.00002822503,0.000202563,0.000039810966],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043347496,0.00005529584,0.0028412149,0.0018223845,0.0003394673,0.0000110145775,0.043815956,0.00001810704,0.000014998162,0.1249702,0.2657205,0.56034756],"study_design_scores_gemma":[0.000099849065,0.00007857557,0.0010919496,0.0018131322,0.00017789664,0.0000069570383,0.0014464295,0.000004505803,0.000015546573,0.0009824975,0.99414045,0.00014220914],"about_ca_topic_score_codex":0.04238317,"about_ca_topic_score_gemma":0.79209834,"teacher_disagreement_score":0.8773393,"about_ca_system_score_codex":0.00004685109,"about_ca_system_score_gemma":0.00012456956,"threshold_uncertainty_score":0.96399367},"labels":[],"label_agreement":null},{"id":"W4380874243","doi":"10.3138/ctr.120.006","title":"Theatre for Living and <i>Practicing Democracy:</i> Negotiating the Monologic Beast","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Solidarity; Negotiation; Democracy; Art; Sociology; Art history; Aesthetics; Visual arts; Gender studies; Media studies; Political science; Social science; Law; Politics","score_opus":0.030331079146785303,"score_gpt":0.23988754925298245,"score_spread":0.20955647010619716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874243","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005989163,0.70176977,0.000029277548,0.057053354,0.00085721596,0.0019436901,0.00015099523,0.000115738694,0.23209083],"genre_scores_gemma":[0.8931576,0.095176056,0.00009750464,0.009551218,0.0011074836,0.00013868217,0.000011011585,0.000042829754,0.0007175986],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989425,0.000050316492,0.00025765144,0.0002155917,0.00007760792,0.00045631177],"domain_scores_gemma":[0.99914336,0.00030547316,0.00009905014,0.00024828667,0.000059998507,0.00014382062],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00040987355,0.0002082833,0.00032057113,0.000054752913,0.0017125292,0.00017778648,0.00017892903,0.000033294895,0.00016380323],"category_scores_gemma":[0.00005226848,0.000126518,0.00010741798,0.000055472334,0.0001754401,0.000237564,0.000034311164,0.00017348204,0.00004781288],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000075846874,0.000030330388,0.0013499202,0.0029142017,0.00026639976,0.000014041257,0.026565028,0.000082466075,0.0000050251488,0.12547264,0.019013613,0.8242788],"study_design_scores_gemma":[0.00012179616,0.00006754378,0.0001044672,0.002745038,0.00021175761,0.000035886915,0.003999817,0.00001761227,0.0000016630889,0.0022770946,0.99019086,0.0002264472],"about_ca_topic_score_codex":0.032080144,"about_ca_topic_score_gemma":0.20685902,"teacher_disagreement_score":0.9711773,"about_ca_system_score_codex":0.00008735824,"about_ca_system_score_gemma":0.0001730751,"threshold_uncertainty_score":0.9995871},"labels":[],"label_agreement":null},{"id":"W4380874248","doi":"10.3138/ctr.117.003","title":"Still “Activist” after All These Years?","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Transformative learning; Context (archaeology); Power (physics); Identity (music); Visual arts; Theatre studies; Media studies; Social justice; Sociology; Performance art; Aesthetics; Economic Justice; Art; Drama; Gender studies; Political science; History; Social science; Law; Art history; Pedagogy","score_opus":0.026576805309920716,"score_gpt":0.23607261573879756,"score_spread":0.20949581042887686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874248","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038108315,0.54702705,0.0000012263802,0.012314573,0.00093688216,0.0008477101,0.00031955537,0.0001242293,0.40032044],"genre_scores_gemma":[0.9361275,0.050903838,0.0000122675165,0.010008071,0.00059227896,0.0000654979,0.000015555792,0.00002740763,0.002247586],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916404,0.00002308546,0.00017115746,0.00017262758,0.0000976336,0.0003714744],"domain_scores_gemma":[0.9994093,0.000014132611,0.000034447236,0.00028422003,0.000034744153,0.00022312147],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011636746,0.00016618102,0.00027627425,0.00007471849,0.0000421311,0.0000603456,0.00014911595,0.000025884614,0.0040287357],"category_scores_gemma":[0.0000051486404,0.0001271943,0.00013220933,0.000041851625,0.00012454505,0.00015343657,0.000016431757,0.000121347286,0.0015855111],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003251244,0.00009903494,0.0005471789,0.0038597593,0.0005489624,0.0005292449,0.175493,0.000004774631,0.0000026241096,0.07884012,0.049985055,0.69005775],"study_design_scores_gemma":[0.00009718329,0.000032229207,0.00020512647,0.0012496829,0.00007867554,0.000008677432,0.00019719533,1.10031365e-7,0.0000015629408,0.000815647,0.99713457,0.00017933696],"about_ca_topic_score_codex":0.04558168,"about_ca_topic_score_gemma":0.4922277,"teacher_disagreement_score":0.9471495,"about_ca_system_score_codex":0.00013812198,"about_ca_system_score_gemma":0.00018200742,"threshold_uncertainty_score":0.9991919},"labels":[],"label_agreement":null},{"id":"W4380874270","doi":"10.3138/ctr.127.019","title":"Abilities Festival: A Celebration of Disability Art and Culture 2005","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Thriving; Visual arts; Studio; Exhibition; Dance; Art; Inclusion (mineral); Storytelling; Sociology; Media studies; Narrative; Gender studies","score_opus":0.015244950262887871,"score_gpt":0.22372611703787593,"score_spread":0.20848116677498807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874270","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017004864,0.3473425,8.597911e-7,0.009626259,0.00023922161,0.0007047382,0.0003661405,0.000047355108,0.62466806],"genre_scores_gemma":[0.91942704,0.058477174,0.000041324478,0.0010248482,0.00083721173,0.000058426947,0.000113934395,0.000022173124,0.019997897],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993198,0.000039036426,0.00023736467,0.00013388139,0.00007067329,0.00019927966],"domain_scores_gemma":[0.9996197,0.000026505111,0.000050866725,0.0001721105,0.00004808032,0.000082723374],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015430621,0.00012408583,0.00028211565,0.000025237627,0.00019286934,0.000027734022,0.000059532736,0.00002488806,0.0012047642],"category_scores_gemma":[0.000007670438,0.00008855124,0.00007115166,0.000029340843,0.00042628,0.00013212215,0.000009298144,0.00006320755,0.00003522377],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008584033,0.00006553534,0.0129509885,0.009030658,0.00007114074,0.0000030798049,0.008955292,0.0000015890087,0.000009111739,0.11943035,0.723489,0.12598471],"study_design_scores_gemma":[0.000051118775,0.00002769828,0.00076303456,0.00071115873,0.00005282377,0.0000027253823,0.00044646004,0.0000014539721,0.00000789751,0.0020865565,0.9957418,0.00010727053],"about_ca_topic_score_codex":0.04505547,"about_ca_topic_score_gemma":0.7157312,"teacher_disagreement_score":0.90242213,"about_ca_system_score_codex":0.00006288133,"about_ca_system_score_gemma":0.00006767534,"threshold_uncertainty_score":0.9997083},"labels":[],"label_agreement":null},{"id":"W4380874271","doi":"10.3138/ctr.104.012","title":"A Modo Suo (A Fable)","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fable; Art; Literature","score_opus":0.026025986157301676,"score_gpt":0.22343346321681823,"score_spread":0.19740747705951656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874271","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008968899,0.21111137,6.782253e-8,0.0035881444,0.00014266954,0.00020352476,0.0000757706,0.000040010887,0.78394157],"genre_scores_gemma":[0.24375899,0.57643175,0.000019707082,0.0271056,0.0019513615,0.00011156682,0.00007390727,0.00006781247,0.15047932],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999171,0.000029800409,0.00018721753,0.00015705187,0.00008254346,0.00037237443],"domain_scores_gemma":[0.99944484,0.000014924092,0.00002049733,0.00026613462,0.000031578904,0.00022203926],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011955951,0.0001542638,0.00028587898,0.000056572637,0.00040147064,0.000056905694,0.00016431365,0.0000224375,0.074353985],"category_scores_gemma":[0.000002330326,0.00011687139,0.000118242475,0.000054457734,0.000108623135,0.00013576586,0.0000061667934,0.00009669718,0.004258741],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017977512,0.000006315641,0.00007130821,0.0005794608,0.000038498394,0.000012517087,0.0021169577,6.32441e-7,1.12455545e-7,0.01199352,0.21647072,0.76870817],"study_design_scores_gemma":[0.00005452395,0.000021494141,0.000019411977,0.0010088279,0.00005346007,0.0000078200665,0.00014491851,0.0000020466023,8.0624676e-7,0.0003546635,0.9981703,0.00016173444],"about_ca_topic_score_codex":0.09148466,"about_ca_topic_score_gemma":0.545513,"teacher_disagreement_score":0.7816996,"about_ca_system_score_codex":0.00006106639,"about_ca_system_score_gemma":0.00011093543,"threshold_uncertainty_score":0.9965166},"labels":[],"label_agreement":null},{"id":"W4380874279","doi":"10.3138/ctr.104.005","title":"The Private Becoming Public","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Performance art; Art; Art history; Apprenticeship; Humanities; Cartography; History; Geography; Archaeology","score_opus":0.04089991810012242,"score_gpt":0.23666224794695506,"score_spread":0.19576232984683264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874279","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011494729,0.27678126,5.1777818e-8,0.025359899,0.00022741128,0.00023082823,0.00002519434,0.000033941455,0.69619197],"genre_scores_gemma":[0.19545104,0.7371312,0.000008133384,0.016338233,0.0014527172,0.00010604516,0.000023335786,0.00004216212,0.049447183],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991334,0.000044565808,0.00019790619,0.00012113123,0.0000809038,0.00042210324],"domain_scores_gemma":[0.9994105,0.00004660998,0.000028268967,0.0003029337,0.00002983269,0.00018182537],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025899027,0.00012822115,0.00018968136,0.000033081797,0.0014275827,0.00017532634,0.0002613087,0.000015825319,0.013288695],"category_scores_gemma":[0.0000070993,0.00007451117,0.000102726844,0.000053211847,0.00017359533,0.00014087428,0.000010311842,0.000108655826,0.0016669473],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[6.552708e-7,0.0000022306356,0.00006200598,0.00013714762,0.000029356828,0.0000026775297,0.00086264696,4.730654e-8,3.721879e-8,0.046960827,0.066927046,0.8850153],"study_design_scores_gemma":[0.0000388609,0.000011604319,0.000030911506,0.00044043342,0.000027708282,0.000005003835,0.00016267046,0.0000014545775,3.2222124e-7,0.00056793157,0.99860257,0.000110529465],"about_ca_topic_score_codex":0.012593163,"about_ca_topic_score_gemma":0.5182803,"teacher_disagreement_score":0.9316755,"about_ca_system_score_codex":0.00005889143,"about_ca_system_score_gemma":0.00011973504,"threshold_uncertainty_score":0.99987245},"labels":[],"label_agreement":null},{"id":"W4380874280","doi":"10.3138/ctr.118.002","title":"Black Theatre Canada: A Short History","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Adventure; Art; Performance art; Art history; Girl; Harlem Renaissance; The Renaissance; Visual arts; Period (music); History; Aesthetics","score_opus":0.03081014393744111,"score_gpt":0.20943148641644588,"score_spread":0.17862134247900477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874280","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00073841034,0.301039,3.2080186e-7,0.007957379,0.00079006044,0.00034858292,0.00011155717,0.000042451626,0.68897223],"genre_scores_gemma":[0.7907636,0.14960572,0.00002005101,0.040993318,0.002330038,0.000108717744,0.000110247005,0.000105191604,0.0159631],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986865,0.000030238953,0.00029954725,0.00025195704,0.00018770903,0.0005440668],"domain_scores_gemma":[0.99907833,0.000018505823,0.00003915992,0.00040070445,0.00007054347,0.0003927795],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014136116,0.00026600788,0.0004444205,0.00008227109,0.00031042815,0.000025225521,0.00026706455,0.000034875397,0.004726216],"category_scores_gemma":[0.000004837979,0.00021089443,0.00014525947,0.000050231563,0.00024770488,0.00012898791,0.0000195136,0.00018627853,0.0003221678],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000033495521,0.000017107062,0.00017029591,0.0015587745,0.0001375647,0.00011899145,0.005757649,0.000006626687,6.842374e-7,0.03467791,0.848131,0.10942003],"study_design_scores_gemma":[0.0000862315,0.000027087335,0.000038632606,0.001373296,0.00010403799,0.000012722202,0.0005916583,5.0383886e-7,0.0000017367678,0.00020340025,0.9972812,0.00027952268],"about_ca_topic_score_codex":0.9788568,"about_ca_topic_score_gemma":0.99973124,"teacher_disagreement_score":0.7900252,"about_ca_system_score_codex":0.0021264623,"about_ca_system_score_gemma":0.0037938857,"threshold_uncertainty_score":0.9961836},"labels":[],"label_agreement":null},{"id":"W4380874281","doi":"10.3138/ctr.122.015","title":"Stepping from the Wings","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sight; Visual arts; Art; Performance art; Aesthetics; Art history","score_opus":0.031235535343397423,"score_gpt":0.2270714840153892,"score_spread":0.19583594867199178,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874281","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012045328,0.46763107,3.6873323e-7,0.042207126,0.0002840645,0.00024166,0.00011184662,0.000035160763,0.48828417],"genre_scores_gemma":[0.6069787,0.25447872,0.000046937897,0.11706899,0.009315304,0.000083753104,0.00007689827,0.000058022695,0.011892647],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993206,0.000033502736,0.00017159522,0.0001260963,0.00007930926,0.00026887044],"domain_scores_gemma":[0.99948835,0.00006143165,0.000035839843,0.00026786208,0.000030878367,0.00011566094],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015138148,0.0001247973,0.00020288098,0.000023668033,0.0005676132,0.00007431091,0.00022144358,0.000016029906,0.0063437433],"category_scores_gemma":[0.0000069284993,0.00007309039,0.00009823434,0.000034941928,0.00010816486,0.00013875347,0.000016583524,0.00011400929,0.0012713007],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.6217293e-7,0.000003144799,0.00021332719,0.00012481936,0.000058079884,0.000002380626,0.0080799665,4.1125918e-7,4.1192595e-7,0.010769886,0.3317768,0.64897],"study_design_scores_gemma":[0.000041463278,0.0000067901865,0.0000759642,0.0011692297,0.000066485445,0.0000016247027,0.0006283648,0.000002621738,0.0000011904136,0.00014926415,0.9977466,0.00011039134],"about_ca_topic_score_codex":0.10296426,"about_ca_topic_score_gemma":0.7794287,"teacher_disagreement_score":0.67646444,"about_ca_system_score_codex":0.000068236026,"about_ca_system_score_gemma":0.00009917819,"threshold_uncertainty_score":0.99950635},"labels":[],"label_agreement":null},{"id":"W4380874286","doi":"10.3138/ctr.128.005","title":"Dancing with Spirits: Zuppa Circus’s <i>Open Theatre Kitchen</i>","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Style (visual arts); Instinct; Curiosity; Art; Subject matter; Aesthetics; Embodied cognition; Poetry; Visual arts; Categorization; Negotiation; Subject (documents); Expression (computer science); Literature; Sociology; Psychology; Epistemology; Philosophy; Computer science; Social psychology","score_opus":0.020964635335710954,"score_gpt":0.22221237984290895,"score_spread":0.201247744507198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874286","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009769471,0.16226126,0.0000016594342,0.0063953865,0.00024781434,0.0008276963,0.00017008228,0.00006835078,0.8290508],"genre_scores_gemma":[0.8821949,0.056376994,0.00014914936,0.028683979,0.004537037,0.0004294221,0.00031649583,0.0002303524,0.027081685],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835086,0.0000590838,0.00037853012,0.00036923372,0.00017920532,0.0006630633],"domain_scores_gemma":[0.99896425,0.00003853544,0.00010566785,0.0005407261,0.00009879369,0.00025204814],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029200502,0.0003481587,0.00062107184,0.00010559736,0.00082686555,0.00028787486,0.00055056636,0.000043546657,0.002804337],"category_scores_gemma":[0.0000028390048,0.00024016421,0.00013025901,0.00013773829,0.00021412158,0.00041151847,0.000058802965,0.00020353371,0.0004901701],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021169828,0.000067662935,0.00426326,0.0034603311,0.00023137148,0.00015209054,0.004512759,0.0000043861955,0.000006735251,0.06461758,0.5653179,0.35734472],"study_design_scores_gemma":[0.0002318927,0.00007066604,0.00011314522,0.003463804,0.00016761235,0.00003219858,0.0006128937,0.0000011142114,0.000009621863,0.00075922743,0.9941448,0.0003930522],"about_ca_topic_score_codex":0.25205615,"about_ca_topic_score_gemma":0.87362844,"teacher_disagreement_score":0.88121796,"about_ca_system_score_codex":0.00016265355,"about_ca_system_score_gemma":0.00044148928,"threshold_uncertainty_score":0.99810725},"labels":[],"label_agreement":null},{"id":"W4380874293","doi":"10.3138/ctr.128.022","title":"Beyond Kids’ Stuff: A Review of <i>Mermaid: A Puppet Theatre in Motion,</i> by Alice Walsh (Kentville, NS: Gaspereau Press, 2005); <i>Provenance</i>, by Ronnie Burkett (Toronto: Playwrights Canada Press, 2005)","year":2006,"lang":"en","type":"review","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Historiography; Art history; Persona; History; Globe; Visual arts; Media studies; Art; Sociology; Humanities; Archaeology; Psychology","score_opus":0.014385683882285531,"score_gpt":0.23701410311576684,"score_spread":0.2226284192334813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874293","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[1.15337976e-7,0.72218794,1.5096813e-7,0.0009391363,0.0006668497,0.003994667,0.016094277,0.00004586403,0.256071],"genre_scores_gemma":[0.0000036100269,0.975255,0.0000069552943,0.0038777262,0.0009702371,0.0012293212,0.0044079004,0.00024248491,0.014006773],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99110013,0.00079341227,0.0033403144,0.0014287796,0.0009748618,0.0023624902],"domain_scores_gemma":[0.9951325,0.00025822222,0.0015304323,0.0018639623,0.00025692408,0.00095797156],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.0010765368,0.0020184878,0.006656346,0.0001385457,0.00059917744,0.00015089405,0.0016144961,0.00038970873,0.003440263],"category_scores_gemma":[0.0000321958,0.0015237394,0.0011392741,0.00025032397,0.00047460155,0.00066219806,0.00015011373,0.000935918,0.000049497423],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002869223,0.00008207404,0.0000013933281,0.15955482,0.00029437031,0.000040249703,0.00010913802,1.4744484e-7,1.652368e-8,0.0007283114,0.6264116,0.21277496],"study_design_scores_gemma":[0.0003053787,0.000045513272,1.5907659e-7,0.24678978,0.0019187507,0.000053354528,0.00006344973,4.821751e-7,5.286607e-7,0.000023711287,0.74961674,0.0011821622],"about_ca_topic_score_codex":0.97208863,"about_ca_topic_score_gemma":0.99684805,"teacher_disagreement_score":0.25306705,"about_ca_system_score_codex":0.0024289757,"about_ca_system_score_gemma":0.0042948434,"threshold_uncertainty_score":0.9992558},"labels":[],"label_agreement":null},{"id":"W4380874295","doi":"10.3138/ctr.114.004","title":"Ironic Images: Sharon Pollock’s Stratford Productions","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pollock; Art; Institutionalisation; Feeling; State (computer science); Performance art; Art history; Visual arts; Aesthetics; Sociology; Philosophy; Political science; Law; Computer science; Epistemology","score_opus":0.03012813952909639,"score_gpt":0.23605706377521565,"score_spread":0.20592892424611925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874295","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004414498,0.27382272,4.4122106e-7,0.003816202,0.0005555786,0.00042427605,0.00012121366,0.00004896305,0.72076917],"genre_scores_gemma":[0.6527096,0.27077752,0.000058775793,0.006919406,0.0019102647,0.00021795396,0.000084148334,0.00008882687,0.06723352],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99895525,0.00004753825,0.00023368781,0.00022997292,0.00009040647,0.00044317264],"domain_scores_gemma":[0.9993067,0.000012837182,0.000045918292,0.0003585382,0.000058035926,0.00021799891],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019743375,0.00019111385,0.0002890017,0.00009193415,0.00061485526,0.000072816554,0.00013948233,0.000024846797,0.009664025],"category_scores_gemma":[0.000015580681,0.00014991125,0.00013307459,0.00008122519,0.00014588542,0.00019633122,0.0000072739094,0.00014541532,0.00084581826],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000023195926,0.00004332941,0.00052613165,0.0028205486,0.00017718879,0.000019485056,0.005055242,0.0000016337294,0.000003755141,0.22726229,0.6334784,0.1306097],"study_design_scores_gemma":[0.000059808724,0.000034646346,0.000032313736,0.00070181704,0.00009198004,0.000017493941,0.0009329748,1.6323875e-7,0.000008277559,0.00053801615,0.99738705,0.00019546795],"about_ca_topic_score_codex":0.016382424,"about_ca_topic_score_gemma":0.32641563,"teacher_disagreement_score":0.6535356,"about_ca_system_score_codex":0.0001225333,"about_ca_system_score_gemma":0.00037603354,"threshold_uncertainty_score":0.9999321},"labels":[],"label_agreement":null},{"id":"W4380874302","doi":"10.3138/ctr.122.003","title":"Disability, Theatre and Power: An Analysis of a One-Person Play","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Beauty; Ableism; Power (physics); Aesthetics; Psychology; Disability studies; Sociology; Art; Gender studies","score_opus":0.03272203982470325,"score_gpt":0.255414522996647,"score_spread":0.22269248317194376,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874302","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20563765,0.3348241,4.969369e-7,0.011057456,0.00015101663,0.00070814503,0.0008979606,0.0000626141,0.44666058],"genre_scores_gemma":[0.97263086,0.025402853,0.000019649207,0.0013442622,0.0002075633,0.000016238055,0.00004478579,0.000015115722,0.00031867914],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989666,0.00007157992,0.00028503375,0.00024855576,0.0001251405,0.00030308665],"domain_scores_gemma":[0.9991554,0.00004546882,0.00007077101,0.00040948717,0.00004864598,0.00027022485],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002702123,0.00018896142,0.0006518986,0.00015979794,0.00026260383,0.00004434366,0.0001639364,0.000035729045,0.0043703155],"category_scores_gemma":[0.000004599821,0.00014488178,0.0002066184,0.00016192251,0.00035615228,0.00023274975,0.000014933148,0.00009547391,0.000032637272],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015185272,0.0001727426,0.035649683,0.0018071479,0.0019799788,0.0000042101324,0.04270088,0.000009675624,0.000004119065,0.026579177,0.005505619,0.8855716],"study_design_scores_gemma":[0.00010885901,0.00012002094,0.005800438,0.0006902051,0.0019009737,0.0000024813035,0.002733295,0.00004269292,0.0000034996556,0.000055319422,0.9882781,0.00026415064],"about_ca_topic_score_codex":0.05649699,"about_ca_topic_score_gemma":0.84612036,"teacher_disagreement_score":0.98277247,"about_ca_system_score_codex":0.00009096119,"about_ca_system_score_gemma":0.00007403465,"threshold_uncertainty_score":0.99653983},"labels":[],"label_agreement":null},{"id":"W4380874304","doi":"10.3138/ctr.101.011","title":"“When My Cue Comes, Call Me”: Christopher Gaze – Vancouver’s Bard on the Beach","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gaze; Period (music); Quarter (Canadian coin); Visual arts; Art; Performance art; Taste; History; Art history; Aesthetics; Psychology; Archaeology; Psychoanalysis","score_opus":0.023900205958253835,"score_gpt":0.22039243700540556,"score_spread":0.19649223104715172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874304","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005357677,0.17904516,9.909496e-8,0.011173063,0.00050619285,0.00050521916,0.00015387694,0.000046400368,0.80803424],"genre_scores_gemma":[0.23155582,0.29453775,0.00002191018,0.10807025,0.0038702912,0.00037152442,0.00014042637,0.00016448168,0.36126757],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99865603,0.000110768364,0.00029591133,0.00025162112,0.00018221921,0.0005034563],"domain_scores_gemma":[0.9990176,0.00008638242,0.000048697595,0.00055615633,0.00004769426,0.0002434696],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029674207,0.00028412064,0.00046197043,0.000054646942,0.00078069634,0.00007567317,0.0003732198,0.000044357348,0.045136474],"category_scores_gemma":[0.000008191009,0.00016944263,0.00020967955,0.000058497324,0.00021953614,0.00010134957,0.000014001097,0.00026991055,0.0020932287],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000361208,0.000009592016,0.000032985896,0.00024646506,0.000055599816,0.000009787983,0.0028451101,8.106204e-7,7.2731105e-8,0.0067668427,0.84365267,0.14637646],"study_design_scores_gemma":[0.00009444561,0.000054506596,0.000025505064,0.0013021262,0.00009550484,0.000004104901,0.00036294822,0.0000023808177,0.0000010004661,0.00042165085,0.9973958,0.00024003633],"about_ca_topic_score_codex":0.059345894,"about_ca_topic_score_gemma":0.6803526,"teacher_disagreement_score":0.6210068,"about_ca_system_score_codex":0.00015506492,"about_ca_system_score_gemma":0.0001869359,"threshold_uncertainty_score":0.99868375},"labels":[],"label_agreement":null},{"id":"W4380874312","doi":"10.3138/ctr.118.015","title":"1: from <i>The Guide to Being Fabulous after You’ve Skinned Your Knees!</i>","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moral rights; Copyright law; Law; Political science; Core (optical fiber); Art; Media studies; Visual arts; Sociology; Intellectual property; Engineering; Telecommunications","score_opus":0.016460644213008496,"score_gpt":0.23757695826421546,"score_spread":0.22111631405120696,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874312","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014179389,0.41182014,0.000009048257,0.07287465,0.0018116162,0.0015178735,0.00090905034,0.00013417333,0.49674407],"genre_scores_gemma":[0.7209555,0.08256859,0.00022486631,0.17119603,0.009757067,0.00053136627,0.00014801913,0.00016401883,0.014454579],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986257,0.000042738127,0.0003486532,0.0002847067,0.00015586527,0.00054233405],"domain_scores_gemma":[0.9989757,0.000040028808,0.000050016046,0.00052439363,0.00007640239,0.00033347102],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001965657,0.00027066536,0.00040373084,0.0000640554,0.00055081927,0.0001326134,0.00034614003,0.000037748297,0.0025059027],"category_scores_gemma":[0.000018724077,0.00017798123,0.00019117253,0.000100034915,0.00010888574,0.00013140903,0.000046599806,0.00016587549,0.0018040886],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025542788,0.00003336683,0.0006538462,0.0007722003,0.00033393188,0.00019441955,0.09303974,0.000010183926,0.000004282149,0.014849665,0.49275783,0.397325],"study_design_scores_gemma":[0.00013909004,0.000038305912,0.000108402506,0.0024840403,0.00013948978,0.000005953547,0.0014294849,1.4717635e-7,0.0000061469505,0.0011091473,0.9942759,0.0002638688],"about_ca_topic_score_codex":0.19561736,"about_ca_topic_score_gemma":0.69118464,"teacher_disagreement_score":0.7067761,"about_ca_system_score_codex":0.00020787392,"about_ca_system_score_gemma":0.00025230483,"threshold_uncertainty_score":0.99897313},"labels":[],"label_agreement":null},{"id":"W4380874313","doi":"10.3138/ctr.101.007","title":"Caravan Farm Theatre: Orchestrated Anarchy and the Creative Process","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mainstream; Ideology; Immediacy; Political radicalism; Citizen journalism; Opposition (politics); Wright; Art; Aesthetics; Sociology; Visual arts; Media studies; Art history; History; Political science; Law; Politics; Philosophy","score_opus":0.023155375116265094,"score_gpt":0.24576642634900162,"score_spread":0.22261105123273653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874313","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004497987,0.22803228,6.617882e-8,0.00771106,0.000092500355,0.000680179,0.000107414184,0.000038959894,0.75883955],"genre_scores_gemma":[0.7078542,0.27102238,0.000003746194,0.0072596264,0.00059225294,0.00017740403,0.000041816893,0.000039649276,0.013008896],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988314,0.00014021859,0.00025875153,0.00023780689,0.00012062599,0.00041121768],"domain_scores_gemma":[0.99931574,0.00006913554,0.000045973942,0.00028394954,0.0000700686,0.00021514496],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031977354,0.0002467569,0.00045647784,0.00005747675,0.0008049764,0.000109714136,0.00021934522,0.000033525834,0.0048023034],"category_scores_gemma":[0.000006435542,0.00013620913,0.00010559283,0.00011152464,0.0008359549,0.00011568045,0.000009890908,0.00019772774,0.00018640043],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003889497,0.000011396653,0.00016073123,0.00093893334,0.00015300635,0.000013796439,0.024511715,0.0000012629989,9.773469e-8,0.014677185,0.009449804,0.9500432],"study_design_scores_gemma":[0.0003476228,0.000049692746,0.00007699786,0.0010309778,0.00017538204,0.00002078136,0.0025740939,0.000009156525,0.0000015767947,0.0013716674,0.9941331,0.00020893388],"about_ca_topic_score_codex":0.086988434,"about_ca_topic_score_gemma":0.4539237,"teacher_disagreement_score":0.98468333,"about_ca_system_score_codex":0.000047819736,"about_ca_system_score_gemma":0.00023165438,"threshold_uncertainty_score":0.99610746},"labels":[],"label_agreement":null},{"id":"W4380874314","doi":"10.3138/ctr.106.009","title":"<i>Uncertain Sacrifice:</i> Then and Now&gt;","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sacrifice; Salamander; Culmination; sort; Performance art; History; Art history; Art; Aesthetics; Archaeology; Computer science","score_opus":0.030300865294862693,"score_gpt":0.23641750908500492,"score_spread":0.20611664379014222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874314","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00122214,0.37103692,3.1129036e-7,0.0075226226,0.00021777296,0.0002468426,0.000057202044,0.00003445679,0.61966175],"genre_scores_gemma":[0.20641837,0.7528003,0.000017523811,0.018468602,0.0012177192,0.00006674201,0.000036177324,0.00004308963,0.02093151],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912894,0.00003788474,0.00019299772,0.00018825788,0.00008377035,0.00036813575],"domain_scores_gemma":[0.9993987,0.000032218522,0.000036808957,0.00024395366,0.000044524306,0.00024377822],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018878003,0.00017681572,0.00030956825,0.00006898834,0.0004585265,0.000075313525,0.0001354694,0.000026819063,0.0036735155],"category_scores_gemma":[0.000005452124,0.00012934601,0.0000775987,0.000056509292,0.00016380101,0.00013518069,0.000016686412,0.0001024664,0.00050997443],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006477138,0.000013840492,0.0012708317,0.0014410027,0.00009895537,0.0000687414,0.0070980764,2.5553516e-7,0.0000025374288,0.040475577,0.39524668,0.554277],"study_design_scores_gemma":[0.00007416342,0.000028128276,0.00005024145,0.000929946,0.00007134124,0.000031744315,0.0004883888,0.000002144372,7.38301e-7,0.00039705145,0.9977457,0.00018040693],"about_ca_topic_score_codex":0.022767013,"about_ca_topic_score_gemma":0.51638216,"teacher_disagreement_score":0.602499,"about_ca_system_score_codex":0.000049087805,"about_ca_system_score_gemma":0.00010368322,"threshold_uncertainty_score":0.99723727},"labels":[],"label_agreement":null},{"id":"W4380874318","doi":"10.3138/ctr.115.016","title":"Views &amp; Reviews","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Representation (politics); Narrative; Dramaturgy; Identity (music); Aesthetics; Focus (optics); Documentation; Sociology; History; Art; Visual arts; Literature; Law; Political science; Politics; Computer science","score_opus":0.08309192906653143,"score_gpt":0.27430082050494364,"score_spread":0.19120889143841222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874318","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000023677687,0.47687206,7.5123336e-7,0.0010938346,0.0003294482,0.0003461709,0.000020648064,0.000018166858,0.52129525],"genre_scores_gemma":[0.0036256458,0.93184435,0.000089968795,0.019067686,0.00062525115,0.00015784918,0.000035625464,0.00003782972,0.04451579],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875283,0.00015192025,0.0003817897,0.00020476287,0.00008536013,0.00042336134],"domain_scores_gemma":[0.99912125,0.000022848575,0.00007684971,0.00044851613,0.00004733305,0.00028317992],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005676924,0.00022186582,0.000546698,0.000080277736,0.00043381404,0.00005386096,0.00017026035,0.00002719332,0.021083903],"category_scores_gemma":[0.000039263017,0.00015612622,0.0002243606,0.000082717524,0.000111404,0.00012723247,0.000007962073,0.00013300088,0.0073683653],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.1852033e-7,0.0000075240964,0.00008264805,0.0015434115,0.000026249718,0.0000032895628,0.001854993,3.352145e-8,4.1141794e-7,0.06427499,0.7474138,0.18479224],"study_design_scores_gemma":[0.000047076177,0.000012728812,0.0000038890744,0.001961626,0.0000765791,0.000011166157,0.00008299293,4.2247276e-8,9.1491995e-7,0.0004135393,0.9971797,0.00020976459],"about_ca_topic_score_codex":0.009458858,"about_ca_topic_score_gemma":0.62802094,"teacher_disagreement_score":0.6185621,"about_ca_system_score_codex":0.000079920675,"about_ca_system_score_gemma":0.00016023553,"threshold_uncertainty_score":0.99713725},"labels":[],"label_agreement":null},{"id":"W4380874323","doi":"10.3138/ctr.117.004","title":"The Carlos Bulosan Cultural Workshop","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dictatorship; Politics; Performance art; Cultural politics; Movement (music); History; Media studies; Visual arts; Art history; Sociology; Art; Political science; Aesthetics; Law; Democracy","score_opus":0.03296272101490326,"score_gpt":0.25032157454029286,"score_spread":0.21735885352538958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874323","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009453511,0.4766769,2.0507466e-7,0.031882428,0.000631582,0.00036286647,0.000045745466,0.000043794782,0.48941112],"genre_scores_gemma":[0.4964529,0.47519046,0.000012296442,0.011599195,0.0023047584,0.00013012918,0.000036183606,0.000042013264,0.014232072],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991182,0.00002878744,0.00019781514,0.00013853535,0.000102305974,0.00041437265],"domain_scores_gemma":[0.99937123,0.00003846231,0.000039958813,0.0002926751,0.00006497217,0.00019268766],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015983493,0.00016302807,0.00022067889,0.000030087793,0.001297237,0.00014689895,0.0002516828,0.000023239845,0.0006957081],"category_scores_gemma":[0.000013954238,0.00008755459,0.00014123236,0.000059291233,0.00025506204,0.00013110628,0.000017492092,0.00014829138,0.0005775953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004426099,0.000012075998,0.00007052415,0.0007394406,0.00017171638,0.000028112776,0.014424403,0.0000038839626,6.6327374e-7,0.2621498,0.27772933,0.4446656],"study_design_scores_gemma":[0.00007412643,0.00001554423,0.000014514921,0.0011440177,0.000057501413,0.000009457768,0.0016362207,1.8543582e-7,0.0000017210059,0.00085270667,0.99605197,0.00014202861],"about_ca_topic_score_codex":0.039232302,"about_ca_topic_score_gemma":0.79246235,"teacher_disagreement_score":0.75323004,"about_ca_system_score_codex":0.00013261745,"about_ca_system_score_gemma":0.00020043371,"threshold_uncertainty_score":0.99774295},"labels":[],"label_agreement":null},{"id":"W4380874329","doi":"10.3138/ctr.112.001","title":"Passages on <i>Passages:</i> Some Reflections on the Creation of a Multimedia, Improvised, Jazz Opera","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Opera; Art; Visual arts; Mount; Art history; Performance art; Engineering","score_opus":0.0558763325103591,"score_gpt":0.2681264539118215,"score_spread":0.21225012140146238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874329","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016641448,0.07698139,2.7756403e-7,0.034602195,0.0005369852,0.0010074023,0.00029209422,0.000055116874,0.8848604],"genre_scores_gemma":[0.7589348,0.19971079,0.000012775762,0.021042751,0.0014524001,0.00031570686,0.000038059556,0.000057310426,0.018435406],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892086,0.00010298842,0.00029562777,0.00020269542,0.00016563472,0.0003121769],"domain_scores_gemma":[0.9991044,0.00016532067,0.00009370679,0.00042570234,0.00007354925,0.00013735329],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022306664,0.00021130292,0.00034166782,0.00012661549,0.00066396646,0.000052985964,0.00020789324,0.000040289782,0.004612592],"category_scores_gemma":[0.000034196608,0.00012740731,0.00017063353,0.000097310876,0.00020212917,0.0001315466,0.000012294797,0.00020910944,0.00067447807],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011501104,0.00013147351,0.00008720133,0.0011537791,0.00022351315,0.000008763084,0.014797327,0.0000073479287,0.000023707662,0.07959894,0.41436878,0.48958766],"study_design_scores_gemma":[0.000121713245,0.00019250001,0.000025605046,0.0015856148,0.00009698566,0.0000021886271,0.0006789397,0.000027694256,0.000039261424,0.00013107872,0.99693614,0.00016230502],"about_ca_topic_score_codex":0.013619299,"about_ca_topic_score_gemma":0.110720314,"teacher_disagreement_score":0.866425,"about_ca_system_score_codex":0.00010086955,"about_ca_system_score_gemma":0.000058843518,"threshold_uncertainty_score":0.9962973},"labels":[],"label_agreement":null},{"id":"W4380874336","doi":"10.3138/ctr.123.017","title":"Practical Ideas Aplenty in Pura’s Stages","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Visual arts; Mathematics education; Grounded theory; Pedagogy; Psychology; Art; Sociology; Qualitative research; Social science","score_opus":0.047017034028270455,"score_gpt":0.2916237260938273,"score_spread":0.24460669206555685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874336","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014895855,0.24388,4.3624559e-7,0.0637445,0.00026906907,0.00046107033,0.00009242657,0.00004254691,0.6900204],"genre_scores_gemma":[0.67272204,0.28625268,0.00012227806,0.016787898,0.0023328087,0.00013254165,0.000052430325,0.000054496773,0.021542858],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990072,0.000056249053,0.00026564082,0.00016981446,0.00010481722,0.00039624906],"domain_scores_gemma":[0.9994511,0.000044758628,0.000042031006,0.0002250752,0.00003545507,0.00020157266],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025711796,0.00015380998,0.0003074549,0.00010565431,0.0001891708,0.00005409278,0.00011733177,0.000027973678,0.010373712],"category_scores_gemma":[0.00002064496,0.000118686155,0.00008683556,0.00005754932,0.000102151746,0.00026651187,0.000016564545,0.0001746909,0.001033012],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000046042665,0.000036745172,0.0015265127,0.0011348438,0.0000492747,0.000034757813,0.004666112,0.0000010935404,3.0084448e-7,0.092414044,0.60046226,0.29966947],"study_design_scores_gemma":[0.00008482074,0.000019688168,0.00012168262,0.0009246099,0.000034353376,0.000010386666,0.00038999048,0.000003656503,0.0000011210283,0.00019450841,0.9980596,0.00015560823],"about_ca_topic_score_codex":0.039197814,"about_ca_topic_score_gemma":0.8444477,"teacher_disagreement_score":0.80524987,"about_ca_system_score_codex":0.0001532865,"about_ca_system_score_gemma":0.00024241798,"threshold_uncertainty_score":0.9997448},"labels":[],"label_agreement":null},{"id":"W4380874339","doi":"10.3138/ctr.134.011","title":"Re: Viewing Feminist Theatre in the (Re)Main(s)","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Historiography; Drama; Politics; Art; Political theatre; Mainstream; Performance studies; Literature; Media studies; Art history; History; Visual arts; Sociology; Political science; Law; Anthropology","score_opus":0.05917157504088967,"score_gpt":0.25111534275954317,"score_spread":0.1919437677186535,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874339","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013275873,0.24303077,1.2143938e-7,0.012198269,0.00028658024,0.0004867444,0.00008497375,0.000028862978,0.7425561],"genre_scores_gemma":[0.80920035,0.16124168,0.0000068899444,0.026568951,0.0009215679,0.000111531546,0.000028072787,0.00003310874,0.0018878551],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984656,0.00015440497,0.00038741445,0.00024555277,0.00019043642,0.0005565826],"domain_scores_gemma":[0.9991124,0.000117445015,0.00006486736,0.00051960984,0.000029414712,0.00015622075],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00055788044,0.0002611227,0.0004649128,0.00011632687,0.001020318,0.00006273496,0.0004546487,0.00004207528,0.0026472486],"category_scores_gemma":[0.000012455265,0.00016041212,0.00019373202,0.00016830498,0.0002924958,0.0001382921,0.000024169194,0.00028304578,0.00048687207],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000074491363,0.00004963837,0.0036156657,0.0019765967,0.0000932352,0.0004420598,0.13249093,0.0000012526394,3.6058958e-7,0.016187558,0.6708998,0.17423545],"study_design_scores_gemma":[0.000103400176,0.000035179048,0.0001378113,0.0016199617,0.00005312517,0.0000471755,0.006416227,0.0000013976857,5.467386e-7,0.0001860091,0.9911787,0.0002204546],"about_ca_topic_score_codex":0.037683394,"about_ca_topic_score_gemma":0.6614775,"teacher_disagreement_score":0.8078728,"about_ca_system_score_codex":0.00012282634,"about_ca_system_score_gemma":0.00027724734,"threshold_uncertainty_score":0.9982645},"labels":[],"label_agreement":null},{"id":"W4380874343","doi":"10.3138/ctr.124.021","title":"Stop, hey, what’s that sound, Everybody look what’s going down …","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Framing (construction); Visual arts; Art; Evening; Computer graphics (images); Media studies; Art history; History; Computer science; Sociology; Archaeology","score_opus":0.03593418337201236,"score_gpt":0.24262260329304478,"score_spread":0.20668841992103243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874343","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011303546,0.76974064,7.6312926e-7,0.015820306,0.0015929387,0.00052686903,0.00004589929,0.00008102665,0.21106121],"genre_scores_gemma":[0.17682812,0.7778593,0.00001781046,0.02445147,0.002489929,0.00008141296,0.000057272322,0.00005996421,0.018154735],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99825037,0.00007548757,0.00037021792,0.00034968552,0.0002189619,0.0007352938],"domain_scores_gemma":[0.9988299,0.000062023224,0.0001033429,0.000534273,0.000079542384,0.00039089133],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003538464,0.00035872884,0.00058193615,0.00015409058,0.00080023153,0.0008786551,0.00034637944,0.000060233444,0.008472237],"category_scores_gemma":[0.000007217101,0.0002849136,0.0002668368,0.00007687331,0.000215163,0.0025946198,0.000043596072,0.00024413265,0.0034367389],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004239687,0.000019052517,0.00032171299,0.0011596477,0.0001229278,0.000019065032,0.009319701,0.0000021078529,3.5113007e-7,0.008370732,0.13441521,0.8462452],"study_design_scores_gemma":[0.00013583348,0.00003630907,0.000028144077,0.0052837776,0.00013897406,0.000021952827,0.005736747,0.0000043849514,0.0000036235615,0.00036894425,0.9878571,0.0003842165],"about_ca_topic_score_codex":0.011635978,"about_ca_topic_score_gemma":0.6138096,"teacher_disagreement_score":0.8534419,"about_ca_system_score_codex":0.00028694814,"about_ca_system_score_gemma":0.00026956902,"threshold_uncertainty_score":0.9999603},"labels":[],"label_agreement":null},{"id":"W4380874347","doi":"10.3138/ctr.140.014","title":"“Cosmopolitanizing” Australia: Asian and Aboriginal Performance in Context","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenization; Cosmopolitanism; Context (archaeology); History; Sociology; Gender studies; Anthropology; Political science; Archaeology; Law; Politics","score_opus":0.030924294410224873,"score_gpt":0.2715262192124111,"score_spread":0.24060192480218623,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874347","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08785993,0.22419433,7.363688e-8,0.013471597,0.00030966604,0.00053539616,0.00006842318,0.000040762676,0.6735198],"genre_scores_gemma":[0.9208825,0.07303691,0.000005748087,0.0037090846,0.00025968673,0.000010813593,0.00000801085,0.000008279252,0.0020789697],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907744,0.00002594719,0.00023357738,0.00017577698,0.000074166855,0.00041309596],"domain_scores_gemma":[0.99954873,0.000010052207,0.000036561793,0.0001677247,0.000032083182,0.00020484765],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015750824,0.00017633707,0.00033363106,0.00012091046,0.00023240595,0.000054195527,0.00011451283,0.000030493173,0.0008698541],"category_scores_gemma":[0.0000027567041,0.00014257486,0.00004795666,0.00007108377,0.00012252585,0.00021536887,0.0000043226855,0.00016062547,0.00016985698],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000083414625,0.000022871343,0.007483687,0.0013813117,0.000030078707,0.00004818337,0.010605892,1.3905401e-7,6.8463015e-7,0.16188936,0.027852356,0.7906771],"study_design_scores_gemma":[0.00012693946,0.00009101536,0.00549118,0.002006244,0.000028967897,0.000016762453,0.0007154033,0.0000011341206,0.0000014155833,0.00038625748,0.99094933,0.00018532865],"about_ca_topic_score_codex":0.02466804,"about_ca_topic_score_gemma":0.4977377,"teacher_disagreement_score":0.963097,"about_ca_system_score_codex":0.00011047476,"about_ca_system_score_gemma":0.00011462568,"threshold_uncertainty_score":0.9818268},"labels":[],"label_agreement":null},{"id":"W4380874363","doi":"10.3138/ctr.135.020","title":"Devising Twenty-First Century Approaches to Actor Training in Central Canada","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Mirroring; Creativity; Rhetoric; Drama; Work (physics); Entertainment; Period (music); Visual arts; Aesthetics; Sociology; Art; Engineering; Psychology; Social psychology","score_opus":0.10884149938762587,"score_gpt":0.2179463587278106,"score_spread":0.10910485934018473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874363","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05830819,0.37203038,0.0000013438572,0.024701081,0.0022371202,0.0017366019,0.0004119907,0.00007574759,0.54049754],"genre_scores_gemma":[0.9591037,0.034564484,0.00002148392,0.004908427,0.000665008,0.00004019876,0.00003079667,0.00002929622,0.0006366192],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998541,0.00003917373,0.0003012381,0.00023341834,0.00014464796,0.0007404975],"domain_scores_gemma":[0.9992427,0.000034356653,0.000042251737,0.0002098187,0.000019805504,0.00045105378],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011778442,0.00021863662,0.00042933965,0.00011745587,0.00055823167,0.00003440211,0.00019620714,0.000025316634,0.0008175937],"category_scores_gemma":[0.0000128391775,0.00018415983,0.00008053117,0.00011916697,0.00007616043,0.00012455543,0.00001931938,0.00015752752,0.00003965605],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016190374,0.000035627618,0.013560747,0.0038112302,0.00017670049,0.00043211906,0.18609397,0.0000460002,4.6844139e-7,0.016112907,0.14368543,0.6360286],"study_design_scores_gemma":[0.000077453944,0.000013563493,0.0008560639,0.0017098524,0.000021750498,0.000016344375,0.0029968177,0.0000039014894,9.143263e-7,0.000010942293,0.9940525,0.00023985177],"about_ca_topic_score_codex":0.9155364,"about_ca_topic_score_gemma":0.9995622,"teacher_disagreement_score":0.9007955,"about_ca_system_score_codex":0.0005367994,"about_ca_system_score_gemma":0.0015505963,"threshold_uncertainty_score":0.89520776},"labels":[],"label_agreement":null},{"id":"W4380874366","doi":"10.3138/ctr.117.018","title":"Wild Theatre:The History of One Yellow Rabbit","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rabbit (cipher); Performance art; Art; Visual arts; Art history; Order (exchange); Subject (documents); History; Library science; Computer science","score_opus":0.035211387403704775,"score_gpt":0.20984924863398244,"score_spread":0.17463786123027766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874366","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00028419794,0.41379562,6.148736e-7,0.008409288,0.00073650497,0.00033014666,0.000048064034,0.000023810964,0.5763717],"genre_scores_gemma":[0.44160786,0.465971,0.000057185614,0.028153442,0.0025782653,0.00016487505,0.000049903156,0.00011978618,0.061297696],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989603,0.000046479177,0.00032433073,0.00016944736,0.0001513469,0.00034806583],"domain_scores_gemma":[0.9991767,0.00003671806,0.0000962921,0.00046243455,0.00006678597,0.00016106489],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002613657,0.00019059815,0.00043176673,0.00008320344,0.00024330386,0.000015745045,0.00030369527,0.000032963555,0.004520469],"category_scores_gemma":[0.0000064190162,0.0001250926,0.00021161954,0.000058511378,0.00048320135,0.00011174541,0.000020380468,0.00016483452,0.00046954633],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011621148,0.000077591445,0.00011843223,0.0037777324,0.00035042642,0.000018539038,0.02805039,0.0000067127485,0.000010952796,0.096566305,0.5343149,0.33669645],"study_design_scores_gemma":[0.0001412446,0.000051661576,0.000020350251,0.0020690095,0.0001605661,0.0000054832512,0.00043686904,2.599599e-7,0.000006770371,0.0007378229,0.99621147,0.00015848182],"about_ca_topic_score_codex":0.08229386,"about_ca_topic_score_gemma":0.47813046,"teacher_disagreement_score":0.5150741,"about_ca_system_score_codex":0.0004735049,"about_ca_system_score_gemma":0.00069734507,"threshold_uncertainty_score":0.9963895},"labels":[],"label_agreement":null},{"id":"W4380874368","doi":"10.3138/ctr.119.015","title":"“Serving the Whole”: An Interview with Ottawa Playwright Peter Froehlich","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Politics; The arts; Visual arts; Sociology; Media studies; Art history; History; Art; Literature; Law; Political science","score_opus":0.027682038240908223,"score_gpt":0.22878477186325155,"score_spread":0.20110273362234332,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874368","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003891163,0.37842834,0.0000070731544,0.04880627,0.0005446056,0.001051596,0.00018240449,0.00011431579,0.5669742],"genre_scores_gemma":[0.8222581,0.086643495,0.00011950574,0.07948563,0.0029902665,0.0003169123,0.00016182203,0.00015940802,0.007864811],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879396,0.00010442997,0.00027214226,0.00024184611,0.00013941413,0.00044818106],"domain_scores_gemma":[0.9990247,0.00002773371,0.00007068595,0.0005544406,0.00007786213,0.00024456804],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003862743,0.00025765054,0.000375119,0.00006821519,0.0008140371,0.00016086866,0.0004340176,0.000027258664,0.0024053254],"category_scores_gemma":[0.0000041052326,0.00013096955,0.00011926774,0.00008444643,0.000213639,0.0003172425,0.000026680416,0.00021819028,0.0005966712],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018680958,0.00011792585,0.00074789755,0.00776244,0.0007593448,0.00021431471,0.06992644,0.000022872733,0.0000033569543,0.16955255,0.14576063,0.60511357],"study_design_scores_gemma":[0.00014321746,0.00010995847,0.00012561354,0.004076789,0.00013713136,0.000034276884,0.0008206789,7.9345085e-7,0.0000021920637,0.00040401187,0.99391615,0.00022917497],"about_ca_topic_score_codex":0.036424227,"about_ca_topic_score_gemma":0.8737735,"teacher_disagreement_score":0.84815556,"about_ca_system_score_codex":0.00012305449,"about_ca_system_score_gemma":0.0002371251,"threshold_uncertainty_score":0.9985066},"labels":[],"label_agreement":null},{"id":"W4380874373","doi":"10.3138/ctr.117.005","title":"Cross-cultural Experiences in Activist Theatre","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theatre studies; Judaism; Presentation (obstetrics); Visual arts; Period (music); Opera; Gender studies; History; Media studies; Sociology; Art; Aesthetics; Drama; Medicine; Archaeology","score_opus":0.03495721452462057,"score_gpt":0.28444277541814833,"score_spread":0.24948556089352775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874373","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14374551,0.16464178,1.3285677e-7,0.005587531,0.0005928446,0.00043338924,0.000054177333,0.00005257407,0.68489206],"genre_scores_gemma":[0.9681616,0.027763603,0.000006179646,0.0022287148,0.00043827674,0.00012155142,0.000016094891,0.000016207274,0.0012477835],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889475,0.00002826903,0.00026688568,0.00023048512,0.00011996495,0.00045962626],"domain_scores_gemma":[0.9994653,0.000018379764,0.000046006557,0.0002332061,0.000052374726,0.000184748],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014997274,0.00021125533,0.0003534178,0.00009614301,0.000439255,0.00017413773,0.00023355818,0.000032952503,0.0030241946],"category_scores_gemma":[0.000007765948,0.00014582658,0.00012418447,0.00010194304,0.00039796747,0.0004722023,0.000018331397,0.00015218735,0.00033847385],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022577377,0.00010017886,0.0050002243,0.002902248,0.00012990972,0.00019154737,0.2729526,0.000021052527,0.0000058264413,0.072560795,0.016231125,0.6298819],"study_design_scores_gemma":[0.00018150582,0.000038290833,0.00024457212,0.0017288029,0.00001788556,0.000012182724,0.009490999,3.332853e-7,0.00001357135,0.00033906908,0.98769814,0.0002346632],"about_ca_topic_score_codex":0.10855087,"about_ca_topic_score_gemma":0.68848467,"teacher_disagreement_score":0.971467,"about_ca_system_score_codex":0.00021263077,"about_ca_system_score_gemma":0.0002391943,"threshold_uncertainty_score":0.9978872},"labels":[],"label_agreement":null},{"id":"W4380874376","doi":"10.3138/ctr.132.003","title":"<i>Adding it Up</i> Takes More Than Just Numbers","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"nobody; MAGIC (telescope); Negotiation; Creativity; Politics; Visual arts; Gender studies; Sociology; Art; Media studies; Art history; History; Law; Political science; Social science","score_opus":0.04436898755942682,"score_gpt":0.27249717010804014,"score_spread":0.22812818254861333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874376","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009778764,0.12199446,0.0000012006846,0.006801409,0.0009738449,0.00032318837,0.000109220506,0.00006050101,0.8687583],"genre_scores_gemma":[0.61941546,0.19929044,0.00010835065,0.06850963,0.006670927,0.00009220304,0.0002186839,0.00018683982,0.10550747],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864423,0.00002377595,0.00032907116,0.0002217683,0.00014959271,0.00063156633],"domain_scores_gemma":[0.9991416,0.00005432469,0.00007047902,0.00030996092,0.00007140552,0.0003522429],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00043119278,0.00023940856,0.000391031,0.00011733717,0.00062049495,0.00007622699,0.00022988499,0.000042054813,0.0033709123],"category_scores_gemma":[0.000011438335,0.00018838127,0.0001817288,0.000099173616,0.00019864939,0.00018621903,0.000014174881,0.00016997322,0.00067068887],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000067956116,0.000011866412,0.0010465148,0.0021020286,0.00014031146,0.000064478045,0.024931254,3.5340437e-7,0.0000015073291,0.039004758,0.6627593,0.26993084],"study_design_scores_gemma":[0.00007951096,0.00001853894,0.00007523769,0.0019732942,0.00010698684,0.00001538077,0.007022845,5.843758e-7,0.000005558679,0.00004605268,0.99040395,0.00025208047],"about_ca_topic_score_codex":0.06389552,"about_ca_topic_score_gemma":0.7576309,"teacher_disagreement_score":0.7632508,"about_ca_system_score_codex":0.00013048782,"about_ca_system_score_gemma":0.00015051414,"threshold_uncertainty_score":0.9975401},"labels":[],"label_agreement":null},{"id":"W4380874380","doi":"10.3138/ctr.124.019","title":"A Bracing Gust of <i>Faithless</i> Mirth: Azimuth Theatre","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bracing; History; Visual arts; Art; Art history; Brace; Engineering","score_opus":0.024316487218110788,"score_gpt":0.23187038000912716,"score_spread":0.20755389279101638,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874380","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018638389,0.29449278,6.6172174e-7,0.008594101,0.0002640115,0.00039518773,0.00023043231,0.00004621411,0.6941128],"genre_scores_gemma":[0.88137996,0.10245686,0.000067013425,0.009264538,0.0019883092,0.00004709929,0.000045147823,0.000056686404,0.004694362],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998642,0.000054413147,0.00043853815,0.00023319879,0.00016183277,0.00046998909],"domain_scores_gemma":[0.9990676,0.00005113996,0.00011728224,0.00042634443,0.00009165689,0.00024598264],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000261979,0.0002522843,0.00056606246,0.00013779948,0.00035896525,0.000043464443,0.0002725409,0.000041567506,0.0043827393],"category_scores_gemma":[0.0000071137883,0.00019212386,0.00022854123,0.00010235662,0.0002066752,0.00023363571,0.000028621633,0.0001610502,0.00045786984],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000072353782,0.00003628015,0.0004324371,0.0031575407,0.00014859642,0.000010853816,0.008808058,0.000003822067,0.000010307558,0.023659555,0.14910002,0.81462526],"study_design_scores_gemma":[0.00012714214,0.00003985653,0.000018049483,0.0030160293,0.00013273727,0.000009520829,0.00078967406,0.0000044021517,0.00004684615,0.00010806652,0.9954774,0.00023031622],"about_ca_topic_score_codex":0.028925635,"about_ca_topic_score_gemma":0.54543465,"teacher_disagreement_score":0.8795161,"about_ca_system_score_codex":0.000095632204,"about_ca_system_score_gemma":0.0002416073,"threshold_uncertainty_score":0.9965274},"labels":[],"label_agreement":null},{"id":"W4380874386","doi":"10.3138/ctr.140.002","title":"The Peripatetic Audience","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Argument (complex analysis); Context (archaeology); Theatre studies; Meaning (existential); Visual arts; Audience reception; Audience response; Period (music); Postmodern theatre; Aesthetics; Art; Event (particle physics); Media studies; Sociology; History; Literature; Drama; Epistemology; Postmodernism; Engineering; Philosophy","score_opus":0.02511312605828871,"score_gpt":0.23627531736237756,"score_spread":0.21116219130408884,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874386","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021718492,0.35721463,1.4074645e-7,0.024890449,0.00029654978,0.00018754786,0.000012127414,0.000025388877,0.61715597],"genre_scores_gemma":[0.5773448,0.39164957,0.000004666693,0.017584,0.000738638,0.000030916628,0.000005627027,0.000012180462,0.012629635],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992793,0.000028356044,0.00015590187,0.00011237196,0.000079228645,0.00034480912],"domain_scores_gemma":[0.9994962,0.000029572997,0.000030772466,0.0002571374,0.000042972253,0.0001433386],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018257376,0.00011412908,0.00016610711,0.000026827558,0.0011150839,0.0000900401,0.0002231925,0.000011867146,0.00097224966],"category_scores_gemma":[0.00001054526,0.00006335899,0.000083612285,0.000045269444,0.0001649885,0.000080515994,0.000006785281,0.000087337714,0.0005293553],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.896171e-7,0.0000031244263,0.000023106304,0.00011706201,0.000012678525,0.000005931943,0.002348357,1.0976734e-7,2.9560238e-7,0.07560932,0.12191266,0.7999664],"study_design_scores_gemma":[0.000022967852,0.000039823204,0.00010732432,0.0005476686,0.000027475624,0.000005422005,0.00031844337,0.0000014353305,6.681743e-7,0.00095766864,0.99787277,0.00009835816],"about_ca_topic_score_codex":0.0063830293,"about_ca_topic_score_gemma":0.2924809,"teacher_disagreement_score":0.8759601,"about_ca_system_score_codex":0.00005222051,"about_ca_system_score_gemma":0.0001141291,"threshold_uncertainty_score":0.999941},"labels":[],"label_agreement":null},{"id":"W4380874387","doi":"10.3138/ctr.115.001","title":"Canadian Theatre and Monuments","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Shadow (psychology); Power (physics); Art; Value (mathematics); History; Art history; Theatre studies; Visual arts; Drama","score_opus":0.021991141291169337,"score_gpt":0.22299123079648056,"score_spread":0.20100008950531123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874387","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011952643,0.24762125,8.477132e-8,0.005018222,0.0003437807,0.00034993267,0.00013713916,0.000022556747,0.7453118],"genre_scores_gemma":[0.74095976,0.21909343,0.00002759198,0.018126635,0.000520298,0.0000966704,0.000051982952,0.00007169805,0.021051954],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988015,0.00006568757,0.00021862709,0.00023305969,0.00009303555,0.0005880767],"domain_scores_gemma":[0.99887604,0.00002158225,0.000035206678,0.00028641996,0.00004586551,0.0007349076],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021937529,0.0002297004,0.00034325823,0.00015842005,0.00069871463,0.000097171054,0.00013478645,0.000041202664,0.005322783],"category_scores_gemma":[0.000008404168,0.00018124064,0.00008464441,0.00006978963,0.00010128521,0.00015185664,0.000008923359,0.0001331911,0.00047198025],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000027167773,0.000018555655,0.00747708,0.002125053,0.0002701477,0.00009721299,0.009585934,4.2549905e-7,7.929088e-7,0.13806781,0.32602388,0.5163304],"study_design_scores_gemma":[0.00008731766,0.000025195872,0.000055658762,0.0007744384,0.00007785781,0.000020948983,0.00059154606,6.447134e-7,0.0000015932877,0.0007198565,0.99741495,0.00023001805],"about_ca_topic_score_codex":0.80999273,"about_ca_topic_score_gemma":0.99516064,"teacher_disagreement_score":0.73976445,"about_ca_system_score_codex":0.00028795953,"about_ca_system_score_gemma":0.0005715904,"threshold_uncertainty_score":0.9955865},"labels":[],"label_agreement":null},{"id":"W4380874399","doi":"10.3138/ctr.132.009","title":"Views and Reviews","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Champion; Gender studies; Cynicism; White (mutation); Power (physics); Gender equity; Gender inequality; Sociology; Inequality; Political science; Politics; Law","score_opus":0.05668320932788683,"score_gpt":0.2702056356128526,"score_spread":0.21352242628496576,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874399","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014246455,0.56363225,8.986968e-7,0.0014810731,0.00018068944,0.0002895922,0.000012445253,0.000014045431,0.43424657],"genre_scores_gemma":[0.01600098,0.95761484,0.000041700816,0.01670414,0.0009676162,0.000029555722,0.000014424555,0.000022330336,0.008604439],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991118,0.00003179491,0.00030547133,0.00015168697,0.000058083264,0.0003412044],"domain_scores_gemma":[0.9994062,0.000028005832,0.000054120763,0.00021495958,0.000029253,0.0002674654],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00076783274,0.00015308363,0.00038617494,0.00007843082,0.00032402825,0.000036647023,0.00009921986,0.000021236929,0.002467003],"category_scores_gemma":[0.000011816938,0.00010614316,0.00009082026,0.00004946836,0.00012900963,0.000104134095,0.000013722829,0.00009598551,0.0006394033],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.687381e-7,0.0000028719805,0.0001733786,0.0013318298,0.0000138358555,0.0000075345943,0.001989794,2.2022708e-9,4.817875e-7,0.014966224,0.14877263,0.83274055],"study_design_scores_gemma":[0.000039664556,0.000019692867,0.00007504349,0.0018359278,0.000054273638,0.000011315053,0.00017925602,1.1587153e-7,0.0000011891893,0.00015738401,0.9974845,0.00014160614],"about_ca_topic_score_codex":0.013141084,"about_ca_topic_score_gemma":0.6656775,"teacher_disagreement_score":0.8487119,"about_ca_system_score_codex":0.000043185104,"about_ca_system_score_gemma":0.000048852336,"threshold_uncertainty_score":0.99844486},"labels":[],"label_agreement":null},{"id":"W4380874406","doi":"10.3138/ctr.115.011","title":"Politics and Plays","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Politics; Performance art; Art; Art history; Visual arts; Law; Political science","score_opus":0.028666618503794563,"score_gpt":0.2299149482639185,"score_spread":0.20124832976012394,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874406","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007651859,0.2698345,1.586048e-7,0.001859581,0.00015941574,0.00012786746,0.000045654357,0.000014290649,0.72719336],"genre_scores_gemma":[0.6365274,0.3278579,0.000037055856,0.017674526,0.0005603968,0.000038300528,0.000018109662,0.00003961521,0.017246665],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994514,0.00002790796,0.000117277465,0.00009979254,0.00004366821,0.00025998423],"domain_scores_gemma":[0.99960196,0.000019831987,0.000018241666,0.00013574424,0.000025747464,0.00019849015],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010607771,0.00010235495,0.0001869781,0.000045698762,0.00033833284,0.000036947316,0.00005031362,0.000015597705,0.0023263514],"category_scores_gemma":[0.000009599311,0.000078220415,0.000041126725,0.00002328743,0.00011392675,0.00006382137,0.0000048936486,0.00006260852,0.00019042684],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[2.2773712e-7,0.000003875394,0.00044709822,0.0009603285,0.00003296149,0.000008436885,0.0023867404,3.222614e-8,1.6504524e-7,0.88974994,0.07349984,0.03291032],"study_design_scores_gemma":[0.000040903997,0.000015366388,0.000021510281,0.00050450396,0.000042127736,0.0000144060605,0.0003558487,2.377211e-7,0.000001594059,0.0012306913,0.9976662,0.00010664423],"about_ca_topic_score_codex":0.016116546,"about_ca_topic_score_gemma":0.25004724,"teacher_disagreement_score":0.9241663,"about_ca_system_score_codex":0.00003284473,"about_ca_system_score_gemma":0.00011130794,"threshold_uncertainty_score":0.99858564},"labels":[],"label_agreement":null},{"id":"W4380874410","doi":"10.3138/ctr.131.011","title":"Fathom","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Law; Copyright law; Moral rights; History; Art; Political science; Sociology; Intellectual property","score_opus":0.031282935853217175,"score_gpt":0.24663304196238114,"score_spread":0.21535010610916397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874410","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003549229,0.21103437,0.0000018241219,0.002167321,0.00038690044,0.00016455517,0.000029468267,0.000033791846,0.78582686],"genre_scores_gemma":[0.7017684,0.21772385,0.0000739784,0.03992252,0.004457089,0.000039701863,0.00006835078,0.00007824933,0.03586786],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924284,0.0000129478785,0.00018483572,0.00011608729,0.00007475966,0.00036853962],"domain_scores_gemma":[0.99947953,0.000026143798,0.000028765353,0.00019717192,0.0000425313,0.00022582797],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003366426,0.00011660025,0.00020818588,0.00008108493,0.00032673433,0.00003187597,0.0001253311,0.000019101237,0.0049565486],"category_scores_gemma":[0.000005753261,0.000087537985,0.000092063536,0.000047739584,0.00009799009,0.00008518094,0.000009266325,0.00008637561,0.0011021303],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017765268,0.000006409059,0.0003367855,0.0007738018,0.000037673555,0.000034623048,0.0034286699,3.623628e-8,7.2971795e-7,0.08007373,0.16970949,0.7455963],"study_design_scores_gemma":[0.000036211666,0.000016182492,0.00008475857,0.00070961314,0.000035735065,0.000006819525,0.00039277138,1.6162048e-7,0.0000031660352,0.00023987259,0.99835134,0.00012337648],"about_ca_topic_score_codex":0.032103125,"about_ca_topic_score_gemma":0.73589575,"teacher_disagreement_score":0.82864183,"about_ca_system_score_codex":0.000064502536,"about_ca_system_score_gemma":0.000092457434,"threshold_uncertainty_score":0.99967563},"labels":[],"label_agreement":null},{"id":"W4380874411","doi":"10.3138/ctr.140.011","title":"The Honest Audience","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Front (military); Performance art; Art; Visual arts; Media studies; Art history; Sociology; Engineering","score_opus":0.02337216180415948,"score_gpt":0.23245167586888796,"score_spread":0.20907951406472847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874411","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00016479084,0.35151234,1.70763e-7,0.02948412,0.000335067,0.00018829716,0.000014666954,0.000026982401,0.61827356],"genre_scores_gemma":[0.44781935,0.5099533,0.0000062476443,0.025279172,0.0012720225,0.00003400532,0.000008546869,0.000014887927,0.015612463],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992967,0.000025215335,0.00015383377,0.00011071809,0.000079032536,0.00033447775],"domain_scores_gemma":[0.99948204,0.000035164936,0.000033412747,0.00026205345,0.000044405428,0.0001429035],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019090499,0.00011320299,0.00016716166,0.000027439284,0.0011221166,0.000086189946,0.00022926401,0.000012434794,0.000650951],"category_scores_gemma":[0.000010249544,0.00006289891,0.00008164931,0.000050914503,0.00015555623,0.00009280609,0.0000068476866,0.000087691325,0.00063133665],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.785634e-7,0.0000030949507,0.000031200434,0.00009224385,0.000012124012,0.000005587516,0.0015267546,7.7874404e-8,2.2963219e-7,0.09354923,0.18374446,0.7210341],"study_design_scores_gemma":[0.000024011673,0.000032872496,0.00013675509,0.0005329065,0.000025201658,0.000005548662,0.00024418256,7.444524e-7,7.726729e-7,0.0010139985,0.9978849,0.00009804962],"about_ca_topic_score_codex":0.009181386,"about_ca_topic_score_gemma":0.42329803,"teacher_disagreement_score":0.8141405,"about_ca_system_score_codex":0.00004637148,"about_ca_system_score_gemma":0.00011554464,"threshold_uncertainty_score":0.99741656},"labels":[],"label_agreement":null},{"id":"W4380874413","doi":"10.3138/ctr.140.007","title":"Walterdale Theatre Associates and the In(ter)vention of the Audience","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mainstream; Globe; Performance art; Media studies; Visual arts; Art; Position (finance); Advertising; History; Sociology; Art history; Political science; Psychology; Law; Business","score_opus":0.015001807046780271,"score_gpt":0.22235600477348658,"score_spread":0.2073541977267063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874413","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.039069455,0.47234848,2.1603634e-7,0.053414896,0.00043973216,0.0010655834,0.000075835065,0.000018890129,0.43356693],"genre_scores_gemma":[0.9330775,0.063023634,0.0000014449845,0.0029420296,0.000120574354,0.000014143845,0.000001975184,0.000005030601,0.0008136555],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992316,0.000107113265,0.00023702628,0.00011221074,0.00009215194,0.00021991448],"domain_scores_gemma":[0.999549,0.000060423154,0.00008763976,0.00022336147,0.000032155996,0.000047444875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041324398,0.000113546455,0.00029330768,0.00004053941,0.00033063584,0.0000313103,0.0002009285,0.000019439854,0.00019219072],"category_scores_gemma":[0.0000136187,0.000053893677,0.00011881079,0.00008377512,0.00030806265,0.00009098963,0.000019494062,0.000121983336,0.0000113267415],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021377447,0.000038664435,0.009513271,0.0013184133,0.000091213304,0.000004518492,0.028201891,0.000001731244,0.000004356148,0.17246875,0.018671516,0.7696643],"study_design_scores_gemma":[0.00051289797,0.00006304809,0.009703518,0.0045749824,0.00015384512,0.000007967477,0.0013384374,0.000010316119,0.000010667393,0.011115862,0.9723099,0.00019855567],"about_ca_topic_score_codex":0.017903937,"about_ca_topic_score_gemma":0.2806756,"teacher_disagreement_score":0.9536384,"about_ca_system_score_codex":0.00004650137,"about_ca_system_score_gemma":0.0000732551,"threshold_uncertainty_score":0.9886359},"labels":[],"label_agreement":null},{"id":"W4380874416","doi":"10.3138/ctr.122.009","title":"Lyle Victor Albert’s After <i>Shave: Scraping the Surface</i> through Theatre Anthropology","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Art; Performing arts; Style (visual arts); Performance art; Identity (music); Art history; Visual arts; Aesthetics","score_opus":0.023696588604049957,"score_gpt":0.2522841590631145,"score_spread":0.22858757045906455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874416","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014251703,0.47855532,0.0000011367397,0.07388879,0.00059811305,0.0005981027,0.00017587851,0.00006286789,0.4446946],"genre_scores_gemma":[0.60865265,0.3112706,0.00006796411,0.064023405,0.003432747,0.00014929878,0.000049256458,0.0001010443,0.012253039],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981744,0.00012757066,0.000424577,0.00034063624,0.0001630217,0.0007697898],"domain_scores_gemma":[0.9989086,0.000097791555,0.00009144424,0.0006235069,0.000078596844,0.00020007176],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025730062,0.0003648813,0.0005562074,0.00004427596,0.001079572,0.000111790476,0.0004071214,0.00006843777,0.016953707],"category_scores_gemma":[0.000006186623,0.00022214558,0.00025845447,0.000106437175,0.0007123719,0.00035483038,0.000055958986,0.00027594646,0.0015989974],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020942558,0.000047455862,0.00095222844,0.0013206077,0.00032359242,0.000036146113,0.03286491,0.000009583144,0.0000032430908,0.01967919,0.695706,0.24903606],"study_design_scores_gemma":[0.00012398802,0.000040856947,0.000029482355,0.0012768931,0.0001404004,0.000025860318,0.0014318811,0.0000058156534,0.000009955425,0.00021786062,0.9963847,0.00031233885],"about_ca_topic_score_codex":0.04665168,"about_ca_topic_score_gemma":0.69579935,"teacher_disagreement_score":0.6491476,"about_ca_system_score_codex":0.00016959265,"about_ca_system_score_gemma":0.0002717967,"threshold_uncertainty_score":0.99917835},"labels":[],"label_agreement":null},{"id":"W4380874417","doi":"10.3138/ctr.140.008","title":"Vancouver Theatre and Its Audiences: A Critical Conversation","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Perspective (graphical); Performance art; Sociology; Art history; Art; Media studies; Visual arts; Aesthetics; Communication","score_opus":0.02761023240289313,"score_gpt":0.2514398347521703,"score_spread":0.22382960234927718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874417","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009980678,0.34348458,8.2321174e-7,0.020497339,0.00066595565,0.0004153662,0.000078498924,0.000056730776,0.63380265],"genre_scores_gemma":[0.913666,0.07415445,0.000008044053,0.01054633,0.0004862892,0.000009705601,0.0000073506694,0.000009793208,0.0011120049],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991539,0.000037496215,0.00019088911,0.00019161646,0.00009922956,0.00032686957],"domain_scores_gemma":[0.999474,0.000050945102,0.000028974104,0.00014089837,0.00007061579,0.00023456488],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015381952,0.00015970392,0.0002809386,0.00007096485,0.00039784555,0.000057107896,0.000099286626,0.000030383808,0.0019607022],"category_scores_gemma":[0.000017651797,0.00011830259,0.00006812581,0.00005028473,0.00013520397,0.00025644878,0.000008379306,0.00010006525,0.00016596752],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000867189,0.000027890672,0.00015219691,0.0020365433,0.00006200077,0.00003705128,0.017483767,4.1401867e-7,0.0000029348123,0.17881657,0.20930852,0.5920634],"study_design_scores_gemma":[0.00008069158,0.00008828534,0.000053816384,0.0012343177,0.00008756855,0.0000069255293,0.001049654,0.000015731308,0.000002542799,0.0016712116,0.9955308,0.00017849503],"about_ca_topic_score_codex":0.0038089585,"about_ca_topic_score_gemma":0.22612002,"teacher_disagreement_score":0.912668,"about_ca_system_score_codex":0.00005611756,"about_ca_system_score_gemma":0.00011350471,"threshold_uncertainty_score":0.9989516},"labels":[],"label_agreement":null},{"id":"W4380874418","doi":"10.3138/ctr.118.017","title":"3: from <i>The Language of the Heart</i>","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moral rights; Guild; Law; Copyright law; History; Media studies; Intellectual property; Political science; Sociology","score_opus":0.017858268224498552,"score_gpt":0.2242291616857066,"score_spread":0.20637089346120807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874418","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023593633,0.6661554,2.0995651e-7,0.070094325,0.0008879227,0.0005986269,0.0005664215,0.000026117521,0.23807734],"genre_scores_gemma":[0.9465518,0.021926478,0.000008958308,0.02823656,0.0013583913,0.000024964987,0.000015582777,0.00002054433,0.0018567353],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947184,0.00003608192,0.00015181619,0.000084545485,0.00008417505,0.00017154454],"domain_scores_gemma":[0.9994731,0.0000368427,0.000040713334,0.00036460438,0.00002498392,0.000059779126],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000108666645,0.00009273927,0.00018996761,0.000012200299,0.00030676814,0.000020334148,0.00025501507,0.000014043962,0.0011730314],"category_scores_gemma":[0.000008686396,0.000043531152,0.00014012569,0.000050196573,0.00019209707,0.000044634246,0.000020958227,0.000094505805,0.00015059755],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005717899,0.000039054827,0.001934758,0.0015089416,0.00027096906,0.000011322882,0.1364309,0.000006443264,0.0000416662,0.0827158,0.60862315,0.16841125],"study_design_scores_gemma":[0.000062144456,0.000008703912,0.00017563399,0.0014521625,0.00006120527,0.0000020270004,0.0017407506,5.6099907e-8,0.000035363537,0.0006438854,0.9957563,0.0000617631],"about_ca_topic_score_codex":0.3411319,"about_ca_topic_score_gemma":0.76633316,"teacher_disagreement_score":0.92295814,"about_ca_system_score_codex":0.000039089606,"about_ca_system_score_gemma":0.00016934719,"threshold_uncertainty_score":0.99974},"labels":[],"label_agreement":null},{"id":"W4380874423","doi":"10.3138/ctr.117.002","title":"In This Moment: The Evolution of “Theatre for Living”","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mandate; Visual arts; Moment (physics); Perception; Performance art; Aesthetics; Media studies; Sociology; Art; Art history; Political science; Psychology; Law","score_opus":0.021439064395945853,"score_gpt":0.23393019088450923,"score_spread":0.2124911264885634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874423","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001701157,0.50249237,0.000010359677,0.02183516,0.00065240014,0.0015395684,0.00024359339,0.000023096809,0.47150227],"genre_scores_gemma":[0.93129826,0.059437074,0.000025526353,0.0034847222,0.0007280815,0.00025708307,0.0000114984305,0.000032313113,0.004725429],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992154,0.00003065259,0.0002657822,0.00012608567,0.00007862522,0.00028340347],"domain_scores_gemma":[0.9995196,0.000060918363,0.000063005056,0.00023588786,0.000051594514,0.00006903647],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032356707,0.00012729503,0.0002815538,0.00010051486,0.00025321665,0.000017803593,0.00018256508,0.000025073012,0.0012332192],"category_scores_gemma":[0.000009531239,0.00008035821,0.00013527395,0.000086012435,0.00014048231,0.00012271549,0.000013314091,0.00008141522,0.00006460971],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013852793,0.000086164284,0.00081553083,0.006495202,0.00016589806,0.0000061571063,0.043456864,0.000024526767,0.0000052958226,0.68711066,0.106173724,0.15564613],"study_design_scores_gemma":[0.00011835397,0.000056301145,0.000051109088,0.0030208258,0.000060331506,0.00000277415,0.0012417187,0.000001787305,0.0000035151393,0.00322132,0.9921165,0.00010544414],"about_ca_topic_score_codex":0.14459461,"about_ca_topic_score_gemma":0.6797224,"teacher_disagreement_score":0.92959714,"about_ca_system_score_codex":0.00033101038,"about_ca_system_score_gemma":0.000305583,"threshold_uncertainty_score":0.9996798},"labels":[],"label_agreement":null},{"id":"W4380874425","doi":"10.3138/ctr.137.017","title":"A Review of <i>Ironic to Ironic: The Performance Works of Tanya Mars</i>","year":2009,"lang":"en","type":"review","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; The arts; Subject (documents); Publishing; Art history; Performance art; Mars Exploration Program; Visual arts; Art; History; Literature; Library science; Computer science","score_opus":0.03493799423325466,"score_gpt":0.2674977298411335,"score_spread":0.23255973560787885,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874425","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.8121286e-7,0.91739506,9.240688e-8,0.001286715,0.00030595486,0.0025624256,0.00034580257,0.000018096971,0.07808558],"genre_scores_gemma":[0.0000053156177,0.9900736,0.000008165483,0.007599515,0.0005047432,0.00024413793,0.000090545356,0.00006707534,0.0014069101],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966572,0.00025951304,0.0016409289,0.0004217253,0.0003003267,0.0007203006],"domain_scores_gemma":[0.9972422,0.0001516569,0.00074753654,0.0013707852,0.00018629918,0.00030148172],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001024056,0.0007195018,0.0039734812,0.00023005462,0.00032406306,0.000037963724,0.0011882895,0.00012845373,0.002286502],"category_scores_gemma":[0.00003256121,0.00041409768,0.0012255216,0.00044063642,0.00031584885,0.00013722225,0.00008976272,0.00056533713,0.0003589487],"study_design_candidate":"systematic_review","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[5.6196745e-7,0.000007122901,2.330084e-7,0.30928382,0.00009615474,0.0000013145893,0.00016839945,5.300187e-8,1.2857092e-9,0.0005253085,0.06418743,0.62572956],"study_design_scores_gemma":[0.000023736606,0.000070902286,1.9220589e-7,0.45148808,0.001282873,0.000014344893,0.000023385663,6.7515884e-8,3.256144e-8,0.0000059065364,0.5468587,0.00023177137],"about_ca_topic_score_codex":0.0039054952,"about_ca_topic_score_gemma":0.044505745,"teacher_disagreement_score":0.6254978,"about_ca_system_score_codex":0.00026898962,"about_ca_system_score_gemma":0.0014239191,"threshold_uncertainty_score":0.9998311},"labels":[],"label_agreement":null},{"id":"W4380874427","doi":"10.3138/ctr.113.009","title":"Views &amp; Reviews","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Passion; Testimonial; Performing arts; The arts; Performance art; Quarter (Canadian coin); Art; Media studies; History; Sociology; Art history; Visual arts; Psychology; Advertising","score_opus":0.08309192906653143,"score_gpt":0.27430082050494364,"score_spread":0.19120889143841222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874427","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000023677687,0.47687206,7.5123336e-7,0.0010938346,0.0003294482,0.0003461709,0.000020648064,0.000018166858,0.52129525],"genre_scores_gemma":[0.0036256458,0.93184435,0.000089968795,0.019067686,0.00062525115,0.00015784918,0.000035625464,0.00003782972,0.04451579],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875283,0.00015192025,0.0003817897,0.00020476287,0.00008536013,0.00042336134],"domain_scores_gemma":[0.99912125,0.000022848575,0.00007684971,0.00044851613,0.00004733305,0.00028317992],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005676924,0.00022186582,0.000546698,0.000080277736,0.00043381404,0.00005386096,0.00017026035,0.00002719332,0.021083903],"category_scores_gemma":[0.000039263017,0.00015612622,0.0002243606,0.000082717524,0.000111404,0.00012723247,0.000007962073,0.00013300088,0.0073683653],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.1852033e-7,0.0000075240964,0.00008264805,0.0015434115,0.000026249718,0.0000032895628,0.001854993,3.352145e-8,4.1141794e-7,0.06427499,0.7474138,0.18479224],"study_design_scores_gemma":[0.000047076177,0.000012728812,0.0000038890744,0.001961626,0.0000765791,0.000011166157,0.00008299293,4.2247276e-8,9.1491995e-7,0.0004135393,0.9971797,0.00020976459],"about_ca_topic_score_codex":0.009458858,"about_ca_topic_score_gemma":0.62802094,"teacher_disagreement_score":0.6185621,"about_ca_system_score_codex":0.000079920675,"about_ca_system_score_gemma":0.00016023553,"threshold_uncertainty_score":0.99713725},"labels":[],"label_agreement":null},{"id":"W4380874428","doi":"10.3138/ctr.140.009","title":"<i>Uqqudq, the Shelter:</i> Building a Space for Intercultural Exchange","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Visual arts; Space (punctuation); Performing arts; Front (military); Clothing; Art; Visitor pattern; Engineering; Media studies; Sociology; History; Archaeology; Computer science; Mechanical engineering","score_opus":0.03399279055426754,"score_gpt":0.2571216895048536,"score_spread":0.22312889895058605,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874428","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010454541,0.5412423,0.000008289988,0.105163634,0.0008504587,0.0014818344,0.00020129526,0.000077745055,0.34992898],"genre_scores_gemma":[0.65597886,0.20968625,0.00013758628,0.10845285,0.0061178054,0.0003819433,0.000079078796,0.00006646122,0.01909914],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991351,0.00003147496,0.00018811457,0.00016609993,0.000073264564,0.00040596587],"domain_scores_gemma":[0.99945486,0.000044508506,0.000049659317,0.00024929497,0.000064943204,0.00013676102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022857999,0.00018360888,0.0002862738,0.000046575555,0.00065812055,0.000110512716,0.00025436206,0.00002266064,0.0007249163],"category_scores_gemma":[0.0000110419205,0.00010251021,0.00019521177,0.000051937517,0.00009286922,0.00014449994,0.00001266511,0.00010690829,0.00008237895],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000051639413,0.0000069934085,0.000007993565,0.0008251283,0.000047793816,0.00000358334,0.013463406,2.2539774e-7,0.000004910676,0.05565776,0.46403164,0.4659454],"study_design_scores_gemma":[0.00008279292,0.000074732845,0.000009571188,0.0013501334,0.0000909128,0.000009566684,0.00095282483,0.0000037645289,0.0000067518363,0.0007038608,0.9965543,0.0001607827],"about_ca_topic_score_codex":0.00786123,"about_ca_topic_score_gemma":0.20395148,"teacher_disagreement_score":0.65493345,"about_ca_system_score_codex":0.00007823079,"about_ca_system_score_gemma":0.00006208024,"threshold_uncertainty_score":0.9987455},"labels":[],"label_agreement":null},{"id":"W4380874432","doi":"10.3138/ctr.120.016","title":"Witnessing the Workshop Process of Judith Thompson’s Capture Me: Mothers, Masks and Monsters","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Character (mathematics); Studio; HAMLET (protein complex); Monster; Art; Shit; Art history; Visual arts; Adventure; Dead body; History; Literature; Archaeology","score_opus":0.02111287044681763,"score_gpt":0.24082596088348698,"score_spread":0.21971309043666937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874432","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014158273,0.6856833,0.0000034064924,0.030850109,0.00038576574,0.00080205355,0.0000998925,0.000039580522,0.26797763],"genre_scores_gemma":[0.9633681,0.032558765,0.000011453046,0.0029104345,0.00025406998,0.000028096649,0.000005970256,0.000022867269,0.00084024743],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992492,0.000029957451,0.00020305018,0.0001524962,0.00010199969,0.00026327366],"domain_scores_gemma":[0.999499,0.000028638473,0.00008380951,0.00022433771,0.00004850606,0.00011568263],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016379108,0.00017029277,0.0003227208,0.00005273345,0.0004252446,0.000057517427,0.00016732397,0.000032323453,0.00030802848],"category_scores_gemma":[0.0000057026073,0.0000982377,0.00007233792,0.00007455326,0.00039042134,0.00011433475,0.000014049096,0.00013967321,0.00001069248],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002767909,0.00006402401,0.0024425467,0.014311477,0.0007525232,0.000046068933,0.38640982,0.00010902453,0.0000068772392,0.09105922,0.027126055,0.47764468],"study_design_scores_gemma":[0.0002753813,0.000035604015,0.00015566532,0.009746604,0.00035705286,0.00003396728,0.03347674,0.0000039151473,0.000009843515,0.0016902561,0.95387024,0.00034471296],"about_ca_topic_score_codex":0.012553761,"about_ca_topic_score_gemma":0.23607396,"teacher_disagreement_score":0.9492098,"about_ca_system_score_codex":0.000051948093,"about_ca_system_score_gemma":0.00020300885,"threshold_uncertainty_score":0.9940217},"labels":[],"label_agreement":null},{"id":"W4380874433","doi":"10.3138/ctr.127.fm","title":"Liveness and Mediatized Performance – Beyond Contradiction","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Liveness; Contradiction; Art; Meaning (existential); Opposition (politics); Aesthetics; Visual arts; Perception; Computer science; Philosophy; Epistemology","score_opus":0.012299977766862511,"score_gpt":0.19694069775066134,"score_spread":0.18464071998379883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874433","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038940754,0.42047375,5.421484e-7,0.0033586095,0.00054750714,0.0004448802,0.000097739074,0.00005835425,0.53607786],"genre_scores_gemma":[0.82852334,0.16583309,0.000008952327,0.0020523563,0.000997377,0.00005179079,0.00005248665,0.000018930084,0.0024616986],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929076,0.000028167684,0.00019780478,0.0001417312,0.000079305864,0.00026224836],"domain_scores_gemma":[0.99962765,0.00002843861,0.00004602677,0.00013419209,0.000044578286,0.00011912729],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015832466,0.00014125108,0.00027750374,0.000073242,0.00043189296,0.000049976665,0.00007272752,0.000025173591,0.000936987],"category_scores_gemma":[0.0000027474198,0.000109508175,0.00005057403,0.000040712952,0.0001528115,0.00016947102,0.000007943388,0.000078072546,0.00010218679],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013748348,0.000025544088,0.0075746877,0.0046539134,0.00010782632,0.000017946508,0.0036801891,0.0000018518332,0.0000070908723,0.07526858,0.10697303,0.8016756],"study_design_scores_gemma":[0.00015252069,0.00003085693,0.0012926578,0.0007483686,0.00007900817,0.000009893946,0.000107020925,0.000012834899,0.000004814141,0.00029846776,0.997112,0.0001515904],"about_ca_topic_score_codex":0.037586052,"about_ca_topic_score_gemma":0.3403157,"teacher_disagreement_score":0.8901389,"about_ca_system_score_codex":0.000051951323,"about_ca_system_score_gemma":0.00008865657,"threshold_uncertainty_score":0.9999763},"labels":[],"label_agreement":null},{"id":"W4380874441","doi":"10.3138/ctr.123.014","title":"Dramaturgy and a Collective Theatre","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Negotiation; Nothing; Privilege (computing); Sociology; Aesthetics; Art; Visual arts; Media studies; Law; Political science; Social science; Epistemology; Philosophy","score_opus":0.019239842586788528,"score_gpt":0.22506019340561037,"score_spread":0.20582035081882183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874441","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00064454065,0.30225396,1.4462435e-7,0.012481893,0.00013073871,0.00029686835,0.00006982196,0.000034486526,0.6840875],"genre_scores_gemma":[0.6220581,0.30421874,0.00007064606,0.027531387,0.0028336875,0.0001633883,0.000036957375,0.00007256784,0.043014508],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916786,0.000038404043,0.00018311258,0.00018863473,0.000080806225,0.0003411561],"domain_scores_gemma":[0.99944866,0.000039989445,0.000036951908,0.00019431603,0.000044639728,0.0002354637],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013675305,0.00018033554,0.00032786524,0.00009533957,0.00053160253,0.00007695373,0.00010743034,0.000030751704,0.0029430955],"category_scores_gemma":[0.0000044831295,0.00013342047,0.00008310242,0.00005858299,0.00017279536,0.0001621102,0.000018548684,0.00012163292,0.00033200026],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000450317,0.000010833486,0.00013406035,0.00066002447,0.000089289235,0.000008110541,0.009101516,2.8809913e-7,5.083535e-7,0.020313757,0.21306339,0.75661373],"study_design_scores_gemma":[0.000102779995,0.000034025365,0.000040766085,0.0009031219,0.00007553824,0.00001851918,0.00052522204,0.0000047461695,0.000002073919,0.00045005936,0.99766576,0.000177387],"about_ca_topic_score_codex":0.012813743,"about_ca_topic_score_gemma":0.4791287,"teacher_disagreement_score":0.7846024,"about_ca_system_score_codex":0.00013528744,"about_ca_system_score_gemma":0.00023722569,"threshold_uncertainty_score":0.9979684},"labels":[],"label_agreement":null},{"id":"W4380874444","doi":"10.3138/ctr.127.018","title":"A Tragedy, Defined Simply, Staged Dangerously","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Visual arts; Art; Front (military); Engineering; Literature; Mechanical engineering","score_opus":0.022722821274632894,"score_gpt":0.22065243413110203,"score_spread":0.19792961285646912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874444","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025636125,0.21643999,0.0000015173265,0.008070193,0.00035571645,0.00050666276,0.00027243962,0.00010871285,0.77168113],"genre_scores_gemma":[0.8383193,0.094523996,0.000065494554,0.024877638,0.0032955576,0.00021022874,0.00033695312,0.00011558836,0.038255215],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988382,0.000060067698,0.0002954184,0.00020910213,0.00011869214,0.0004785563],"domain_scores_gemma":[0.9993189,0.000040868636,0.00005896091,0.0003060483,0.000052517313,0.00022272725],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002219992,0.00021848019,0.0003857159,0.000105414256,0.0005900556,0.00008412219,0.00018676594,0.000032205713,0.005131318],"category_scores_gemma":[0.00000883445,0.00016977613,0.00016195347,0.00007854652,0.00014221076,0.00012910833,0.000013737582,0.00014235078,0.0006284228],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000043303207,0.000025797539,0.00052569754,0.0018229355,0.000068990725,0.0000690819,0.0025801843,0.0000013587713,0.000002556559,0.07309913,0.7697808,0.15201911],"study_design_scores_gemma":[0.00011620686,0.00003269835,0.00009341141,0.00057870627,0.00008908441,0.000011463844,0.00025405985,8.226473e-7,0.000002325812,0.0008181352,0.99777603,0.00022707654],"about_ca_topic_score_codex":0.2327098,"about_ca_topic_score_gemma":0.8980171,"teacher_disagreement_score":0.8357557,"about_ca_system_score_codex":0.00012090349,"about_ca_system_score_gemma":0.00022625965,"threshold_uncertainty_score":0.99577814},"labels":[],"label_agreement":null},{"id":"W4380874445","doi":"10.3138/ctr.132.fm","title":"Editorial","year":2007,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Presumption; Political theatre; Politics; History; Media studies; Gender studies; Political science; Sociology; Law","score_opus":0.016893003074134376,"score_gpt":0.2516058913890819,"score_spread":0.23471288831494752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874445","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[4.0168754e-8,0.1463365,3.717099e-8,0.00024458257,0.53407824,0.00023382725,0.0007208731,0.00003754462,0.31834835],"genre_scores_gemma":[0.0000015273482,0.19933346,0.0000019269544,0.0007289681,0.7884026,0.000036535053,0.0005856723,0.00006325615,0.010846068],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975964,0.000053508968,0.00049829273,0.0003845504,0.0007124724,0.0007548201],"domain_scores_gemma":[0.9981412,0.00026827707,0.00015753263,0.00053903996,0.0004565833,0.00043733808],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007613972,0.00048599968,0.0009183262,0.0002374211,0.0005549966,0.00014666539,0.000489957,0.00043437665,0.0054614134],"category_scores_gemma":[0.000119989796,0.0003880779,0.0003482042,0.000071764814,0.00023151227,0.00012797085,0.000037290283,0.0011160712,0.0024008527],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000030240744,0.000004229646,2.4987312e-7,0.0024001645,0.000081357895,0.000010020913,0.0006285559,8.8867536e-9,4.3816777e-9,0.00046909554,0.95968235,0.03672092],"study_design_scores_gemma":[0.00009234741,0.000047914822,5.8332553e-8,0.005385789,0.00029255444,7.0452387e-7,0.00010480287,2.8408813e-8,6.927871e-8,0.000075035096,0.9935429,0.00045775928],"about_ca_topic_score_codex":0.14307359,"about_ca_topic_score_gemma":0.76552254,"teacher_disagreement_score":0.622449,"about_ca_system_score_codex":0.0003585917,"about_ca_system_score_gemma":0.0017355687,"threshold_uncertainty_score":0.9998571},"labels":[],"label_agreement":null},{"id":"W4380874447","doi":"10.3138/ctr.132.013","title":"Required Reading","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ratification; Paragraph; Convention; Quarter (Canadian coin); History; Gender studies; Political science; Law; Sociology; Politics","score_opus":0.03899550661198912,"score_gpt":0.25792760950916127,"score_spread":0.21893210289717216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874447","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00040038864,0.1431057,0.0000018135436,0.002312662,0.00046092045,0.00019438712,0.0000243385,0.00004620798,0.8534536],"genre_scores_gemma":[0.76404774,0.17034295,0.00007506275,0.025935007,0.004130945,0.000037250673,0.000068264,0.00008289114,0.035279892],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990993,0.000016454149,0.00023230906,0.00013806624,0.00008404025,0.00042978732],"domain_scores_gemma":[0.99940735,0.000034795634,0.00004054209,0.00022672603,0.000047757374,0.00024281649],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004678645,0.00013068516,0.0002445623,0.0001044041,0.00039784744,0.000037869413,0.00013590581,0.000022913195,0.0031621628],"category_scores_gemma":[0.000010357045,0.00010171786,0.000096323354,0.00006216335,0.00010394996,0.00012828858,0.000010987462,0.00008930155,0.0008645699],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000035868761,0.0000066781313,0.00033106303,0.0011186545,0.000060306375,0.000051616717,0.005054206,5.1924772e-8,0.0000030958834,0.108562924,0.19059333,0.69421446],"study_design_scores_gemma":[0.000042273823,0.000018364715,0.00004683234,0.0012924491,0.000043569675,0.000008708155,0.00048200059,2.7996745e-7,0.0000063203406,0.0002870704,0.99763113,0.000140997],"about_ca_topic_score_codex":0.03273473,"about_ca_topic_score_gemma":0.56279874,"teacher_disagreement_score":0.8181737,"about_ca_system_score_codex":0.0001017304,"about_ca_system_score_gemma":0.000096794145,"threshold_uncertainty_score":0.9999134},"labels":[],"label_agreement":null},{"id":"W4380874448","doi":"10.3138/ctr.122.fm","title":"Editorial: Theatre as a Window on Disability","year":2005,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Window (computing); Visual arts; Art; Computer science; World Wide Web","score_opus":0.015054422805471838,"score_gpt":0.25647868916131383,"score_spread":0.241424266355842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874448","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000014849735,0.08386449,5.7164806e-9,0.002582859,0.58807015,0.0006670123,0.0015886836,0.00007881315,0.32314652],"genre_scores_gemma":[0.00008562684,0.14727023,0.0000014287814,0.0015076309,0.84260356,0.00017930793,0.0006702364,0.000116675226,0.0075653065],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99627703,0.00021361391,0.00075302256,0.00081986585,0.00092964,0.0010068074],"domain_scores_gemma":[0.99697286,0.00057078036,0.0002436239,0.0012764614,0.00028507915,0.00065120903],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007071637,0.0009133748,0.0015576541,0.00014700927,0.00088897865,0.0002548843,0.00080431555,0.0005834622,0.006954327],"category_scores_gemma":[0.000157289,0.0006862756,0.00068479986,0.000103580394,0.0006054045,0.00021633657,0.00006343669,0.0014959963,0.0042955084],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016168351,0.000034774628,0.0000036291842,0.002128572,0.00013745484,0.000006809476,0.00079542596,1.9661888e-7,1.3427533e-8,0.0006427678,0.90090746,0.095326744],"study_design_scores_gemma":[0.0002152349,0.00021617673,7.070316e-7,0.0077952035,0.00043812225,0.000001452376,0.00016952613,9.54058e-8,2.3605968e-7,0.00026933587,0.99014693,0.00074698887],"about_ca_topic_score_codex":0.12857817,"about_ca_topic_score_gemma":0.7016824,"teacher_disagreement_score":0.5731042,"about_ca_system_score_codex":0.000998157,"about_ca_system_score_gemma":0.0017546423,"threshold_uncertainty_score":0.99955887},"labels":[],"label_agreement":null},{"id":"W4380874449","doi":"10.3138/ctr.138.005","title":"A Master Playwright Festival? In Winnipeg?","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ticket; Performance art; Art; Subject (documents); Art history; Visual arts; History; Miller; Period (music); Aesthetics","score_opus":0.032616592658737106,"score_gpt":0.23423150023362926,"score_spread":0.20161490757489214,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874449","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012355027,0.17322057,1.773015e-7,0.016653348,0.0002243791,0.00033896096,0.000035521036,0.000030306068,0.8082612],"genre_scores_gemma":[0.87997055,0.05879425,0.000023797224,0.03997028,0.001270643,0.00004830915,0.000039809158,0.00003363242,0.019848753],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908894,0.000035854504,0.00024063422,0.00016799272,0.00008123597,0.00038532747],"domain_scores_gemma":[0.99953395,0.000017176437,0.00003300921,0.00022081737,0.000026624268,0.00016844504],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014723463,0.00016641167,0.00032716207,0.00013675934,0.00017823822,0.000046200043,0.00015228566,0.000027203627,0.0037050399],"category_scores_gemma":[0.000004814696,0.00012119359,0.000086154854,0.000078116806,0.000074175936,0.00015135956,0.000005209646,0.00013531125,0.00060685386],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000070345136,0.000028663957,0.0009349522,0.00073876005,0.00003018534,0.00011011687,0.0068607023,6.2341934e-7,0.0000011307134,0.047418833,0.16440836,0.77946067],"study_design_scores_gemma":[0.00010576965,0.00005196522,0.00060021266,0.0021129341,0.00002558877,0.000008397857,0.00018645862,0.0000014050285,0.0000011760271,0.00072702736,0.9960073,0.00017172021],"about_ca_topic_score_codex":0.015550389,"about_ca_topic_score_gemma":0.4812831,"teacher_disagreement_score":0.878735,"about_ca_system_score_codex":0.00009164607,"about_ca_system_score_gemma":0.00012743224,"threshold_uncertainty_score":0.99720573},"labels":[],"label_agreement":null},{"id":"W4380874460","doi":"10.3138/ctr.134.002","title":"Eating at the Buffet of Love: “Consummating” <i>Tony n’ Tina’s Wedding</i> in Vancouver","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Performance art; Cartography; Visual arts; Media studies; Humanities; Sociology; Geography","score_opus":0.027732384832473297,"score_gpt":0.2296681524026339,"score_spread":0.20193576757016063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874460","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029217964,0.21339443,1.4062691e-7,0.0024622607,0.0004846528,0.0005189416,0.000111826674,0.000017575847,0.7537922],"genre_scores_gemma":[0.80072594,0.1561597,0.000031213833,0.0063979127,0.0006463384,0.000053830627,0.000022070863,0.000055173205,0.03590783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988795,0.000068884685,0.0004002846,0.00016222982,0.00013027388,0.00035882145],"domain_scores_gemma":[0.99930453,0.00010762139,0.00013033536,0.00030638,0.000054307573,0.00009683213],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029002322,0.0001773087,0.0004157268,0.000077676705,0.00039294868,0.000012466759,0.00020442653,0.000028181723,0.003692431],"category_scores_gemma":[0.000025060252,0.00011393964,0.00012676878,0.000097844066,0.0003112483,0.000102264494,0.000041150342,0.0001503791,0.00028207822],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000971954,0.000027597096,0.017460573,0.0035586648,0.00009746467,0.000053915497,0.037180074,0.000007423313,0.0000066367843,0.0038507073,0.8574087,0.080338515],"study_design_scores_gemma":[0.0001146407,0.000023952802,0.00032826664,0.0026393426,0.000036360263,0.000014334643,0.0010846087,0.0000047952976,0.000009927662,0.000055448683,0.99553925,0.00014908572],"about_ca_topic_score_codex":0.06624117,"about_ca_topic_score_gemma":0.8614877,"teacher_disagreement_score":0.79524654,"about_ca_system_score_codex":0.00013189428,"about_ca_system_score_gemma":0.0001842238,"threshold_uncertainty_score":0.9972183},"labels":[],"label_agreement":null},{"id":"W4380874463","doi":"10.3138/ctr.134.014","title":"Assuming the Whore Position: Theatrical Performance and Prostitution","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subject (documents); Art; Period (music); Performance art; Field (mathematics); Sociology; History; Art history; Aesthetics","score_opus":0.029241177737546187,"score_gpt":0.21862891622833389,"score_spread":0.1893877384907877,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874463","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047032803,0.40686432,0.000001577356,0.022095403,0.0004759824,0.0009354498,0.000061982304,0.000072560666,0.5224599],"genre_scores_gemma":[0.8305755,0.16377507,0.0000067782107,0.0033182513,0.0006455557,0.000046422396,0.000014274372,0.000011011165,0.0016070978],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926037,0.000039693525,0.00017459267,0.00014775222,0.00010795383,0.00026961387],"domain_scores_gemma":[0.99955803,0.00003034012,0.00003658873,0.00019455912,0.000052332434,0.00012816966],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001701796,0.0001423638,0.00020787289,0.000050523264,0.0016672049,0.00004402594,0.000116037154,0.000025182582,0.00043101344],"category_scores_gemma":[0.0000056781187,0.00008276721,0.00006227063,0.00006663012,0.0003940236,0.0001937882,0.000018652589,0.00014625526,0.0001338889],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019797426,0.00003427834,0.011649313,0.0034691528,0.0001736005,0.00008602943,0.025378669,0.000002714011,0.000002934998,0.068421744,0.24485902,0.64590275],"study_design_scores_gemma":[0.000061910105,0.000045166875,0.0013758007,0.00081209134,0.00006350029,0.00018222752,0.0002235234,0.000013588929,0.0000022841364,0.000053615808,0.9970341,0.00013220837],"about_ca_topic_score_codex":0.0054558786,"about_ca_topic_score_gemma":0.029433029,"teacher_disagreement_score":0.78354275,"about_ca_system_score_codex":0.00006368444,"about_ca_system_score_gemma":0.00015408403,"threshold_uncertainty_score":0.9996325},"labels":[],"label_agreement":null},{"id":"W4380874464","doi":"10.3138/ctr.139.016","title":"Ripped Raw: Judith Thompson’s <i>Palace of the End</i> Leaves Audiences Shaken and Stirred","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Visual arts; Art; Performance art; Art history","score_opus":0.01887652727164524,"score_gpt":0.2210704224037229,"score_spread":0.20219389513207767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874464","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007707558,0.44192806,2.6451977e-7,0.041662917,0.00056324695,0.00068818615,0.00017078411,0.00003632568,0.5072427],"genre_scores_gemma":[0.89467484,0.095197245,0.000009640586,0.004974524,0.0003462725,0.000011181871,0.000004800293,0.000010341405,0.004771124],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990485,0.00006256267,0.00025105852,0.00017767645,0.00012818971,0.0003320433],"domain_scores_gemma":[0.9993781,0.000041659,0.00010172331,0.00028339715,0.00005149884,0.00014363357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022976717,0.00017635463,0.00038697573,0.00004868314,0.00048420686,0.00004604212,0.0002450394,0.000025802197,0.0007939417],"category_scores_gemma":[0.000016157897,0.00010241974,0.00011545601,0.00007971799,0.00037171142,0.00012267112,0.000023184977,0.00010812823,0.000024258232],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012145901,0.000033409724,0.0027348518,0.001712103,0.0001423127,0.0000077509785,0.018890671,0.0000017043145,0.000015554302,0.03845499,0.2196936,0.7183009],"study_design_scores_gemma":[0.00009551094,0.00006717289,0.0028274595,0.0017802609,0.00010809761,0.0000067430556,0.0006112886,0.0000026005061,0.00001600742,0.0007150341,0.9936136,0.00015621148],"about_ca_topic_score_codex":0.01156746,"about_ca_topic_score_gemma":0.34812668,"teacher_disagreement_score":0.8869673,"about_ca_system_score_codex":0.00003823989,"about_ca_system_score_gemma":0.00018019656,"threshold_uncertainty_score":0.9950146},"labels":[],"label_agreement":null},{"id":"W4380874465","doi":"10.3138/ctr.118.001","title":"Honouring the Word","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sister; Diaspora; Moral rights; Law; History; Media studies; Art; Political science; Art history; Intellectual property; Sociology","score_opus":0.028643041542131775,"score_gpt":0.2259217702782325,"score_spread":0.19727872873610072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874465","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014435494,0.34077427,6.0800534e-7,0.030477747,0.00047692866,0.00031936762,0.000027792506,0.000041068008,0.6264387],"genre_scores_gemma":[0.785112,0.18483235,0.000015031964,0.022094883,0.0020501178,0.00008333639,0.000012696161,0.000036190006,0.005763387],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937826,0.000018093746,0.0001407338,0.00010565021,0.00006893471,0.00028830676],"domain_scores_gemma":[0.9995571,0.00001649376,0.000028397564,0.00025134586,0.000027587712,0.00011911162],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014755511,0.00011612492,0.00017573407,0.000038984075,0.00064153614,0.00006154845,0.00019613562,0.000013170931,0.0016722272],"category_scores_gemma":[0.0000047527783,0.00006617587,0.000099123645,0.00004720726,0.00013127067,0.00008922305,0.000014355047,0.000111446614,0.00081936],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002182457,0.000012899134,0.00013389115,0.0012368874,0.0001236167,0.000029047293,0.016948463,0.000007752846,5.5323176e-7,0.21654646,0.08731887,0.67763937],"study_design_scores_gemma":[0.000054537893,0.000010634991,0.000043557968,0.0012329359,0.00004395991,0.000007623207,0.0005078027,1.14971456e-7,0.0000023996333,0.001214808,0.9967802,0.00010140975],"about_ca_topic_score_codex":0.05755087,"about_ca_topic_score_gemma":0.655442,"teacher_disagreement_score":0.9094613,"about_ca_system_score_codex":0.000088231696,"about_ca_system_score_gemma":0.00016921035,"threshold_uncertainty_score":0.99995863},"labels":[],"label_agreement":null},{"id":"W4380874467","doi":"10.3138/ctr.127.017","title":"Exposure in Liveness: Exposure in Liveness","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Liveness; Immediacy; Happening; Event (particle physics); Context (archaeology); Presentation (obstetrics); Media event; Witness; History; Performance art; Media studies; Visual arts; Art; Computer science; Sociology; Art history; Epistemology","score_opus":0.020946418790101683,"score_gpt":0.22168062148597478,"score_spread":0.2007342026958731,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874467","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05967212,0.62207264,2.1095394e-7,0.0020617796,0.00045092223,0.0006506087,0.00010389983,0.000038214064,0.31494957],"genre_scores_gemma":[0.9424075,0.053408265,0.0000053058047,0.0014568596,0.00059896946,0.00011759593,0.0000460945,0.000029378893,0.0019300344],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99858683,0.00010317734,0.00043462656,0.00025602084,0.0001136316,0.00050571945],"domain_scores_gemma":[0.99944425,0.000045109573,0.000060000617,0.00029224862,0.00004632424,0.00011204096],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003066634,0.00023957282,0.0005212918,0.00024848073,0.00017577996,0.00005628151,0.00022032455,0.000060104503,0.0016977366],"category_scores_gemma":[0.0000064589863,0.00020007306,0.00011257835,0.00016629636,0.00010673151,0.00019341768,0.00001942051,0.00019320627,0.00022326696],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003442297,0.00024697196,0.21270752,0.0118698925,0.00009600886,0.00073337794,0.020283539,0.000065708875,0.0000075892817,0.0798509,0.04449303,0.6296111],"study_design_scores_gemma":[0.00025105366,0.000051004354,0.008678679,0.0047992477,0.000028176742,0.0000069521825,0.0007839988,0.0000016146573,0.0000028800093,0.00061742397,0.98449117,0.00028778054],"about_ca_topic_score_codex":0.21369658,"about_ca_topic_score_gemma":0.9462966,"teacher_disagreement_score":0.93999815,"about_ca_system_score_codex":0.00018090366,"about_ca_system_score_gemma":0.00023367038,"threshold_uncertainty_score":0.9992148},"labels":[],"label_agreement":null},{"id":"W4380874472","doi":"10.3138/ctr.140.003","title":"Creating a BUZZ: Connecting Artist and Audience Development","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Marketing buzz; Visual arts; Media studies; Performance art; Art; Asha; Sociology; Art history; Advertising","score_opus":0.02826928544006483,"score_gpt":0.23993910556558892,"score_spread":0.2116698201255241,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874472","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011807727,0.26639867,0.0000025277257,0.004229922,0.00014543826,0.00030770575,0.0000138593405,0.00005731602,0.71703684],"genre_scores_gemma":[0.9576974,0.03277273,0.000209869,0.007035572,0.0003783292,0.000017804436,0.0000097802285,0.0000134367865,0.0018651118],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992499,0.0000188027,0.00020694797,0.00016006711,0.00006434438,0.00029995607],"domain_scores_gemma":[0.9995966,0.000029766294,0.00004829103,0.00011391407,0.000036928002,0.00017452806],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001874977,0.00013295708,0.00024116896,0.00005280135,0.00088277267,0.000073367,0.0000786528,0.000014837216,0.0005795097],"category_scores_gemma":[0.000018746849,0.000104779094,0.000034049986,0.00004011408,0.00006262477,0.00011450549,0.000011110844,0.000078616424,0.00008511129],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.5530735e-7,0.000004141503,0.00021278285,0.0004083482,0.000017888873,0.000009935982,0.012886229,1.3734156e-7,0.0000014931176,0.013672716,0.0034757708,0.9693097],"study_design_scores_gemma":[0.000048048543,0.00003094359,0.00039000966,0.0022133917,0.000027236028,0.000016671898,0.00088292576,0.0000029390003,0.0000063189223,0.00018258528,0.99603987,0.00015904],"about_ca_topic_score_codex":0.0067002075,"about_ca_topic_score_gemma":0.23751627,"teacher_disagreement_score":0.99256414,"about_ca_system_score_codex":0.000063373795,"about_ca_system_score_gemma":0.000114161594,"threshold_uncertainty_score":0.9999143},"labels":[],"label_agreement":null},{"id":"W4380874480","doi":"10.3138/ctr.120.001","title":"Feeling around the Repressed: Performing Uncanny Space in Sally Clark’s <i>Jehanne of the Witches</i>","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Uncanny; Comedy; Girl; Feeling; Psychoanalysis; Art; Space (punctuation); BELLA; Character (mathematics); Aesthetics; Literature; Psychology; Philosophy; Social psychology","score_opus":0.022088331789043663,"score_gpt":0.22356051914757175,"score_spread":0.2014721873585281,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874480","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.117342405,0.51098126,9.2193466e-7,0.05149853,0.0010509575,0.0014990357,0.000096986856,0.00003732158,0.3174926],"genre_scores_gemma":[0.94665605,0.047886025,0.000008712058,0.003771886,0.00046668955,0.00004087284,0.0000043923837,0.000026125104,0.0011392236],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987857,0.00006507103,0.00037598336,0.00019757294,0.00017141894,0.00040429618],"domain_scores_gemma":[0.99909437,0.000056642293,0.00012706195,0.0005590371,0.00006957562,0.000093290575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005529425,0.00020010088,0.0003784306,0.000055914137,0.0005489276,0.00005286721,0.00043454647,0.00003928326,0.00019945571],"category_scores_gemma":[0.000029575296,0.000107260494,0.00017646152,0.00016928707,0.00027899395,0.00015046475,0.000049698785,0.00029999315,0.00003420007],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008603043,0.00024189275,0.027127005,0.01826299,0.00091680186,0.0001135039,0.23358841,0.0018348583,0.0001751126,0.32966858,0.07390539,0.31407943],"study_design_scores_gemma":[0.00019934858,0.00003104949,0.00045338634,0.006031532,0.00011282205,0.000013562342,0.0040525426,0.0000040694836,0.00005945507,0.0013216668,0.987522,0.00019858111],"about_ca_topic_score_codex":0.09304541,"about_ca_topic_score_gemma":0.71574426,"teacher_disagreement_score":0.9136166,"about_ca_system_score_codex":0.00017981941,"about_ca_system_score_gemma":0.0004942791,"threshold_uncertainty_score":0.9129941},"labels":[],"label_agreement":null},{"id":"W4380874481","doi":"10.3138/ctr.140.005","title":"Without a Map: A Cautionary Tale of Interactivity","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interactivity; Nothing; Cornerstone; Visual arts; Work (physics); Media studies; Sociology; Art; Public relations; Aesthetics; Multimedia; Political science; Engineering; Computer science","score_opus":0.022868192051552483,"score_gpt":0.25125288523436656,"score_spread":0.22838469318281407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874481","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005720842,0.26226962,0.0000013541655,0.012148326,0.0004185283,0.00047147222,0.0002133684,0.000040993553,0.7187155],"genre_scores_gemma":[0.9754474,0.01799678,0.000013662031,0.0032817305,0.0002799752,0.00001137185,0.000020196083,0.000007916666,0.002940966],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994034,0.000031329964,0.00018500336,0.00011102969,0.000072096664,0.00019710232],"domain_scores_gemma":[0.9995678,0.00001732524,0.000058670877,0.00019182911,0.000051938114,0.00011241597],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001130422,0.000114124814,0.00030149694,0.000071238006,0.00015857434,0.000014785813,0.00010593674,0.00001706463,0.0020745571],"category_scores_gemma":[0.000005523359,0.00008751918,0.000109228036,0.000037036334,0.00009609646,0.00014201335,0.000007640009,0.0000853713,0.00015062257],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016926728,0.00007771786,0.0011137921,0.0025682347,0.00012892399,0.000025544448,0.008789061,5.569256e-7,0.000014043207,0.048720162,0.19936992,0.73917514],"study_design_scores_gemma":[0.00005579801,0.00006582831,0.0002880307,0.0017069442,0.000057722948,0.000008212175,0.00019972032,0.0000021487022,0.000007495621,0.00059712364,0.9969025,0.000108437154],"about_ca_topic_score_codex":0.018895056,"about_ca_topic_score_gemma":0.20155372,"teacher_disagreement_score":0.96972656,"about_ca_system_score_codex":0.000055251247,"about_ca_system_score_gemma":0.00013913655,"threshold_uncertainty_score":0.9988377},"labels":[],"label_agreement":null},{"id":"W4380874483","doi":"10.3138/ctr.128.002","title":"PARC and Me and Middle Age","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Fifteenth; Middle Ages; History; Ancient history; Art","score_opus":0.03045936873269407,"score_gpt":0.21217053643024478,"score_spread":0.18171116769755072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874483","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0072869463,0.52187485,9.9702184e-8,0.0027730467,0.000094062256,0.000182376,0.000055462515,0.000019607272,0.46771356],"genre_scores_gemma":[0.6791655,0.29750076,0.000026665759,0.0051531787,0.0010335057,0.000041533825,0.000041620562,0.00003058254,0.017006686],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994758,0.000018508465,0.00012732789,0.00012296163,0.00004288615,0.00021253142],"domain_scores_gemma":[0.99971575,0.00001755555,0.00002158845,0.00011135943,0.000016118756,0.00011761856],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000909056,0.000110779954,0.00021824458,0.000044474007,0.0002958025,0.00006111425,0.00004595836,0.000016279315,0.0006323621],"category_scores_gemma":[0.0000019853728,0.00008250799,0.000032867883,0.000021545442,0.00016810637,0.00007664964,0.000012626146,0.000054074964,0.000050504605],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000044633575,0.000020805974,0.004522378,0.007708318,0.00011170304,0.00012128086,0.008503261,1.562647e-7,0.0000042380057,0.29350927,0.2316602,0.4538339],"study_design_scores_gemma":[0.000055756358,0.00001678585,0.00037458484,0.00093850226,0.00005055781,0.00001074556,0.00020782612,8.0370063e-7,8.236531e-7,0.0013831082,0.99684554,0.00011494918],"about_ca_topic_score_codex":0.08964883,"about_ca_topic_score_gemma":0.7084471,"teacher_disagreement_score":0.76518536,"about_ca_system_score_codex":0.00001834845,"about_ca_system_score_gemma":0.00003314367,"threshold_uncertainty_score":0.9164133},"labels":[],"label_agreement":null},{"id":"W4380874484","doi":"10.3138/ctr.136.018","title":"(Re-)Presenting the Past with Style","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Style (visual arts); Visual arts; Sociology; Art history; Media studies; History; Art; Aesthetics","score_opus":0.03607398714333538,"score_gpt":0.2236851398990789,"score_spread":0.18761115275574353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874484","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034918056,0.16698864,4.6684312e-7,0.01298965,0.00017709659,0.00038964176,0.000038252707,0.000040928287,0.8158835],"genre_scores_gemma":[0.87933236,0.09650408,0.00001420415,0.009702265,0.0016685579,0.00007791734,0.000018608735,0.00003803185,0.012643976],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992334,0.000039113165,0.00014857829,0.00013236771,0.000114542476,0.0003320027],"domain_scores_gemma":[0.9994398,0.0000385064,0.00004470698,0.00029434334,0.00005532149,0.00012734528],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001276008,0.00014090358,0.00022248243,0.000042326064,0.0012172817,0.00004090417,0.00019716281,0.0000131490315,0.0022044217],"category_scores_gemma":[0.0000037861514,0.000071987386,0.00007710799,0.00006713034,0.00029188482,0.00011030558,0.000016952961,0.00012269925,0.0003552919],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000063827956,0.000020726933,0.012582094,0.0016656659,0.00024664972,0.00014716522,0.03622047,0.0000021550966,2.332234e-7,0.0129048405,0.8459528,0.090250835],"study_design_scores_gemma":[0.000054356078,0.000020928344,0.00027614087,0.0006282383,0.00005575189,0.000024988194,0.0015354436,0.0000013993593,5.5568836e-7,0.000024684601,0.99725467,0.00012282716],"about_ca_topic_score_codex":0.034745242,"about_ca_topic_score_gemma":0.5844888,"teacher_disagreement_score":0.87584054,"about_ca_system_score_codex":0.00003413106,"about_ca_system_score_gemma":0.00013024545,"threshold_uncertainty_score":0.9987077},"labels":[],"label_agreement":null},{"id":"W4380874486","doi":"10.3138/ctr.139.018","title":"Review of <i>Someone’s Going to Come</i>","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Norwegian; Poetry; Openness to experience; Performance art; Work (physics); Art; Visual arts; History; Media studies; Aesthetics; Sociology; Art history; Literature; Engineering; Psychology; Philosophy","score_opus":0.02559112454826966,"score_gpt":0.248801517957675,"score_spread":0.22321039340940535,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874486","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000033089473,0.62403387,2.7663387e-7,0.014536008,0.00013005511,0.00035971898,0.000057615995,0.000017485943,0.3608319],"genre_scores_gemma":[0.01089001,0.8792413,0.000024044766,0.10745349,0.00030167986,0.000019251385,0.000017875653,0.00001328782,0.002039082],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989745,0.00003898624,0.00038669244,0.0001605215,0.000110496854,0.0003288062],"domain_scores_gemma":[0.99918133,0.000023708166,0.00007550778,0.00034827882,0.00010028987,0.00027089057],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00028856721,0.00017248017,0.0005884163,0.00009380962,0.0001801191,0.000018708246,0.00022493,0.000017766215,0.002254885],"category_scores_gemma":[0.00002042705,0.00013266024,0.00016875697,0.00013033308,0.00005843127,0.00009783446,0.000013149037,0.00010157792,0.0007165338],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000001350275,0.00000969822,0.000029174424,0.019105565,0.000025290094,0.0000043441646,0.0009195295,7.422561e-8,0.0000016311426,0.011019601,0.59313637,0.37574735],"study_design_scores_gemma":[0.000038371494,0.000076075936,0.000019815185,0.07074752,0.0000838204,0.0000049448527,0.0000465427,1.2407986e-7,0.000004259516,0.00013037917,0.9286959,0.0001522167],"about_ca_topic_score_codex":0.005308655,"about_ca_topic_score_gemma":0.08233086,"teacher_disagreement_score":0.37559515,"about_ca_system_score_codex":0.00006432729,"about_ca_system_score_gemma":0.00016408222,"threshold_uncertainty_score":0.99865717},"labels":[],"label_agreement":null},{"id":"W4380874490","doi":"10.3138/ctr.132.014","title":"The Theatre and Materialist Analysis","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Materialism; Semiotics; Aesthetics; Cultural materialism (cultural studies); Art; Sociology; Visual arts; History; Literature; Epistemology; Philosophy","score_opus":0.018741652671592644,"score_gpt":0.23769023265148495,"score_spread":0.2189485799798923,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874490","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031166845,0.38042966,0.0000015507707,0.0074327164,0.000499907,0.00031921495,0.00011246681,0.00003742911,0.60805035],"genre_scores_gemma":[0.73923045,0.24774517,0.000010086855,0.0053164763,0.0011532923,0.000027095843,0.000042382286,0.000028817269,0.00644623],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907005,0.00003690884,0.0002516851,0.00015380171,0.000090421876,0.0003971088],"domain_scores_gemma":[0.99933434,0.00007761757,0.00005039146,0.00029176034,0.00004410305,0.00020179486],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00064747315,0.00015145072,0.00030320827,0.0001070706,0.0010916388,0.00016600416,0.00015789589,0.000023099918,0.001074909],"category_scores_gemma":[0.0000048494035,0.00008569244,0.00013380639,0.00013423017,0.00027219136,0.000078044315,0.000020403204,0.000076710065,0.000094592804],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012286921,0.000007886423,0.0026791487,0.0007601449,0.0010124894,0.000027382177,0.005016302,1.9181277e-7,0.000001632127,0.08921348,0.056256164,0.8450129],"study_design_scores_gemma":[0.00003758551,0.000014448199,0.00048155137,0.00019687755,0.00052689196,0.00000469748,0.0008153167,9.1548225e-7,0.0000021793517,0.0002453969,0.9975506,0.00012355184],"about_ca_topic_score_codex":0.053362846,"about_ca_topic_score_gemma":0.86158645,"teacher_disagreement_score":0.94129443,"about_ca_system_score_codex":0.00004774802,"about_ca_system_score_gemma":0.00005680814,"threshold_uncertainty_score":0.99983823},"labels":[],"label_agreement":null},{"id":"W4380874500","doi":"10.3138/ctr.137.020","title":"A Review of <i>Antigone: Insurgency</i>","year":2009,"lang":"en","type":"review","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Reinterpretation; Insurgency; Politics; Art; Performance art; Political theatre; Aesthetics; Literature; Art history; Law; Political science","score_opus":0.05273665356892541,"score_gpt":0.28599380499619986,"score_spread":0.23325715142727446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874500","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.222825e-9,0.7121149,2.778202e-8,0.000422233,0.0004160046,0.0012989632,0.000579343,0.00002893124,0.28513962],"genre_scores_gemma":[6.685214e-8,0.98871905,0.000005885232,0.007919857,0.00073407573,0.000108223474,0.00032787622,0.000069396934,0.0021155505],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99690986,0.0002430504,0.0015553721,0.00043438675,0.00022890912,0.00062845345],"domain_scores_gemma":[0.9977543,0.00008867529,0.0006474605,0.00094578473,0.000185719,0.00037807494],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00067152694,0.00073797355,0.0048771948,0.00030709573,0.00023623847,0.000032287335,0.000670137,0.00013373751,0.0065562744],"category_scores_gemma":[0.000040741797,0.0005120272,0.0016424493,0.00031862114,0.0002175475,0.00012717006,0.000040977004,0.0004334561,0.0010990147],"study_design_candidate":"systematic_review","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.152925e-8,0.000005448023,6.620036e-8,0.35893914,0.00007804001,0.0000051242537,0.000044300414,3.7543704e-10,1.6238788e-10,0.0011724372,0.17095798,0.46879736],"study_design_scores_gemma":[0.000015100874,0.00002365582,2.2107622e-8,0.4690797,0.0015097415,0.000021191028,0.000005305757,4.4739688e-9,4.707333e-9,0.000020632757,0.52904624,0.00027841364],"about_ca_topic_score_codex":0.00939976,"about_ca_topic_score_gemma":0.05441759,"teacher_disagreement_score":0.46851894,"about_ca_system_score_codex":0.00015901605,"about_ca_system_score_gemma":0.001640611,"threshold_uncertainty_score":0.99973315},"labels":[],"label_agreement":null},{"id":"W4380874503","doi":"10.3138/ctr.133.007","title":"Quality Theatre for Young Audiences, Featuring an Interview with Playwright David Craig","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Quality (philosophy); Young person; Event (particle physics); Affect (linguistics); Quality time; Psychology; Visual arts; Advertising; Aesthetics; Media studies; Art; Sociology; Developmental psychology; Humanities; Communication; Business","score_opus":0.07467891358735473,"score_gpt":0.27870448779089535,"score_spread":0.20402557420354062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874503","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00962409,0.41463563,0.000023282564,0.008054922,0.00095867144,0.0023212242,0.0007565392,0.00020154376,0.5634241],"genre_scores_gemma":[0.7897245,0.18719667,0.00031166023,0.008186836,0.0024058311,0.00061617495,0.00029474954,0.00012938629,0.011134132],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99824846,0.00012592951,0.0004153989,0.00040282102,0.00018228598,0.0006250898],"domain_scores_gemma":[0.99876493,0.00006397055,0.00012605748,0.0005097209,0.00016392132,0.00037137323],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00050398783,0.000347025,0.00068883103,0.00010643102,0.0013552518,0.00007933332,0.00037632365,0.0000465701,0.0011086315],"category_scores_gemma":[0.000008503753,0.00022488293,0.00018511023,0.00010967621,0.00035935774,0.00043768407,0.0000239257,0.00017731672,0.00008267159],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008769934,0.00015472886,0.0066433214,0.014647007,0.00065943535,0.00014655016,0.051577676,0.000003509871,0.0000039743586,0.04161827,0.15239304,0.7320648],"study_design_scores_gemma":[0.00021363651,0.00020414905,0.0007276345,0.0027111848,0.00011387889,0.00008711245,0.0009862806,0.000002474792,0.000004623234,0.00013215624,0.99441934,0.00039750757],"about_ca_topic_score_codex":0.027762653,"about_ca_topic_score_gemma":0.74197733,"teacher_disagreement_score":0.8420263,"about_ca_system_score_codex":0.0001374139,"about_ca_system_score_gemma":0.00037136412,"threshold_uncertainty_score":0.99994487},"labels":[],"label_agreement":null},{"id":"W4380874506","doi":"10.3138/ctr.137.011","title":"Performing Outside of the Box","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Visual arts; Confessional; Art; German; Subject (documents); Aesthetics; History; Law; Political science","score_opus":0.024013916876596233,"score_gpt":0.22879674296457908,"score_spread":0.20478282608798284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874506","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021649727,0.17038274,1.8444894e-7,0.0113138445,0.00033914341,0.00028882083,0.000038816976,0.000015991849,0.8154555],"genre_scores_gemma":[0.95621973,0.030633166,0.00000844916,0.008687904,0.00040577914,0.0000071014783,0.0000034695825,0.000009481014,0.0040249154],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993744,0.000024363457,0.000200822,0.00008863799,0.000086794185,0.00022500618],"domain_scores_gemma":[0.9995249,0.000013843145,0.000057455174,0.00027592632,0.000043681288,0.00008417925],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001393123,0.000106879685,0.00023705038,0.00003949167,0.00033123037,0.0000173238,0.00020658338,0.000015981097,0.0011928693],"category_scores_gemma":[0.000008088234,0.00006116796,0.00014764731,0.00005223698,0.000100934594,0.00008081155,0.000010356137,0.00009102412,0.00007314009],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000212778,0.00001318833,0.00079093484,0.0010797366,0.000048640148,0.000003391763,0.008325581,7.508731e-7,0.000005178909,0.06534851,0.09130965,0.8330723],"study_design_scores_gemma":[0.000036804548,0.000026809717,0.00034434078,0.0017045874,0.00005898349,0.000004145443,0.00033951775,9.052763e-7,0.000021535468,0.00049070467,0.9968846,0.00008707725],"about_ca_topic_score_codex":0.011677204,"about_ca_topic_score_gemma":0.18248162,"teacher_disagreement_score":0.9540548,"about_ca_system_score_codex":0.00004102958,"about_ca_system_score_gemma":0.00013989049,"threshold_uncertainty_score":0.99972016},"labels":[],"label_agreement":null},{"id":"W4380874507","doi":"10.3138/ctr.138.003","title":"Five (or Six) Things I Think We Accomplished at Magnetic North","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Successor cardinal; Guild; Performance art; Media studies; History; Art history; Art; Literature; Sociology; Mathematics","score_opus":0.02540068666934859,"score_gpt":0.22857692694843837,"score_spread":0.2031762402790898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874507","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002484047,0.4193826,1.15296615e-7,0.027720442,0.00046967462,0.00071479933,0.0001541934,0.00011477446,0.5489594],"genre_scores_gemma":[0.20204404,0.57277906,0.000094098825,0.091451585,0.0024645615,0.00007265886,0.0001849603,0.000088130444,0.1308209],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864495,0.00004694388,0.00032858487,0.00028043543,0.00015383551,0.00054522493],"domain_scores_gemma":[0.9990641,0.000047702655,0.00007749552,0.0004178457,0.00007394365,0.00031892973],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012949346,0.0002902612,0.00051068835,0.00010490705,0.0007585925,0.00010575316,0.00033197404,0.00003990184,0.011036536],"category_scores_gemma":[0.000012458921,0.00019466944,0.0001795851,0.000098726596,0.00012994366,0.00029706495,0.000031337753,0.00018098853,0.0013003066],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014434869,0.000013515031,0.00014138424,0.0009340183,0.00004531471,0.0000617837,0.017554983,4.7617414e-7,3.3294202e-7,0.0067550545,0.43822163,0.5362571],"study_design_scores_gemma":[0.00012884426,0.00016814041,0.00038657885,0.0015677883,0.00012414587,0.000022620843,0.0004946012,0.0000030956282,7.014137e-7,0.0006055309,0.99620783,0.00029012776],"about_ca_topic_score_codex":0.015704999,"about_ca_topic_score_gemma":0.62911505,"teacher_disagreement_score":0.61341006,"about_ca_system_score_codex":0.00017163664,"about_ca_system_score_gemma":0.00018071153,"threshold_uncertainty_score":0.99947727},"labels":[],"label_agreement":null},{"id":"W4380874512","doi":"10.3138/ctr.129.016","title":"Shared Histories and Collective Stories","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theme (computing); Narrative; Storytelling; Meaning (existential); Style (visual arts); Action (physics); Aesthetics; Order (exchange); History; Collective memory; Sociology; Visual arts; Literature; Epistemology; Art; Computer science; Law; Political science","score_opus":0.03056954001523536,"score_gpt":0.2399179982791879,"score_spread":0.20934845826395254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874512","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00069086015,0.3667012,8.695624e-7,0.0018775534,0.0005131627,0.00025411815,0.00009317311,0.000034560268,0.62983453],"genre_scores_gemma":[0.76482385,0.1263263,0.00009060262,0.011170449,0.0027848235,0.00009703633,0.000071523544,0.00008583155,0.09454958],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992869,0.000017528746,0.0001744272,0.00015008468,0.00007686951,0.0002942248],"domain_scores_gemma":[0.9994773,0.00005156495,0.000039206687,0.00014327385,0.000084557556,0.0002040864],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025120965,0.00014310861,0.00027543245,0.00009432462,0.0006261622,0.000051773794,0.000080624406,0.00002430027,0.001182339],"category_scores_gemma":[0.000016322429,0.00011388934,0.00005213661,0.000066707966,0.0002266407,0.00014868555,0.000013991744,0.00008743034,0.0000518607],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021092017,0.000014979096,0.0025305643,0.0025339057,0.00018438319,0.00005236774,0.08622626,4.0593076e-8,0.0000015489491,0.13120314,0.5048374,0.27239433],"study_design_scores_gemma":[0.00006081013,0.000039534065,0.00024802436,0.0005036765,0.000055384207,0.0000072275293,0.0020972216,1.216147e-7,0.0000022406066,0.00056211813,0.99627215,0.00015150344],"about_ca_topic_score_codex":0.026071522,"about_ca_topic_score_gemma":0.7324192,"teacher_disagreement_score":0.764133,"about_ca_system_score_codex":0.00027012554,"about_ca_system_score_gemma":0.00023095442,"threshold_uncertainty_score":0.9997307},"labels":[],"label_agreement":null},{"id":"W4380874513","doi":"10.3138/ctr.136.004","title":"Developing a National Drama at the Citadel","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Performance art; Style (visual arts); Art history; Art; Sociology; Visual arts; History; Media studies","score_opus":0.07353800112546041,"score_gpt":0.2564015226203703,"score_spread":0.1828635214949099,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874513","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002002011,0.24587466,8.1657174e-7,0.031206219,0.00031769197,0.00030043555,0.00009247558,0.00003104342,0.7201747],"genre_scores_gemma":[0.44011208,0.39820483,0.000060012197,0.08299632,0.0029729425,0.00023290723,0.00012700798,0.000066061286,0.07522781],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925923,0.000030754756,0.00017363818,0.00012188989,0.0001532716,0.00026119445],"domain_scores_gemma":[0.9995736,0.000046447512,0.000037512782,0.00014677028,0.00010086083,0.0000948138],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016921613,0.00012155006,0.00018113022,0.000049495477,0.001433865,0.000026265856,0.0001607968,0.000017498089,0.0033657355],"category_scores_gemma":[0.000013014944,0.000073391064,0.00009430746,0.00005934657,0.00022974309,0.00008707701,0.000025387599,0.00008460076,0.0010790969],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000020714085,0.000004652434,0.0003907392,0.000519974,0.00009301404,0.00002028682,0.008897831,8.162919e-7,3.7602783e-7,0.15121804,0.79224634,0.046605885],"study_design_scores_gemma":[0.00004303609,0.0000067962587,0.00012882147,0.00048644852,0.000019455325,0.000051338604,0.00018179331,0.0000011706913,0.0000016748861,0.0004685105,0.99849164,0.00011928415],"about_ca_topic_score_codex":0.014090831,"about_ca_topic_score_gemma":0.46767718,"teacher_disagreement_score":0.6449468,"about_ca_system_score_codex":0.00026336164,"about_ca_system_score_gemma":0.0005214317,"threshold_uncertainty_score":0.9998661},"labels":[],"label_agreement":null},{"id":"W4380874514","doi":"10.3138/ctr.134.010","title":"Views and Reviews","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Subject (documents); Field (mathematics); Media studies; Order (exchange); Performance studies; Section (typography); Sociology; Visual arts; Library science; Political science; Art; Law; Anthropology; Computer science","score_opus":0.07852067770398374,"score_gpt":0.2538760014557339,"score_spread":0.17535532375175017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874514","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032484482,0.6261459,1.4146687e-7,0.0020590962,0.0001434424,0.0002933866,0.000019358118,0.000015864867,0.37099797],"genre_scores_gemma":[0.011475368,0.96923816,0.000018185729,0.009634817,0.0004772095,0.000052628264,0.000010497317,0.000014325031,0.009078783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922395,0.000050104336,0.00025183966,0.00015491724,0.000056853918,0.00026233168],"domain_scores_gemma":[0.9994593,0.000015921525,0.000047703623,0.00022619977,0.00002773437,0.00022312085],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020031928,0.00015529571,0.0004301366,0.00005876352,0.00055040664,0.000020093546,0.00009983066,0.00001827778,0.003016716],"category_scores_gemma":[0.000009654416,0.000107118925,0.000098305565,0.00004236792,0.00020373371,0.000117644544,0.000013935031,0.00008941424,0.000906192],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.682241e-7,0.0000049361847,0.00040160958,0.0016783188,0.000022388722,0.000019593226,0.004979805,8.464684e-9,3.3402188e-7,0.0082289055,0.6081717,0.3764916],"study_design_scores_gemma":[0.00004269071,0.000020096308,0.00006713818,0.0014408076,0.0000421372,0.00004815773,0.000071030016,2.7281425e-7,4.5817123e-7,0.0000789722,0.9980455,0.00014270926],"about_ca_topic_score_codex":0.014217745,"about_ca_topic_score_gemma":0.3031812,"teacher_disagreement_score":0.3898738,"about_ca_system_score_codex":0.000032278942,"about_ca_system_score_gemma":0.000084234765,"threshold_uncertainty_score":0.99987173},"labels":[],"label_agreement":null},{"id":"W4380874521","doi":"10.3138/ctr.134.013","title":"Killers, Outcasts, Avengers and Action Heroes: Staging the Full-Blooded Woman","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Femininity; Subject (documents); Action (physics); Art; White (mutation); Character (mathematics); Aesthetics; Literature; Visual arts; Sociology; Gender studies; Computer science","score_opus":0.051520757997586215,"score_gpt":0.2430014334967691,"score_spread":0.19148067549918288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874521","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.075632825,0.63325226,0.0000016465457,0.033281848,0.0012406348,0.0011954178,0.00012537766,0.00013688354,0.25513312],"genre_scores_gemma":[0.61177474,0.37685472,0.0000093278795,0.006218323,0.0007380836,0.000049809587,0.000018014878,0.000031083666,0.0043058703],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991406,0.000060891318,0.0001931553,0.00017231869,0.000100900514,0.00033211248],"domain_scores_gemma":[0.999447,0.00004039187,0.00005720474,0.00024556578,0.000038350663,0.00017151595],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017980358,0.00017434661,0.00027067313,0.00006437483,0.0012076731,0.000051651423,0.00012514573,0.00002334425,0.00090088474],"category_scores_gemma":[0.0000072779308,0.00010986671,0.00008702963,0.00005174532,0.0002653995,0.0001582625,0.00001749951,0.00015814792,0.00011720372],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020412459,0.000023420662,0.001569685,0.002590758,0.0003462354,0.00007689929,0.052596062,0.000001349153,0.0000051437514,0.00715658,0.2860558,0.64955765],"study_design_scores_gemma":[0.000089892215,0.000039925566,0.00016173543,0.00064578705,0.000075471224,0.00004587644,0.0038683855,0.0000038264234,0.0000013831882,0.000045614557,0.9948707,0.00015137228],"about_ca_topic_score_codex":0.022059945,"about_ca_topic_score_gemma":0.28868973,"teacher_disagreement_score":0.7088149,"about_ca_system_score_codex":0.00007512366,"about_ca_system_score_gemma":0.000120263954,"threshold_uncertainty_score":0.9864056},"labels":[],"label_agreement":null},{"id":"W4380874523","doi":"10.3138/ctr.138.015","title":"<i>Assbook:</i> Nuit Blanche, Vulgarity and the Race to Compete with Arts and Culture","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Vulgarity; Art; Performance art; Visual arts; The arts; Art history; Aesthetics; Law","score_opus":0.013962581503568198,"score_gpt":0.21565600469037582,"score_spread":0.20169342318680764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874523","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028928414,0.5157119,0.0000013691281,0.061278336,0.00009470841,0.0010158047,0.00008550178,0.00003974008,0.4188798],"genre_scores_gemma":[0.6140888,0.26799157,0.00009084783,0.10251368,0.001033982,0.00007974929,0.000025059315,0.00003451583,0.014141837],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930555,0.000040005925,0.00013760109,0.0001764942,0.00008058753,0.00025973804],"domain_scores_gemma":[0.99945706,0.000029826013,0.000035170462,0.00020601449,0.000046625228,0.0002253083],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020078092,0.00017536338,0.00037223703,0.00003145611,0.0005361773,0.000112224865,0.0001006804,0.000020783673,0.00017615205],"category_scores_gemma":[0.000005486687,0.00008901211,0.000038967893,0.0000452567,0.00024945644,0.00009142542,0.000014848106,0.00012944019,0.000034730427],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006734918,0.000018648643,0.00089823507,0.0013987737,0.00017162645,0.000038655173,0.053035945,6.5733394e-7,0.0000029192029,0.17453156,0.3945492,0.37528643],"study_design_scores_gemma":[0.00026944032,0.00008796539,0.00025252596,0.0010893691,0.00010408144,0.000026146025,0.00038205323,9.646604e-7,0.0000015254752,0.0005778475,0.99705374,0.00015435037],"about_ca_topic_score_codex":0.0074875215,"about_ca_topic_score_gemma":0.37310094,"teacher_disagreement_score":0.6111959,"about_ca_system_score_codex":0.000024457868,"about_ca_system_score_gemma":0.000056484838,"threshold_uncertainty_score":0.9991217},"labels":[],"label_agreement":null},{"id":"W4380874530","doi":"10.3138/ctr.133.008","title":"TYA in Canada: Navigating the Paradoxes","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subtext; Formative assessment; White (mutation); Media studies; Sociology; Art; Literature; Pedagogy","score_opus":0.03315587723591064,"score_gpt":0.22255468775747156,"score_spread":0.18939881052156093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874530","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040680192,0.59023404,5.804585e-8,0.025644338,0.00057716167,0.0005429718,0.00009942444,0.00002095802,0.34220082],"genre_scores_gemma":[0.9019616,0.08923558,0.0000021344786,0.007758991,0.0003100655,0.000040609684,0.000008611384,0.000012703044,0.0006696641],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991544,0.000046320176,0.00022875807,0.00011825979,0.00010690872,0.00034539026],"domain_scores_gemma":[0.9995472,0.000056638022,0.00004066247,0.00021547607,0.000027068196,0.00011296309],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013391202,0.00012857912,0.00025397577,0.000022054497,0.00057427934,0.000015385696,0.00019337432,0.000011138906,0.0010811272],"category_scores_gemma":[0.000009008415,0.00007850716,0.000054496657,0.0000725113,0.00012362504,0.00007131446,0.000013005352,0.00022126985,0.00008542499],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000034921413,0.000011643629,0.031661876,0.0013740762,0.00009527794,0.0003320079,0.026361471,0.000008931358,2.966757e-7,0.019204738,0.3828057,0.5381405],"study_design_scores_gemma":[0.000043431162,0.0000064231567,0.0010189597,0.0014088756,0.000015071607,0.000025346886,0.0012464371,0.000003892248,7.4254046e-7,0.00007352862,0.99603635,0.000120965495],"about_ca_topic_score_codex":0.99807405,"about_ca_topic_score_gemma":0.9999675,"teacher_disagreement_score":0.86128145,"about_ca_system_score_codex":0.00030038273,"about_ca_system_score_gemma":0.0017358735,"threshold_uncertainty_score":0.99983203},"labels":[],"label_agreement":null},{"id":"W4380874535","doi":"10.3138/ctr.133.001","title":"Children as Drama-Makers","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dream; Drama; Art; Visual arts; Performance art; Art history; Psychology","score_opus":0.02250566887325431,"score_gpt":0.22164525995636428,"score_spread":0.19913959108310997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874535","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008185909,0.24568476,8.240129e-8,0.0040572523,0.0003291455,0.00035469027,0.00007940278,0.00005800209,0.74125075],"genre_scores_gemma":[0.5854353,0.36892873,0.000012124834,0.02010864,0.0022169533,0.000060849572,0.000087760505,0.00005116863,0.023098499],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991275,0.000029148672,0.00019433426,0.00017225201,0.00010620814,0.00037056638],"domain_scores_gemma":[0.99936455,0.000016634236,0.000038614005,0.0002734829,0.00004387878,0.00026285878],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009054548,0.00017247004,0.00030564942,0.000079469624,0.00072617055,0.000029169096,0.00017568607,0.000026099022,0.005984776],"category_scores_gemma":[0.00000784053,0.0001328849,0.00014347001,0.000057291014,0.00022791825,0.00012373466,0.000014180671,0.00011918094,0.0029291771],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000037858056,0.000018807159,0.0042919815,0.0005804356,0.00020626967,0.00008439587,0.009276446,3.8251267e-7,2.8573268e-7,0.025097637,0.7709846,0.18945496],"study_design_scores_gemma":[0.00007598532,0.00003360914,0.00045174026,0.00062026357,0.00005484019,0.00009411639,0.00014090666,2.0777824e-7,0.0000013647473,0.00015323488,0.99818754,0.00018619811],"about_ca_topic_score_codex":0.0919758,"about_ca_topic_score_gemma":0.258178,"teacher_disagreement_score":0.7181522,"about_ca_system_score_codex":0.00006690848,"about_ca_system_score_gemma":0.0002695161,"threshold_uncertainty_score":0.99784714},"labels":[],"label_agreement":null},{"id":"W4380874537","doi":"10.3138/ctr.137.007","title":"Nesting Instinct: Re-imagining Alutiiq and Domesticity in Tanya Lukin-Linklater’s Performance Work","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Instinct; Twig; Art; Visual arts; Art history; Psychology; Ecology; Biology; Horticulture","score_opus":0.03209415168253363,"score_gpt":0.24243203475645425,"score_spread":0.21033788307392062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874537","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1519782,0.23806688,6.584301e-7,0.010357449,0.00044020763,0.0006220445,0.000023137954,0.00009218454,0.59841925],"genre_scores_gemma":[0.953686,0.040940624,0.000045297653,0.0044336086,0.00035985044,0.000014257056,0.000009048719,0.000015891237,0.00049541733],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866426,0.000046654888,0.00038229412,0.0002648226,0.00010720042,0.0005347492],"domain_scores_gemma":[0.9993722,0.00005339053,0.00007892374,0.00022926793,0.000046076253,0.00022018552],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039717587,0.00024799316,0.0004617942,0.00016492918,0.00046471634,0.00009571775,0.00016475432,0.000040348088,0.0004081822],"category_scores_gemma":[0.000028553322,0.00020319373,0.000056400695,0.00017265537,0.00015192431,0.00028437524,0.000024202616,0.00027940617,0.0000719425],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009002876,0.000014843161,0.016023928,0.001165047,0.00001939292,0.000058304282,0.011781109,0.000007770101,7.4256735e-7,0.0028426393,0.0026717836,0.96540546],"study_design_scores_gemma":[0.0002645179,0.0000985229,0.012496893,0.010487244,0.000079077756,0.000030372152,0.00069533614,0.00007035019,0.000001475439,0.0003531157,0.9749622,0.00046092347],"about_ca_topic_score_codex":0.010855329,"about_ca_topic_score_gemma":0.12305694,"teacher_disagreement_score":0.9722904,"about_ca_system_score_codex":0.00010968083,"about_ca_system_score_gemma":0.00014464365,"threshold_uncertainty_score":0.9957315},"labels":[],"label_agreement":null},{"id":"W4380874543","doi":"10.3138/ctr.135.004","title":"“To Be Honest, We Devised Theatre Companies Are Kind of Like Gangs”","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Totem; Work (physics); Art; Visual arts; Aesthetics; Sociology; History; Archaeology; Engineering","score_opus":0.05677386201796084,"score_gpt":0.23994670693313677,"score_spread":0.18317284491517594,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874543","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028304085,0.5806052,0.0000010055932,0.030473195,0.00088919414,0.0013744626,0.00083229085,0.000112832044,0.35740772],"genre_scores_gemma":[0.7799134,0.20078094,0.000040618237,0.013316682,0.0007881014,0.000082643375,0.000046143745,0.000067183304,0.0049642795],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985549,0.00006620666,0.00042521002,0.00026492606,0.00019962365,0.00048914057],"domain_scores_gemma":[0.998828,0.000059184134,0.00012868497,0.00046995687,0.0001378857,0.00037631992],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001457207,0.00030586633,0.000791585,0.00019553468,0.000574823,0.000027233911,0.00032245883,0.00004539135,0.0023177916],"category_scores_gemma":[0.000007719303,0.00023418844,0.00023329935,0.00016044664,0.0003058509,0.00013688892,0.000037423666,0.00014440251,0.00035694207],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002655384,0.00007997176,0.00526984,0.0064052255,0.00034445158,0.00013628876,0.051768024,0.0000060003285,0.00000691914,0.005794552,0.8302033,0.099958874],"study_design_scores_gemma":[0.000131826,0.00007399081,0.00055090454,0.0030773336,0.00010929182,0.00002815909,0.0018285463,0.0000011762602,0.000010668655,0.000056339548,0.9938436,0.00028813857],"about_ca_topic_score_codex":0.02492413,"about_ca_topic_score_gemma":0.4246928,"teacher_disagreement_score":0.7516093,"about_ca_system_score_codex":0.00008265652,"about_ca_system_score_gemma":0.0002665125,"threshold_uncertainty_score":0.9985942},"labels":[],"label_agreement":null},{"id":"W4380874550","doi":"10.3138/ctr.135.017","title":"Cultivating Process","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Performing arts; Facilitator; Visual arts; Premise; Performance art; Chose; Art; Sociology; Art history; Political science; Law; Philosophy","score_opus":0.04624462201803175,"score_gpt":0.2530754150266458,"score_spread":0.20683079300861407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874550","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0051628384,0.14745617,2.1511785e-7,0.002376978,0.00020339993,0.00024327457,0.000033373937,0.00005108143,0.84447265],"genre_scores_gemma":[0.8668477,0.11072432,0.000016050006,0.009323101,0.0012404697,0.00008105354,0.00002956197,0.000034945202,0.011702777],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932575,0.00001781349,0.000168195,0.00012565716,0.00008267105,0.00027990888],"domain_scores_gemma":[0.99957514,0.000015231167,0.000037144706,0.00015197753,0.00006755362,0.00015297787],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000082812956,0.00012201178,0.00022824912,0.00005311888,0.00070435484,0.000017379061,0.00012431745,0.000015456453,0.003444571],"category_scores_gemma":[0.000010286557,0.0000899306,0.000074260926,0.00005470757,0.00013512134,0.00013258023,0.000007108166,0.000089115885,0.00050572905],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003974829,0.000031346983,0.0058190143,0.0064353715,0.00015523974,0.00012389242,0.059581783,0.0000015726218,0.0000019584559,0.027369682,0.5641729,0.3363032],"study_design_scores_gemma":[0.000043043387,0.000014476613,0.000049867547,0.0012254328,0.00002143328,0.000024319941,0.00055191404,0.0000010541575,0.0000041214735,0.000100927646,0.9978291,0.00013431732],"about_ca_topic_score_codex":0.019468235,"about_ca_topic_score_gemma":0.16387334,"teacher_disagreement_score":0.86168486,"about_ca_system_score_codex":0.000042864838,"about_ca_system_score_gemma":0.0001920878,"threshold_uncertainty_score":0.99746644},"labels":[],"label_agreement":null},{"id":"W4380874556","doi":"10.3138/ctr.134.004","title":"Uses of Disorder and the Citizen Spectator","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Vision; Sociology; Value (mathematics); Aesthetics; Limiting; Media studies; Impulse (physics); Visual arts; Art; Engineering; Computer science","score_opus":0.022936988014977937,"score_gpt":0.21277070190507336,"score_spread":0.18983371389009543,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874556","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014011627,0.6286007,2.0511555e-7,0.006503321,0.0001398793,0.00035072092,0.000073906274,0.000013443193,0.35030618],"genre_scores_gemma":[0.61955047,0.37595716,0.0000041758763,0.0019263278,0.00022964485,0.000021475467,0.000003906357,0.000010826906,0.0022959998],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995006,0.000041465628,0.0001604442,0.000081836166,0.000060936978,0.00015477346],"domain_scores_gemma":[0.9996293,0.00005986747,0.000040633473,0.00016104779,0.00003555217,0.00007357889],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011433354,0.00009408489,0.00028755545,0.00003536958,0.00037186727,0.0000110515075,0.00009568626,0.0000106911375,0.0012849491],"category_scores_gemma":[0.000010499082,0.000050828097,0.000076831406,0.000033907385,0.0006826105,0.000052298037,0.000013400774,0.00005566341,0.000042409443],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004029617,0.000028855002,0.012649866,0.0045702676,0.00042041234,0.000033651453,0.057107292,3.829069e-7,6.801401e-7,0.49624997,0.22128302,0.20761532],"study_design_scores_gemma":[0.00019356565,0.000015496182,0.00030771276,0.0004785687,0.000059827416,0.000016279731,0.00063053233,7.105151e-7,9.2615244e-7,0.0004160897,0.99780434,0.00007596342],"about_ca_topic_score_codex":0.04724723,"about_ca_topic_score_gemma":0.28811023,"teacher_disagreement_score":0.7765213,"about_ca_system_score_codex":0.000011515506,"about_ca_system_score_gemma":0.000083037456,"threshold_uncertainty_score":0.999628},"labels":[],"label_agreement":null},{"id":"W4380874563","doi":"10.3138/ctr.130.003","title":"Consuming Language: Embodiment in the Performance Poetry of bpNichol and Steve McCaffery","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; Amateur; Spoken word; Meaning (existential); Presentation (obstetrics); Art; Performative utterance; Reading (process); Literature; Painting; Visual arts; Aesthetics; History; Linguistics; Psychology; Philosophy","score_opus":0.020469959480971703,"score_gpt":0.2515733473338794,"score_spread":0.23110338785290774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874563","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43133315,0.37024897,1.6959555e-7,0.0011744874,0.00014711193,0.00043252786,0.00003449731,0.000009247551,0.19661981],"genre_scores_gemma":[0.9596114,0.03761303,0.0000056158674,0.0022388846,0.00013091718,0.000010492739,0.0000058135856,0.000007902164,0.0003759092],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923867,0.000037876176,0.00025246426,0.00010665235,0.00009632015,0.00026800725],"domain_scores_gemma":[0.9995712,0.00008561215,0.000053575182,0.00019333092,0.000024836781,0.000071460745],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007292866,0.00011543366,0.00024748768,0.000098426215,0.0001675074,0.000020148243,0.00013283113,0.00002114488,0.00028719328],"category_scores_gemma":[0.000006796786,0.00007276776,0.00004411625,0.000066019194,0.0001578949,0.000087360095,0.000014893415,0.00012488182,0.000020631742],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014891561,0.00004033918,0.026168661,0.0068661775,0.00010049273,0.00006001989,0.0979689,5.434239e-7,0.000013423841,0.014210862,0.011302449,0.84325325],"study_design_scores_gemma":[0.00020121806,0.00007108993,0.005725692,0.0034255653,0.0000840366,0.000026271493,0.01558807,0.0000029253392,0.00004136176,0.000028189932,0.97460204,0.0002035143],"about_ca_topic_score_codex":0.014790255,"about_ca_topic_score_gemma":0.27331272,"teacher_disagreement_score":0.96329963,"about_ca_system_score_codex":0.000040185812,"about_ca_system_score_gemma":0.00006635205,"threshold_uncertainty_score":0.9917703},"labels":[],"label_agreement":null},{"id":"W4380874584","doi":"10.3138/ctr.138.001","title":"“Festivalizing” Performance: Community and Aesthetics through the Lens of Three Festival Experiences","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Presentation (obstetrics); Visual arts; Work (physics); The arts; The Renaissance; Art; Performing arts; Media studies; History; Sociology; Art history; Engineering","score_opus":0.06982805480201663,"score_gpt":0.2656386587116598,"score_spread":0.19581060390964317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874584","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34594032,0.26197693,0.0000011874946,0.011205841,0.0003124048,0.0005837541,0.00004391164,0.000042548483,0.3798931],"genre_scores_gemma":[0.926267,0.07068023,0.000014829389,0.002680455,0.00014289227,0.00001839228,0.0000049255577,0.000008590874,0.00018262798],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912673,0.000101366895,0.000259551,0.00010597245,0.000121985664,0.0002843697],"domain_scores_gemma":[0.999339,0.00006770227,0.000083803556,0.00036428025,0.00006755692,0.00007767343],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030730138,0.0001774345,0.00034061942,0.0000351136,0.0011536548,0.00004150515,0.0002834379,0.000027466487,0.000280891],"category_scores_gemma":[0.0000128035,0.00010403936,0.00007621146,0.00007017275,0.0006695128,0.00021718004,0.000025945044,0.00024140056,0.000015183813],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012292024,0.000052992942,0.0016727365,0.0017613657,0.00007430624,0.0000042814427,0.24384572,0.000001947855,0.0000021316405,0.067799725,0.016769279,0.6680032],"study_design_scores_gemma":[0.00008765197,0.00027816274,0.0012533709,0.0020830338,0.000094883384,0.000020786434,0.013463356,0.0000052539763,0.000010338024,0.0012889091,0.9812227,0.00019153795],"about_ca_topic_score_codex":0.021491911,"about_ca_topic_score_gemma":0.10602979,"teacher_disagreement_score":0.96445346,"about_ca_system_score_codex":0.000028081955,"about_ca_system_score_gemma":0.00011316836,"threshold_uncertainty_score":0.98502403},"labels":[],"label_agreement":null},{"id":"W4380874585","doi":"10.3138/ctr.135.011","title":"Collective Creation on the West Coast","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"West coast; Virtue; Politics; Work (physics); Face (sociological concept); Visual arts; Performance art; Art; Art history; Geography; Engineering; Sociology; Political science; Social science; Law; Geology; Oceanography","score_opus":0.044535937411683754,"score_gpt":0.23384734644985683,"score_spread":0.18931140903817306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874585","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027615372,0.048591863,1.443288e-7,0.012172011,0.00022932868,0.00043017304,0.0000885619,0.000025662372,0.9357007],"genre_scores_gemma":[0.86025923,0.087376416,0.0000019709773,0.016387565,0.00083813124,0.00012608829,0.000026066484,0.000023874965,0.03496064],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938536,0.00005595214,0.00013485283,0.000116510164,0.00009220268,0.00021510174],"domain_scores_gemma":[0.99951404,0.00008178896,0.000037694695,0.00020585881,0.000062499,0.00009811159],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000122013145,0.0001248674,0.00019597974,0.000053491574,0.0012426089,0.000026720603,0.00012177805,0.000016612774,0.004749565],"category_scores_gemma":[0.000014791732,0.0000717453,0.00008444966,0.000071124545,0.00020441653,0.0000618878,0.000007588329,0.00010610246,0.00093904464],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007474803,0.000021000935,0.0005915708,0.00029041278,0.00009908576,0.000022840095,0.029354423,8.8520267e-7,4.0207553e-7,0.073555924,0.84652823,0.049527723],"study_design_scores_gemma":[0.00004668916,0.000052401454,0.00042015035,0.0007039996,0.000033526503,0.000011647954,0.0006191416,9.687268e-7,0.0000022467123,0.0001827125,0.99782634,0.00010016976],"about_ca_topic_score_codex":0.032490082,"about_ca_topic_score_gemma":0.5774182,"teacher_disagreement_score":0.9007401,"about_ca_system_score_codex":0.00017463957,"about_ca_system_score_gemma":0.00043074173,"threshold_uncertainty_score":0.9998388},"labels":[],"label_agreement":null},{"id":"W4380874592","doi":"10.3138/ctr.138.010","title":"Canada’s Raciest Festival","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feeling; Art; History; Art history; Visual arts; Psychology; Social psychology","score_opus":0.022573813973566767,"score_gpt":0.2242758181631585,"score_spread":0.20170200418959172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874592","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024476595,0.14483225,1.2336271e-7,0.03654738,0.00043173478,0.00021629316,0.00012564617,0.000029941704,0.8175719],"genre_scores_gemma":[0.832213,0.06167833,0.0000118407725,0.07789316,0.0017141874,0.000019907466,0.00006237852,0.000026526359,0.026380684],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915373,0.000023813836,0.00018521491,0.00014187387,0.00011812256,0.00037726524],"domain_scores_gemma":[0.9994009,0.000017965825,0.000035382687,0.00022297754,0.00005297835,0.00026978517],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009482679,0.00015847187,0.0002791687,0.000045242832,0.00043615315,0.000042523978,0.00016567328,0.000016618302,0.002703084],"category_scores_gemma":[0.00000910578,0.000121325196,0.00007044557,0.000042976055,0.0000628809,0.000096716045,0.000006018415,0.00010675139,0.000160087],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.740329e-7,0.0000039508814,0.000043668297,0.00019981877,0.00001710296,0.000028558712,0.0004977145,2.066872e-7,2.336583e-7,0.02107897,0.66694796,0.31118086],"study_design_scores_gemma":[0.000044214605,0.000029093237,0.00021873649,0.0007647684,0.000041882642,0.000010598108,0.00014713417,6.677177e-7,0.000001278473,0.00017717227,0.99839664,0.00016779956],"about_ca_topic_score_codex":0.96730304,"about_ca_topic_score_gemma":0.9995308,"teacher_disagreement_score":0.83196825,"about_ca_system_score_codex":0.00019239828,"about_ca_system_score_gemma":0.001664943,"threshold_uncertainty_score":0.9982086},"labels":[],"label_agreement":null},{"id":"W4380874603","doi":"10.3138/ctr.136.005","title":"Phoenix Rising","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Phoenix; Chinatown; Crew; Visual arts; History; Hazard; Art; Archaeology","score_opus":0.04280040968338274,"score_gpt":0.23539008032914194,"score_spread":0.19258967064575921,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874603","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022618638,0.28050044,3.2841626e-7,0.0026216416,0.00035817726,0.00017926199,0.00004045067,0.00004420899,0.71399367],"genre_scores_gemma":[0.61794,0.35394773,0.00002137916,0.012347622,0.001472797,0.00003450436,0.000027563017,0.00003736533,0.014171024],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928087,0.000024680634,0.00017156603,0.00013073848,0.00008062902,0.00031153922],"domain_scores_gemma":[0.9995068,0.000017032855,0.000032092794,0.00021206723,0.000043442302,0.00018857598],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009291787,0.000131267,0.0002573794,0.000069673246,0.00072221813,0.000022260967,0.00012478846,0.000017472084,0.005050718],"category_scores_gemma":[0.0000054237184,0.00010063691,0.000109665,0.00004769172,0.00016171059,0.00012018784,0.000010519883,0.000094387055,0.0011431435],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000023320301,0.000013115932,0.00097335124,0.0012019644,0.0000875818,0.00010866131,0.014625603,3.3646018e-7,0.0000012679258,0.016285405,0.67613316,0.29056722],"study_design_scores_gemma":[0.000046942416,0.000015633315,0.00006271362,0.0008011847,0.00003525133,0.000040397266,0.00017194204,5.8615825e-7,0.0000025923912,0.00009254082,0.9985916,0.00013861318],"about_ca_topic_score_codex":0.042623624,"about_ca_topic_score_gemma":0.3250512,"teacher_disagreement_score":0.6998226,"about_ca_system_score_codex":0.00006405854,"about_ca_system_score_gemma":0.00017437914,"threshold_uncertainty_score":0.99963456},"labels":[],"label_agreement":null},{"id":"W4380874619","doi":"10.3138/ctr.136.002","title":"Jesters, Rabbits and Mavericks<sup>1</sup>","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Swing; Art; Visual arts; Psychology; Aesthetics","score_opus":0.030435695994787834,"score_gpt":0.2166910293381379,"score_spread":0.1862553333433501,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874619","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013763202,0.47248816,3.7755655e-7,0.0047457246,0.00019447603,0.00042130728,0.00011281559,0.000058365353,0.50821555],"genre_scores_gemma":[0.424555,0.54882044,0.000023037,0.011356054,0.0009382178,0.00004645135,0.000036286314,0.00004102298,0.014183487],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991275,0.000036729194,0.00020049329,0.00019088012,0.00008990476,0.00035449996],"domain_scores_gemma":[0.99939764,0.000027145474,0.000035291196,0.00022709952,0.000041461823,0.0002713771],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000104792605,0.00018644524,0.00034997953,0.000081221995,0.0006437638,0.000036655307,0.00011797443,0.000028069619,0.0020655207],"category_scores_gemma":[0.0000061644723,0.00014358849,0.000084582025,0.0000520491,0.00025341992,0.00016409918,0.000021475496,0.0001088523,0.00043006093],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000072055286,0.000021038377,0.003990844,0.0030450544,0.00018157519,0.00019028981,0.03623006,0.0000020011807,4.9682257e-7,0.015225273,0.56971943,0.37138674],"study_design_scores_gemma":[0.00009521295,0.000035316214,0.00014838351,0.0008659346,0.000054706707,0.000084525105,0.00053509756,0.0000052376377,6.537412e-7,0.00007473819,0.99790895,0.00019124779],"about_ca_topic_score_codex":0.020215802,"about_ca_topic_score_gemma":0.08187222,"teacher_disagreement_score":0.49403208,"about_ca_system_score_codex":0.00004943984,"about_ca_system_score_gemma":0.0001380266,"threshold_uncertainty_score":0.9988467},"labels":[],"label_agreement":null},{"id":"W4380874630","doi":"10.3138/ctr.140.019","title":"Bard on the Beach in Vancouver: Twenty Years On","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dream; Performance art; Art history; Visual arts; History; Art; Gaze; Psychology; Psychoanalysis","score_opus":0.02622337695530396,"score_gpt":0.23121363850481536,"score_spread":0.2049902615495114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874630","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0046623214,0.05154518,3.1683648e-8,0.016143274,0.0005645182,0.0004982585,0.000057843372,0.000026305905,0.9265023],"genre_scores_gemma":[0.9069125,0.03813203,0.000001663996,0.049162626,0.00062005053,0.000033328954,0.000013728039,0.000017497861,0.0051065465],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992241,0.000054613316,0.00016837573,0.00014679064,0.000108685264,0.00029742063],"domain_scores_gemma":[0.9995156,0.000048518254,0.000030661333,0.00029025285,0.000015704369,0.000099278055],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022695916,0.00013925949,0.00023714142,0.00008435157,0.00020820004,0.000034257886,0.00018295422,0.00002174185,0.0015904908],"category_scores_gemma":[0.000009333386,0.000085384236,0.00009483797,0.00006451709,0.000058432066,0.000050401428,0.000005208818,0.00018710966,0.00044749287],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004613262,0.000018345054,0.000077319804,0.000088824,0.000014454568,0.000018473704,0.0022501047,0.0000017191878,8.0424044e-8,0.05100107,0.53999174,0.40653324],"study_design_scores_gemma":[0.00006429223,0.00010133235,0.00044545578,0.0014545692,0.000016466016,6.1556506e-7,0.00030215818,8.7607725e-7,9.399567e-7,0.0006782591,0.9968213,0.00011373842],"about_ca_topic_score_codex":0.009752537,"about_ca_topic_score_gemma":0.54151255,"teacher_disagreement_score":0.9213957,"about_ca_system_score_codex":0.00011493139,"about_ca_system_score_gemma":0.000080031896,"threshold_uncertainty_score":0.9993222},"labels":[],"label_agreement":null},{"id":"W4380874648","doi":"10.3138/ctr.139.011","title":"Views and Reviews","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Interculturalism; Dramaturgy; Epistemology; Politics; Problem of universals; Judgement; Sociology; Enlightenment; Aesthetics; Critical theory; Pragmatics; Philosophy; Linguistics; Pedagogy; Multiculturalism; Law; Political science","score_opus":0.05243819061303112,"score_gpt":0.26139099483061784,"score_spread":0.20895280421758672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874648","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000073494324,0.5848041,1.585763e-7,0.0066318186,0.00010182312,0.00028271522,0.000013114121,0.000015490388,0.40807724],"genre_scores_gemma":[0.01619846,0.9458737,0.000022933815,0.031356085,0.0005897505,0.000025211553,0.000012235895,0.000010274891,0.005911395],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992432,0.000044282988,0.0002455569,0.00015175846,0.00005060713,0.00026462428],"domain_scores_gemma":[0.9994831,0.000010982736,0.00004658948,0.00022113412,0.000023722647,0.00021444896],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002572366,0.00015457322,0.0004109337,0.000058002686,0.0003039573,0.000048865917,0.00010165034,0.000018224162,0.0021177158],"category_scores_gemma":[0.000008650307,0.00010581865,0.00009261562,0.000041653173,0.000077602264,0.000120169316,0.00000661054,0.00008655349,0.0005500171],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.2291595e-7,0.0000028578595,0.000023535995,0.0004757656,0.0000064366905,0.0000030341885,0.0011762398,4.1068917e-9,3.5026457e-7,0.015573869,0.20619245,0.77654505],"study_design_scores_gemma":[0.000039328737,0.000041835006,0.00006216354,0.0020132544,0.000055030512,0.000009079838,0.00006575416,3.224675e-7,4.742157e-7,0.0005613331,0.99701047,0.00014095641],"about_ca_topic_score_codex":0.004742307,"about_ca_topic_score_gemma":0.20180136,"teacher_disagreement_score":0.79081804,"about_ca_system_score_codex":0.000031617397,"about_ca_system_score_gemma":0.00005064722,"threshold_uncertainty_score":0.9987945},"labels":[],"label_agreement":null},{"id":"W4380874702","doi":"10.3138/ctr.134.fm","title":"Editorial","year":2008,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Set (abstract data type); Sociology; Aesthetics; Media studies; Art; Computer science","score_opus":0.01718667380146903,"score_gpt":0.23518827296569417,"score_spread":0.21800159916422512,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874702","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[4.0094466e-8,0.20799986,9.83066e-9,0.00035172477,0.5316734,0.00022561556,0.0009080551,0.000038431244,0.25880286],"genre_scores_gemma":[0.0000010452289,0.38487092,0.0000010218482,0.00041419017,0.6030631,0.000051602365,0.0004928161,0.000048616293,0.011056676],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978748,0.00006876136,0.00044952298,0.00039097216,0.00057123107,0.00064473547],"domain_scores_gemma":[0.99837226,0.00017931435,0.00015069192,0.00055788545,0.0003476726,0.0003922055],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024881453,0.0004915409,0.000983238,0.00017170755,0.00076536584,0.00010407494,0.0004973796,0.00037884654,0.004297894],"category_scores_gemma":[0.00009376059,0.00039145703,0.0003745042,0.000059419297,0.0002818239,0.00013930148,0.000037553702,0.00089027605,0.0025984326],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000021695917,0.0000045376614,3.7095361e-7,0.0018765689,0.000085151936,0.000013901084,0.0007663816,1.544924e-8,3.951281e-9,0.00025221886,0.98282963,0.0141690625],"study_design_scores_gemma":[0.000102424594,0.000048429047,4.3087006e-8,0.0046110265,0.00022253867,0.000001999965,0.000045000677,4.0844952e-8,3.982604e-8,0.0000489776,0.99445826,0.0004612215],"about_ca_topic_score_codex":0.1300146,"about_ca_topic_score_gemma":0.62675315,"teacher_disagreement_score":0.49673852,"about_ca_system_score_codex":0.00030717216,"about_ca_system_score_gemma":0.002264624,"threshold_uncertainty_score":0.99985373},"labels":[],"label_agreement":null},{"id":"W4380880647","doi":"10.3138/ctr.101.003","title":"The Growth of Professional Theatre in Vancouver, 1963-1999","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Totem; Performance art; History; Media studies; Art history; Art; Visual arts; Sociology; Archaeology","score_opus":0.014997298011631901,"score_gpt":0.22854771212408292,"score_spread":0.21355041411245101,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880647","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0030095426,0.29004592,2.338145e-8,0.0047831093,0.00073319295,0.0005189316,0.00009946945,0.000017862923,0.70079195],"genre_scores_gemma":[0.53806204,0.42383644,0.00000787596,0.004258956,0.0007794546,0.00014718667,0.000024271407,0.000044424323,0.03283938],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988393,0.00009111661,0.00037526994,0.0001570683,0.00014605428,0.00039118732],"domain_scores_gemma":[0.9993889,0.00009764329,0.00005914329,0.0002790092,0.00005288797,0.0001224257],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00033165317,0.00017185695,0.00034920409,0.000070204354,0.00046660745,0.00002307887,0.0002847803,0.000032996428,0.005419293],"category_scores_gemma":[0.000006336853,0.00009842981,0.00013109298,0.00010873235,0.00024805625,0.000114711765,0.000014608102,0.00017473073,0.0001695867],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015404783,0.00003210441,0.0011227176,0.0010948448,0.00005059094,0.00000992646,0.004182092,5.79741e-7,3.4652948e-7,0.01559581,0.30010036,0.67779523],"study_design_scores_gemma":[0.00011565551,0.000031106505,0.00019848556,0.0021171481,0.000031338135,0.0000021700153,0.00063063635,0.0000020463074,0.000002337144,0.0010573211,0.9956822,0.00012958708],"about_ca_topic_score_codex":0.06729494,"about_ca_topic_score_gemma":0.8686236,"teacher_disagreement_score":0.80132866,"about_ca_system_score_codex":0.000072231334,"about_ca_system_score_gemma":0.00029947676,"threshold_uncertainty_score":0.9954899},"labels":[],"label_agreement":null},{"id":"W4380880668","doi":"10.3138/ctr.115.013","title":"Playwriting in Canadian Popular Theatre: Developing Plays with Actors and Ν on-actors","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Compendium; Political theatre; Theatre studies; Theatre director; Art; Subtitle; Visual arts; Media studies; Performance art; Literature; Sociology; History; Drama; Art history; Computer science","score_opus":0.029464461053656875,"score_gpt":0.23051230142357595,"score_spread":0.20104784036991907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880668","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10944384,0.13287808,4.3430168e-7,0.006514634,0.00044313323,0.0011554527,0.00022042393,0.00005907405,0.7492849],"genre_scores_gemma":[0.9716052,0.023258409,0.000033767294,0.0044940594,0.00015849559,0.00004500592,0.000026303705,0.000046760804,0.00033201973],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983704,0.000083059706,0.00029179457,0.00030414521,0.00012065996,0.0008299446],"domain_scores_gemma":[0.9990666,0.00004907572,0.000055048342,0.0002382223,0.000036487,0.000554557],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032130844,0.00031328265,0.00046805924,0.00032677743,0.0006052843,0.00010074593,0.0001359465,0.00005497837,0.0005948197],"category_scores_gemma":[0.00002021195,0.00023317702,0.000055239234,0.00015382426,0.00013306955,0.00017375943,0.000007861627,0.00024078648,0.000054929875],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028771092,0.000043306296,0.1739556,0.00581478,0.00043579395,0.0007813567,0.030701676,0.0000152044695,0.0000021520443,0.584118,0.020853981,0.18324938],"study_design_scores_gemma":[0.00015877195,0.000061260995,0.00064046046,0.0038085405,0.00003905762,0.000030719162,0.0018833757,0.0000011560129,0.0000043546265,0.00010853253,0.99289036,0.0003734151],"about_ca_topic_score_codex":0.7274798,"about_ca_topic_score_gemma":0.9972042,"teacher_disagreement_score":0.97203636,"about_ca_system_score_codex":0.00045163304,"about_ca_system_score_gemma":0.0009964404,"threshold_uncertainty_score":0.9508683},"labels":[],"label_agreement":null},{"id":"W4380880678","doi":"10.3138/ctr.113.005","title":"Our Man at the <i>Star</i>","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reign; Newspaper; History; Performance art; Art history; Art; Media studies; Sociology; Political science; Law; Politics","score_opus":0.03579960507338689,"score_gpt":0.23836034436532932,"score_spread":0.20256073929194243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880678","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00053150643,0.29846242,5.368973e-8,0.013056856,0.00041968093,0.00026486802,0.00006030748,0.00002076707,0.68718356],"genre_scores_gemma":[0.4298508,0.32466137,0.000012681307,0.0765732,0.0014943783,0.0001805124,0.000054882898,0.0000862727,0.16708593],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913734,0.0000755894,0.00017594447,0.00014758842,0.00009439147,0.00036915593],"domain_scores_gemma":[0.9993776,0.000019821075,0.000039330003,0.0003584565,0.00003709659,0.0001676971],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025310274,0.00015832452,0.00023201719,0.000034465556,0.0008607202,0.00005022422,0.00016864421,0.000019254387,0.0053682043],"category_scores_gemma":[0.000009060065,0.00009081398,0.00013194066,0.000049823153,0.000087438064,0.00007050935,0.00001499471,0.0001064771,0.00192316],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000010255652,0.000005021561,0.00019443789,0.00049559097,0.000053993524,0.000010703724,0.002222356,1.5281438e-7,5.302662e-7,0.048550706,0.9124419,0.03602358],"study_design_scores_gemma":[0.000049536073,0.000014627866,0.000012089402,0.00043385566,0.00006948075,0.000016408363,0.0009739211,1.2410023e-7,0.000005761969,0.00024824124,0.99803907,0.00013689787],"about_ca_topic_score_codex":0.01751215,"about_ca_topic_score_gemma":0.7016574,"teacher_disagreement_score":0.6841453,"about_ca_system_score_codex":0.00010790565,"about_ca_system_score_gemma":0.00013313004,"threshold_uncertainty_score":0.998854},"labels":[],"label_agreement":null},{"id":"W4380880682","doi":"10.3138/ctr.113.004","title":"Urjo Kareda and Emerging Playwrights: Seeding the Field, Cultivating the Roots","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Field (mathematics); Art; Performance art; Visual arts; Art history; Media studies; History; Sociology","score_opus":0.02251526346524085,"score_gpt":0.2440060355392509,"score_spread":0.22149077207401005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880682","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004257584,0.37379953,0.0000018072056,0.026174866,0.00052014505,0.00051400036,0.000020948386,0.000031988337,0.5946791],"genre_scores_gemma":[0.88144255,0.09314224,0.000017029091,0.020976081,0.0010173967,0.00008903498,0.000006345073,0.000035285186,0.0032740266],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916154,0.00008019832,0.0002004236,0.00014422783,0.00009052277,0.00032309207],"domain_scores_gemma":[0.99935037,0.00023371729,0.00005581417,0.00022438855,0.00003985531,0.000095845004],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003975391,0.00015714118,0.00020599256,0.00003534044,0.0016842735,0.00012417072,0.000164793,0.0000214355,0.0012201939],"category_scores_gemma":[0.000060326798,0.00007342289,0.00007437711,0.00006704735,0.00012830088,0.00011960496,0.000018700093,0.00018462833,0.00004174815],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000027768317,0.0000077663335,0.0033137684,0.0013907956,0.00022168475,0.000014932478,0.033267453,0.000001917604,0.0000030491224,0.42671102,0.20629708,0.32876775],"study_design_scores_gemma":[0.00004737379,0.0000133976,0.000050072424,0.0010246912,0.00006410395,0.000012019085,0.004014607,0.000003919087,0.000005801052,0.0007263721,0.99391603,0.00012163685],"about_ca_topic_score_codex":0.01678685,"about_ca_topic_score_gemma":0.228114,"teacher_disagreement_score":0.877185,"about_ca_system_score_codex":0.000034040084,"about_ca_system_score_gemma":0.000075870856,"threshold_uncertainty_score":0.9996928},"labels":[],"label_agreement":null},{"id":"W4380880701","doi":"10.3138/ctr.115.020","title":"Getting Out of the Script Stack: Part Two","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Passion; Flourishing; Visual arts; Art; The Renaissance; Performance art; Art history; Aesthetics; Psychology","score_opus":0.04215431008781456,"score_gpt":0.24848063650332625,"score_spread":0.20632632641551168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880701","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001088735,0.25869805,1.9222237e-7,0.0022933874,0.001205165,0.00030988237,0.00007960546,0.000013843411,0.73631114],"genre_scores_gemma":[0.8605155,0.079702064,0.000032140502,0.014461231,0.0015304682,0.000082198756,0.000016161765,0.000074688745,0.04358557],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912983,0.000092318005,0.0002577615,0.00011981187,0.00010262912,0.00029766854],"domain_scores_gemma":[0.9993819,0.000024553581,0.000082001505,0.00034158907,0.0000635984,0.00010636997],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030042278,0.00013156085,0.00028017198,0.00003454537,0.00040125765,0.000027041178,0.00017985063,0.000014926957,0.0028033957],"category_scores_gemma":[0.000025999518,0.00007927129,0.00015165356,0.000049250844,0.00016327013,0.00007562711,0.000013712981,0.000107143096,0.00013774828],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000018451174,0.000023113385,0.0032557063,0.0031530962,0.00018975967,0.0000065040913,0.0146553805,0.0000015678227,0.000006552199,0.3965598,0.40717337,0.1749733],"study_design_scores_gemma":[0.00006282715,0.00001077169,0.0000242488,0.0016892195,0.000073027615,0.0000021086335,0.000568413,3.038061e-7,0.000017058568,0.0004341563,0.9970101,0.000107749554],"about_ca_topic_score_codex":0.010784008,"about_ca_topic_score_gemma":0.4954622,"teacher_disagreement_score":0.85942674,"about_ca_system_score_codex":0.00004849371,"about_ca_system_score_gemma":0.0002322764,"threshold_uncertainty_score":0.99810815},"labels":[],"label_agreement":null},{"id":"W4380880735","doi":"10.3138/ctr.115.008","title":"Playwriting Madness: New Play and Playwright Development at Toronto’s Workman Theatre Project","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sanity; Deviance (statistics); Psychoanalysis; Meaning (existential); Art; Sociology; Aesthetics; Psychology; Psychiatry; Psychotherapist","score_opus":0.03252380079679689,"score_gpt":0.24066155580462828,"score_spread":0.20813775500783138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880735","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023075084,0.3538086,7.417992e-7,0.00093339593,0.00033491457,0.00067287654,0.000041991596,0.000057776586,0.6418422],"genre_scores_gemma":[0.27889618,0.5542672,0.0013853653,0.019983854,0.0038671598,0.000604849,0.00030575314,0.00037263817,0.140317],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981711,0.00008895477,0.00043255033,0.00038495692,0.00017299672,0.0007494643],"domain_scores_gemma":[0.9990415,0.00006387967,0.00009247993,0.00030870907,0.00004267316,0.00045078024],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00036655465,0.0003802645,0.0005488055,0.000081814396,0.0011559834,0.00012188326,0.00018374568,0.00006410143,0.0062024654],"category_scores_gemma":[0.000011569302,0.00028529062,0.000104217936,0.00006325465,0.00012712974,0.0002745315,0.000040234565,0.00014573576,0.00020703317],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013733965,0.000028337743,0.0021358253,0.0026601525,0.00030031375,0.000058796322,0.033120602,3.5441983e-7,0.0000017213381,0.031109048,0.45792124,0.4726499],"study_design_scores_gemma":[0.00020766955,0.000034021836,0.00007668,0.0026325125,0.00008916221,0.000049028236,0.0019880077,5.040501e-7,0.000014655008,0.00008509721,0.9944158,0.00040684923],"about_ca_topic_score_codex":0.05806883,"about_ca_topic_score_gemma":0.8704558,"teacher_disagreement_score":0.81238693,"about_ca_system_score_codex":0.0005035194,"about_ca_system_score_gemma":0.0008531135,"threshold_uncertainty_score":0.99995995},"labels":[],"label_agreement":null},{"id":"W4380880766","doi":"10.3138/ctr.114.005","title":"How Passionate Are You?: An Interview with Sharon Pollock","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pollock; Art; Art history; Performance art; Visual arts; Media studies; Sociology","score_opus":0.040055397837636904,"score_gpt":0.22703744896244565,"score_spread":0.18698205112480876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880766","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012405037,0.54022485,0.0000023839962,0.03049527,0.00052386924,0.0007615554,0.00024905577,0.00009402794,0.42640847],"genre_scores_gemma":[0.77437246,0.16305517,0.000059027352,0.022179442,0.00083978556,0.00017306715,0.00009143978,0.00011117478,0.03911845],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989056,0.00012816646,0.00017357936,0.00025447996,0.00012170911,0.0004164451],"domain_scores_gemma":[0.99908227,0.000012129947,0.00008379264,0.00038737388,0.00008250881,0.00035190055],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002190013,0.0002491103,0.0004260095,0.00008601055,0.00044276688,0.00015538976,0.00019165769,0.000030614403,0.0029039714],"category_scores_gemma":[0.000007993173,0.00015698241,0.00010441054,0.0000760117,0.00012122729,0.00031078377,0.000010137389,0.00014233503,0.0001551224],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010722523,0.00007917557,0.0029850507,0.0076328097,0.00034299627,0.00014216224,0.008230761,7.9869244e-7,9.235617e-7,0.102154195,0.21484667,0.66357374],"study_design_scores_gemma":[0.00010381837,0.000097027216,0.00008401362,0.003966459,0.00009958956,0.000021884312,0.0019980536,5.9426003e-7,0.000002481584,0.00014542433,0.9932238,0.00025686168],"about_ca_topic_score_codex":0.005611707,"about_ca_topic_score_gemma":0.4845527,"teacher_disagreement_score":0.7783771,"about_ca_system_score_codex":0.00008697265,"about_ca_system_score_gemma":0.00016886264,"threshold_uncertainty_score":0.99800754},"labels":[],"label_agreement":null},{"id":"W4380880771","doi":"10.3138/ctr.116.003","title":"Aside from satisfying the theatre, you must satisfy yourself","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aside; Surprise; Subject (documents); Visual arts; Aesthetics; Performance art; Art; Psychology; Computer science; Art history; Literature; Social psychology; World Wide Web","score_opus":0.033809686815642045,"score_gpt":0.2342614971162293,"score_spread":0.20045181030058723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880771","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013980673,0.35246634,0.0000013110085,0.0059046913,0.0008230588,0.000521522,0.000271598,0.000055940618,0.63855743],"genre_scores_gemma":[0.76250994,0.20886663,0.00009176015,0.020037252,0.0021191146,0.00018903031,0.00010037441,0.000113924616,0.005971953],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982548,0.00021125934,0.00039728507,0.00031959004,0.00020004738,0.00061705644],"domain_scores_gemma":[0.9987321,0.00015125467,0.00010293419,0.000667859,0.00006616784,0.00027966575],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00043402723,0.00033511646,0.0005002969,0.00008538373,0.0011908736,0.00016781426,0.00034367104,0.000052554507,0.009696688],"category_scores_gemma":[0.000028579152,0.00020767318,0.0002316266,0.00011508558,0.00027181435,0.00018441652,0.000022460696,0.00028577977,0.0009860605],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000040395817,0.000019735464,0.00421093,0.0006410866,0.00036750667,0.000041280422,0.016497929,0.0000019136075,0.0000020052855,0.11043696,0.20336546,0.6644111],"study_design_scores_gemma":[0.00012186965,0.000022928878,0.0002990803,0.0012449751,0.00023502515,0.0000123928,0.00264513,0.0000013522034,0.0000050269477,0.0019905232,0.9931276,0.00029411307],"about_ca_topic_score_codex":0.14195275,"about_ca_topic_score_gemma":0.67961246,"teacher_disagreement_score":0.78976214,"about_ca_system_score_codex":0.00013232244,"about_ca_system_score_gemma":0.00032158007,"threshold_uncertainty_score":0.9997918},"labels":[],"label_agreement":null},{"id":"W4380880775","doi":"10.3138/ctr.114.012","title":"Performing Canada: The Nation Enacted in the Imagined Theatre","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":48,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Articulation (sociology); Media studies; Government (linguistics); Perspective (graphical); National identity; Sociology; Identity (music); Aesthetics; Gender studies; Political science; Art; Visual arts; Law; Politics","score_opus":0.024033096190611586,"score_gpt":0.21269964879689088,"score_spread":0.1886665526062793,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880775","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002808766,0.13985069,2.0950972e-7,0.03714893,0.00054319645,0.0007913951,0.000060104234,0.000017323882,0.81877935],"genre_scores_gemma":[0.9608737,0.021942366,0.0000029114785,0.0151917515,0.00037325296,0.00010524096,0.000025968004,0.000020362868,0.0014644482],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987347,0.0002029357,0.000274587,0.00015892705,0.00020508956,0.00042373184],"domain_scores_gemma":[0.9992978,0.00013487689,0.00005758921,0.00036280722,0.00006189374,0.00008501857],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00069084764,0.00019150373,0.00024814205,0.000066461456,0.0007852701,0.00008429028,0.00032604826,0.00002116968,0.0012521823],"category_scores_gemma":[0.00002995227,0.00009492102,0.00008012192,0.00016084437,0.00011598759,0.00014062994,0.000008309311,0.00024811525,0.000044862172],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006313721,0.000034252913,0.0023254734,0.0013926895,0.00014272924,0.00007179776,0.033081423,0.0000064727806,0.0000017397313,0.2113603,0.41916367,0.33241314],"study_design_scores_gemma":[0.00008314657,0.000011355394,0.00020951791,0.00047223884,0.000052453517,0.000020156433,0.004301869,0.000006188563,0.00000156227,0.00023633346,0.9944643,0.00014089349],"about_ca_topic_score_codex":0.9231862,"about_ca_topic_score_gemma":0.9991129,"teacher_disagreement_score":0.9580649,"about_ca_system_score_codex":0.0002581434,"about_ca_system_score_gemma":0.0010650406,"threshold_uncertainty_score":0.9996608},"labels":[],"label_agreement":null},{"id":"W4380880794","doi":"10.3138/ctr.116.013","title":"The Premier of Sally Clark’s <i>WANTED</i>","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Art; Luck; Art history; Visual arts; Philosophy; Theology","score_opus":0.020155187119456144,"score_gpt":0.22211726654329444,"score_spread":0.20196207942383831,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880794","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00023551947,0.34776896,2.1493935e-7,0.0018263506,0.00031240098,0.00022452412,0.000042401305,0.000011022652,0.64957863],"genre_scores_gemma":[0.36617744,0.6007599,0.000024110015,0.007492602,0.0005090405,0.00007922028,0.000014671697,0.000051652256,0.024891349],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915045,0.00007540513,0.0002599473,0.0001090314,0.000099942736,0.00030521135],"domain_scores_gemma":[0.99934906,0.00006732,0.00006845757,0.00031025693,0.00008416919,0.000120764555],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00036759395,0.00012746143,0.00025634878,0.000026521666,0.0005111209,0.000035490302,0.00018601616,0.000022334907,0.0014094001],"category_scores_gemma":[0.00002617653,0.00007415277,0.00012723758,0.000055744695,0.00021919444,0.00006660495,0.000008446588,0.000105443985,0.00014623813],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000418034,0.00001415975,0.00044842527,0.001486609,0.00016674153,0.0000060604793,0.004178095,2.8943086e-7,0.0000028321608,0.43747988,0.35233924,0.20387347],"study_design_scores_gemma":[0.000051045776,0.000024054689,0.000016541917,0.0008546309,0.00006208287,0.000004908905,0.0004222336,2.3983597e-7,0.000012256213,0.0006694133,0.99778473,0.000097836215],"about_ca_topic_score_codex":0.0079653105,"about_ca_topic_score_gemma":0.4187742,"teacher_disagreement_score":0.6454455,"about_ca_system_score_codex":0.000053543994,"about_ca_system_score_gemma":0.00028099288,"threshold_uncertainty_score":0.99950343},"labels":[],"label_agreement":null},{"id":"W4380880795","doi":"10.3138/ctr.114.006","title":"Judith Thompson’s Ghosts","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Character (mathematics); Art; Ambiguity; Aesthetics; Literature; Philosophy; History","score_opus":0.02822726611910919,"score_gpt":0.23303731060431399,"score_spread":0.2048100444852048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880795","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021285577,0.22985779,2.602708e-7,0.0028890795,0.00053300656,0.00021596061,0.000044406017,0.000031895706,0.7662147],"genre_scores_gemma":[0.5550699,0.35831374,0.000065634995,0.03146168,0.0018434004,0.00015653553,0.00005274972,0.00009518455,0.05294117],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909836,0.00005807523,0.00019153766,0.00016892515,0.000090917805,0.00039218133],"domain_scores_gemma":[0.9993668,0.000022985101,0.000039415227,0.0002768626,0.00005214682,0.00024177547],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020942028,0.00016934516,0.00030262902,0.00007202231,0.00043733776,0.00005437442,0.00013202186,0.000023811626,0.013667087],"category_scores_gemma":[0.000014595211,0.00012637005,0.000116869734,0.000058031794,0.00010547001,0.0001131539,0.000007004595,0.00010649543,0.0015136863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000012166113,0.000013767928,0.00043489196,0.0012354094,0.00008722658,0.000026132462,0.0036930086,2.0273843e-7,3.992038e-7,0.26642916,0.5126446,0.21543397],"study_design_scores_gemma":[0.00005886637,0.00002214624,0.000023297098,0.00093669264,0.00005876115,0.000012094064,0.00044735742,2.459524e-7,0.0000028825327,0.00039179024,0.9978666,0.00017931168],"about_ca_topic_score_codex":0.014261143,"about_ca_topic_score_gemma":0.43196663,"teacher_disagreement_score":0.7132736,"about_ca_system_score_codex":0.000083530875,"about_ca_system_score_gemma":0.00022388525,"threshold_uncertainty_score":0.99926376},"labels":[],"label_agreement":null},{"id":"W4380880803","doi":"10.3138/ctr.116.007","title":"Afterword: The Uses of Theatrical Photographs","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Performance art; Art history; Aesthetics","score_opus":0.026634285841230246,"score_gpt":0.23009653190653326,"score_spread":0.203462246065303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880803","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016965147,0.32998228,4.9314264e-7,0.0016999859,0.00031711138,0.00039422113,0.00006812467,0.000018184504,0.6658231],"genre_scores_gemma":[0.8752764,0.11906215,0.000011179367,0.0038553805,0.00022017329,0.000059076556,0.000005104976,0.000021358333,0.0014891763],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990762,0.0001117996,0.00026319717,0.00013132417,0.0001138476,0.00030364498],"domain_scores_gemma":[0.999319,0.00008227673,0.0000595942,0.0003482989,0.00006196928,0.0001288329],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029377078,0.00015418956,0.0003224571,0.000084752406,0.00033686135,0.000029511973,0.00020457013,0.000022961469,0.0044505107],"category_scores_gemma":[0.000017310324,0.00008495923,0.00020713892,0.00012916609,0.00028791532,0.00006728726,0.000009661926,0.00011324791,0.00012251134],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001307351,0.00008301426,0.0066884165,0.003797892,0.00048686753,0.000023721263,0.020457562,0.0000010909084,0.0000046660007,0.39222375,0.2919117,0.28430822],"study_design_scores_gemma":[0.000054265147,0.000032837826,0.000050371542,0.0005997405,0.000107761014,0.000007858303,0.0008072705,2.3459707e-7,0.0000157516,0.00073372363,0.9974763,0.00011390525],"about_ca_topic_score_codex":0.021285422,"about_ca_topic_score_gemma":0.22920367,"teacher_disagreement_score":0.8735799,"about_ca_system_score_codex":0.000025981106,"about_ca_system_score_gemma":0.00015774438,"threshold_uncertainty_score":0.99645954},"labels":[],"label_agreement":null},{"id":"W4380880817","doi":"10.3138/ctr.114.002","title":"Fantasies of Origin: Staging the Birth of the Canadian Stage","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Reading (process); Period (music); The arts; Government (linguistics); History; Performing arts; Literature; Art; Art history; Visual arts; Aesthetics; Law; Philosophy; Political science; Linguistics","score_opus":0.03511438870907701,"score_gpt":0.23922565282906544,"score_spread":0.20411126411998842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880817","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012771224,0.18656601,1.6105685e-7,0.0058388244,0.0006943767,0.0007157357,0.00079451903,0.000011427524,0.7926077],"genre_scores_gemma":[0.971906,0.020544715,0.0000039728316,0.0022445049,0.00009786793,0.00001720824,0.0000034495458,0.000017843351,0.005164412],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898255,0.00011358234,0.00029254917,0.000113705086,0.0001429261,0.0003546924],"domain_scores_gemma":[0.9991196,0.00004968689,0.00011662685,0.00046520727,0.0000966398,0.00015227825],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00039370175,0.00015169392,0.00032233863,0.00008633159,0.00071865704,0.00003182644,0.00033264665,0.000022699145,0.0024218746],"category_scores_gemma":[0.000024258394,0.000077177414,0.00015757234,0.0001363408,0.000436999,0.000070833834,0.000012926795,0.00014173129,0.000025604115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002374828,0.000011734373,0.020547515,0.0040450445,0.00024033719,0.00000660083,0.019158013,0.000005561114,0.0000024717665,0.8681223,0.041535493,0.046322588],"study_design_scores_gemma":[0.000046394693,0.0000135376,0.00037506802,0.00094970106,0.00006354101,0.000002312356,0.0019845488,4.5361517e-7,0.000027130809,0.00028583937,0.9961525,0.00009895994],"about_ca_topic_score_codex":0.8077915,"about_ca_topic_score_gemma":0.99685454,"teacher_disagreement_score":0.9591348,"about_ca_system_score_codex":0.00011547107,"about_ca_system_score_gemma":0.0012654208,"threshold_uncertainty_score":0.99849004},"labels":[],"label_agreement":null},{"id":"W4380880835","doi":"10.3138/ctr.122.013","title":"The Truth about Theatre from the Inside Out","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Art; Visual arts; Political theatre; Theatre director; Sociology; Art history","score_opus":0.0304482120337859,"score_gpt":0.2374626362404304,"score_spread":0.2070144242066445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880835","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00053514953,0.50599325,2.4886907e-7,0.04315724,0.0009223868,0.00034912766,0.00022584441,0.00004162065,0.44877514],"genre_scores_gemma":[0.4111073,0.53839946,0.00001548688,0.032419022,0.008377221,0.00016056006,0.00007054485,0.00007366394,0.009376729],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985554,0.00012668865,0.00036257392,0.00023259774,0.00017599859,0.0005466973],"domain_scores_gemma":[0.998404,0.0005352327,0.00008674681,0.0007080226,0.00006243242,0.00020351063],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003766587,0.00026720608,0.00034878566,0.000029719396,0.0019688096,0.000241635,0.0005815642,0.00003785575,0.0025081362],"category_scores_gemma":[0.000028658591,0.00012344912,0.00023080395,0.000053344087,0.00037707156,0.00016363924,0.000041466566,0.00027028774,0.0018202519],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000031445034,0.0000049862665,0.00014341118,0.000066472574,0.00010071739,0.0000030500485,0.0068193264,5.0540876e-7,1.5861461e-7,0.020571258,0.24205062,0.73023635],"study_design_scores_gemma":[0.00008976034,0.000016395315,0.00015814081,0.0009066525,0.00013475436,0.0000031191203,0.0015055356,0.000003732309,0.0000021874644,0.00076120853,0.99622875,0.00018976029],"about_ca_topic_score_codex":0.050110675,"about_ca_topic_score_gemma":0.8819069,"teacher_disagreement_score":0.8317963,"about_ca_system_score_codex":0.00011598862,"about_ca_system_score_gemma":0.00024821277,"threshold_uncertainty_score":0.9993305},"labels":[],"label_agreement":null},{"id":"W4380880837","doi":"10.3138/ctr.115.019","title":"Theatre Without Borders","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Happening; Performing arts; Documentation; Visual arts; Performance art; Art; History; Sociology; Aesthetics; Art history; Computer science","score_opus":0.024964571601804274,"score_gpt":0.24844548770568226,"score_spread":0.223480916103878,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880837","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024348659,0.2129822,5.903312e-7,0.0026095558,0.00041037844,0.0003055895,0.00004437234,0.00004566763,0.78335816],"genre_scores_gemma":[0.70225686,0.24759316,0.00006923841,0.023748832,0.0010339366,0.00015302918,0.000050366853,0.000110754925,0.024983795],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988576,0.000080142156,0.0002400816,0.00021736458,0.00011520351,0.0004895764],"domain_scores_gemma":[0.99922496,0.000025072946,0.0000477986,0.00036033898,0.00005727851,0.00028455904],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024402844,0.00022940506,0.00038694503,0.000094742645,0.00053107424,0.000066309454,0.00017006225,0.00003334433,0.0075033475],"category_scores_gemma":[0.000010857273,0.0001701324,0.00015577606,0.00007649256,0.00017389325,0.00014264596,0.000008159396,0.00014421437,0.0012380593],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000042755237,0.000029726765,0.002773934,0.0022928761,0.00023008502,0.00002994374,0.007015421,9.056929e-7,0.0000010267674,0.26556465,0.3338229,0.3882343],"study_design_scores_gemma":[0.000099703415,0.00002880318,0.000012148489,0.00096477655,0.00009307131,0.00001303585,0.00081989495,5.625065e-7,0.0000031127538,0.00065336033,0.9970751,0.00023643074],"about_ca_topic_score_codex":0.027220193,"about_ca_topic_score_gemma":0.48773104,"teacher_disagreement_score":0.7583744,"about_ca_system_score_codex":0.000082373495,"about_ca_system_score_gemma":0.0003300392,"threshold_uncertainty_score":0.9995396},"labels":[],"label_agreement":null},{"id":"W4380880845","doi":"10.3138/ctr.119.005","title":"The Dramaturgy of Stage Management: A Constructed Conversation","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Conversation; Theatre director; Reading (process); Visual arts; Management; Sociology; Session (web analytics); Media studies; Art; Psychology; Political science; Law; Communication; Computer science; World Wide Web","score_opus":0.014889417745830002,"score_gpt":0.21466245807286474,"score_spread":0.19977304032703475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880845","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018535494,0.1987486,0.0000022067072,0.007243613,0.0005581784,0.00073478994,0.00014856494,0.000035755187,0.79067475],"genre_scores_gemma":[0.7841754,0.20992686,0.000026481817,0.002061627,0.00018440564,0.000042570297,0.00003234139,0.000018674056,0.0035316474],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939334,0.00002265266,0.00020751865,0.00008842507,0.00008533475,0.00020271848],"domain_scores_gemma":[0.99955994,0.000022732762,0.00007305803,0.00021349602,0.000055862267,0.00007491704],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013735553,0.00009732895,0.00018079967,0.000049797964,0.0003616345,0.000036637444,0.00013961627,0.000014590805,0.00082646986],"category_scores_gemma":[0.0000037929,0.000061508304,0.000074802934,0.000057423702,0.0002798956,0.000074762844,0.000012447603,0.000059447004,0.000089152585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000045123365,0.0000053048407,0.000050695435,0.0018152439,0.00015042286,0.0000084843505,0.0046671876,0.0000015838009,5.386221e-7,0.80290383,0.006207605,0.18418457],"study_design_scores_gemma":[0.00015794515,0.000016677819,0.00004097022,0.001081132,0.000067937974,0.0000023016903,0.0027258378,5.2488616e-7,0.000006473799,0.0013579562,0.9944629,0.00007934284],"about_ca_topic_score_codex":0.019869372,"about_ca_topic_score_gemma":0.22697458,"teacher_disagreement_score":0.9882553,"about_ca_system_score_codex":0.00006772909,"about_ca_system_score_gemma":0.000110529974,"threshold_uncertainty_score":0.9866574},"labels":[],"label_agreement":null},{"id":"W4380880869","doi":"10.3138/ctr.125.015","title":"Seeing Red: Theatre and Labour in Twenty-First Century Canada","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Equity (law); Gender equity; Media studies; Visual arts; Sociology; Art; Art history; Political science; Gender studies; Management; Law; Economics","score_opus":0.010023108535446783,"score_gpt":0.19294144106780517,"score_spread":0.1829183325323584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880869","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01588192,0.5162148,4.5707406e-8,0.011916283,0.00050554046,0.00044559914,0.0002466345,0.000029112969,0.45476004],"genre_scores_gemma":[0.8823887,0.111737035,0.0000048394572,0.0033577185,0.00058822264,0.000031267136,0.000039959872,0.000027389902,0.001824859],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880964,0.000042221247,0.00030248237,0.00022928548,0.00012153966,0.0004948257],"domain_scores_gemma":[0.99948,0.000038782615,0.000053594984,0.00021997123,0.000034422672,0.0001732177],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015763471,0.0002193752,0.00038352417,0.000104791376,0.0004252733,0.00006213596,0.00013621729,0.000031626554,0.0009270539],"category_scores_gemma":[0.000003884706,0.00017668404,0.00005378704,0.00009292084,0.00008757654,0.00012346938,0.0000239309,0.0001572042,0.000020280277],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013278808,0.000048965518,0.07650602,0.009024616,0.00013355994,0.00044368987,0.005318536,0.000014983513,0.00000168118,0.08486021,0.48719972,0.33643475],"study_design_scores_gemma":[0.00012134662,0.000011616371,0.0024115036,0.0018203123,0.000032748816,0.000010668035,0.0006378864,0.0000021285002,7.238651e-7,0.00019190449,0.9945379,0.00022127354],"about_ca_topic_score_codex":0.9890776,"about_ca_topic_score_gemma":0.9998922,"teacher_disagreement_score":0.8665068,"about_ca_system_score_codex":0.00027799036,"about_ca_system_score_gemma":0.0004456059,"threshold_uncertainty_score":0.99998623},"labels":[],"label_agreement":null},{"id":"W4380880878","doi":"10.3138/ctr.125.024","title":"A Genius of OurTheatre: In Praise of Paul Bettis (1940-2005)","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Praise; Genius; Performance art; Art history; Art; Sociology; History; Literature","score_opus":0.017035852117078146,"score_gpt":0.22426649127936643,"score_spread":0.2072306391622883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880878","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01993386,0.5789114,5.193252e-7,0.0043017836,0.0002897775,0.0006562393,0.00053280283,0.00002150967,0.3953521],"genre_scores_gemma":[0.9400208,0.05652801,0.000033609893,0.00056822,0.00040117427,0.00004145033,0.000047099908,0.000029135888,0.002330527],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99870753,0.00005637102,0.00055752764,0.00016415761,0.00012635757,0.00038807845],"domain_scores_gemma":[0.9993424,0.00004190172,0.00014408091,0.00029851095,0.00006623795,0.0001068854],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002782699,0.00018012247,0.00059956074,0.00020442055,0.00009581061,0.000011406257,0.00017910573,0.000038620834,0.0016384716],"category_scores_gemma":[0.0000066787734,0.00014428898,0.000165224,0.000110508365,0.00020059259,0.00012522322,0.000016315664,0.000103457896,0.000051091494],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032765478,0.00024117532,0.020511283,0.015333539,0.00026429535,0.000102675294,0.009694836,0.000014993866,0.00003413934,0.07450306,0.3835511,0.49571612],"study_design_scores_gemma":[0.00017711379,0.000048035374,0.00067471946,0.0023855674,0.00008318965,0.0000059024433,0.00025705865,0.0000017832797,0.000028654727,0.00070156046,0.9954729,0.0001634908],"about_ca_topic_score_codex":0.18355261,"about_ca_topic_score_gemma":0.8667129,"teacher_disagreement_score":0.9200869,"about_ca_system_score_codex":0.00007143455,"about_ca_system_score_gemma":0.00026165578,"threshold_uncertainty_score":0.9992742},"labels":[],"label_agreement":null},{"id":"W4380880880","doi":"10.3138/ctr.126.029","title":"Comfortable Uncertainty","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":20,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The arts; Visual arts; Point (geometry); Space (punctuation); Art; Sociology; Aesthetics; Philosophy; Mathematics","score_opus":0.02087911584046329,"score_gpt":0.22108295204607678,"score_spread":0.2002038362056135,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880880","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00044278867,0.19066337,2.9275702e-7,0.0027091126,0.00027359583,0.00020308673,0.00009614232,0.00004040137,0.8055712],"genre_scores_gemma":[0.7956708,0.10244922,0.000028698156,0.018368367,0.0037642494,0.000142609,0.00032229227,0.00007248602,0.07918129],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922085,0.000020762678,0.00019721781,0.00013118249,0.00007818018,0.00035182518],"domain_scores_gemma":[0.99957126,0.000017482356,0.000035864196,0.000214567,0.000042089465,0.00011873782],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001251965,0.00013681594,0.00025997972,0.000059008882,0.00042030163,0.000052487183,0.00013028526,0.000018980187,0.0065643503],"category_scores_gemma":[0.0000020775556,0.00010247581,0.0001014973,0.00004919355,0.000111453424,0.00010064116,0.000009450433,0.000078518795,0.0006348229],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000012059157,0.000010334766,0.0005046763,0.0008534062,0.000030182768,0.000011852154,0.00047562958,0.000006343245,3.639517e-7,0.15663387,0.7660924,0.07537972],"study_design_scores_gemma":[0.000052687883,0.000013994322,0.00003671537,0.00067463366,0.000047604466,0.000004063859,0.00013168389,0.0000037462619,9.90688e-7,0.0010945358,0.9977948,0.00014453715],"about_ca_topic_score_codex":0.36136216,"about_ca_topic_score_gemma":0.89065117,"teacher_disagreement_score":0.795228,"about_ca_system_score_codex":0.00008333165,"about_ca_system_score_gemma":0.00013903537,"threshold_uncertainty_score":0.99434376},"labels":[],"label_agreement":null},{"id":"W4380880890","doi":"10.3138/ctr.125.003","title":"“Make Thee an Ark”: On the North American Cultural Laboratory, Theatre and National Identities","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ambivalence; National identity; Sovereignty; Identity (music); Space (punctuation); State (computer science); Sociology; Media studies; Political science; Art history; Law; Gender studies; History; Art; Aesthetics; Politics; Philosophy; Psychology; Psychoanalysis","score_opus":0.021347706640830307,"score_gpt":0.23682078265752932,"score_spread":0.21547307601669902,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880890","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2086402,0.083269656,1.0366882e-7,0.014429581,0.0003478381,0.00067247596,0.0012782539,0.00008872374,0.69127315],"genre_scores_gemma":[0.9613019,0.025319582,0.000004279198,0.009681679,0.001369273,0.00006934666,0.00010106232,0.000027092652,0.0021257387],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99894446,0.00010343494,0.00021588501,0.00020748317,0.00021042566,0.0003182829],"domain_scores_gemma":[0.99935716,0.00006856801,0.00007915827,0.00022622047,0.00014132922,0.00012757382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021129102,0.00022210996,0.00028833063,0.00007529333,0.00088768266,0.00020726296,0.00019912352,0.000015386151,0.0005455454],"category_scores_gemma":[0.000007102625,0.00012610308,0.000078547324,0.0001113694,0.0005393319,0.00019355411,0.000016147696,0.00014703923,0.0001173182],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016369419,0.00006965979,0.014170855,0.0008484274,0.00022889988,0.00002648455,0.009774277,0.000007013448,0.0000019545396,0.38185653,0.4414042,0.15159534],"study_design_scores_gemma":[0.00005709966,0.00006990104,0.003613574,0.00028441963,0.000052930623,0.0000056724766,0.0018056548,0.0000031088273,0.0000012653969,0.00073861325,0.9931612,0.00020657077],"about_ca_topic_score_codex":0.042859197,"about_ca_topic_score_gemma":0.81721765,"teacher_disagreement_score":0.77435845,"about_ca_system_score_codex":0.0000812469,"about_ca_system_score_gemma":0.00015868347,"threshold_uncertainty_score":0.9635145},"labels":[],"label_agreement":null},{"id":"W4380880893","doi":"10.3138/ctr.125.017","title":"Creating an MT Space: Multicultural Performance beyond Folklore","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Folklore; Multiculturalism; Melting pot; Space (punctuation); Diversity (politics); Mosaic; History; Media studies; Sociology; Visual arts; Art; Anthropology; Political science; Law; Ethnic group; Linguistics","score_opus":0.018480438376324383,"score_gpt":0.22822111083313915,"score_spread":0.20974067245681477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880893","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07909661,0.12648343,2.1895046e-7,0.0021272013,0.00040922503,0.0004916336,0.00011575248,0.00009985087,0.7911761],"genre_scores_gemma":[0.96602553,0.019972777,0.00006471165,0.0019699354,0.0019714641,0.00005767437,0.00016398105,0.000036673937,0.009737229],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878496,0.00004065122,0.0002924198,0.00023803217,0.00013447776,0.00050946185],"domain_scores_gemma":[0.9992967,0.000022114493,0.00007464463,0.0002919803,0.00009670645,0.00021785795],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016796413,0.0002527535,0.00036940462,0.00007845735,0.0009387749,0.00012224991,0.0001933074,0.00003809285,0.0020225674],"category_scores_gemma":[0.0000051795505,0.0001811585,0.00011800423,0.000071855626,0.00015771849,0.00043142558,0.000016993943,0.00014939223,0.0003461372],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020887264,0.00012809849,0.012324682,0.008583568,0.00023393543,0.00008303749,0.036447328,0.00003632168,0.000037693684,0.096059464,0.22469369,0.6213513],"study_design_scores_gemma":[0.00012130967,0.000067147426,0.0008412263,0.0012700987,0.00009533462,0.0000144231035,0.0011187984,0.0000573224,0.000008930105,0.00008819379,0.99601,0.0003072118],"about_ca_topic_score_codex":0.09036874,"about_ca_topic_score_gemma":0.59583676,"teacher_disagreement_score":0.886929,"about_ca_system_score_codex":0.00011251969,"about_ca_system_score_gemma":0.00010835777,"threshold_uncertainty_score":0.99888974},"labels":[],"label_agreement":null},{"id":"W4380880899","doi":"10.3138/ctr.125.020","title":"Flying Solo","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Reflection (computer programming); Visual arts; Performance art; Media studies; Sociology; History; Art; Art history; Computer science","score_opus":0.02656440465084766,"score_gpt":0.2249938023868816,"score_spread":0.19842939773603394,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880899","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042229154,0.24633479,5.851356e-7,0.0032149102,0.00028929248,0.0001637274,0.000039333147,0.000039521154,0.74949557],"genre_scores_gemma":[0.8354885,0.10349521,0.000038415958,0.014646593,0.00440403,0.00010359361,0.00011039338,0.00006571962,0.041647524],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992935,0.000020222782,0.00017821463,0.00012397188,0.00006707962,0.00031697834],"domain_scores_gemma":[0.9996336,0.000015693802,0.000031567044,0.00018222723,0.00003561412,0.000101303376],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011343568,0.00012472966,0.00022615185,0.000064586755,0.0006408282,0.00005125723,0.00011506084,0.00001777109,0.004362495],"category_scores_gemma":[0.0000024859323,0.00009532336,0.00009790832,0.000039436298,0.00008646609,0.000099183315,0.000009625481,0.000075732714,0.00095948373],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.840418e-7,0.000009123148,0.0004942575,0.0012013129,0.00003493885,0.000021427739,0.0015628049,5.278746e-7,0.0000012427578,0.12320964,0.54676086,0.3267029],"study_design_scores_gemma":[0.000039176186,0.000010654735,0.000052250714,0.00081689464,0.000042908043,0.0000052887553,0.00016860971,0.0000015482054,0.0000015671601,0.00075649127,0.99797136,0.00013324797],"about_ca_topic_score_codex":0.156576,"about_ca_topic_score_gemma":0.7532681,"teacher_disagreement_score":0.8350662,"about_ca_system_score_codex":0.000059478443,"about_ca_system_score_gemma":0.000100137266,"threshold_uncertainty_score":0.9998184},"labels":[],"label_agreement":null},{"id":"W4380880927","doi":"10.3138/ctr.126.016","title":"Bride Revisited","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dusk; Visual arts; Art history; Performance art; History; Art; Natural (archaeology); Natural history; Archaeology; Ecology; Biology","score_opus":0.019142385948244946,"score_gpt":0.22006264000925863,"score_spread":0.2009202540610137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880927","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002970073,0.29609317,3.205381e-7,0.0034191888,0.00016334592,0.00019467974,0.0000802535,0.000042711396,0.6997093],"genre_scores_gemma":[0.60358286,0.27517208,0.000049593218,0.03345848,0.0072164256,0.00012627503,0.00039179888,0.000112152935,0.0798903],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920213,0.000028125627,0.00022255766,0.0001468691,0.00007985049,0.00032049202],"domain_scores_gemma":[0.9995252,0.000017627926,0.000040772808,0.00024044886,0.000053265303,0.00012270131],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013486162,0.00014241775,0.00028020082,0.00007821978,0.00033854152,0.000058129062,0.00013082109,0.000018632247,0.0056892806],"category_scores_gemma":[0.000004158396,0.00010990071,0.00011693073,0.00006173267,0.000093094764,0.00010420098,0.000009874655,0.000081266335,0.0012131393],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.491521e-7,0.000006465193,0.00039255587,0.0010304095,0.000025659794,0.00001871637,0.00033469193,2.2378977e-7,7.359365e-7,0.08942094,0.80510753,0.10366114],"study_design_scores_gemma":[0.000047173886,0.000011670343,0.00012974469,0.0013531507,0.00005906948,0.0000074514305,0.000052132444,8.1380847e-7,0.0000019471806,0.0006471666,0.99753815,0.0001515011],"about_ca_topic_score_codex":0.13762107,"about_ca_topic_score_gemma":0.5885653,"teacher_disagreement_score":0.619819,"about_ca_system_score_codex":0.000066823486,"about_ca_system_score_gemma":0.00009638554,"threshold_uncertainty_score":0.9995645},"labels":[],"label_agreement":null},{"id":"W4380880937","doi":"10.3138/ctr.114.013","title":"Getting Out of the Script Stack: An Introduction","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; History; Aesthetics; Art","score_opus":0.031196298369664192,"score_gpt":0.23673867100380855,"score_spread":0.20554237263414435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880937","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0075739766,0.32447767,0.00000126047,0.01892491,0.00432905,0.00081508316,0.00011409576,0.000043719356,0.6437202],"genre_scores_gemma":[0.9366154,0.03617316,0.00004618201,0.0064741685,0.0033766455,0.000045055513,0.000025249998,0.00005519233,0.017188955],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992659,0.000101165104,0.00020551984,0.00012664114,0.00008403839,0.00021674871],"domain_scores_gemma":[0.9994154,0.000009260414,0.000069328715,0.00034598788,0.00007093677,0.000089067704],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002979183,0.000105937346,0.0002115293,0.00003961077,0.00037382115,0.000026319365,0.00013840612,0.000016700093,0.0019063947],"category_scores_gemma":[0.000024324747,0.0000655653,0.00009002726,0.000047218473,0.00013399652,0.00013822323,0.00000778657,0.00009497144,0.000047376034],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000026237483,0.0000313478,0.0011399655,0.0025275247,0.00011643009,0.0000020925008,0.019956209,0.0000025035267,0.000031518746,0.49912843,0.23563649,0.24142486],"study_design_scores_gemma":[0.00003453622,0.000020994321,0.00004161526,0.0003897581,0.000057723995,0.0000025776226,0.0010603665,5.449028e-7,0.00002994268,0.00037072,0.997903,0.000088208995],"about_ca_topic_score_codex":0.0071391035,"about_ca_topic_score_gemma":0.36316746,"teacher_disagreement_score":0.9290414,"about_ca_system_score_codex":0.000052575455,"about_ca_system_score_gemma":0.00015840546,"threshold_uncertainty_score":0.99947244},"labels":[],"label_agreement":null},{"id":"W4380880944","doi":"10.3138/ctr.122.002","title":"Disability Pride within Disability Performance","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pride; Humiliation; Shame; Dance; Entertainment; Aesthetics; Mainstream; Sociology; Visual arts; Media studies; Art; Psychology; Political science; Social psychology; Law","score_opus":0.028628371883783556,"score_gpt":0.24430565318498443,"score_spread":0.21567728130120087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880944","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23377544,0.13379537,3.5616176e-7,0.030515984,0.00094819686,0.001379147,0.0002786809,0.00019733851,0.5991095],"genre_scores_gemma":[0.97355694,0.019865708,0.00002611929,0.0034541455,0.0012175716,0.00007069873,0.000026176214,0.000022509133,0.0017601637],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854165,0.000068983165,0.00044531253,0.00030718284,0.0001551753,0.00048169476],"domain_scores_gemma":[0.99891603,0.00004498795,0.000074780895,0.0005922031,0.0000547908,0.00031718228],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005098545,0.00025186356,0.0004345135,0.000022814922,0.0006014573,0.000062118015,0.00027069708,0.000036124926,0.005546789],"category_scores_gemma":[0.000019413856,0.00018575879,0.00016642126,0.000072184914,0.0007732715,0.00037639876,0.00003119988,0.00020487279,0.00088278414],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009081167,0.00008777711,0.033520926,0.003389477,0.00006438095,0.000001744314,0.005585895,0.000007525372,4.0098882e-7,0.009190036,0.024521105,0.92362165],"study_design_scores_gemma":[0.00008006832,0.000032365,0.0025596623,0.00093770085,0.00006807067,0.000005290402,0.00024142199,0.0000344975,0.000007496985,0.00009129087,0.99568194,0.00026021883],"about_ca_topic_score_codex":0.024153631,"about_ca_topic_score_gemma":0.71636474,"teacher_disagreement_score":0.9711608,"about_ca_system_score_codex":0.00041874527,"about_ca_system_score_gemma":0.00015922557,"threshold_uncertainty_score":0.99989516},"labels":[],"label_agreement":null},{"id":"W4380880945","doi":"10.3138/ctr.116.010","title":"Views &amp; Reviews","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Representation (politics); Referent; Photography; MAGIC (telescope); Expression (computer science); Visual arts; Art; Aesthetics; Politics; Computer science; Linguistics; Political science; Law; Philosophy","score_opus":0.08309192906653143,"score_gpt":0.27430082050494364,"score_spread":0.19120889143841222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880945","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000023677687,0.47687206,7.5123336e-7,0.0010938346,0.0003294482,0.0003461709,0.000020648064,0.000018166858,0.52129525],"genre_scores_gemma":[0.0036256458,0.93184435,0.000089968795,0.019067686,0.00062525115,0.00015784918,0.000035625464,0.00003782972,0.04451579],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875283,0.00015192025,0.0003817897,0.00020476287,0.00008536013,0.00042336134],"domain_scores_gemma":[0.99912125,0.000022848575,0.00007684971,0.00044851613,0.00004733305,0.00028317992],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005676924,0.00022186582,0.000546698,0.000080277736,0.00043381404,0.00005386096,0.00017026035,0.00002719332,0.021083903],"category_scores_gemma":[0.000039263017,0.00015612622,0.0002243606,0.000082717524,0.000111404,0.00012723247,0.000007962073,0.00013300088,0.0073683653],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.1852033e-7,0.0000075240964,0.00008264805,0.0015434115,0.000026249718,0.0000032895628,0.001854993,3.352145e-8,4.1141794e-7,0.06427499,0.7474138,0.18479224],"study_design_scores_gemma":[0.000047076177,0.000012728812,0.0000038890744,0.001961626,0.0000765791,0.000011166157,0.00008299293,4.2247276e-8,9.1491995e-7,0.0004135393,0.9971797,0.00020976459],"about_ca_topic_score_codex":0.009458858,"about_ca_topic_score_gemma":0.62802094,"teacher_disagreement_score":0.6185621,"about_ca_system_score_codex":0.000079920675,"about_ca_system_score_gemma":0.00016023553,"threshold_uncertainty_score":0.99713725},"labels":[],"label_agreement":null},{"id":"W4380880947","doi":"10.3138/ctr.126.003","title":"The Razor’s Edge between Performativity and Theatricality in Bluemouth Inc.’s <i>American Standard</i>","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performativity; MAGIC (telescope); Art; Art history; Visual arts; Aesthetics; Sociology; Gender studies; Astronomy; Physics","score_opus":0.016538679972003593,"score_gpt":0.233266349323569,"score_spread":0.2167276693515654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880947","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11109869,0.3548437,0.0000022139238,0.024405144,0.00036577185,0.0014883949,0.0012136279,0.00009640478,0.50648606],"genre_scores_gemma":[0.95063037,0.047105495,0.0000058595992,0.0010754934,0.0005747164,0.000040471587,0.000033178098,0.000019306652,0.00051511946],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99849665,0.00016990137,0.00042031644,0.00021300699,0.00016414857,0.00053595216],"domain_scores_gemma":[0.99915045,0.00019409055,0.000103643404,0.00031695387,0.00005706468,0.00017777747],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008508322,0.00023262828,0.00054188987,0.00008912424,0.00096881296,0.00014113929,0.00020889763,0.000028228951,0.00013731189],"category_scores_gemma":[0.000014104076,0.0001420768,0.000087267304,0.00014480035,0.00064855104,0.00016988645,0.000043508386,0.0002591161,0.000050326118],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013831607,0.00001385544,0.055098023,0.0008220034,0.00005099884,0.000008001664,0.0035100037,5.008278e-7,1.9862534e-7,0.016246151,0.04423566,0.88000077],"study_design_scores_gemma":[0.00014116886,0.000051622246,0.00806947,0.00037921386,0.00006335134,0.0000028382008,0.0007578184,0.0000029059502,0.0000013964743,0.00088029675,0.9894433,0.00020661426],"about_ca_topic_score_codex":0.1833776,"about_ca_topic_score_gemma":0.76049066,"teacher_disagreement_score":0.94520766,"about_ca_system_score_codex":0.00018058668,"about_ca_system_score_gemma":0.00021501834,"threshold_uncertainty_score":0.82206035},"labels":[],"label_agreement":null},{"id":"W4380880952","doi":"10.3138/ctr.135.022","title":"Number Eleven, in Particular","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Visual arts; History; Art history; Art","score_opus":0.03762766178554601,"score_gpt":0.24009262093788697,"score_spread":0.20246495915234097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880952","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019504333,0.18461083,2.0789173e-7,0.0040509184,0.00028820348,0.0003397873,0.000036174304,0.000034234778,0.7911353],"genre_scores_gemma":[0.8282783,0.15965821,0.000014457945,0.0060302387,0.00043245437,0.00006480305,0.00001620381,0.00002170049,0.0054836227],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992293,0.000034396428,0.00020244939,0.00012901681,0.00007482109,0.00032999428],"domain_scores_gemma":[0.99958867,0.000015122355,0.000024521294,0.0001930285,0.000028894907,0.00014975182],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011309258,0.0001208637,0.00026909396,0.000049814716,0.00024244409,0.000013318665,0.00010206963,0.00001980192,0.00592055],"category_scores_gemma":[0.0000061284854,0.00009460408,0.00008448468,0.000065237175,0.00011927661,0.000106024585,0.000009018016,0.00009744343,0.0017645055],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000064183787,0.00006721455,0.044866215,0.0024703562,0.00013309483,0.0006845988,0.023215363,0.0000015508294,8.325148e-7,0.069907926,0.63952434,0.21912208],"study_design_scores_gemma":[0.00007056446,0.000008962608,0.0005040417,0.0007752128,0.00001898125,0.000031677922,0.0001442078,0.0000010683918,0.0000015334588,0.00019418096,0.9981178,0.00013179108],"about_ca_topic_score_codex":0.048872806,"about_ca_topic_score_gemma":0.5629332,"teacher_disagreement_score":0.808774,"about_ca_system_score_codex":0.00006958982,"about_ca_system_score_gemma":0.0001519284,"threshold_uncertainty_score":0.9990127},"labels":[],"label_agreement":null},{"id":"W4380880962","doi":"10.3138/ctr.136.008","title":"MoMo on the Edge: Calgary and Mixed Ability Dance Theatre<sup>1</sup>","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Sociology; Aesthetics; Visual arts; Media studies; History; Gender studies; Art","score_opus":0.03451808075405359,"score_gpt":0.22326509791220092,"score_spread":0.18874701715814735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880962","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047852285,0.22994067,3.5842e-7,0.015843965,0.00032052572,0.0009785679,0.00018101062,0.000073151765,0.7048095],"genre_scores_gemma":[0.7861792,0.19593337,0.000010566787,0.01325523,0.00096717046,0.0001566218,0.000027853248,0.000048294736,0.0034217245],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855405,0.00014974762,0.00031179306,0.00033175404,0.00016399851,0.0004886423],"domain_scores_gemma":[0.9988176,0.00017654346,0.000058268,0.0006162076,0.00006334091,0.00026803388],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003785205,0.00030144156,0.00047173907,0.000062680185,0.001345345,0.00005183095,0.00027817022,0.00004682663,0.0020082989],"category_scores_gemma":[0.000023780192,0.00017714716,0.0001590395,0.000085509,0.00066660397,0.00013121872,0.000037682777,0.0002775142,0.00031455842],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002167265,0.000060177554,0.002603068,0.0019180111,0.00020333576,0.00007226711,0.018592859,0.000003569628,0.0000011128623,0.05071786,0.30480468,0.62100136],"study_design_scores_gemma":[0.00010031008,0.00006529731,0.0003804153,0.0008544827,0.000063680585,0.000034240118,0.0005839878,0.000018832196,0.000004282591,0.00046374305,0.9971936,0.0002371614],"about_ca_topic_score_codex":0.021921437,"about_ca_topic_score_gemma":0.08909643,"teacher_disagreement_score":0.7383269,"about_ca_system_score_codex":0.00009925792,"about_ca_system_score_gemma":0.00020638792,"threshold_uncertainty_score":0.99995476},"labels":[],"label_agreement":null},{"id":"W4380880967","doi":"10.3138/ctr.140.017","title":"Talk-backs, Relatability and the Pedagogical Challenges of Performance Analysis","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Suspect; Curriculum; Discipline; Criticism; Field (mathematics); Sociology; Literary criticism; Order (exchange); Literary theory; Aesthetics; Epistemology; History; Psychology; Literature; Pedagogy; Social science; Art; Philosophy; Criminology","score_opus":0.06373467012459613,"score_gpt":0.27270752367675527,"score_spread":0.20897285355215914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880967","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019740138,0.68371147,3.455488e-7,0.016399,0.00005839063,0.00031780655,0.000032815027,0.000015964919,0.2797241],"genre_scores_gemma":[0.66509324,0.33377138,0.0000029353762,0.00070301164,0.00008892358,0.000007761867,0.0000042209954,0.0000030959527,0.00032546898],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912626,0.00008813335,0.0002856333,0.00017153488,0.000105390995,0.00022307603],"domain_scores_gemma":[0.9993284,0.00007638974,0.00007329208,0.00034795565,0.000060877657,0.00011309463],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056225015,0.00014317746,0.00055110164,0.00008155924,0.00030125323,0.000020817459,0.00015814565,0.000027411888,0.00077144575],"category_scores_gemma":[0.000015189005,0.00007768219,0.00019545386,0.00010701928,0.00045528982,0.00010308378,0.000014453137,0.00012266963,0.000017030141],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028533777,0.000024435725,0.0010986554,0.0015944071,0.00045040777,0.0000038268827,0.014946029,0.0000019287997,1.5041962e-7,0.26646248,0.0010895696,0.7142996],"study_design_scores_gemma":[0.00021104848,0.00008684494,0.004705173,0.00051033875,0.0008431943,0.000006411853,0.0014087249,0.000018295517,9.049341e-7,0.0009722442,0.9910807,0.00015610334],"about_ca_topic_score_codex":0.0062484285,"about_ca_topic_score_gemma":0.1681436,"teacher_disagreement_score":0.9899911,"about_ca_system_score_codex":0.000024921907,"about_ca_system_score_gemma":0.000058093596,"threshold_uncertainty_score":0.94457966},"labels":[],"label_agreement":null},{"id":"W4380880978","doi":"10.3138/ctr.138.004","title":"A Festival by Any Other Name: Eastern Front’s On the Waterfront Festival Goes SuperNova","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Character (mathematics); Front (military); Dramaturgy; Class (philosophy); History; Visual arts; Art; Aesthetics; Literature; Computer science; Geography; Artificial intelligence; Mathematics; Meteorology","score_opus":0.027727400001379084,"score_gpt":0.2273865903248476,"score_spread":0.19965919032346852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880978","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014255636,0.24536563,0.0000013292031,0.08229439,0.00079903944,0.0010379681,0.00052788877,0.000109634326,0.6556085],"genre_scores_gemma":[0.855872,0.027813809,0.000009063103,0.051468916,0.0019287083,0.00008733015,0.00005630754,0.00007605974,0.06268781],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99853355,0.00010716143,0.000290515,0.00028436224,0.00019206194,0.00059237605],"domain_scores_gemma":[0.99915665,0.00005432154,0.000058489826,0.0004358889,0.000051068833,0.00024358359],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025842615,0.00033335574,0.00044159914,0.00005791009,0.000627968,0.00013442774,0.0003566566,0.000044670214,0.0066898502],"category_scores_gemma":[0.0000128763995,0.00018272793,0.00017418775,0.000036118054,0.00019005673,0.00013626585,0.000016372143,0.00023482504,0.0019343902],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014489467,0.000040637697,0.0005176247,0.00025619328,0.00010151791,0.000018405808,0.0058208294,3.437726e-7,0.0000044017834,0.009686142,0.71584827,0.26769117],"study_design_scores_gemma":[0.00011390406,0.00016081131,0.00014272842,0.0018633944,0.0000762404,0.000007769302,0.0005198776,0.0000039115125,0.000010669689,0.00029594652,0.9965328,0.00027195187],"about_ca_topic_score_codex":0.031387176,"about_ca_topic_score_gemma":0.13205929,"teacher_disagreement_score":0.8416164,"about_ca_system_score_codex":0.00013435428,"about_ca_system_score_gemma":0.00012826118,"threshold_uncertainty_score":0.9988427},"labels":[],"label_agreement":null},{"id":"W4380880996","doi":"10.3138/ctr.116.004","title":"I want to captrue the moment that lives on","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Privilege (computing); Visual arts; Art; Perspective (graphical); Aesthetics; Performance art; Sociology; Media studies; Art history; Law; Political science","score_opus":0.042881410624816256,"score_gpt":0.23662390169309974,"score_spread":0.19374249106828348,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880996","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011921229,0.13642088,5.213526e-7,0.02127147,0.00060452387,0.0006644091,0.0000676015,0.000024170404,0.8397543],"genre_scores_gemma":[0.81862795,0.10778525,0.00001146864,0.052334953,0.00062956486,0.00022465535,0.000010156177,0.000042894844,0.02033309],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915004,0.00007083628,0.00014499236,0.00016242034,0.000118320546,0.00035340077],"domain_scores_gemma":[0.9993362,0.000040174764,0.000028785984,0.0003466231,0.000028479659,0.00021972985],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022725273,0.0001685592,0.00024137872,0.00006276664,0.00057020853,0.000064566186,0.00017673285,0.000012826519,0.0035706314],"category_scores_gemma":[0.000008305676,0.000092025184,0.00010477464,0.000051103965,0.00008178831,0.000047900514,0.0000104119035,0.00010363729,0.001292798],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004156745,0.0000236154,0.00017331669,0.00071019214,0.00012838743,0.000023556273,0.029675402,0.0000035042567,5.743536e-7,0.33541209,0.41895983,0.21488537],"study_design_scores_gemma":[0.000036920184,0.00006203872,0.00002742926,0.0010020764,0.000042676158,0.0000054898933,0.002039872,1.8005866e-7,0.000010527826,0.00032514028,0.99630755,0.00014008398],"about_ca_topic_score_codex":0.014734853,"about_ca_topic_score_gemma":0.3228044,"teacher_disagreement_score":0.81942123,"about_ca_system_score_codex":0.00009776376,"about_ca_system_score_gemma":0.00011994154,"threshold_uncertainty_score":0.99948484},"labels":[],"label_agreement":null},{"id":"W4380880997","doi":"10.3138/ctr.122.008","title":"Iris’ Tours: Pitfalls, Potholes and Chutzpah","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"IRIS (biosensor); Presentation (obstetrics); Art; History; Visual arts; Computer security; Computer science; Medicine","score_opus":0.02378846676081302,"score_gpt":0.2304820762165099,"score_spread":0.20669360945569687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880997","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021869047,0.5775532,2.5963777e-7,0.018933574,0.00016307065,0.00024014903,0.00011207161,0.00004181468,0.40076894],"genre_scores_gemma":[0.36512986,0.59017086,0.00010198975,0.025618102,0.0031868324,0.000059128943,0.00004775526,0.000052449024,0.01563306],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992075,0.00002855346,0.00018879658,0.00016896482,0.000076082484,0.00033010045],"domain_scores_gemma":[0.99946696,0.000020697264,0.000036739315,0.00020617446,0.00003547346,0.00023397089],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015203141,0.00016823267,0.00029442043,0.000077760735,0.00037309396,0.00007792525,0.00011901036,0.000026032807,0.0027502063],"category_scores_gemma":[0.0000056812264,0.00012776669,0.000073021096,0.00003370152,0.00016236733,0.00018403961,0.000018233055,0.000101566526,0.00048137165],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000014546963,0.000008910961,0.000299901,0.0007621188,0.000049475617,0.000007412673,0.0046506524,2.0944141e-7,5.744644e-7,0.023897225,0.30736667,0.6629554],"study_design_scores_gemma":[0.0000720286,0.000023571209,0.00012219527,0.0010699589,0.00006638146,0.0000133268095,0.0005252661,0.0000015443337,0.0000013197996,0.00014415663,0.9977782,0.00018209648],"about_ca_topic_score_codex":0.015572146,"about_ca_topic_score_gemma":0.4888894,"teacher_disagreement_score":0.6904115,"about_ca_system_score_codex":0.00005491664,"about_ca_system_score_gemma":0.00009357679,"threshold_uncertainty_score":0.99816144},"labels":[],"label_agreement":null},{"id":"W4380881004","doi":"10.3138/ctr.117.013","title":"TRAPS","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moral rights; Law; Guild; Political science; Copyright law; History; Art; Sociology; Intellectual property","score_opus":0.029272003976175073,"score_gpt":0.23011955962100208,"score_spread":0.200847555644827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380881004","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004901847,0.24176063,5.514483e-7,0.009778818,0.00033526547,0.00020320658,0.000052131665,0.00004028379,0.74733895],"genre_scores_gemma":[0.68737555,0.27260715,0.00003751661,0.02961058,0.0019098235,0.000082986386,0.00005008199,0.000051324114,0.008274983],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993905,0.0000118530415,0.00014393724,0.00011415466,0.000064389715,0.00027519517],"domain_scores_gemma":[0.9995743,0.0000072078433,0.000022344362,0.00018467274,0.000030052737,0.0001814308],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0000906126,0.00011616179,0.00020901811,0.000058808855,0.0003137023,0.00003515457,0.0001222138,0.000016224081,0.0037331297],"category_scores_gemma":[0.0000031120228,0.00008678513,0.00010032441,0.000041250616,0.00010047629,0.00010032675,0.0000062034164,0.000078518606,0.0012821557],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016746455,0.000016787286,0.000068447334,0.0015419917,0.00008160807,0.00003661047,0.008075771,0.0000012105023,8.7545834e-7,0.3215319,0.10565295,0.5629902],"study_design_scores_gemma":[0.00007992499,0.000023432214,0.000018472865,0.0011846008,0.00004146808,0.000007915853,0.0002414451,5.7360136e-8,0.0000023242596,0.0015906881,0.9966871,0.00012256631],"about_ca_topic_score_codex":0.0581893,"about_ca_topic_score_gemma":0.65533864,"teacher_disagreement_score":0.8910341,"about_ca_system_score_codex":0.00008749854,"about_ca_system_score_gemma":0.00020142317,"threshold_uncertainty_score":0.99949545},"labels":[],"label_agreement":null},{"id":"W4380881028","doi":"10.3138/ctr.119.fm","title":"Editorial","year":2004,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Aesthetics; Sociology; Process (computing); Art; Computer science","score_opus":0.014099530369353103,"score_gpt":0.23693009392993297,"score_spread":0.22283056356057987,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380881028","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.5880105e-8,0.19167794,2.0924725e-8,0.00059405755,0.5712562,0.00026708413,0.0009986366,0.000041734947,0.23516425],"genre_scores_gemma":[0.0000023403243,0.2241784,0.0000016309793,0.0005459157,0.7668018,0.000066403496,0.0006204681,0.00006211213,0.0077209575],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979169,0.000051145424,0.0004405069,0.00039864075,0.00054210844,0.00065071834],"domain_scores_gemma":[0.99847305,0.00012636169,0.00014715806,0.00054682925,0.00031643375,0.00039015955],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032862864,0.0004932422,0.000931219,0.00016651554,0.0005711565,0.00016872204,0.00049961393,0.00038409577,0.0051764855],"category_scores_gemma":[0.00008713051,0.00039268512,0.00035917235,0.000059138965,0.00022519146,0.00014325493,0.000036851427,0.0008916861,0.002586081],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000020360176,0.000005021285,1.5189515e-7,0.0032442973,0.000085771564,0.000008386113,0.00064812513,6.256345e-8,5.1318843e-9,0.0012449367,0.98232377,0.0124374265],"study_design_scores_gemma":[0.00014279374,0.000054680026,2.6238302e-8,0.009402737,0.00031993602,7.589609e-7,0.000056135297,1.5571212e-8,5.8089125e-8,0.00036516963,0.9891959,0.0004617774],"about_ca_topic_score_codex":0.19114578,"about_ca_topic_score_gemma":0.76442236,"teacher_disagreement_score":0.5732766,"about_ca_system_score_codex":0.0005962869,"about_ca_system_score_gemma":0.0035399287,"threshold_uncertainty_score":0.9998525},"labels":[],"label_agreement":null},{"id":"W4380881034","doi":"10.3138/ctr.126.017","title":"Archetypes, Urbanites and Bus Rides: How the “Here“ Becomes the “There“ in Bluemouth Inc.’s <i>American Standard</i>","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art history; White (mutation); Art; Media studies; Advertising; History; Sociology; Business","score_opus":0.017549758778095014,"score_gpt":0.2122313784887531,"score_spread":0.1946816197106581,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380881034","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026454875,0.74006975,6.5200766e-7,0.07236981,0.00025526143,0.0010300564,0.00051598175,0.000052488762,0.15925115],"genre_scores_gemma":[0.90739536,0.082604624,0.000008704428,0.0059583304,0.00055252813,0.00008070286,0.000028047773,0.00003598483,0.0033357032],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880683,0.00014483882,0.00024224063,0.00021046303,0.00014502853,0.00045061874],"domain_scores_gemma":[0.9992092,0.00017706011,0.000096143,0.00036375318,0.000054424898,0.00009939958],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004541855,0.00024349477,0.00042696687,0.00007702178,0.0006461281,0.00022978586,0.00029189058,0.000022447482,0.00032629207],"category_scores_gemma":[0.000014498747,0.00012249079,0.000089246576,0.00014031092,0.0007815234,0.00011094439,0.000037449754,0.00024456962,0.00003758514],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022452072,0.00002871018,0.022079928,0.0013124645,0.00018213231,0.00004025039,0.016187694,0.0000032204284,0.0000011599674,0.06939634,0.24868537,0.6420603],"study_design_scores_gemma":[0.00010610363,0.000047124297,0.0010052096,0.0005907705,0.00007466536,0.000009216319,0.004406389,0.0000030383314,0.0000011428589,0.00089285814,0.99267846,0.00018499138],"about_ca_topic_score_codex":0.22714128,"about_ca_topic_score_gemma":0.8860945,"teacher_disagreement_score":0.8809405,"about_ca_system_score_codex":0.00010197802,"about_ca_system_score_gemma":0.00018842501,"threshold_uncertainty_score":0.77800524},"labels":[],"label_agreement":null},{"id":"W4380881041","doi":"10.3138/ctr.124.013","title":"Alternative Collaborations in the Theatre of War: <i>Liberators, Occupiers and Population</i>","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nazism; World War II; Population; Performance art; Political science; Law; History; Art history; Art; Media studies; Sociology; Demography","score_opus":0.022014391397460073,"score_gpt":0.24507718174995763,"score_spread":0.22306279035249754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380881041","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.037956357,0.4623445,8.1372974e-7,0.030398,0.00032837375,0.0014580395,0.00073923555,0.000028339598,0.46674633],"genre_scores_gemma":[0.9329268,0.06140507,0.00001985349,0.0049831164,0.00035017353,0.00004307119,0.00003712443,0.000010648908,0.00022416045],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926656,0.00008100189,0.00025583,0.00011728683,0.0000950421,0.00018430197],"domain_scores_gemma":[0.9995756,0.000058686404,0.00006188891,0.00018318994,0.000051678995,0.000068963986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023769223,0.00012151111,0.00024665956,0.000093428986,0.0002560695,0.000029770357,0.00013315733,0.000019754258,0.0003169723],"category_scores_gemma":[0.0000062555237,0.000076793716,0.000047378242,0.0001259372,0.0001276692,0.0001769345,0.000009262016,0.00009128278,0.00001936344],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015088741,0.00007288149,0.017656796,0.0016985765,0.00018603816,0.000013220194,0.09434096,0.000038831855,0.0000015342109,0.18291204,0.15681238,0.54625165],"study_design_scores_gemma":[0.00009912114,0.000028172735,0.00042866878,0.0005950675,0.000050626302,0.000003731508,0.0022683085,0.000010703226,0.0000018637182,0.0004909514,0.9959189,0.00010383549],"about_ca_topic_score_codex":0.042158365,"about_ca_topic_score_gemma":0.73119575,"teacher_disagreement_score":0.8949704,"about_ca_system_score_codex":0.00005569441,"about_ca_system_score_gemma":0.00011259182,"threshold_uncertainty_score":0.96422},"labels":[],"label_agreement":null},{"id":"W4380881044","doi":"10.3138/ctr.126.009","title":"The Power of Site-Unspecificity","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Situated; Narrative; Transformative learning; Context (archaeology); Aesthetics; Power (physics); Illusion; MAGIC (telescope); Space (punctuation); Sociology; Art; Visual arts; History; Literature; Philosophy; Psychology; Archaeology; Computer science; Linguistics","score_opus":0.01882370483118973,"score_gpt":0.21537446128862256,"score_spread":0.19655075645743283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380881044","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002337863,0.3004454,2.0320539e-7,0.0029741526,0.0002603856,0.00018118847,0.0001067851,0.000013745656,0.6936802],"genre_scores_gemma":[0.9136391,0.07492006,0.0000043007562,0.0013456406,0.0005970567,0.000020521536,0.000021983235,0.000018254768,0.009433061],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930936,0.00003059076,0.00023510608,0.00009229855,0.000087847126,0.0002447798],"domain_scores_gemma":[0.99949145,0.000052503845,0.000059604885,0.00026117297,0.00007197675,0.000063270425],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018949862,0.00010519379,0.0002139412,0.000034034794,0.0004908013,0.000035019868,0.00014884851,0.000015244585,0.0017243434],"category_scores_gemma":[0.0000044116196,0.00006057459,0.000117965414,0.00004610969,0.00023297755,0.000051677816,0.000010647063,0.00006966238,0.00023713846],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003990796,0.000015295296,0.0011923279,0.0006377713,0.0000500535,0.0000058577584,0.0020754633,5.913896e-7,0.000002640167,0.32293555,0.5985738,0.07450665],"study_design_scores_gemma":[0.00003065975,0.000017156439,0.00028639394,0.00040158434,0.000029031055,0.0000015979044,0.00024637065,3.4035702e-7,0.0000055359583,0.0006708284,0.9982302,0.00008030391],"about_ca_topic_score_codex":0.09007527,"about_ca_topic_score_gemma":0.7642928,"teacher_disagreement_score":0.91130126,"about_ca_system_score_codex":0.00003795284,"about_ca_system_score_gemma":0.00008645893,"threshold_uncertainty_score":0.99918824},"labels":[],"label_agreement":null},{"id":"W4380925531","doi":"10.3138/ctr.119.006","title":"Destination Unknown: A Director/Designer Dialogue","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stairs; Set (abstract data type); Visual arts; Order (exchange); Mode (computer interface); Process (computing); Chose; Engineering; Art; Computer science; Human–computer interaction; Political science; Business; Programming language","score_opus":0.03266377503897002,"score_gpt":0.23336352902687324,"score_spread":0.2006997539879032,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925531","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011409149,0.24225216,0.000007430225,0.008646386,0.0007471044,0.0005779556,0.00008450019,0.00010970166,0.74643385],"genre_scores_gemma":[0.8772697,0.10332318,0.000088372995,0.010256839,0.0019744863,0.00016690197,0.00012628367,0.00006192802,0.006732298],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918103,0.00003580086,0.00019751852,0.00016789278,0.00009506279,0.00032270383],"domain_scores_gemma":[0.9994586,0.000025035753,0.000044049677,0.00020482253,0.00007286306,0.0001946055],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001737381,0.0001642092,0.00026562109,0.000091680056,0.00042476188,0.000058064685,0.00013374728,0.00002678242,0.0014876145],"category_scores_gemma":[0.000017735092,0.0001250168,0.00010291545,0.00007585397,0.00011886439,0.00015780538,0.000010195357,0.00009316719,0.00073021324],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004759935,0.00004352702,0.00024775453,0.002199879,0.00011802801,0.000054763204,0.00985417,0.0000091709635,0.0000064549267,0.31914556,0.06809411,0.6002218],"study_design_scores_gemma":[0.00011239513,0.000035403467,0.00006335099,0.0015296616,0.000068436275,0.000007779734,0.00007893188,4.6396343e-7,0.000008801466,0.0015110926,0.99640423,0.00017946324],"about_ca_topic_score_codex":0.06254583,"about_ca_topic_score_gemma":0.649731,"teacher_disagreement_score":0.9283101,"about_ca_system_score_codex":0.00018719614,"about_ca_system_score_gemma":0.00027280502,"threshold_uncertainty_score":0.9994252},"labels":[],"label_agreement":null},{"id":"W4380925589","doi":"10.3138/ctr.123.013","title":"A Politics in Search of a Poetics: The Aesthetic Questions of a Popular Theatre Artist","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political theatre; Poetics; Art; Politics; Meaning (existential); Theatre studies; Performance art; Visual arts; Theatre director; Media studies; Aesthetics; Art history; Sociology; Literature; Drama; Poetry; Political science; Law; Psychology","score_opus":0.029648381698437243,"score_gpt":0.26559899413578175,"score_spread":0.2359506124373445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925589","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032946903,0.5816215,0.0000013203612,0.046584945,0.00017460322,0.0012056632,0.0004719873,0.000026625494,0.33696643],"genre_scores_gemma":[0.95783466,0.03976577,0.000025950463,0.0011111622,0.00018526024,0.000029950183,0.000009918378,0.000018203067,0.0010191347],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988501,0.00011247799,0.0004273675,0.00012174298,0.00013988641,0.00034841677],"domain_scores_gemma":[0.9993154,0.000030897274,0.000067510446,0.0003807378,0.00008928209,0.00011618348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003360556,0.00014223655,0.00039134154,0.00014984762,0.00018342295,0.000016579408,0.00023784234,0.000028872095,0.0005993853],"category_scores_gemma":[0.00000850819,0.00009247424,0.0001368651,0.00012291095,0.00039813298,0.00006635168,0.00002170858,0.00015603092,0.00005570569],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007450917,0.00013284729,0.0032276933,0.0036126187,0.000092539725,0.000014941689,0.0413144,0.000035321827,0.0000042872975,0.47928554,0.011687358,0.460585],"study_design_scores_gemma":[0.000105969,0.00006311804,0.00014530231,0.00288171,0.00008554375,0.000017838442,0.0018525822,0.00001995945,0.000007798294,0.00078677014,0.9939132,0.000120251214],"about_ca_topic_score_codex":0.074780166,"about_ca_topic_score_gemma":0.60037273,"teacher_disagreement_score":0.9822258,"about_ca_system_score_codex":0.0000909953,"about_ca_system_score_gemma":0.00028683356,"threshold_uncertainty_score":0.9313809},"labels":[],"label_agreement":null},{"id":"W4380925590","doi":"10.3138/ctr.135.010","title":"Devised Theatre and the Unstable Audience","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Storytelling; Openness to experience; Psychology; Narrative; Visual arts; Aesthetics; Art; Social psychology; Literature","score_opus":0.028409905551262674,"score_gpt":0.2142683899764732,"score_spread":0.18585848442521052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925590","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014402122,0.40764183,4.969822e-7,0.009861939,0.00019263085,0.00042681233,0.00003572885,0.00003023647,0.5803701],"genre_scores_gemma":[0.5268329,0.45694917,0.000009989986,0.009490702,0.00045763512,0.00007274063,0.000007753347,0.000020489093,0.006158646],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990511,0.00007608166,0.00021330615,0.0001818977,0.00010680619,0.0003707997],"domain_scores_gemma":[0.9993315,0.00009207306,0.000048858223,0.00029874916,0.000050520153,0.00017833938],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002887973,0.00017842017,0.0003769539,0.000050447772,0.0013723717,0.000044413027,0.00020088536,0.000021082458,0.0014005884],"category_scores_gemma":[0.000010786231,0.000096900665,0.0001034045,0.000073926385,0.00093363115,0.0001470849,0.000027864482,0.00012937802,0.00022448106],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036315716,0.000020791074,0.0021330968,0.002205122,0.00023688427,0.0000775504,0.03910236,0.0000012311936,6.8859504e-7,0.21380858,0.3154435,0.42693388],"study_design_scores_gemma":[0.00025372874,0.000017866989,0.00008578932,0.00068339583,0.00007270757,0.000051736588,0.00051904883,0.000005295674,9.004603e-7,0.0004427301,0.9977209,0.00014591624],"about_ca_topic_score_codex":0.04129786,"about_ca_topic_score_gemma":0.24544331,"teacher_disagreement_score":0.6822774,"about_ca_system_score_codex":0.000041972533,"about_ca_system_score_gemma":0.0001973613,"threshold_uncertainty_score":0.9999277},"labels":[],"label_agreement":null},{"id":"W4380925592","doi":"10.3138/ctr.135.027","title":"Devising <i>Quality:</i> A Playwright’s Perspective A Director’s Perspective","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Vision; Perspective (graphical); Work (physics); Management; Space (punctuation); Quality (philosophy); Performance art; Sociology; Visual arts; Media studies; Art; Engineering; Art history; Computer science; Economics; Philosophy; Epistemology; Mechanical engineering","score_opus":0.056383946068460145,"score_gpt":0.2823827345464965,"score_spread":0.22599878847803634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925592","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012153883,0.3238848,5.9632123e-7,0.0063805,0.00031135484,0.00040076792,0.00012305613,0.000079017576,0.66760457],"genre_scores_gemma":[0.7174085,0.24821658,0.00004729328,0.015691336,0.002677582,0.00013934528,0.00003024034,0.00009968447,0.015689429],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99833953,0.00013396425,0.00034903665,0.00039514428,0.00021026097,0.00057204],"domain_scores_gemma":[0.99872154,0.00008463335,0.00010048882,0.00037549107,0.00037124136,0.00034662994],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025397402,0.00031937,0.0006477912,0.00016656247,0.0012897599,0.00006162189,0.00023215715,0.000043646847,0.0031309307],"category_scores_gemma":[0.000048368256,0.0002482761,0.00029224242,0.00014142982,0.0004286914,0.00026863362,0.000026939551,0.00025083814,0.0006882846],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017343908,0.000052289226,0.00057210453,0.00096175505,0.0003940677,0.00016260738,0.10452624,3.102727e-7,0.0000028169582,0.73511577,0.13918674,0.01900797],"study_design_scores_gemma":[0.00014553472,0.00004734287,0.00013993065,0.0014167217,0.00010889912,0.000064038635,0.0098862825,5.767378e-7,0.000005192206,0.0014600783,0.986344,0.00038140002],"about_ca_topic_score_codex":0.24630657,"about_ca_topic_score_gemma":0.5596378,"teacher_disagreement_score":0.84715724,"about_ca_system_score_codex":0.00080239295,"about_ca_system_score_gemma":0.0006023612,"threshold_uncertainty_score":0.99999696},"labels":[],"label_agreement":null},{"id":"W4380925593","doi":"10.3138/ctr.131.014","title":"Theatre Unplugged: The Technology of a Performer-Centred Theatre","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performing arts; Visual arts; Theatre director; Performative utterance; Aesthetics; Art; Choreography; Dance","score_opus":0.022552789837442626,"score_gpt":0.2312077298505893,"score_spread":0.20865494001314666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925593","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002421484,0.34127206,0.0000015477133,0.018258022,0.0005027689,0.000792882,0.00014219325,0.00007184382,0.6365372],"genre_scores_gemma":[0.9068802,0.08556617,0.000037183298,0.0035830822,0.0008686992,0.00005393885,0.000035044064,0.000059971375,0.002915728],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99797654,0.00006077437,0.00060960255,0.0002954316,0.00023520726,0.00082241325],"domain_scores_gemma":[0.9985572,0.00012992806,0.0001712354,0.00076057855,0.00017138984,0.00020966234],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00061059167,0.0003481985,0.0006437839,0.00031419433,0.0007658986,0.000039409246,0.0006098726,0.00009937338,0.0025621941],"category_scores_gemma":[0.000015155424,0.00020522642,0.0002590145,0.0003688154,0.00075193984,0.00013489398,0.000057056805,0.00035093582,0.00039034936],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017878732,0.00003995031,0.0013059537,0.0015565371,0.00022521042,0.000022871765,0.0071792523,4.8712667e-7,0.000010491465,0.048273224,0.03968295,0.9016852],"study_design_scores_gemma":[0.0001722748,0.00009252529,0.00005263222,0.0015126606,0.00020884375,0.00003251516,0.007604566,0.0000017006971,0.000062450476,0.0005148888,0.9894948,0.00025013133],"about_ca_topic_score_codex":0.019821644,"about_ca_topic_score_gemma":0.33610475,"teacher_disagreement_score":0.9498119,"about_ca_system_score_codex":0.00012755077,"about_ca_system_score_gemma":0.00036369526,"threshold_uncertainty_score":0.9983496},"labels":[],"label_agreement":null},{"id":"W4380925597","doi":"10.3138/ctr.123.010","title":"The Actuals of Drama and Dreams","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spell; Drama; Happening; Performance art; Aesthetics; Art; Event (particle physics); Character (mathematics); Simple (philosophy); Variety (cybernetics); Visual arts; Art history; Sociology; Philosophy; Epistemology; Computer science","score_opus":0.02063926034236526,"score_gpt":0.2331825803676135,"score_spread":0.21254332002524823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925597","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027101059,0.5896793,8.379099e-8,0.015625123,0.00011546575,0.00021703988,0.000045451194,0.0000110641695,0.39159638],"genre_scores_gemma":[0.553762,0.43712988,0.0000084541225,0.0030615611,0.0005711941,0.00001980481,0.000004591104,0.000012932893,0.005429538],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947876,0.000023409086,0.00017208567,0.00007686079,0.000056404715,0.00019250961],"domain_scores_gemma":[0.9995833,0.00006277402,0.000042396932,0.00017582894,0.000036812326,0.000098871424],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018696037,0.00008823347,0.00019325534,0.000026625015,0.00039819058,0.000037270547,0.00010720532,0.000013389073,0.00072959566],"category_scores_gemma":[0.000008448543,0.00004951676,0.000054841745,0.000023759714,0.00022727206,0.00007561215,0.000012471406,0.000055441647,0.00007983049],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[9.677665e-7,0.0000025424597,0.00006662388,0.00028972275,0.000033918594,5.185756e-7,0.0032327268,5.941117e-8,4.0813637e-7,0.03683489,0.04268732,0.9168503],"study_design_scores_gemma":[0.000037514288,0.00001840657,0.000042986307,0.00053734944,0.000041130235,0.0000033493377,0.0005080311,0.0000011593057,0.0000050962103,0.00020172595,0.9985381,0.00006514495],"about_ca_topic_score_codex":0.011319012,"about_ca_topic_score_gemma":0.4887182,"teacher_disagreement_score":0.9558508,"about_ca_system_score_codex":0.000022570106,"about_ca_system_score_gemma":0.000073924784,"threshold_uncertainty_score":0.9952647},"labels":[],"label_agreement":null},{"id":"W4380925604","doi":"10.3138/ctr.133.002","title":"Beyond Reaching Out: De-Ba-Jeh-Mu-Jig Theatre Group and Native Youth","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Space (punctuation); Group (periodic table); History; Art; Computer science","score_opus":0.04123196702139365,"score_gpt":0.23341131060392636,"score_spread":0.19217934358253272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925604","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009239221,0.30939987,0.0000014763425,0.0018517554,0.00035535503,0.00046184295,0.00033301648,0.00006832359,0.6782891],"genre_scores_gemma":[0.79182667,0.19862105,0.0000333169,0.005674008,0.00096232246,0.000041931224,0.00007031864,0.00004959949,0.002720805],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854785,0.00011642501,0.00030811343,0.00030775846,0.00014721014,0.0005726124],"domain_scores_gemma":[0.99912286,0.00006755908,0.00008211435,0.0003041228,0.00005185003,0.00037152262],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034796802,0.00031001453,0.0005299216,0.00011404989,0.0012322449,0.000069699134,0.00019785223,0.000057609326,0.0006309194],"category_scores_gemma":[0.000011676894,0.0002370321,0.00015183949,0.000064297725,0.00037126784,0.00024772063,0.00003808333,0.00029183808,0.00011308729],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002372988,0.00005964899,0.0063572233,0.0030531627,0.000461286,0.00020188681,0.43398976,7.341944e-7,0.000004070959,0.03784555,0.061388917,0.45661405],"study_design_scores_gemma":[0.00021669803,0.00009564532,0.00019248587,0.0018649737,0.00021055902,0.0000665419,0.008082382,0.0000031038724,0.0000030865197,0.0009405875,0.98791,0.000413972],"about_ca_topic_score_codex":0.04410438,"about_ca_topic_score_gemma":0.43341622,"teacher_disagreement_score":0.92652106,"about_ca_system_score_codex":0.00016891993,"about_ca_system_score_gemma":0.00021931432,"threshold_uncertainty_score":0.96658885},"labels":[],"label_agreement":null},{"id":"W4380925611","doi":"10.3138/ctr.138.fm","title":"Editorial","year":2009,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relation (database); History; Reminiscence; Art history; Art; Media studies; Sociology; Psychology","score_opus":0.014051785317813025,"score_gpt":0.23930131873646326,"score_spread":0.22524953341865023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925611","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[1.8502133e-8,0.18455532,1.1235971e-8,0.00068269006,0.5258208,0.0002267935,0.00063402636,0.000039069455,0.2880413],"genre_scores_gemma":[0.0000012760123,0.25066194,0.0000014790335,0.00091140525,0.7365219,0.00003544175,0.00056538876,0.000042859305,0.011258321],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997921,0.00006833681,0.00044369153,0.00038606787,0.00053221144,0.000648687],"domain_scores_gemma":[0.99845886,0.00014202888,0.00014896302,0.00055016286,0.0003159349,0.0003840191],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00036580957,0.00048994017,0.0009690142,0.00017007749,0.0005437937,0.0001770688,0.0005058791,0.00037912885,0.004139757],"category_scores_gemma":[0.000086564476,0.00038830377,0.00035424036,0.000058761594,0.00015782518,0.00014105797,0.00002451948,0.00087672676,0.0019443533],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000021781873,0.0000047893427,1.255527e-7,0.0014524047,0.00005884189,0.000006643214,0.00039576134,1.4780715e-8,5.1927516e-9,0.0005910258,0.9393365,0.058151737],"study_design_scores_gemma":[0.00009698273,0.00007561992,5.64585e-8,0.0059397444,0.00030964898,6.3432867e-7,0.00003979133,4.0327535e-8,3.906997e-8,0.0002373912,0.99284273,0.0004573272],"about_ca_topic_score_codex":0.07910612,"about_ca_topic_score_gemma":0.63738626,"teacher_disagreement_score":0.5582801,"about_ca_system_score_codex":0.00030358142,"about_ca_system_score_gemma":0.001689427,"threshold_uncertainty_score":0.9998569},"labels":[],"label_agreement":null},{"id":"W4380925622","doi":"10.3138/ctr.126.026","title":"Inside Outside: New Off-Site Work at Summerworks 2005","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Visual arts; Sight; Argument (complex analysis); Stewardship (theology); Arch; Art; Work (physics); Aesthetics; Sociology; History; Archaeology; Engineering; Law; Political science; Mechanical engineering","score_opus":0.024444623292826848,"score_gpt":0.22166132729921648,"score_spread":0.19721670400638963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925622","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010800547,0.49992752,3.83769e-7,0.0072782245,0.00044495976,0.00029328032,0.00007199879,0.000054779324,0.49084878],"genre_scores_gemma":[0.18889971,0.39687052,0.000074180236,0.026396133,0.009360667,0.0000948987,0.00043272323,0.00017075472,0.3777004],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99848175,0.00004494974,0.00038133003,0.0002694497,0.00014346703,0.0006790403],"domain_scores_gemma":[0.9990262,0.00004307383,0.000086714026,0.00041283006,0.000045786484,0.00038540602],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001682727,0.00028816852,0.000488674,0.00011630037,0.0005832753,0.000090566384,0.00019546716,0.0000571937,0.0104032],"category_scores_gemma":[0.0000049540995,0.00022946918,0.00021106617,0.00010755304,0.00013873349,0.00015873245,0.00003950504,0.00017609142,0.0031818605],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000029821474,0.0000050035223,0.0019880715,0.00021952385,0.000030024246,0.00001723234,0.0006100026,0.0000019464742,1.9033855e-7,0.002976926,0.8093351,0.18481301],"study_design_scores_gemma":[0.00011601075,0.000013752833,0.00060652354,0.001856379,0.00011716815,0.000007793796,0.000069130634,6.4519963e-7,0.0000019344764,0.00025612128,0.99665725,0.00029727028],"about_ca_topic_score_codex":0.16340101,"about_ca_topic_score_gemma":0.94075286,"teacher_disagreement_score":0.77735186,"about_ca_system_score_codex":0.0002567036,"about_ca_system_score_gemma":0.00027566624,"threshold_uncertainty_score":0.9975943},"labels":[],"label_agreement":null},{"id":"W4380925623","doi":"10.3138/ctr.126.024","title":"Vasily, Hamlet and Fred: Site-Specific Work in Vancouver, 2005","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Drama; Metaphor; Aesthetics; Representation (politics); Space (punctuation); Gesture; Entertainment; HAMLET (protein complex); Visual arts; Art; Plot (graphics); Extension (predicate logic); Sociology; Literature; Computer science; Linguistics; Philosophy","score_opus":0.01745392719186169,"score_gpt":0.20028931584718027,"score_spread":0.18283538865531856,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925623","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003820265,0.6144183,1.9352272e-7,0.0015907941,0.00045887826,0.00029400433,0.00008446586,0.000026280175,0.3793068],"genre_scores_gemma":[0.36485302,0.594968,0.00007241655,0.005838832,0.0027804782,0.00011761959,0.00008565604,0.00008167181,0.031202264],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989353,0.00003516081,0.00027143568,0.00021303137,0.000106046995,0.00043904618],"domain_scores_gemma":[0.9995188,0.000035856257,0.000042661242,0.0002227572,0.00003475199,0.0001451341],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023061245,0.00018837873,0.00036108703,0.0001296981,0.00024989698,0.00006314336,0.0001023724,0.000035351222,0.002779377],"category_scores_gemma":[0.0000029692364,0.00015337135,0.00007034322,0.00008236986,0.00013647255,0.00010465704,0.00001691618,0.0001358149,0.00024822136],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000031123195,0.000009900475,0.002545045,0.00037125195,0.000009172362,0.00002421307,0.00097286754,9.4617167e-7,2.1993577e-7,0.004391893,0.9363675,0.055303875],"study_design_scores_gemma":[0.00012364908,0.000012095596,0.00070474145,0.0014046072,0.00002316155,0.0000025331813,0.0002146393,4.7463007e-7,5.5134984e-7,0.0003311864,0.99698675,0.00019563627],"about_ca_topic_score_codex":0.09800205,"about_ca_topic_score_gemma":0.9728711,"teacher_disagreement_score":0.87486905,"about_ca_system_score_codex":0.00013883329,"about_ca_system_score_gemma":0.000091403715,"threshold_uncertainty_score":0.9981322},"labels":[],"label_agreement":null},{"id":"W4380925629","doi":"10.3138/ctr.139.006","title":"Intercultural Bodies: <i>The Forbidden Phoenix</i> and <i>ANIME</i> in Edmonton","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Anime; Phoenix; Opera; Musical; Feudalism; Art; Performance art; Visual arts; Literature; Aesthetics; History; Art history; Philosophy; Law; Archaeology; Political science; Linguistics","score_opus":0.019447351797272156,"score_gpt":0.23008588885949313,"score_spread":0.21063853706222097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925629","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006698447,0.48541358,8.098348e-8,0.027816577,0.00022635111,0.00052289735,0.000044594617,0.000030576273,0.47924688],"genre_scores_gemma":[0.78483367,0.18528785,0.000005072863,0.026542015,0.00052720384,0.000032551416,0.000014188001,0.000013173393,0.0027442884],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999162,0.00003969647,0.00022738002,0.0001606394,0.00007167911,0.00033860034],"domain_scores_gemma":[0.9995876,0.00002806409,0.000037661794,0.00019275927,0.000030063655,0.00012384553],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019147083,0.00017100885,0.00029773236,0.000052582363,0.00031131075,0.000084085324,0.00016880578,0.000024040506,0.00038729707],"category_scores_gemma":[0.000007451292,0.000100254714,0.00007676856,0.0000438022,0.00013044653,0.00017288263,0.000014990081,0.00015173992,0.000070129245],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008650505,0.000014934795,0.0003297553,0.0006130994,0.00003988751,0.000023999608,0.042899366,1.7294562e-7,0.000005632977,0.0150595065,0.24171312,0.6992919],"study_design_scores_gemma":[0.00009483337,0.000053968302,0.0002564095,0.0013220756,0.000040000974,0.000015656657,0.001646655,0.0000014433692,0.000002497055,0.00056786224,0.99585056,0.0001480646],"about_ca_topic_score_codex":0.03725108,"about_ca_topic_score_gemma":0.7584111,"teacher_disagreement_score":0.7781352,"about_ca_system_score_codex":0.000069002504,"about_ca_system_score_gemma":0.00005789231,"threshold_uncertainty_score":0.96915996},"labels":[],"label_agreement":null},{"id":"W4380925634","doi":"10.3138/ctr.137.018","title":"Creating a Communicable Pedagogy: The Bubonic Tourist as Cultural Secret Agent","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Tourism; Citizenship; Aesthetics; Politics; Sociology; Political science; Art; Law","score_opus":0.04162872186107717,"score_gpt":0.2959804856332196,"score_spread":0.2543517637721424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925634","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024639876,0.30653,7.535364e-8,0.022142984,0.00014931825,0.00034677432,0.00003541325,0.000040053506,0.6682914],"genre_scores_gemma":[0.70780396,0.2382959,0.000014456273,0.02987805,0.0011408505,0.00005306615,0.00006722927,0.000025808884,0.02272067],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886817,0.00010841147,0.0002776978,0.00015908705,0.00012570363,0.00046094513],"domain_scores_gemma":[0.9990661,0.000056876335,0.00007735332,0.00053078966,0.000071864524,0.00019700832],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000306208,0.00021437407,0.0003769974,0.00004032984,0.0015583124,0.00017687425,0.00042697453,0.000029119727,0.0038670301],"category_scores_gemma":[0.000018590461,0.00012328368,0.00018384431,0.00006867346,0.00018158613,0.0001570713,0.000030515916,0.00025210239,0.00056947995],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007891922,0.000030599014,0.00016318414,0.00072775135,0.00016443817,0.000041027277,0.041423295,0.000002355595,0.000002098635,0.09403823,0.4332783,0.43012083],"study_design_scores_gemma":[0.00007660914,0.00007865314,0.00006974974,0.0013896726,0.00011302231,0.000026451882,0.0040510534,0.000005041738,0.0000013708795,0.0005792136,0.9934254,0.00018374511],"about_ca_topic_score_codex":0.10629014,"about_ca_topic_score_gemma":0.48098975,"teacher_disagreement_score":0.70533997,"about_ca_system_score_codex":0.00012605294,"about_ca_system_score_gemma":0.00024514543,"threshold_uncertainty_score":0.9997415},"labels":[],"label_agreement":null},{"id":"W4380925651","doi":"10.3138/ctr.135.013","title":"The Reflection Forums at Moving Stage Lab","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Danish; Reflection (computer programming); Stage (stratigraphy); Art; Computer science","score_opus":0.04649109781316821,"score_gpt":0.25240655590746575,"score_spread":0.20591545809429754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925651","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0037024394,0.32457295,3.384818e-7,0.005705496,0.0005792252,0.00032735954,0.000055408105,0.000049287177,0.66500753],"genre_scores_gemma":[0.20047657,0.62543154,0.0000062185745,0.006110239,0.0011042702,0.00008755757,0.000025669418,0.00003976413,0.16671818],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915373,0.000044290267,0.00019230646,0.00013375183,0.00010017221,0.00037572416],"domain_scores_gemma":[0.9994429,0.000047229263,0.000052400137,0.0002740318,0.00004854533,0.00013492261],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001985454,0.00013312661,0.00019504815,0.00004140653,0.0029285247,0.000041288706,0.00014853549,0.000020674996,0.0015876149],"category_scores_gemma":[0.00001016392,0.000080877195,0.00010750089,0.000054425353,0.00019209246,0.000114081384,0.000026011085,0.00010434439,0.0005342219],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012386876,0.000009365818,0.0013125602,0.0010359031,0.00013169744,0.000045401463,0.010638116,0.0000013295642,0.0000038019605,0.04089942,0.65031815,0.29559186],"study_design_scores_gemma":[0.000045633886,0.00002491222,0.00007588146,0.00036478133,0.000025114907,0.00002015449,0.000369526,0.0000021707995,0.0000046414975,0.00007341916,0.9988791,0.00011471782],"about_ca_topic_score_codex":0.035815563,"about_ca_topic_score_gemma":0.80250597,"teacher_disagreement_score":0.76669043,"about_ca_system_score_codex":0.00020508423,"about_ca_system_score_gemma":0.0001359058,"threshold_uncertainty_score":0.9993251},"labels":[],"label_agreement":null},{"id":"W4380925652","doi":"10.3138/ctr.140.006","title":"Making the Grade: Professional Association of Canadian Theatres Web Site Assessment Research Project","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Web site; Interactivity; Ticket; Scale (ratio); Point (geometry); Public relations; World Wide Web; Advertising; Political science; Business; Geography; The Internet; Computer science; Cartography","score_opus":0.13512207947795066,"score_gpt":0.3848127946643024,"score_spread":0.24969071518635175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925652","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0043177167,0.106498756,5.8443796e-8,0.08556352,0.00066806824,0.0017479011,0.00048440223,0.00003261016,0.80068696],"genre_scores_gemma":[0.93775207,0.045469128,0.000018871468,0.004880733,0.0008611992,0.00010126708,0.000060366758,0.000023319983,0.010833042],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99781555,0.00042103967,0.00036542624,0.0002133116,0.0004603058,0.0007243579],"domain_scores_gemma":[0.99887043,0.00017922944,0.00012671368,0.0003554007,0.0002937126,0.00017453378],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0019187318,0.00018459582,0.00036420696,0.0006324984,0.0013629622,0.00009971912,0.00034084672,0.00006256703,0.0010204611],"category_scores_gemma":[0.000038262646,0.00011274248,0.00014816812,0.00046427213,0.000140357,0.000152718,0.00002131606,0.0004590057,0.00007849239],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000035753476,0.000028542658,0.0033091751,0.00064258365,0.00009669415,0.000010330863,0.008737461,6.0739654e-7,0.000004901658,0.047159377,0.8787355,0.06127127],"study_design_scores_gemma":[0.000081785736,0.00007211332,0.0019289438,0.002193142,0.0000635576,0.0000029594432,0.0015137425,0.000009912243,0.0000017282601,0.0005266385,0.993465,0.00014049085],"about_ca_topic_score_codex":0.5637793,"about_ca_topic_score_gemma":0.9869711,"teacher_disagreement_score":0.93343437,"about_ca_system_score_codex":0.0006946712,"about_ca_system_score_gemma":0.00304552,"threshold_uncertainty_score":0.9999371},"labels":[],"label_agreement":null},{"id":"W4380925662","doi":"10.3138/ctr.135.003","title":"Crossing the River: Zuppa Circus’s <i>Penny Dreadful</i>","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Adventure; Performance art; Art history; Art; Penny; Visual arts; History; Archaeology","score_opus":0.03789519019124604,"score_gpt":0.23013082347208721,"score_spread":0.19223563328084117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925662","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004165002,0.3724993,8.646736e-7,0.008809547,0.0006723984,0.00046564412,0.00012145081,0.000064343454,0.6132015],"genre_scores_gemma":[0.750118,0.20622739,0.00001339637,0.024783622,0.0020877945,0.00008510925,0.000035939454,0.00005745138,0.016591288],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884087,0.000060812148,0.000263523,0.00020288819,0.00014440344,0.00048752956],"domain_scores_gemma":[0.9991715,0.00005333745,0.00006543936,0.00042569655,0.00007397895,0.00021003863],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021316567,0.0002140846,0.0003500573,0.000059083904,0.002957542,0.00012807407,0.00032264306,0.000030196226,0.002664196],"category_scores_gemma":[0.000009967399,0.00013138799,0.00019068952,0.00008482536,0.001021689,0.0001873774,0.000027231019,0.0001929231,0.0010643308],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000037283298,0.000017870761,0.0013881354,0.0009485757,0.00014166794,0.000100707846,0.03947757,7.4911424e-7,0.0000015429987,0.020366821,0.6316065,0.30594614],"study_design_scores_gemma":[0.000074807474,0.000019140774,0.00022177509,0.0008072746,0.00007443433,0.000076233795,0.00042591026,0.0000012372217,0.0000027226383,0.00025410246,0.9978467,0.00019564808],"about_ca_topic_score_codex":0.06335398,"about_ca_topic_score_gemma":0.31931892,"teacher_disagreement_score":0.745953,"about_ca_system_score_codex":0.00009652952,"about_ca_system_score_gemma":0.0004197238,"threshold_uncertainty_score":0.9997135},"labels":[],"label_agreement":null},{"id":"W4380925663","doi":"10.3138/ctr.139.007","title":"Cultural Diversity in Play","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Diversity (politics); Performance art; Visual arts; Art; Black history; Art history; History; Genealogy; Sociology; Gender studies; Anthropology","score_opus":0.04331050633889071,"score_gpt":0.24428281525845685,"score_spread":0.20097230891956613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925663","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0089911735,0.1633575,4.1890598e-8,0.00808518,0.0002116393,0.00023517777,0.000043500808,0.000026628368,0.8190492],"genre_scores_gemma":[0.9259941,0.062383626,0.0000033525098,0.008943062,0.0002935691,0.000004142832,0.000015538026,0.0000043898276,0.0023582],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994363,0.000021198053,0.000122067046,0.0001068836,0.00006103607,0.00025247232],"domain_scores_gemma":[0.99970865,0.000008180661,0.000020173793,0.00012049369,0.000023795277,0.000118712036],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009698247,0.00010249857,0.00021135724,0.000063675376,0.00037144285,0.000026812362,0.00013347351,0.000017043436,0.0016893189],"category_scores_gemma":[0.0000035649496,0.00007487016,0.00006887753,0.000048055605,0.00005410956,0.00014993752,0.000017411354,0.00009047577,0.00026371737],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005388227,0.000026477397,0.0046424177,0.0005740407,0.000036304955,0.00007401857,0.031016072,8.6064915e-7,6.5078297e-7,0.06289814,0.29683846,0.6038872],"study_design_scores_gemma":[0.000069331945,0.000026535596,0.0015799549,0.0007873014,0.000020984067,0.0000029241737,0.00045187285,5.142995e-7,4.6208163e-7,0.00041537537,0.9965274,0.00011738286],"about_ca_topic_score_codex":0.054823626,"about_ca_topic_score_gemma":0.6655379,"teacher_disagreement_score":0.917003,"about_ca_system_score_codex":0.000089085195,"about_ca_system_score_gemma":0.00004948328,"threshold_uncertainty_score":0.9992233},"labels":[],"label_agreement":null},{"id":"W4380925667","doi":"10.3138/ctr.106.011","title":"Uncertain Sacrifice","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Salamander; Copyright law; Sacrifice; Law; History; Art; Political science; Intellectual property; Archaeology; Ecology; Biology","score_opus":0.04154831700123826,"score_gpt":0.2510215571458313,"score_spread":0.20947324014459304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925667","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031785853,0.24054149,4.099552e-7,0.0067526367,0.00032591505,0.00018864627,0.00003810829,0.000039225135,0.7517957],"genre_scores_gemma":[0.32834855,0.5808522,0.000025150253,0.034634586,0.0025941876,0.00010482491,0.00007460544,0.00006089907,0.053305015],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992003,0.000032192835,0.00017850482,0.00014917809,0.00008145875,0.0003583878],"domain_scores_gemma":[0.9994319,0.000022152435,0.0000306354,0.00025156458,0.000050636794,0.0002130965],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015391184,0.00014282909,0.0002498851,0.0000707162,0.00040176572,0.00005002186,0.0001618069,0.000020278014,0.011226338],"category_scores_gemma":[0.000006651581,0.00010798307,0.000099992474,0.00006991383,0.000102577666,0.00011668367,0.0000092753935,0.00009483302,0.0016640644],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000030412987,0.000010392331,0.00047811898,0.0008798544,0.00006192424,0.00006826014,0.003236318,5.302531e-7,5.5957514e-7,0.051587068,0.44219816,0.50147575],"study_design_scores_gemma":[0.000046261765,0.000019386953,0.00002124564,0.00089804677,0.0000491746,0.000019639114,0.00046098273,0.000001512484,5.698042e-7,0.00026928753,0.9980617,0.0001521572],"about_ca_topic_score_codex":0.06804835,"about_ca_topic_score_gemma":0.6427157,"teacher_disagreement_score":0.6984907,"about_ca_system_score_codex":0.00007634673,"about_ca_system_score_gemma":0.00014071752,"threshold_uncertainty_score":0.99911326},"labels":[],"label_agreement":null},{"id":"W4380925669","doi":"10.3138/ctr.125.002","title":"Theatrical Nationhood in Radical Mobility: <i>The Farm Show</i> Futures and the Banner / Ground Zero Collaborations","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Narrative; Banner; Theatre director; Art; Media studies; Visual arts; Aesthetics; Sociology; Literature; History","score_opus":0.014954626095302266,"score_gpt":0.21970278470849908,"score_spread":0.2047481586131968,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925669","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009774246,0.6616481,0.0000028639474,0.08635996,0.00055097294,0.0019030428,0.00023714748,0.000044888206,0.23947875],"genre_scores_gemma":[0.9422702,0.045746636,0.0000058960827,0.008883141,0.0010951472,0.00025193926,0.000038934093,0.000020917489,0.0016871565],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879235,0.00020465057,0.00034185033,0.00019759608,0.00015374532,0.00030983513],"domain_scores_gemma":[0.9992615,0.00024077694,0.000050152063,0.00028665923,0.000072055496,0.00008883614],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00062520255,0.0001791646,0.00033774736,0.00007646755,0.0010453511,0.00017109243,0.00020281873,0.000041587835,0.0003384921],"category_scores_gemma":[0.000024305087,0.000088804954,0.00009634906,0.00020438616,0.00075445574,0.000100474754,0.000023929382,0.00022056144,0.000028352157],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001878072,0.000043607943,0.0007045036,0.00038252454,0.000056393554,0.000008767786,0.006543195,0.0000057532457,3.2604595e-7,0.8334383,0.10160399,0.05719389],"study_design_scores_gemma":[0.00037839444,0.0000165115,0.00075490394,0.00020440671,0.00009273283,0.000010803322,0.0012389757,0.000019586698,2.784715e-7,0.0059857965,0.99116695,0.00013066079],"about_ca_topic_score_codex":0.09863534,"about_ca_topic_score_gemma":0.8663712,"teacher_disagreement_score":0.932496,"about_ca_system_score_codex":0.000094422205,"about_ca_system_score_gemma":0.0002207038,"threshold_uncertainty_score":0.90736693},"labels":[],"label_agreement":null},{"id":"W4380925675","doi":"10.3138/ctr.102.007","title":"“A word in a foreign language”: On Not Translating in the Theatre","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Linguistics; Immigration; Poetry; Foreign language; Word (group theory); History; Literature; Art; Philosophy","score_opus":0.03057854242516105,"score_gpt":0.24678587839088026,"score_spread":0.2162073359657192,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925675","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017130405,0.077166624,1.8414436e-8,0.011212235,0.000052102023,0.00054344867,0.000056062567,0.000017473933,0.89382166],"genre_scores_gemma":[0.95934176,0.022255793,0.0000038716053,0.016826898,0.00031597892,0.00008743399,0.000015871468,0.000019666057,0.0011327108],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886143,0.00012814009,0.00028485633,0.00018243183,0.00012618511,0.00041692864],"domain_scores_gemma":[0.99952173,0.00008691235,0.00002493282,0.0002861393,0.0000080842065,0.0000721919],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000444742,0.00018552713,0.0003192677,0.00012610933,0.00021411532,0.000052172105,0.00025164054,0.000031200052,0.0048024957],"category_scores_gemma":[0.0000038311587,0.00011365129,0.00011074902,0.00014236236,0.00007740431,0.000096376214,0.00000340296,0.0002603914,0.00031481963],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009087437,0.000015322046,0.00019517908,0.00033297643,0.0000101766655,0.00005333319,0.038230345,0.0000043526425,1.8920906e-7,0.008421418,0.0037875173,0.9489401],"study_design_scores_gemma":[0.00019048859,0.0000444482,0.00021963411,0.002864755,0.000024717088,0.000007495183,0.006153989,0.000007911065,0.0000010033577,0.00034755087,0.9899603,0.00017767315],"about_ca_topic_score_codex":0.06841896,"about_ca_topic_score_gemma":0.8255506,"teacher_disagreement_score":0.9861728,"about_ca_system_score_codex":0.0000697202,"about_ca_system_score_gemma":0.000084595085,"threshold_uncertainty_score":0.9961072},"labels":[],"label_agreement":null},{"id":"W4380925676","doi":"10.3138/ctr.138.013","title":"Views and Reviews","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Relation (database); The arts; Art; Performance art; Competition (biology); Sociology; History; Art history; Computer science","score_opus":0.05243819061303112,"score_gpt":0.26139099483061784,"score_spread":0.20895280421758672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925676","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000073494324,0.5848041,1.585763e-7,0.0066318186,0.00010182312,0.00028271522,0.000013114121,0.000015490388,0.40807724],"genre_scores_gemma":[0.01619846,0.9458737,0.000022933815,0.031356085,0.0005897505,0.000025211553,0.000012235895,0.000010274891,0.005911395],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992432,0.000044282988,0.0002455569,0.00015175846,0.00005060713,0.00026462428],"domain_scores_gemma":[0.9994831,0.000010982736,0.00004658948,0.00022113412,0.000023722647,0.00021444896],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002572366,0.00015457322,0.0004109337,0.000058002686,0.0003039573,0.000048865917,0.00010165034,0.000018224162,0.0021177158],"category_scores_gemma":[0.000008650307,0.00010581865,0.00009261562,0.000041653173,0.000077602264,0.000120169316,0.00000661054,0.00008655349,0.0005500171],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.2291595e-7,0.0000028578595,0.000023535995,0.0004757656,0.0000064366905,0.0000030341885,0.0011762398,4.1068917e-9,3.5026457e-7,0.015573869,0.20619245,0.77654505],"study_design_scores_gemma":[0.000039328737,0.000041835006,0.00006216354,0.0020132544,0.000055030512,0.000009079838,0.00006575416,3.224675e-7,4.742157e-7,0.0005613331,0.99701047,0.00014095641],"about_ca_topic_score_codex":0.004742307,"about_ca_topic_score_gemma":0.20180136,"teacher_disagreement_score":0.79081804,"about_ca_system_score_codex":0.000031617397,"about_ca_system_score_gemma":0.00005064722,"threshold_uncertainty_score":0.9987945},"labels":[],"label_agreement":null},{"id":"W4380925682","doi":"10.3138/ctr.119.013","title":"Risk Factors","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Aesthetics; Sociology; Visual arts; Art","score_opus":0.027791005797336572,"score_gpt":0.22911624623849827,"score_spread":0.2013252404411617,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925682","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0117830075,0.25857374,9.489774e-7,0.003515133,0.00065483514,0.00035708776,0.00027721748,0.00007578814,0.7247622],"genre_scores_gemma":[0.7878493,0.20544235,0.000012401369,0.0035236888,0.0006937579,0.000023646859,0.00003783644,0.000029165367,0.0023878207],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993208,0.000020862144,0.00015748657,0.0001305511,0.00007253604,0.00029773646],"domain_scores_gemma":[0.99948704,0.0000153998,0.000042374366,0.00021346654,0.000032865504,0.00020884346],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009883727,0.00014434154,0.00024074159,0.0000654633,0.00048239916,0.000040402396,0.00013232652,0.000019742916,0.0032193896],"category_scores_gemma":[0.00000892,0.00010036481,0.00012359252,0.000043576292,0.000105243176,0.00010938196,0.00000920123,0.000114293594,0.0008761563],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000047509684,0.000057754514,0.008203607,0.003154053,0.0004731204,0.0000574641,0.046179138,0.000018682214,8.025767e-7,0.28965577,0.17416215,0.4780327],"study_design_scores_gemma":[0.00006668159,0.000025582543,0.00017988443,0.00074943213,0.00007855772,0.000002084387,0.0005071822,9.7433414e-8,0.000002939184,0.0011802447,0.9970638,0.00014349063],"about_ca_topic_score_codex":0.23033297,"about_ca_topic_score_gemma":0.7188534,"teacher_disagreement_score":0.82290167,"about_ca_system_score_codex":0.00011045379,"about_ca_system_score_gemma":0.00016972012,"threshold_uncertainty_score":0.9999018},"labels":[],"label_agreement":null},{"id":"W4380925689","doi":"10.3138/ctr.129.005","title":"<i>Still Ringing:</i> Sounds Collaborative","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soundscape; Performativity; Sound (geography); Sociology; Mediation; Recreation; Space (punctuation); Art history; Art; Visual arts; Media studies; Gender studies; Law; Political science; Social science","score_opus":0.02018052013468791,"score_gpt":0.2429898324937864,"score_spread":0.22280931235909848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925689","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005958647,0.23205222,0.0000022548134,0.0019450777,0.00048166388,0.0002691493,0.0000863335,0.00004911938,0.7645183],"genre_scores_gemma":[0.81657183,0.13558799,0.00006679989,0.023211677,0.0028054859,0.000053288426,0.00006607885,0.0000762065,0.021560667],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989642,0.000022014745,0.0002506958,0.00017109339,0.00010912151,0.000482891],"domain_scores_gemma":[0.9992625,0.000050633877,0.000055937253,0.00022685109,0.00012330961,0.00028075452],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040244756,0.00017981611,0.00030819493,0.000115387695,0.00033567118,0.00006225862,0.00015482873,0.000028199034,0.0022803536],"category_scores_gemma":[0.000011648757,0.00014104342,0.000094062205,0.00013296725,0.00016270982,0.0001393554,0.000014924302,0.00012237945,0.000580083],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012671513,0.000027391214,0.0010115069,0.00230593,0.00021726386,0.000105398736,0.03694581,7.917496e-7,0.000003956453,0.15636756,0.36883837,0.43416333],"study_design_scores_gemma":[0.000068709545,0.00003077763,0.000035302914,0.00095048716,0.00005944564,0.0000063076313,0.0012387973,3.699036e-7,0.000009329079,0.00023717046,0.9971729,0.00019042144],"about_ca_topic_score_codex":0.016167825,"about_ca_topic_score_gemma":0.62853026,"teacher_disagreement_score":0.81597596,"about_ca_system_score_codex":0.00012228174,"about_ca_system_score_gemma":0.00021510487,"threshold_uncertainty_score":0.9986317},"labels":[],"label_agreement":null},{"id":"W4380925691","doi":"10.3138/ctr.131.013","title":"Intermedial Theatre: ± Technology?","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sound (geography); Art; Visual arts; Active listening; Space (punctuation); Natural (archaeology); Sound art; Reproduction; Performance art; Aesthetics; History; Literature; Sociology; Art history; Acoustics; Communication; Archaeology; Linguistics; Philosophy","score_opus":0.018988145687609998,"score_gpt":0.24057687799705924,"score_spread":0.22158873230944923,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925691","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012403246,0.19502798,0.000002692122,0.0088057555,0.0010061215,0.00035612372,0.000053546788,0.00011956065,0.7933879],"genre_scores_gemma":[0.8867955,0.09118324,0.000051198876,0.0123758735,0.0031516254,0.000058823658,0.000044698598,0.00006734286,0.006271686],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99877685,0.00001730482,0.00030784952,0.00020530188,0.00010777181,0.0005849272],"domain_scores_gemma":[0.99924815,0.000037494152,0.000053931584,0.00034437006,0.000065410684,0.00025066463],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00039527085,0.00020541307,0.00035117983,0.00029425262,0.0004068175,0.000039472772,0.00028646717,0.0000613214,0.0035189858],"category_scores_gemma":[0.000011158343,0.0001537487,0.00013203041,0.00014535143,0.0003583172,0.00011735696,0.000029976502,0.00021633806,0.0010714418],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004059481,0.000010358941,0.0006484206,0.0004860821,0.000057785564,0.000043559594,0.0018370288,2.1357339e-8,0.0000018900379,0.030313356,0.07306837,0.89352906],"study_design_scores_gemma":[0.00008331031,0.000047256555,0.000036755348,0.0012173844,0.000063257874,0.000020768352,0.00093670975,2.652329e-7,0.000017530743,0.0008659828,0.9965145,0.00019625708],"about_ca_topic_score_codex":0.008149023,"about_ca_topic_score_gemma":0.59770113,"teacher_disagreement_score":0.9234462,"about_ca_system_score_codex":0.000120222154,"about_ca_system_score_gemma":0.000156625,"threshold_uncertainty_score":0.9997063},"labels":[],"label_agreement":null},{"id":"W4380925703","doi":"10.3138/ctr.109.008","title":"Re-Surfacing the Chinese-Canadian Body in Performance: Elyne Quan’s “Surface Tension” and “What?”","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Gender studies; Immigration; Negotiation; Sociology; Art; History; Social science","score_opus":0.027438928108089736,"score_gpt":0.22769676297860697,"score_spread":0.20025783487051724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925703","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18190587,0.6243185,3.4026577e-8,0.022323607,0.00059066946,0.0006869315,0.000047006753,0.00003357301,0.17009382],"genre_scores_gemma":[0.6777798,0.31396535,0.0000030329668,0.0065571005,0.00019911234,0.000017007347,0.0000064430938,0.00002163265,0.0014505612],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984613,0.00008238938,0.0003609123,0.0002796574,0.00014283133,0.000672891],"domain_scores_gemma":[0.99899095,0.00007605378,0.00006150686,0.00041653676,0.000060898623,0.00039402582],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045875585,0.00029473077,0.0004629631,0.00015199688,0.000996729,0.00026002072,0.00024438358,0.00005474186,0.0035327766],"category_scores_gemma":[0.000019588566,0.00018143411,0.00008852973,0.00019903219,0.00022310762,0.0006118873,0.000027854894,0.0003148439,0.0004365982],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011038724,0.000048716945,0.06976472,0.004533753,0.00022120801,0.00014109396,0.07030589,0.000037878995,0.000005342354,0.003149018,0.16585968,0.68592167],"study_design_scores_gemma":[0.00014646504,0.000042501095,0.0028088056,0.002719445,0.000049568185,0.000016481548,0.0035032304,0.0003964427,4.817732e-7,0.00005780272,0.9899589,0.00029991078],"about_ca_topic_score_codex":0.45182756,"about_ca_topic_score_gemma":0.98240036,"teacher_disagreement_score":0.8240992,"about_ca_system_score_codex":0.00017531526,"about_ca_system_score_gemma":0.00013656833,"threshold_uncertainty_score":0.9973781},"labels":[],"label_agreement":null},{"id":"W4380925706","doi":"10.3138/ctr.127.008","title":"The Blur Street Project: Media Can Take You Where You Want to Go!","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Portfolio; Aesthetics; Visual arts; Work (physics); Art; Media studies; Sociology; Engineering; Business","score_opus":0.02446850501142764,"score_gpt":0.23059515478266362,"score_spread":0.206126649771236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925706","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018953147,0.41170588,2.2330167e-7,0.037960555,0.0011298506,0.0013665288,0.0010914871,0.00008861351,0.54476154],"genre_scores_gemma":[0.40085408,0.45484653,0.000062749925,0.018337032,0.012056481,0.0009861067,0.00045789778,0.00026764753,0.11213147],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99837583,0.00006590308,0.00038519548,0.00027481504,0.0002014985,0.00069676636],"domain_scores_gemma":[0.9990041,0.000063950196,0.00007430055,0.0004992042,0.00010799135,0.00025040307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029527012,0.00029003795,0.0004095077,0.000096175296,0.0010635767,0.00016871389,0.00038839848,0.000039279254,0.00082012475],"category_scores_gemma":[0.000015967453,0.00017470871,0.00015999802,0.00013683255,0.00018919026,0.00008443245,0.000035591598,0.00017220015,0.00045477346],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000035141131,0.000010283619,0.0004947332,0.0005573862,0.000054231037,0.00002087249,0.0051452676,6.401767e-7,4.173799e-7,0.028238857,0.757179,0.20829476],"study_design_scores_gemma":[0.00007900289,0.000042671905,0.00013042415,0.0012287963,0.00009377433,0.0000053078015,0.0021139542,8.3688013e-7,0.0000019545644,0.00035797292,0.99568355,0.00026175368],"about_ca_topic_score_codex":0.31283706,"about_ca_topic_score_gemma":0.9927032,"teacher_disagreement_score":0.67986614,"about_ca_system_score_codex":0.00016298625,"about_ca_system_score_gemma":0.0004766942,"threshold_uncertainty_score":0.8979791},"labels":[],"label_agreement":null},{"id":"W4380925709","doi":"10.3138/ctr.126.022","title":"BOX a show in a diner","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Law; Copyright law; Moral rights; Political science; Sociology; Media studies; Visual arts; Art; Intellectual property","score_opus":0.020642429152624053,"score_gpt":0.22050435161376034,"score_spread":0.1998619224611363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925709","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017087323,0.2405512,1.3476209e-7,0.005458386,0.00018061006,0.00023376755,0.00004896541,0.00002309574,0.7517951],"genre_scores_gemma":[0.9378143,0.039907876,0.00001174602,0.00627216,0.0012384173,0.00009328731,0.000039063227,0.00003067256,0.014592475],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926645,0.000024229059,0.00019789515,0.00013050828,0.00006378338,0.00031715614],"domain_scores_gemma":[0.9996836,0.000015161582,0.000025175004,0.00016822483,0.000023086512,0.00008472246],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001232977,0.00012662167,0.0002593394,0.00010881038,0.00014601914,0.000038489,0.00010566511,0.00001960157,0.0028572353],"category_scores_gemma":[0.00000291954,0.00009506785,0.00007986653,0.0000675176,0.00007370245,0.000095826545,0.000009083725,0.0000880064,0.00037875315],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000035934593,0.000037164282,0.005587734,0.0019899658,0.000035938032,0.0000904401,0.0032505023,0.0000020441498,0.0000015920375,0.2183523,0.56242204,0.20822667],"study_design_scores_gemma":[0.0000713567,0.00001186223,0.00025770563,0.0012049722,0.000021641321,0.0000039109937,0.00016806803,0.0000011502096,8.72417e-7,0.00078166655,0.9973434,0.00013334533],"about_ca_topic_score_codex":0.2655768,"about_ca_topic_score_gemma":0.94834054,"teacher_disagreement_score":0.93610555,"about_ca_system_score_codex":0.00008317974,"about_ca_system_score_gemma":0.00010135953,"threshold_uncertainty_score":0.99805427},"labels":[],"label_agreement":null},{"id":"W4380925719","doi":"10.3138/ctr.126.010","title":"An Environmental Engagement with Theatre and Life: An Interview with Richard Rose","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rose (mathematics); Art history; Art; Performing arts; Performance art; Institution; Character (mathematics); Visual arts; Aesthetics; Environmental ethics; Management; Sociology; Social science; Philosophy","score_opus":0.020877886287798197,"score_gpt":0.2107587704015666,"score_spread":0.1898808841137684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925719","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12269986,0.6381679,0.000007682628,0.005107918,0.0001984328,0.0019666592,0.0006538014,0.00016192732,0.2310358],"genre_scores_gemma":[0.9513686,0.04301458,0.00005285159,0.0040795486,0.00051198096,0.00008421748,0.00016010128,0.000049886185,0.0006782466],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987976,0.00013854331,0.00022201623,0.0003187108,0.00014011608,0.0003829957],"domain_scores_gemma":[0.99914616,0.0000142373565,0.000064423395,0.00038842764,0.000020367292,0.00036638795],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025431634,0.00029534232,0.0004009689,0.00007648912,0.00055476825,0.00012676697,0.00016769872,0.000025395595,0.0017013509],"category_scores_gemma":[5.546141e-7,0.00018182937,0.000041783987,0.000049335256,0.00026179673,0.000361825,0.000017851176,0.00015061992,0.00006279924],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061944134,0.00030284864,0.014261364,0.004006517,0.00041573014,0.00015754518,0.015555854,0.000010453518,0.000007848917,0.012842259,0.02603286,0.92634475],"study_design_scores_gemma":[0.00024829406,0.00057219964,0.001311613,0.0013412556,0.00023466983,0.000024806603,0.0022681556,0.000005594906,0.0000028777993,0.00005756287,0.9935921,0.00034086916],"about_ca_topic_score_codex":0.022018256,"about_ca_topic_score_gemma":0.466912,"teacher_disagreement_score":0.9675592,"about_ca_system_score_codex":0.000076792516,"about_ca_system_score_gemma":0.00011302744,"threshold_uncertainty_score":0.99921125},"labels":[],"label_agreement":null},{"id":"W4380925725","doi":"10.3138/ctr.131.004","title":"Invisible Realms: Canadian Speculative Drama","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Naturalism; Appeal; Realism; Subject (documents); Aesthetics; Social realism; History; Literature; Media studies; Sociology; Art; Political science; Philosophy; Law; Epistemology","score_opus":0.030178604357973357,"score_gpt":0.250317326576598,"score_spread":0.22013872221862463,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925725","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00080732506,0.105380334,8.2349055e-7,0.005155525,0.0004681613,0.00040241983,0.00014764207,0.000037393038,0.88760036],"genre_scores_gemma":[0.8519986,0.08322326,0.00006741876,0.036842916,0.0030983712,0.000047219863,0.00018325244,0.000103630555,0.024435332],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845725,0.000033455923,0.00032382418,0.00024260598,0.00012940234,0.0008134802],"domain_scores_gemma":[0.9985526,0.00004271529,0.000057501493,0.00035725124,0.00010998668,0.00087993586],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00051088416,0.00023328714,0.00037582518,0.00030158914,0.000700632,0.000078536184,0.00022574628,0.000050625866,0.007025006],"category_scores_gemma":[0.000016386664,0.00019149945,0.00014013634,0.0001461859,0.00019013594,0.00017511177,0.000013869007,0.00018581763,0.001316337],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005523628,0.0000129645505,0.0017857732,0.0011459305,0.00017906164,0.00022068799,0.01402143,5.6540625e-7,8.919006e-7,0.1826631,0.3668415,0.43312258],"study_design_scores_gemma":[0.00006894216,0.000032123342,0.00037522145,0.0011450612,0.000062032406,0.000011870577,0.001132094,8.0609027e-7,0.0000039100673,0.00060591876,0.99630636,0.0002556835],"about_ca_topic_score_codex":0.91780245,"about_ca_topic_score_gemma":0.9992096,"teacher_disagreement_score":0.863165,"about_ca_system_score_codex":0.00043823797,"about_ca_system_score_gemma":0.0006992219,"threshold_uncertainty_score":0.99946123},"labels":[],"label_agreement":null},{"id":"W4380925729","doi":"10.3138/ctr.103.008","title":"Theatricalizing Politics / Politicizing Theatre","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Political theatre; Politics; Subversion; Opposition (politics); Theatre studies; Theatre director; Tragedy (event); Democracy; Cruelty; Media studies; Art; Drama; Sociology; Political science; Law; Visual arts; Literature","score_opus":0.030757170227886006,"score_gpt":0.24556080539309563,"score_spread":0.21480363516520962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925729","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011827736,0.17726314,2.2980748e-7,0.0090640625,0.0002488137,0.00033115194,0.00015945961,0.000100150035,0.8116502],"genre_scores_gemma":[0.7161096,0.21353869,0.00004926198,0.037385467,0.0042421585,0.000089141635,0.00008848617,0.00012746589,0.028369753],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979885,0.00009041309,0.00042705514,0.00030306887,0.00021644232,0.00097451016],"domain_scores_gemma":[0.998793,0.000077471486,0.00004611746,0.00048483734,0.00006393902,0.0005346253],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002562077,0.0003266621,0.00053154863,0.00015319395,0.0016096074,0.00011239823,0.00035723788,0.000055217894,0.023975736],"category_scores_gemma":[0.000007017404,0.0002519529,0.00025971569,0.00012718316,0.0002441441,0.00021248775,0.000042365788,0.00023395116,0.0018980213],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000032623673,0.000025769516,0.00019761741,0.0013565329,0.00012316128,0.00004330723,0.007553105,0.0000017328675,5.5866116e-7,0.16089217,0.06970843,0.76009434],"study_design_scores_gemma":[0.00010289193,0.000039010192,0.000015474794,0.0015828969,0.0001508632,0.000029758718,0.0006213755,0.000005792643,0.0000026221694,0.0021269156,0.9949931,0.00032929512],"about_ca_topic_score_codex":0.08007667,"about_ca_topic_score_gemma":0.09858017,"teacher_disagreement_score":0.9252847,"about_ca_system_score_codex":0.00019878676,"about_ca_system_score_gemma":0.0002862993,"threshold_uncertainty_score":0.99999326},"labels":[],"label_agreement":null},{"id":"W4380925735","doi":"10.3138/ctr.135.025","title":"Views and Reviews","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Conversation; Premise; Aesthetics; Production (economics); Space (punctuation); Quality (philosophy); Point (geometry); Art; Sociology; Visual arts; Epistemology; Linguistics; Communication; Philosophy","score_opus":0.07852067770398374,"score_gpt":0.2538760014557339,"score_spread":0.17535532375175017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925735","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032484482,0.6261459,1.4146687e-7,0.0020590962,0.0001434424,0.0002933866,0.000019358118,0.000015864867,0.37099797],"genre_scores_gemma":[0.011475368,0.96923816,0.000018185729,0.009634817,0.0004772095,0.000052628264,0.000010497317,0.000014325031,0.009078783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922395,0.000050104336,0.00025183966,0.00015491724,0.000056853918,0.00026233168],"domain_scores_gemma":[0.9994593,0.000015921525,0.000047703623,0.00022619977,0.00002773437,0.00022312085],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020031928,0.00015529571,0.0004301366,0.00005876352,0.00055040664,0.000020093546,0.00009983066,0.00001827778,0.003016716],"category_scores_gemma":[0.000009654416,0.000107118925,0.000098305565,0.00004236792,0.00020373371,0.000117644544,0.000013935031,0.00008941424,0.000906192],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.682241e-7,0.0000049361847,0.00040160958,0.0016783188,0.000022388722,0.000019593226,0.004979805,8.464684e-9,3.3402188e-7,0.0082289055,0.6081717,0.3764916],"study_design_scores_gemma":[0.00004269071,0.000020096308,0.00006713818,0.0014408076,0.0000421372,0.00004815773,0.000071030016,2.7281425e-7,4.5817123e-7,0.0000789722,0.9980455,0.00014270926],"about_ca_topic_score_codex":0.014217745,"about_ca_topic_score_gemma":0.3031812,"teacher_disagreement_score":0.3898738,"about_ca_system_score_codex":0.000032278942,"about_ca_system_score_gemma":0.000084234765,"threshold_uncertainty_score":0.99987173},"labels":[],"label_agreement":null},{"id":"W4380925739","doi":"10.3138/ctr.127.015","title":"Liveness in the Okanagan: Caravan Farm Theatre","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Space (punctuation); Poetry; Weaving; Liveness; Art; Visual arts; Geography; History; Engineering; Literature; Computer science","score_opus":0.021470871430185477,"score_gpt":0.22428367767742124,"score_spread":0.20281280624723577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925739","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016217056,0.26097474,1.658535e-7,0.008000299,0.00026777346,0.00047943988,0.0000797824,0.000026200783,0.7285499],"genre_scores_gemma":[0.94519424,0.042254582,0.0000037599282,0.008050653,0.0013631055,0.000116766714,0.00006463076,0.000032581527,0.002919685],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99873245,0.00012201634,0.00030389917,0.00020981442,0.00015408322,0.00047773783],"domain_scores_gemma":[0.9993568,0.00006565935,0.000050545743,0.00040503131,0.000039257437,0.00008270956],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038892665,0.00022565103,0.00036671414,0.000121046076,0.00044169466,0.00009949732,0.000381351,0.00003498365,0.0008409365],"category_scores_gemma":[0.0000029697483,0.0001369992,0.00014831581,0.00013497753,0.00016859136,0.000094057315,0.00001601317,0.00018626738,0.00030159153],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000068491345,0.0000687443,0.003610597,0.0024469197,0.00007130458,0.00017194076,0.014706813,0.00000850928,9.554494e-7,0.20266016,0.13381381,0.6424334],"study_design_scores_gemma":[0.000091359936,0.000024230763,0.0005788504,0.0010293004,0.00006239877,0.000014598234,0.0016657762,0.000001769796,0.0000010920179,0.000832323,0.99550337,0.00019494901],"about_ca_topic_score_codex":0.31181416,"about_ca_topic_score_gemma":0.947941,"teacher_disagreement_score":0.9435725,"about_ca_system_score_codex":0.00009881482,"about_ca_system_score_gemma":0.00015688679,"threshold_uncertainty_score":0.9207665},"labels":[],"label_agreement":null},{"id":"W4380925742","doi":"10.3138/ctr.129.002","title":"Tiny Heartbreaks and the Electric Creative Body","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sound (geography); Visual arts; Art; Sound design; Art history; Performance art; Class (philosophy); Aesthetics; Acoustics; Philosophy; Physics","score_opus":0.015154557729059385,"score_gpt":0.23354570826890733,"score_spread":0.21839115053984795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925742","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012264624,0.36399505,9.503794e-7,0.005562915,0.00012225106,0.00038933917,0.00001587589,0.000020401596,0.62866676],"genre_scores_gemma":[0.74817175,0.22658367,0.0000068886848,0.01468103,0.0010847892,0.000044416825,0.000011502929,0.000028477796,0.009387454],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999152,0.00005504179,0.00020368933,0.00013688998,0.00008299373,0.00036935435],"domain_scores_gemma":[0.99943036,0.00011925358,0.000044356613,0.0001869861,0.000052590683,0.00016647407],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000682271,0.00014484557,0.0003074939,0.00007873117,0.00060619606,0.000055473334,0.00010656603,0.000018762903,0.00095965574],"category_scores_gemma":[0.000016531922,0.00008052422,0.000086358545,0.000081869104,0.00028236886,0.00007731517,0.00001396626,0.00014091154,0.00015911405],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028049712,0.000008829986,0.0001987579,0.00059624854,0.000136493,0.000017886736,0.009506195,3.6184062e-8,0.000001217628,0.17175592,0.067406714,0.7503436],"study_design_scores_gemma":[0.00018500573,0.000031038508,0.0003346014,0.00045434723,0.00010105841,0.000019622334,0.00045874558,0.0000021652093,0.000004057824,0.0007070873,0.9975849,0.000117364514],"about_ca_topic_score_codex":0.052897263,"about_ca_topic_score_gemma":0.3693363,"teacher_disagreement_score":0.9301782,"about_ca_system_score_codex":0.00004784389,"about_ca_system_score_gemma":0.00009333517,"threshold_uncertainty_score":0.9999536},"labels":[],"label_agreement":null},{"id":"W4380925750","doi":"10.3138/ctr.133.fm","title":"Editorial","year":2008,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bedroom; Sister; Art; Visual arts; The arts; Performance art; Art history; History; Sociology; Anthropology; Archaeology","score_opus":0.01718667380146903,"score_gpt":0.23518827296569417,"score_spread":0.21800159916422512,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925750","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[4.0094466e-8,0.20799986,9.83066e-9,0.00035172477,0.5316734,0.00022561556,0.0009080551,0.000038431244,0.25880286],"genre_scores_gemma":[0.0000010452289,0.38487092,0.0000010218482,0.00041419017,0.6030631,0.000051602365,0.0004928161,0.000048616293,0.011056676],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978748,0.00006876136,0.00044952298,0.00039097216,0.00057123107,0.00064473547],"domain_scores_gemma":[0.99837226,0.00017931435,0.00015069192,0.00055788545,0.0003476726,0.0003922055],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024881453,0.0004915409,0.000983238,0.00017170755,0.00076536584,0.00010407494,0.0004973796,0.00037884654,0.004297894],"category_scores_gemma":[0.00009376059,0.00039145703,0.0003745042,0.000059419297,0.0002818239,0.00013930148,0.000037553702,0.00089027605,0.0025984326],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000021695917,0.0000045376614,3.7095361e-7,0.0018765689,0.000085151936,0.000013901084,0.0007663816,1.544924e-8,3.951281e-9,0.00025221886,0.98282963,0.0141690625],"study_design_scores_gemma":[0.000102424594,0.000048429047,4.3087006e-8,0.0046110265,0.00022253867,0.000001999965,0.000045000677,4.0844952e-8,3.982604e-8,0.0000489776,0.99445826,0.0004612215],"about_ca_topic_score_codex":0.1300146,"about_ca_topic_score_gemma":0.62675315,"teacher_disagreement_score":0.49673852,"about_ca_system_score_codex":0.00030717216,"about_ca_system_score_gemma":0.002264624,"threshold_uncertainty_score":0.99985373},"labels":[],"label_agreement":null},{"id":"W4380925759","doi":"10.3138/ctr.126.021","title":"Beneath Bridges, Loading Docks and Fire Escapes: Theatre SKAM Tours <i>Billy Nothin’</i> and <i>Aerwacol</i>","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Visual arts; Art; Power (physics); Art history; History; Physics","score_opus":0.011604292378569784,"score_gpt":0.20259613878125748,"score_spread":0.1909918464026877,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925759","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022498138,0.6513514,6.3856373e-7,0.008836994,0.00037376906,0.00072053506,0.00039790795,0.00009787788,0.31572273],"genre_scores_gemma":[0.74354064,0.2399067,0.00003925194,0.008803137,0.0017977655,0.00007649742,0.00009501437,0.000080755424,0.0056602494],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99832934,0.000057605463,0.00039628652,0.00042528284,0.00015840465,0.00063307665],"domain_scores_gemma":[0.9990964,0.00008112299,0.0000955734,0.00032371553,0.00006409739,0.0003390678],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00024920478,0.00039811834,0.0006270766,0.00010154444,0.00095958234,0.00024611907,0.00018398228,0.00007258627,0.00058116514],"category_scores_gemma":[0.000005053396,0.0003113527,0.00013107157,0.00008397648,0.00034166995,0.0003017314,0.00005060782,0.00021653075,0.000063429856],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000132609375,0.000039654464,0.0065815602,0.003953191,0.00016285841,0.00009660034,0.0060868207,0.000003363648,0.0000070322253,0.018395921,0.3034144,0.66124535],"study_design_scores_gemma":[0.00022208407,0.00006843864,0.00032840238,0.0023464784,0.00020583556,0.00006373964,0.00071941095,0.000011498379,0.00000745254,0.00045898207,0.99514407,0.00042360084],"about_ca_topic_score_codex":0.10217377,"about_ca_topic_score_gemma":0.4599482,"teacher_disagreement_score":0.7210425,"about_ca_system_score_codex":0.00010273867,"about_ca_system_score_gemma":0.00016671114,"threshold_uncertainty_score":0.99993384},"labels":[],"label_agreement":null},{"id":"W4380925760","doi":"10.3138/ctr.103.004","title":"Craving That Honesty: An Interview with Chad Dembski","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Prologue; Honesty; Studio; Art; Performance art; Visual arts; Art history; Sociology; Media studies; Literature; Law; Political science","score_opus":0.04379952560904605,"score_gpt":0.23579642969467457,"score_spread":0.19199690408562853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925760","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005952442,0.36088452,7.2894835e-7,0.0070288717,0.00019846688,0.0005223507,0.00007766804,0.00009741796,0.6252375],"genre_scores_gemma":[0.4804522,0.4658951,0.00004271428,0.029742021,0.0013574812,0.00014551617,0.00009494133,0.000105547384,0.022164484],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989322,0.00007932101,0.0001966039,0.00024009487,0.00011572512,0.00043607948],"domain_scores_gemma":[0.9991966,0.00001588215,0.000042355074,0.0003909864,0.000040822175,0.00031333996],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002266335,0.00023924219,0.00042075437,0.00007156957,0.0004838256,0.00010463999,0.0002406499,0.000027878443,0.021927262],"category_scores_gemma":[0.0000012936562,0.00016041701,0.00009754628,0.00006591255,0.00015007182,0.00033447245,0.000009436169,0.00013860919,0.0008819775],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003333126,0.000011810372,0.0003043268,0.0010320806,0.000055266417,0.00002631615,0.0037128127,3.4586486e-7,7.9681065e-8,0.0021802012,0.01262738,0.98004603],"study_design_scores_gemma":[0.00008476664,0.000101476515,0.00016818376,0.0043169814,0.00011665532,0.000034077777,0.0005439767,0.0000020926946,0.0000010525525,0.000084589876,0.9942915,0.00025463273],"about_ca_topic_score_codex":0.032882143,"about_ca_topic_score_gemma":0.67134035,"teacher_disagreement_score":0.9816641,"about_ca_system_score_codex":0.000065290355,"about_ca_system_score_gemma":0.00013866287,"threshold_uncertainty_score":0.99989593},"labels":[],"label_agreement":null},{"id":"W4380925762","doi":"10.3138/ctr.119.004","title":"Deep Dramaturgy: Excavating the Architecture of the Site-Specific Performance","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Dramaturgy; Dance; Art history; Visual arts; Frieze; Porch; Sculpture; History; Archaeology","score_opus":0.01805913014215016,"score_gpt":0.20219295783286956,"score_spread":0.1841338276907194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925762","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060380887,0.5034557,0.0000044434687,0.023627458,0.0010479239,0.0011366876,0.000080509046,0.000049723738,0.4102167],"genre_scores_gemma":[0.95009923,0.044294305,0.000019778883,0.003994731,0.00061213673,0.000034819437,0.000007570215,0.000024178693,0.0009132673],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904656,0.000048295577,0.00027539252,0.00014440306,0.00015412616,0.0003312043],"domain_scores_gemma":[0.9992069,0.000045059583,0.00010820006,0.0004950057,0.00006347735,0.00008133138],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022396482,0.00017893204,0.00027507258,0.00004364008,0.0008918887,0.00004773698,0.00036859178,0.000027579365,0.000734959],"category_scores_gemma":[0.000009310583,0.000084543775,0.0001795252,0.000121648656,0.000355913,0.00006487362,0.00003966132,0.00026128264,0.0001041841],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010151984,0.000027249414,0.0013922686,0.004182191,0.00013712121,0.0000061529568,0.061661616,0.00042203002,0.000016418137,0.05899862,0.01708448,0.8560617],"study_design_scores_gemma":[0.00008476382,0.000022369477,0.00040520256,0.0023956902,0.000047196736,0.00001210982,0.000559138,0.0000029837997,0.000021789678,0.0004772867,0.9958435,0.00012794831],"about_ca_topic_score_codex":0.008920949,"about_ca_topic_score_gemma":0.25970057,"teacher_disagreement_score":0.97875905,"about_ca_system_score_codex":0.00008428857,"about_ca_system_score_gemma":0.00016962244,"threshold_uncertainty_score":0.99767876},"labels":[],"label_agreement":null},{"id":"W4380925763","doi":"10.3138/ctr.106.005","title":"<i>ICE:</i> beyond belief","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sanity; Theme (computing); Media studies; Point (geometry); Sociology; Aesthetics; History; Visual arts; Art; Law; Political science","score_opus":0.023234342681075184,"score_gpt":0.23046523825319798,"score_spread":0.2072308955721228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925763","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00030336293,0.26579762,1.5890329e-7,0.0074263685,0.0003643575,0.0001978487,0.000053099873,0.000039218194,0.725818],"genre_scores_gemma":[0.20497559,0.69955647,0.000018723566,0.05818676,0.0028459195,0.00009832119,0.00008542511,0.0000641013,0.03416868],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990578,0.000028690883,0.00021760115,0.00017423196,0.000101952326,0.0004196863],"domain_scores_gemma":[0.9993244,0.00002213317,0.000040004783,0.00029366714,0.000057132413,0.00026270474],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015696639,0.0001748932,0.0003072648,0.00008116631,0.0004917652,0.000058818066,0.00018931343,0.00002616469,0.015156432],"category_scores_gemma":[0.0000050357467,0.00013453604,0.00012785004,0.00007638051,0.00012571689,0.0001533754,0.000015996422,0.000116284304,0.0018907485],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002342353,0.00001308584,0.00045132585,0.0006895692,0.000058872523,0.000047232956,0.002494193,1.7784019e-7,5.7034913e-7,0.06491038,0.51150644,0.41982582],"study_design_scores_gemma":[0.000067334484,0.000029233646,0.000026044465,0.0007912301,0.00007034615,0.00002270477,0.00026345826,5.600046e-7,9.5269377e-7,0.0008241943,0.9977191,0.00018485574],"about_ca_topic_score_codex":0.038391728,"about_ca_topic_score_gemma":0.6095532,"teacher_disagreement_score":0.6916493,"about_ca_system_score_codex":0.000068572386,"about_ca_system_score_gemma":0.0001407719,"threshold_uncertainty_score":0.9988864},"labels":[],"label_agreement":null},{"id":"W4380925769","doi":"10.3138/ctr.135.028","title":"Altering Perception: <i>small metal objects</i>","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Art history; Visual arts; Art; History; Media studies; Cartography; Sociology; Geography","score_opus":0.04884480048940245,"score_gpt":0.2254953048991669,"score_spread":0.17665050440976443,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925769","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0075199096,0.19360162,7.9602006e-7,0.0022338494,0.000570163,0.00031387608,0.00006988652,0.000075421216,0.7956145],"genre_scores_gemma":[0.65044093,0.31846055,0.000059149304,0.012844295,0.0022503515,0.00008008027,0.000053217995,0.00004832181,0.015763117],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991448,0.00003271428,0.0002091333,0.00017775538,0.000083570376,0.00035206103],"domain_scores_gemma":[0.99944675,0.000015707088,0.000035927875,0.00024417584,0.000047662565,0.00020980212],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010903734,0.00017466403,0.00032505053,0.000072588424,0.0007079649,0.000027748589,0.00015316244,0.00002259851,0.006495761],"category_scores_gemma":[0.00000434352,0.000137375,0.00016332098,0.000050254555,0.00016253784,0.00013295637,0.000018482577,0.00011512464,0.0010472839],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010655126,0.00005395265,0.00145102,0.0057857092,0.00041815342,0.0003746014,0.06411042,0.0000026928908,0.00003442726,0.013410899,0.37848896,0.5358585],"study_design_scores_gemma":[0.000059708167,0.000031013675,0.00009266475,0.00070596795,0.00006369142,0.00008290237,0.0005325714,0.0000012661156,0.0000030970289,0.000037975977,0.99820185,0.00018728805],"about_ca_topic_score_codex":0.030356364,"about_ca_topic_score_gemma":0.37074596,"teacher_disagreement_score":0.7798514,"about_ca_system_score_codex":0.00007852409,"about_ca_system_score_gemma":0.00015818096,"threshold_uncertainty_score":0.9997305},"labels":[],"label_agreement":null},{"id":"W4380925770","doi":"10.3138/ctr.136.013","title":"Interview with Playwright Ron Chambers<sup>1</sup>","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; The arts; Visual arts; Art; History; Art history; Psychology; Communication","score_opus":0.03472618114976776,"score_gpt":0.2165930334639081,"score_spread":0.18186685231414035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925770","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031248853,0.38204968,0.0000011820309,0.008729547,0.00017157223,0.0005825328,0.00011351003,0.00008350932,0.60514355],"genre_scores_gemma":[0.4025089,0.5273925,0.00007469283,0.0339434,0.001716774,0.00021185946,0.00014484179,0.00013068295,0.03387636],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878377,0.000066788096,0.00027408247,0.00024782657,0.00014611478,0.0004814155],"domain_scores_gemma":[0.9991561,0.000024778292,0.00006114423,0.00038004047,0.00007502109,0.00030287835],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016761523,0.0002773427,0.0005135844,0.00008339112,0.00085783197,0.000051322106,0.00021900366,0.000033975284,0.007485239],"category_scores_gemma":[0.0000033113631,0.000178961,0.00014404906,0.00008847002,0.0003645319,0.00020946434,0.00002026485,0.00017648288,0.0011322991],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014503333,0.000043282187,0.000739873,0.004672627,0.00037438498,0.00034357925,0.035263576,0.000009505214,9.636507e-8,0.012735656,0.69073063,0.2550723],"study_design_scores_gemma":[0.00013507606,0.000100125864,0.00004105857,0.0034166106,0.00009954527,0.0001290375,0.00048102505,0.000010224974,8.2792855e-7,0.00003438212,0.9952791,0.0002729865],"about_ca_topic_score_codex":0.021055076,"about_ca_topic_score_gemma":0.274253,"teacher_disagreement_score":0.5712672,"about_ca_system_score_codex":0.00010869989,"about_ca_system_score_gemma":0.0003148818,"threshold_uncertainty_score":0.9996454},"labels":[],"label_agreement":null},{"id":"W4380925773","doi":"10.3138/ctr.129.017","title":"Modern Jewish Plays. Ed. Jason Sherman. Toronto: Playwrights Canada Press, 2006.","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Politics; Judaism; Identity (music); Performance art; Art; World War II; Art history; Literature; Media studies; History; Aesthetics; Sociology; Law; Political science","score_opus":0.015721139416646004,"score_gpt":0.22033480617659837,"score_spread":0.20461366675995235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925773","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00030545887,0.5022698,7.7206823e-7,0.0007497748,0.0006338879,0.00031880615,0.00028968157,0.000032346226,0.49539948],"genre_scores_gemma":[0.54102427,0.3963864,0.000030812447,0.017005231,0.0049692905,0.00010087111,0.0002884658,0.00014999998,0.040044647],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99816215,0.000035121742,0.0004219248,0.00030013738,0.00025448663,0.0008261757],"domain_scores_gemma":[0.9988018,0.000056700443,0.00009143458,0.00043471958,0.00009688187,0.000518413],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002818374,0.0003272857,0.00049773575,0.00003294361,0.00061632367,0.000078318844,0.0003310177,0.000058161662,0.0055458397],"category_scores_gemma":[0.000006396729,0.00025691016,0.00012589441,0.000032835687,0.0001119261,0.0002970471,0.000026594878,0.00017839202,0.00012128688],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004927543,0.000009288963,0.00012092086,0.00072293525,0.00008660355,0.00006306498,0.0014134856,0.000001106259,4.0260824e-7,0.0057791537,0.7809256,0.21087253],"study_design_scores_gemma":[0.000109736226,0.000021862075,0.00010005347,0.0010584402,0.00010476448,0.00001299826,0.0001819687,0.0000058846813,0.0000072616567,0.00013575557,0.99790615,0.00035514653],"about_ca_topic_score_codex":0.98657036,"about_ca_topic_score_gemma":0.9999436,"teacher_disagreement_score":0.54071885,"about_ca_system_score_codex":0.00074384664,"about_ca_system_score_gemma":0.00081524893,"threshold_uncertainty_score":0.9999883},"labels":[],"label_agreement":null},{"id":"W4380925779","doi":"10.3138/ctr.109.003","title":"Sitting and Talking ... about Movement?!","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movement (music); Sitting; Chose; Visual arts; Work (physics); Sociology; Media studies; Aesthetics; Psychology; Art; Political science; Engineering; Medicine","score_opus":0.028143716291939035,"score_gpt":0.2189406809869643,"score_spread":0.19079696469502525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925779","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017310733,0.44445807,1.4458544e-7,0.0026017895,0.00014806214,0.0001623374,0.000024238334,0.000024358242,0.5508499],"genre_scores_gemma":[0.5004596,0.46500376,0.000021330145,0.020379415,0.0010554524,0.000041380288,0.00001115551,0.000034849007,0.012993065],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931407,0.000019846055,0.00017144775,0.00013986957,0.000065107095,0.0002896849],"domain_scores_gemma":[0.9996122,0.000020766884,0.000038754315,0.00014524722,0.000024966865,0.00015806207],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001185394,0.00012756344,0.00022157833,0.000059408387,0.00048753188,0.00007355316,0.000078367346,0.000016238517,0.0062362454],"category_scores_gemma":[0.000005991607,0.00010139519,0.000055910186,0.000034022425,0.00009212335,0.00012643164,0.000016798553,0.00008230061,0.0002487694],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[3.3631866e-7,0.0000055366913,0.0006654064,0.0014378488,0.000051014853,0.000013606334,0.012639513,1.0375056e-7,9.760381e-7,0.01997907,0.07532978,0.8898768],"study_design_scores_gemma":[0.000053610176,0.000015758502,0.00004689124,0.0017178116,0.000046521134,0.0000040542077,0.00083044276,0.000011772677,9.938965e-7,0.00018474452,0.996952,0.00013540406],"about_ca_topic_score_codex":0.016096594,"about_ca_topic_score_gemma":0.1289779,"teacher_disagreement_score":0.9216222,"about_ca_system_score_codex":0.000038343438,"about_ca_system_score_gemma":0.000015800833,"threshold_uncertainty_score":0.9946722},"labels":[],"label_agreement":null},{"id":"W4380925781","doi":"10.3138/ctr.109.013","title":"Live and Kicking: A Disabled Audience Member Contemplates the Body in the Audience and on the Stage","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nothing; MAGIC (telescope); Performing arts; Sight; Aesthetics; Notice; Visual arts; Art; Spectacle; Front (military); Psychology; Media studies; Sociology; Engineering; Law; Political science; Philosophy","score_opus":0.06317096566949018,"score_gpt":0.24719874682913887,"score_spread":0.18402778115964868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925781","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05288541,0.3787782,8.703023e-8,0.07724228,0.00017359447,0.0013638439,0.00008706059,0.000019123176,0.48945042],"genre_scores_gemma":[0.8750787,0.11364564,4.692653e-7,0.009423988,0.00010880044,0.0000812493,8.1790137e-7,0.000007714923,0.0016526392],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990648,0.00014805915,0.00017983398,0.00018444397,0.00011124586,0.00031160528],"domain_scores_gemma":[0.9990635,0.0004860417,0.000054989723,0.00030035173,0.000024885176,0.000070214584],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00053519075,0.00016944793,0.0002320232,0.000031020256,0.0009891458,0.00014946872,0.00026134317,0.000017688948,0.0011239504],"category_scores_gemma":[0.000043718148,0.000067129564,0.000044236556,0.00007476675,0.0005886236,0.00011048863,0.000030794115,0.00019789516,0.00007898219],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012724766,0.000052003023,0.0053567244,0.0015089209,0.0001565906,0.000085954816,0.2764957,0.0000016789979,0.0000012954251,0.45782414,0.13400212,0.12450217],"study_design_scores_gemma":[0.000074647316,0.00005878722,0.0008192857,0.0011992385,0.00004225858,0.000015466943,0.008107925,0.000034571633,5.249936e-7,0.00042905236,0.9890904,0.00012784605],"about_ca_topic_score_codex":0.016821934,"about_ca_topic_score_gemma":0.37691742,"teacher_disagreement_score":0.8550883,"about_ca_system_score_codex":0.000028782444,"about_ca_system_score_gemma":0.000024334071,"threshold_uncertainty_score":0.9997892},"labels":[],"label_agreement":null},{"id":"W4380925785","doi":"10.3138/ctr.122.022","title":"A Selection of New Plays From Playwrights Canada Press","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Boss; Disease; Gerontology; Psychoanalysis; Sociology; Psychology; Medicine; History; Pathology; Engineering","score_opus":0.023513273494433825,"score_gpt":0.2130797782212874,"score_spread":0.18956650472685357,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925785","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009381936,0.441408,8.1886526e-7,0.006737818,0.00063335034,0.00058285915,0.0008071563,0.000041273546,0.54040676],"genre_scores_gemma":[0.82609594,0.13357383,0.000109260494,0.008320397,0.005667858,0.000045222518,0.00016593552,0.00006135164,0.025960186],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923617,0.000022151342,0.00024477072,0.00013728217,0.00011461167,0.00024504558],"domain_scores_gemma":[0.99947464,0.000027599683,0.000068555404,0.0001605456,0.000047880963,0.00022074446],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004908797,0.00013946442,0.00030931726,0.000029168497,0.00019251028,0.000019486182,0.00013616352,0.000022905202,0.0053280382],"category_scores_gemma":[0.0000035994228,0.000107148815,0.000064518776,0.000035639936,0.000039939547,0.00011391387,0.000008171352,0.00008684946,0.000044887318],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000044305716,0.0000068439313,0.00017977775,0.00039135563,0.000109664354,0.0000031180725,0.0025398987,0.0000043847426,0.0000017077314,0.006112135,0.8300483,0.16059838],"study_design_scores_gemma":[0.000083210405,0.000016137314,0.00006872495,0.00082908495,0.00008461627,0.0000021027656,0.00009139154,0.000008875858,0.000062871535,0.000079949474,0.9985426,0.00013045485],"about_ca_topic_score_codex":0.9951965,"about_ca_topic_score_gemma":0.9999196,"teacher_disagreement_score":0.81671405,"about_ca_system_score_codex":0.00018142068,"about_ca_system_score_gemma":0.0010770976,"threshold_uncertainty_score":0.9955812},"labels":[],"label_agreement":null},{"id":"W4380925794","doi":"10.3138/ctr.134.012","title":"Metropolitan Mimesis","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Metropolitan area; Performance studies; Aesthetics; Visual arts; Identity (music); Art; Theatre studies; Sociology; History; Drama; Anthropology; Archaeology","score_opus":0.039920467980769626,"score_gpt":0.23681570497932988,"score_spread":0.19689523699856026,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925794","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007449438,0.27696377,1.732165e-7,0.0033512826,0.00024590138,0.00015379871,0.000059938393,0.000036266378,0.71844393],"genre_scores_gemma":[0.5377761,0.4126993,0.000038646307,0.014924431,0.0015507952,0.0000611573,0.00003734458,0.000046902547,0.03286529],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919343,0.000034120083,0.0001854736,0.00014202831,0.0000922926,0.00035265615],"domain_scores_gemma":[0.99939364,0.000021220394,0.000031795207,0.00025636845,0.00005202156,0.00024493466],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001007329,0.00014607391,0.00030348852,0.00009965879,0.00065571297,0.00001839141,0.00015255682,0.000019397417,0.008233268],"category_scores_gemma":[0.0000074562668,0.00010977277,0.00014237218,0.000063709485,0.00021558694,0.00011044416,0.00001100512,0.00008353353,0.0014755896],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016206244,0.000012263389,0.00079259113,0.00087060145,0.000112569905,0.00006301107,0.0037925825,4.3014598e-8,4.1019447e-7,0.0870193,0.8361732,0.071161844],"study_design_scores_gemma":[0.000043226966,0.000022704477,0.00007157732,0.00045777997,0.000054470136,0.000026191052,0.00048437263,3.2279002e-7,0.0000024524188,0.00017021576,0.9985175,0.0001491855],"about_ca_topic_score_codex":0.11298374,"about_ca_topic_score_gemma":0.41854593,"teacher_disagreement_score":0.68557864,"about_ca_system_score_codex":0.00017328055,"about_ca_system_score_gemma":0.00019120163,"threshold_uncertainty_score":0.99930185},"labels":[],"label_agreement":null},{"id":"W4380925826","doi":"10.3138/ctr.132.006","title":"Contemporary Social Justice Theatre: Finding, Sharing, Healing","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Social justice; Economic Justice; Aesthetics; Sociology; Public relations; Media studies; Political science; Law; Art; Law and economics","score_opus":0.07386573593678954,"score_gpt":0.29355141203631463,"score_spread":0.2196856760995251,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925826","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00069354265,0.1827665,0.000004516896,0.004130114,0.0008937557,0.0003720176,0.00009469495,0.000082084945,0.8109628],"genre_scores_gemma":[0.9310597,0.030844958,0.000033668824,0.02262419,0.006269814,0.000040808958,0.000118229895,0.000091774804,0.00891685],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983282,0.000036857058,0.0004681339,0.0003042599,0.00017365928,0.0006888709],"domain_scores_gemma":[0.99914324,0.00006631557,0.00011588483,0.0002748877,0.00007614938,0.00032350243],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00087286043,0.00027730956,0.000491668,0.00017034585,0.0013376349,0.000104857005,0.00031938736,0.000063816115,0.0023680353],"category_scores_gemma":[0.000010439321,0.00022938474,0.00021453295,0.00010929444,0.00018930621,0.00020969355,0.000040253537,0.00026245412,0.00045632123],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001592012,0.000026614325,0.0013002023,0.004317615,0.00017110734,0.00009658541,0.013869461,2.6387812e-7,0.000001662666,0.060718767,0.72930723,0.19017458],"study_design_scores_gemma":[0.00013772016,0.000034123666,0.00010199403,0.0013680495,0.00016804255,0.000010205971,0.0018649898,0.0000016385745,0.0000035927374,0.00026675838,0.9957513,0.00029158936],"about_ca_topic_score_codex":0.033192508,"about_ca_topic_score_gemma":0.26242945,"teacher_disagreement_score":0.93036616,"about_ca_system_score_codex":0.00017836531,"about_ca_system_score_gemma":0.00027780997,"threshold_uncertainty_score":0.9999625},"labels":[],"label_agreement":null},{"id":"W4380925845","doi":"10.3138/ctr.135.015","title":"Talons of Desire: BoxWhatBox and <i>HAWKS</i> in Southern Serbia","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dream; Serbian; Visual arts; Geography; Work (physics); History; Art; Engineering; Psychology","score_opus":0.033065481546195985,"score_gpt":0.2147503671598571,"score_spread":0.1816848856136611,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925845","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08425744,0.6189278,1.9103146e-7,0.0019724977,0.00016991652,0.00045239736,0.00026164934,0.000024844345,0.2939333],"genre_scores_gemma":[0.8529921,0.14334744,0.00000989849,0.0015155192,0.00013164431,0.000017905519,0.000010989749,0.000017066375,0.0019573867],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928606,0.000034051245,0.00023680899,0.00012948742,0.000067354056,0.00024623188],"domain_scores_gemma":[0.9995959,0.000025149911,0.000046999245,0.00017202101,0.000030891828,0.00012905641],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001296159,0.00012936741,0.00035136452,0.00008884561,0.00019621884,0.000011186975,0.0000947843,0.000024759267,0.00062986655],"category_scores_gemma":[0.000005534633,0.00010244305,0.00006422394,0.00006349199,0.00020589026,0.000089351095,0.000014337034,0.00008619699,0.00007282277],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003359319,0.00013835556,0.0648484,0.014217774,0.00033357632,0.0003695669,0.18434414,0.0000019927709,0.000016728885,0.08633674,0.11965456,0.5297046],"study_design_scores_gemma":[0.00013964946,0.000036628575,0.00050503516,0.0018568407,0.00004119682,0.000032256536,0.0016214241,0.0000012274332,0.0000044291496,0.00026995502,0.99532175,0.00016961402],"about_ca_topic_score_codex":0.07255917,"about_ca_topic_score_gemma":0.59289706,"teacher_disagreement_score":0.8756672,"about_ca_system_score_codex":0.0000303679,"about_ca_system_score_gemma":0.00014599308,"threshold_uncertainty_score":0.93361676},"labels":[],"label_agreement":null},{"id":"W4380925861","doi":"10.3138/ctr.135.018","title":"Dramaturging the Process","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Storytelling; Perspective (graphical); Dance; Work (physics); Visual arts; Process (computing); Sociology; Value (mathematics); Performance art; Media studies; Aesthetics; Art; Art history; Engineering; Computer science; Literature; Narrative; Mechanical engineering","score_opus":0.0308060023196647,"score_gpt":0.2392587467729906,"score_spread":0.2084527444533259,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925861","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022427537,0.28917575,1.6784625e-7,0.010851379,0.00030822156,0.00030048107,0.000024592113,0.000041598178,0.69705504],"genre_scores_gemma":[0.83876264,0.13897249,0.0000026158632,0.013616596,0.0010456285,0.00007413658,0.000011961031,0.000024045863,0.007489894],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993409,0.000026061887,0.00014627367,0.00011022625,0.0000919476,0.00028460412],"domain_scores_gemma":[0.9995492,0.000025889449,0.000034081037,0.00022455706,0.00005236449,0.00011391529],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012302243,0.000119919765,0.0001959213,0.00003926477,0.0011550832,0.000032417523,0.00020428933,0.000014182895,0.0022102494],"category_scores_gemma":[0.0000067021692,0.00006631509,0.00008715618,0.000059549075,0.00022533513,0.00010796386,0.000009237017,0.0001217505,0.0004808583],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000040368977,0.000017824896,0.0011447553,0.0032337403,0.00015551275,0.00009248258,0.06689656,0.0000022429094,3.2219788e-7,0.0516075,0.60649776,0.27034724],"study_design_scores_gemma":[0.000030515926,0.00000884359,0.00004448276,0.0007431577,0.00003305434,0.00004093659,0.00072005996,0.000001680286,0.0000011517249,0.000194673,0.99807686,0.000104587576],"about_ca_topic_score_codex":0.014849857,"about_ca_topic_score_gemma":0.18241017,"teacher_disagreement_score":0.8365199,"about_ca_system_score_codex":0.000034721044,"about_ca_system_score_gemma":0.00019863673,"threshold_uncertainty_score":0.9987019},"labels":[],"label_agreement":null},{"id":"W4380925866","doi":"10.3138/ctr.134.001","title":"Dinner Theatre","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popularity; Political theatre; Performance art; History; Franchise; Art history; Media studies; Visual arts; Art; Sociology; Political science; Law; Business","score_opus":0.03835688874388334,"score_gpt":0.22737853874889538,"score_spread":0.18902165000501203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925866","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00092971587,0.2250138,1.8962415e-7,0.0065192175,0.0004070036,0.00024837494,0.00007825349,0.000058046106,0.7667454],"genre_scores_gemma":[0.5729805,0.38133562,0.00001824663,0.016772501,0.0020582234,0.00008696721,0.000057227913,0.000060055096,0.02663062],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989698,0.000038299877,0.00023403137,0.00019668291,0.00012536683,0.00043581787],"domain_scores_gemma":[0.9992627,0.000027507693,0.000040822953,0.00034070056,0.000056365465,0.0002719377],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001224401,0.00020484607,0.00036528803,0.00009483001,0.00081348285,0.000028185566,0.00020643315,0.00003036984,0.008613407],"category_scores_gemma":[0.000004541049,0.00014591732,0.00017103863,0.00007129464,0.000252004,0.00015608936,0.000018102337,0.00013607493,0.0019034967],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000029221937,0.000017408238,0.00093036063,0.00089334726,0.00009684157,0.00009284466,0.0066795824,3.25585e-7,6.7931995e-7,0.027054833,0.7531549,0.21107598],"study_design_scores_gemma":[0.00007111712,0.000028107954,0.00007403833,0.0007769013,0.000053376923,0.00004797996,0.00024242117,8.1978015e-7,0.0000020796904,0.00015948145,0.9983358,0.00020790099],"about_ca_topic_score_codex":0.0385052,"about_ca_topic_score_gemma":0.31338823,"teacher_disagreement_score":0.74011475,"about_ca_system_score_codex":0.00007503622,"about_ca_system_score_gemma":0.00021679071,"threshold_uncertainty_score":0.99887365},"labels":[],"label_agreement":null},{"id":"W4380925878","doi":"10.3138/ctr.126.005","title":"Site-Responsive","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Gesture; Aesthetics; Presentation (obstetrics); Politics; Visual arts; Art; Work (physics); Sociology; Computer science; Political science; Engineering; Law; Artificial intelligence","score_opus":0.018216784498382536,"score_gpt":0.22158459360131294,"score_spread":0.2033678091029304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925878","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001407881,0.252831,2.255482e-7,0.004831313,0.00027008314,0.00021724029,0.00013357213,0.000038947917,0.7402697],"genre_scores_gemma":[0.7522128,0.11203622,0.000037825514,0.028154355,0.005382632,0.00014967685,0.0002694592,0.00009322691,0.10166378],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992617,0.00003377296,0.00018135905,0.00013566067,0.00007672002,0.00031082894],"domain_scores_gemma":[0.99954635,0.000030051426,0.00003505943,0.00020908509,0.000060568902,0.000118909935],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011512511,0.00013737171,0.00024320482,0.00008475656,0.00035820005,0.000048308564,0.00010654232,0.000019609903,0.005700155],"category_scores_gemma":[0.0000049793393,0.00010466674,0.00010885399,0.000050451512,0.00011210655,0.00009823359,0.00001024462,0.00007781997,0.0019593479],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000031888962,0.000009816457,0.00043414973,0.0007433738,0.000031551815,0.000034676355,0.0014857521,6.747101e-7,0.0000021921767,0.095064744,0.8081238,0.09406607],"study_design_scores_gemma":[0.000049275506,0.000017588955,0.00010866432,0.00067151565,0.000050487288,0.000006192677,0.0001240921,7.113691e-7,0.0000029892085,0.00059519644,0.9982282,0.00014508005],"about_ca_topic_score_codex":0.1648011,"about_ca_topic_score_gemma":0.8063766,"teacher_disagreement_score":0.75080496,"about_ca_system_score_codex":0.00006757503,"about_ca_system_score_gemma":0.00014198346,"threshold_uncertainty_score":0.99881774},"labels":[],"label_agreement":null},{"id":"W4380925884","doi":"10.3138/ctr.124.014","title":"Rodeo off to a Great Start","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ground zero; Evening; Join (topology); Visual arts; Premise; Performance art; Event (particle physics); Art; Art history; History; Political science; Law; Mathematics; Philosophy","score_opus":0.031098625615979265,"score_gpt":0.23911031358733223,"score_spread":0.20801168797135297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925884","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012688865,0.27705884,4.0926938e-7,0.02964967,0.00027295848,0.00044907117,0.00014120628,0.000053757918,0.6911052],"genre_scores_gemma":[0.37196827,0.34863427,0.00021350717,0.161067,0.008579178,0.00034359776,0.000102044454,0.00014537151,0.108946756],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990629,0.00002579349,0.00021325747,0.00018567166,0.00009999418,0.0004123757],"domain_scores_gemma":[0.9992162,0.000015622274,0.000025716363,0.00030697972,0.000056851484,0.00037863784],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014728127,0.00017313418,0.00031384148,0.00010510085,0.0003449112,0.000057208435,0.00017848761,0.000020301368,0.0114686815],"category_scores_gemma":[0.0000068194704,0.00013236467,0.00011114894,0.000066358436,0.00006016175,0.00014357445,0.000019404017,0.00008841456,0.0043465765],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000015119148,0.000004236591,0.0000698567,0.0002524809,0.000025777397,0.0000043908476,0.0026725861,9.569169e-7,2.3692469e-7,0.0056500635,0.38770342,0.60361445],"study_design_scores_gemma":[0.00005296871,0.000037910766,0.000032342552,0.0010058373,0.000053515865,0.000005474769,0.00017352062,0.0000017442956,0.00000226456,0.000050413484,0.9983993,0.00018467054],"about_ca_topic_score_codex":0.023305338,"about_ca_topic_score_gemma":0.8324077,"teacher_disagreement_score":0.8091024,"about_ca_system_score_codex":0.00013389543,"about_ca_system_score_gemma":0.0001474646,"threshold_uncertainty_score":0.99642867},"labels":[],"label_agreement":null},{"id":"W4380925887","doi":"10.3138/ctr.103.001","title":"A Ghost Group Manifesto","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"George Brown College","funders":"","keywords":"Manifesto; Visual arts; Art; Aesthetics; Group (periodic table); Sociology; Political science; Law","score_opus":0.02175745589938136,"score_gpt":0.22109287014702766,"score_spread":0.1993354142476463,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925887","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010184476,0.19998635,5.163161e-8,0.0034657493,0.00019121701,0.00023729383,0.000071491755,0.000044782468,0.79498464],"genre_scores_gemma":[0.28541073,0.5820375,0.000024938456,0.036043722,0.002958144,0.00015391374,0.00011737062,0.00008235055,0.09317129],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991464,0.000031448853,0.00019693325,0.00016881742,0.000085579915,0.0003708114],"domain_scores_gemma":[0.99943906,0.000015370979,0.000022723194,0.00026853924,0.000023759789,0.00023054912],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012606118,0.00016429201,0.00027461196,0.00005776715,0.00042676931,0.000056741086,0.00017198845,0.000022968183,0.06518483],"category_scores_gemma":[0.0000019805661,0.00012626573,0.00012041218,0.000051275812,0.00011185252,0.00013729058,0.0000069637995,0.00010147996,0.0050102677],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000023586967,0.000009533798,0.000087651744,0.0006755304,0.0000394399,0.000029631188,0.002048851,1.0877848e-7,1.4472003e-7,0.022795934,0.18555371,0.7887571],"study_design_scores_gemma":[0.000061034305,0.000034592365,0.000065947344,0.0011394739,0.000059235816,0.000017993316,0.00015912617,7.1577483e-7,2.3704341e-7,0.00022737018,0.99805903,0.00017523591],"about_ca_topic_score_codex":0.06603861,"about_ca_topic_score_gemma":0.61587185,"teacher_disagreement_score":0.8125053,"about_ca_system_score_codex":0.0000647466,"about_ca_system_score_gemma":0.00007738003,"threshold_uncertainty_score":0.99576443},"labels":[],"label_agreement":null},{"id":"W4380925889","doi":"10.3138/ctr.108.010","title":"Smudge","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moral rights; Law; Copyright law; History; Political science; Sociology; Media studies; Visual arts; Art; Intellectual property","score_opus":0.03608299767441921,"score_gpt":0.23880377227833027,"score_spread":0.20272077460391108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925889","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004124396,0.21588439,2.5913633e-7,0.0071416497,0.00027732895,0.0001546291,0.000028305003,0.000035239278,0.77606577],"genre_scores_gemma":[0.3186597,0.6058392,0.000012396748,0.031079998,0.0021362528,0.00007397178,0.00004484773,0.000044630164,0.042109035],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933976,0.000020756968,0.00014971437,0.000120251854,0.00006568693,0.0003038218],"domain_scores_gemma":[0.99951315,0.000014561863,0.000024317178,0.00021792512,0.00003650519,0.00019355425],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010872934,0.000117720185,0.00021765508,0.00006183257,0.00032604343,0.000038224483,0.00013574543,0.000016438378,0.013639508],"category_scores_gemma":[0.000004434702,0.000087535016,0.00009317596,0.000050811122,0.00009119359,0.00009955191,0.000009561346,0.0000777759,0.0020860275],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016535612,0.000008002321,0.00059531146,0.00054836005,0.000045426426,0.000040006646,0.0020526345,9.742785e-8,2.8827142e-7,0.048480768,0.4131906,0.53503686],"study_design_scores_gemma":[0.000040834337,0.000017200447,0.000044742315,0.0006685218,0.000040211526,0.000015668318,0.00018019143,6.711604e-7,4.0774052e-7,0.00028423005,0.9985833,0.00012402832],"about_ca_topic_score_codex":0.040192828,"about_ca_topic_score_gemma":0.58220077,"teacher_disagreement_score":0.73395675,"about_ca_system_score_codex":0.00005290928,"about_ca_system_score_gemma":0.0000999409,"threshold_uncertainty_score":0.99869096},"labels":[],"label_agreement":null},{"id":"W4380925904","doi":"10.3138/ctr.138.002","title":"Weesageechak Begins to Dance: Toward a Pedagogy of Performance and the Possibilities for Decolonizing the Stage","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Indigenous; Performing arts; Visual arts; The arts; Theatre studies; Media studies; Art; Sociology; History; Drama","score_opus":0.038057918161702335,"score_gpt":0.28455690427310754,"score_spread":0.2464989861114052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925904","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10396334,0.61318004,0.000018378567,0.108390406,0.00064327737,0.0050735525,0.0006974892,0.00005880997,0.16797473],"genre_scores_gemma":[0.9333237,0.054170005,0.000033867775,0.008581202,0.0003298982,0.00014088432,0.000005397271,0.000013365928,0.003401675],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990907,0.000049764116,0.0002753867,0.00016070165,0.000090447524,0.00033301374],"domain_scores_gemma":[0.99925256,0.00016778501,0.00007476053,0.00031283876,0.0000886283,0.000103415055],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060675415,0.0001618723,0.00039409692,0.000054420834,0.0006573375,0.000059302085,0.00025477743,0.000021051626,0.00018340124],"category_scores_gemma":[0.00003276552,0.00008180404,0.00011707273,0.000060967897,0.00033368563,0.00010713267,0.000022050592,0.00009804489,0.000012142009],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000086346656,0.000013587319,0.00039042238,0.0034726716,0.000103967715,0.0000011813552,0.09171749,0.000004507398,0.0000019512463,0.19262178,0.020800965,0.6907851],"study_design_scores_gemma":[0.00024039857,0.0001519549,0.0003300411,0.0009300837,0.00008582146,0.0000033216777,0.004677385,0.000014638548,0.000006774378,0.00051298866,0.9929218,0.00012478314],"about_ca_topic_score_codex":0.0072989324,"about_ca_topic_score_gemma":0.14227876,"teacher_disagreement_score":0.9721208,"about_ca_system_score_codex":0.000045379715,"about_ca_system_score_gemma":0.00019134054,"threshold_uncertainty_score":0.99931157},"labels":[],"label_agreement":null},{"id":"W4380925905","doi":"10.3138/ctr.129.015","title":"Voicing Individuality: Creating a Hybrid Identity in First Nations Theatre","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Identity (music); Voice; Sociology; Aesthetics; Gender studies; Art; Linguistics; Philosophy","score_opus":0.0341790462848475,"score_gpt":0.2782891552306883,"score_spread":0.24411010894584081,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925905","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013917969,0.10915675,0.000008770686,0.0036432743,0.000424549,0.00064079795,0.00017770207,0.00006468104,0.8719655],"genre_scores_gemma":[0.96234906,0.033215646,0.000027582242,0.0025013534,0.00068144844,0.00003812704,0.000051015253,0.000029168581,0.0011065768],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845374,0.00005215726,0.00048705176,0.00023989547,0.00019582231,0.0005713138],"domain_scores_gemma":[0.99910843,0.00023560331,0.00009194902,0.0002817733,0.00006521816,0.0002170318],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011397363,0.0002123864,0.00040380989,0.00040851795,0.0011364373,0.000121477526,0.00024284203,0.000031065232,0.0014677922],"category_scores_gemma":[0.000058490354,0.00018238963,0.00013536474,0.00026344843,0.00012754064,0.0004581606,0.0000372569,0.00021575912,0.00021850262],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013143439,0.00012810514,0.054425534,0.011039972,0.000338014,0.00032265304,0.07040378,0.000012337288,0.0000014551483,0.29526812,0.021718726,0.5463282],"study_design_scores_gemma":[0.00013594251,0.000020486543,0.0011820642,0.004776586,0.00007836175,0.000014600694,0.0023075824,0.0000032460898,0.0000042510756,0.0006501674,0.99057513,0.0002515538],"about_ca_topic_score_codex":0.17892694,"about_ca_topic_score_gemma":0.98998,"teacher_disagreement_score":0.96885645,"about_ca_system_score_codex":0.00026961957,"about_ca_system_score_gemma":0.00018053898,"threshold_uncertainty_score":0.999445},"labels":[],"label_agreement":null},{"id":"W4380925921","doi":"10.3138/ctr.130.016","title":"No Knowledge College","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bureaucracy; Performance art; Art; Visual arts; Literature; History; Art history; Law; Political science; Politics","score_opus":0.029378871688540604,"score_gpt":0.2537133440423815,"score_spread":0.22433447235384088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925921","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000099097466,0.22801736,4.0064867e-7,0.0007175958,0.0006625517,0.00021784767,0.00009304294,0.000032463497,0.77015966],"genre_scores_gemma":[0.42671624,0.24758233,0.00006182492,0.02221207,0.008638008,0.00008400216,0.000093384806,0.00012483947,0.2944873],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908996,0.00002121197,0.00023498361,0.00014551565,0.00006803248,0.00044027087],"domain_scores_gemma":[0.999298,0.00004486434,0.000034011347,0.00022958707,0.00011026836,0.0002833074],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034955872,0.0001540804,0.00028230294,0.0001039507,0.00035944287,0.000023865137,0.00016032596,0.000027465963,0.0070795105],"category_scores_gemma":[0.000009731716,0.00011816226,0.000115261886,0.00007434372,0.00012224405,0.00009459552,0.000015001133,0.00010548309,0.005245629],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000036281608,0.00001589669,0.00010500973,0.0014788113,0.000055972545,0.00003121301,0.0028512396,1.4087991e-8,9.4011216e-7,0.11706135,0.68145996,0.19693598],"study_design_scores_gemma":[0.000064622036,0.00003011258,0.00003746697,0.0010900894,0.000045619825,0.000006801046,0.00032640703,3.5882675e-7,0.0000037620573,0.00012072993,0.9981103,0.00016372018],"about_ca_topic_score_codex":0.017429264,"about_ca_topic_score_gemma":0.7715184,"teacher_disagreement_score":0.7540892,"about_ca_system_score_codex":0.00011177335,"about_ca_system_score_gemma":0.00015434554,"threshold_uncertainty_score":0.9955289},"labels":[],"label_agreement":null},{"id":"W4380925922","doi":"10.3138/ctr.131.020","title":"Technologically True","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Statement (logic); Art history; Performance art; History; Art; Philosophy; Epistemology","score_opus":0.027521232029796422,"score_gpt":0.23750084382512568,"score_spread":0.20997961179532926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925922","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006059141,0.17788416,0.0000037413686,0.0046762847,0.00025729812,0.00022875758,0.00002585945,0.000085867556,0.81623214],"genre_scores_gemma":[0.8013809,0.16044067,0.00009179812,0.022647861,0.0015589468,0.000044483146,0.000031358573,0.000044709766,0.013759309],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991686,0.000010754802,0.00020962808,0.00013772417,0.000076828925,0.00039649545],"domain_scores_gemma":[0.9994785,0.000026454212,0.000033865002,0.00023508421,0.000045442397,0.0001806558],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033097123,0.00013004488,0.0002386024,0.00010370056,0.00032290854,0.000029163883,0.00018389683,0.000036911042,0.0043720603],"category_scores_gemma":[0.000011786279,0.00009061576,0.00009430958,0.0000708604,0.00016124394,0.00007086523,0.000014313399,0.00012664172,0.00086394034],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000001715546,0.000007203365,0.00022733574,0.0004317472,0.000029782963,0.000035672354,0.0008046418,2.3409497e-8,0.000001257697,0.16399941,0.06341687,0.7710444],"study_design_scores_gemma":[0.000039059814,0.00003280651,0.00007922793,0.00063996477,0.000031585187,0.0000096774675,0.0003523077,1.8543348e-7,0.0000061068076,0.0006780079,0.99799716,0.0001338928],"about_ca_topic_score_codex":0.013143207,"about_ca_topic_score_gemma":0.5110597,"teacher_disagreement_score":0.9345803,"about_ca_system_score_codex":0.000068926776,"about_ca_system_score_gemma":0.000078407415,"threshold_uncertainty_score":0.999914},"labels":[],"label_agreement":null},{"id":"W4380925935","doi":"10.3138/ctr.135.019","title":"Empowering Actors: Devised Theatre Training at Humber College","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Political theatre; Irish; Drama; Performance art; Art; Media studies; Sociology; Art history","score_opus":0.059960084715238275,"score_gpt":0.2612858006835401,"score_spread":0.20132571596830184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925935","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026849644,0.1384499,2.417154e-7,0.0023381475,0.00063139346,0.00055769726,0.00031955648,0.000109847664,0.83074355],"genre_scores_gemma":[0.9015637,0.07828041,0.000020177271,0.0046496126,0.0012259444,0.00007978131,0.000058142316,0.00007377216,0.014048434],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841785,0.000060634884,0.000377854,0.00030048736,0.0001771062,0.0006660438],"domain_scores_gemma":[0.9990117,0.000064338936,0.000080021506,0.00038842682,0.000062687024,0.00039280238],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018853329,0.0003237613,0.0006074612,0.00012544941,0.0014444253,0.00003126306,0.00024857427,0.000053828913,0.009279561],"category_scores_gemma":[0.000009218558,0.00025489624,0.00025210844,0.00010934355,0.0002669509,0.00021594082,0.00004099566,0.00017994741,0.00084333797],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026895035,0.000051596726,0.00564138,0.003684404,0.00057566987,0.0005834038,0.11158397,0.000002550481,0.000013917691,0.018631281,0.67402226,0.18518269],"study_design_scores_gemma":[0.00016475897,0.00003663839,0.00015090819,0.0016378869,0.000077872784,0.00009353684,0.0014270401,0.0000017775805,0.000005602249,0.00006386487,0.9960035,0.00033660847],"about_ca_topic_score_codex":0.011235541,"about_ca_topic_score_gemma":0.36295637,"teacher_disagreement_score":0.8747141,"about_ca_system_score_codex":0.00026673783,"about_ca_system_score_gemma":0.00036325268,"threshold_uncertainty_score":0.99999034},"labels":[],"label_agreement":null},{"id":"W4380925937","doi":"10.3138/ctr.116.001","title":"Theatre changed my life","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Performance art; Photography; Art; Art history; History; Media studies; Sociology","score_opus":0.04047080687924627,"score_gpt":0.23382311292274285,"score_spread":0.19335230604349657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925937","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00020942833,0.3094445,3.192593e-7,0.004707601,0.00048944127,0.00033001992,0.000068233145,0.000046154073,0.6847043],"genre_scores_gemma":[0.60779554,0.32881567,0.000034667526,0.043272957,0.0022554668,0.00023421917,0.00006925833,0.0001140766,0.01740814],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987456,0.000099268815,0.0002674587,0.00022997642,0.00012538575,0.0005322723],"domain_scores_gemma":[0.99901175,0.000035036202,0.00005566313,0.0003855792,0.00006121543,0.00045075954],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029456854,0.0002441925,0.00044032498,0.00011150427,0.000577126,0.00006901569,0.00018883486,0.000039721748,0.0115407705],"category_scores_gemma":[0.000021087315,0.00018246734,0.0001782768,0.000091521986,0.00014646848,0.00013961921,0.000011197026,0.00015531591,0.0018115367],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000046514274,0.00003537703,0.0006994846,0.0028959203,0.00025354634,0.00003691909,0.010202052,4.297058e-7,0.000001214856,0.21841456,0.54216594,0.22528994],"study_design_scores_gemma":[0.00010591877,0.00003308843,0.000016846076,0.0010086583,0.0000988044,0.00000905539,0.0008904699,4.7042113e-7,0.0000032705711,0.00040134485,0.9971861,0.00024595932],"about_ca_topic_score_codex":0.017418848,"about_ca_topic_score_gemma":0.36691654,"teacher_disagreement_score":0.6672962,"about_ca_system_score_codex":0.00008102217,"about_ca_system_score_gemma":0.0003540046,"threshold_uncertainty_score":0.9989657},"labels":[],"label_agreement":null},{"id":"W4380925938","doi":"10.3138/ctr.126.020","title":"Documenting the Creative Process of Kendra Fanconi: The Force behind <i>Freds</i>","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Performance art; Visual arts; Internship; Art; The arts; Performing arts; Art history; Political science; Law","score_opus":0.01348547194068995,"score_gpt":0.23462558098291963,"score_spread":0.2211401090422297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925938","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026303667,0.24144721,7.0189043e-7,0.00716172,0.00025238135,0.00062512525,0.000114395334,0.000018032048,0.74775004],"genre_scores_gemma":[0.9464661,0.02456047,0.0000036459862,0.0035171711,0.0010192863,0.00013788493,0.000028408727,0.000030023644,0.024237014],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99899447,0.00006420844,0.00031771132,0.00014211201,0.00014351007,0.00033797396],"domain_scores_gemma":[0.9992925,0.0000854605,0.00014779247,0.00030836186,0.0001123579,0.00005353183],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031396298,0.0001743773,0.0003078499,0.0000378563,0.0008872383,0.000075903794,0.00033195489,0.0000198475,0.0011231644],"category_scores_gemma":[0.000009075134,0.00008426578,0.00014558497,0.0000710813,0.00040937657,0.00014946857,0.000022151436,0.00013782654,0.00004794149],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015722875,0.000056615714,0.002476113,0.0067672026,0.00053870806,0.000016390506,0.09445418,0.000025621059,0.000007206258,0.18030174,0.44730178,0.26803875],"study_design_scores_gemma":[0.00006944231,0.000022263044,0.0000848595,0.0012252803,0.00015670757,0.0000055276005,0.0040407637,0.000002421599,0.00003395488,0.001953657,0.9922827,0.00012245054],"about_ca_topic_score_codex":0.08915868,"about_ca_topic_score_gemma":0.54817605,"teacher_disagreement_score":0.94383574,"about_ca_system_score_codex":0.00004076089,"about_ca_system_score_gemma":0.00017046239,"threshold_uncertainty_score":0.99978995},"labels":[],"label_agreement":null},{"id":"W4380925942","doi":"10.3138/ctr.102.011","title":"Wonderbolt!","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Plot (graphics); Retraining; Art; Performance art; Sociology; History; Art history; Political science; Law","score_opus":0.025205196768055584,"score_gpt":0.22570787055835426,"score_spread":0.20050267379029868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925942","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00043925864,0.20503871,3.1314137e-8,0.0043730657,0.00015119925,0.00014823338,0.00003868517,0.000035103043,0.7897757],"genre_scores_gemma":[0.20955537,0.5872136,0.000015855625,0.039205063,0.002132042,0.00008431812,0.000057698948,0.000055996425,0.16168006],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993133,0.000023048926,0.00015696038,0.00012940672,0.00006927974,0.00030801367],"domain_scores_gemma":[0.9995336,0.000011742535,0.000015898648,0.00022442093,0.000023624965,0.0001907196],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009572758,0.00012626742,0.00022551599,0.000045691675,0.00035152692,0.000043795848,0.00013751174,0.000017733346,0.101526186],"category_scores_gemma":[0.000001776612,0.00009513638,0.00009751888,0.00004271631,0.00010104476,0.00010686154,0.0000043087134,0.000082767874,0.005255191],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.7514223e-7,0.0000038228004,0.00003272333,0.00033277445,0.00002310664,0.00000744461,0.0014129588,1.447155e-7,6.4682354e-8,0.010758859,0.22413447,0.76329273],"study_design_scores_gemma":[0.00004278749,0.000016239263,0.000020022017,0.00079035474,0.00004080264,0.0000065481504,0.00012284738,7.439653e-7,5.4850244e-7,0.00032199433,0.9985034,0.00013373702],"about_ca_topic_score_codex":0.03811911,"about_ca_topic_score_gemma":0.42607564,"teacher_disagreement_score":0.7743689,"about_ca_system_score_codex":0.00004546197,"about_ca_system_score_gemma":0.0001070121,"threshold_uncertainty_score":0.99551934},"labels":[],"label_agreement":null},{"id":"W4380925943","doi":"10.3138/ctr.127.003","title":"Intimate Acts with Obsolete Bodies: Theatre Gargantua’s e-<i>DENTITY</i> and Mediatized Theatre","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Immediacy; Art; nobody; Space (punctuation); Representation (politics); Variety (cybernetics); Multitude; Aesthetics; Visual arts; Performing arts; Philosophy; Politics; Computer science; Epistemology","score_opus":0.012815489091574327,"score_gpt":0.20581291012689684,"score_spread":0.19299742103532253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925943","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003969613,0.2531562,0.0000010637456,0.008867209,0.000399363,0.00087519997,0.00033624636,0.00014345678,0.73225164],"genre_scores_gemma":[0.7462166,0.2350479,0.000104630184,0.008381187,0.0022267962,0.00019744744,0.00024574535,0.00016954761,0.007410162],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979401,0.000091348404,0.00047214873,0.00044313146,0.0002694677,0.00078376627],"domain_scores_gemma":[0.9988152,0.00008890748,0.000147412,0.000495911,0.00010972884,0.00034287805],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030529944,0.0004866812,0.00081740925,0.00018207294,0.0008535074,0.0002512078,0.00027982803,0.00007004589,0.0016368213],"category_scores_gemma":[0.0000059727486,0.00032784307,0.00015494808,0.00010530253,0.00047392934,0.00036649534,0.000050956984,0.00024754633,0.00027944334],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013826399,0.00018119595,0.008899352,0.015822891,0.0011494977,0.00043479743,0.0206583,0.000007869733,0.000042535772,0.08601329,0.5074173,0.35923466],"study_design_scores_gemma":[0.00042548584,0.00009663209,0.0002529378,0.0025984324,0.0003361794,0.000039615777,0.0008151061,0.0000043255745,0.000011233343,0.0006888151,0.99425346,0.0004777687],"about_ca_topic_score_codex":0.052484475,"about_ca_topic_score_gemma":0.6577643,"teacher_disagreement_score":0.742247,"about_ca_system_score_codex":0.000108620254,"about_ca_system_score_gemma":0.00027317455,"threshold_uncertainty_score":0.9999174},"labels":[],"label_agreement":null},{"id":"W4380925944","doi":"10.3138/ctr.116.006","title":"How can I make this moment as big and real as it appears on stage?","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Moment (physics); Representation (politics); Stage (stratigraphy); Visual arts; Aesthetics; Art; Political science; Physics; Law; Geology; Classical mechanics","score_opus":0.035260584558265855,"score_gpt":0.23839965012664563,"score_spread":0.20313906556837977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925944","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034042662,0.08879932,5.127184e-8,0.020685958,0.00035361832,0.00043222643,0.0001400375,0.000025902016,0.88615865],"genre_scores_gemma":[0.27106056,0.51152986,0.0000068686786,0.0217663,0.0005743924,0.00009321086,0.000027598302,0.000056738565,0.19488446],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989348,0.00007428373,0.0001735667,0.00024819977,0.00014721596,0.00042192228],"domain_scores_gemma":[0.99923956,0.0000257163,0.00005414233,0.00030228082,0.00004129777,0.000337027],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020806104,0.00023343785,0.00036462035,0.00010508826,0.0004774106,0.00015143653,0.00010736319,0.000036044134,0.0021006255],"category_scores_gemma":[0.000012062064,0.00017657744,0.000089794856,0.0000556802,0.00014552301,0.000042496562,0.000012393162,0.00013823723,0.00025780717],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000060688326,0.000018704135,0.00028750565,0.0015663629,0.00014631433,0.00007529154,0.009277331,1.7810169e-7,8.561921e-7,0.26700327,0.066690885,0.65492725],"study_design_scores_gemma":[0.0001129525,0.00014036924,0.000027526388,0.00116132,0.00006839414,0.000012448265,0.0018967026,1.3769309e-7,0.000005623805,0.00031503636,0.9960375,0.00022202675],"about_ca_topic_score_codex":0.107850805,"about_ca_topic_score_gemma":0.7202604,"teacher_disagreement_score":0.92934656,"about_ca_system_score_codex":0.00013311401,"about_ca_system_score_gemma":0.00028471067,"threshold_uncertainty_score":0.9988116},"labels":[],"label_agreement":null},{"id":"W4380925952","doi":"10.3138/ctr.128.010","title":"The Challenges of Park Performance: <i>Pericles</i> in Halifax’s Point Pleasant","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Space (punctuation); Silence; Meaning (existential); Visual arts; Performing arts; Point (geometry); Media studies; Reading (process); Art; Aesthetics; History; Advertising; Sociology; Psychology; Computer science; Political science; Law","score_opus":0.023782520113115733,"score_gpt":0.21625785895649974,"score_spread":0.192475338843384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925952","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010008399,0.6063007,3.474e-8,0.007191864,0.00021557664,0.00029775148,0.000044586577,0.0000146236025,0.3759265],"genre_scores_gemma":[0.64307785,0.35574204,0.000002084144,0.00042485577,0.0002503196,0.00004048776,0.000005379996,0.00001248882,0.0004445032],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988712,0.000058250367,0.00039695317,0.00014933916,0.00012406691,0.00040015613],"domain_scores_gemma":[0.9994168,0.00006185044,0.000085265085,0.0003029513,0.000054913133,0.000078194025],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041178503,0.00016778456,0.00035441146,0.00007361421,0.00035413195,0.000028963263,0.00022261779,0.000026527925,0.0002946456],"category_scores_gemma":[0.000005467626,0.00010245471,0.00010788939,0.000069783564,0.00023260803,0.00010997459,0.000019434856,0.000121899015,0.00007658969],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016446918,0.00005215862,0.0039365957,0.0044485983,0.000070328424,0.0000129399705,0.006691852,0.0000070448787,0.0000033108233,0.26317865,0.086298004,0.63528407],"study_design_scores_gemma":[0.00010187477,0.000043545795,0.0016712495,0.0019074973,0.000028076878,0.000005230903,0.0012047567,0.0000055822243,0.00001116179,0.0005812957,0.9942934,0.00014635631],"about_ca_topic_score_codex":0.06862142,"about_ca_topic_score_gemma":0.76208806,"teacher_disagreement_score":0.90799534,"about_ca_system_score_codex":0.00007455349,"about_ca_system_score_gemma":0.00014053179,"threshold_uncertainty_score":0.9375807},"labels":[],"label_agreement":null},{"id":"W4380925955","doi":"10.3138/ctr.116.012","title":"<i>Home of My Soul,</i> by Maki Yi","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soul; Visual arts; Performance art; Art; Work (physics); Media studies; Sociology; Art history; Aesthetics; Engineering; Theology; Philosophy","score_opus":0.021472386932824983,"score_gpt":0.2210764816132794,"score_spread":0.1996040946804544,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925955","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006191515,0.38010523,4.2929238e-7,0.001009486,0.00025521353,0.00020084878,0.00020470504,0.000015887019,0.61758906],"genre_scores_gemma":[0.61447287,0.34378898,0.0000350427,0.013035086,0.00049552193,0.00008040198,0.000075124,0.00007403056,0.027942948],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912393,0.00005102819,0.0002651837,0.00014489298,0.00009455783,0.00032040046],"domain_scores_gemma":[0.9994152,0.00002502309,0.000065050066,0.00026700847,0.00005454228,0.0001731585],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019154983,0.00015807746,0.00038612407,0.00005975164,0.0002124802,0.000022756352,0.00014474388,0.000027364162,0.0055692536],"category_scores_gemma":[0.000007936988,0.00012203813,0.00013145534,0.00006241477,0.00015711198,0.00008843058,0.000007674364,0.00008964812,0.00030203507],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000019060865,0.000021914748,0.00058302714,0.0025953604,0.00010616271,0.0000065189247,0.00300352,1.4267933e-7,0.0000050765107,0.10995268,0.7972564,0.08646727],"study_design_scores_gemma":[0.00008065711,0.00003161879,0.0000060602424,0.0008775318,0.00006859464,0.0000049203636,0.00037011984,1.2439082e-7,0.000019460917,0.0004960806,0.99788916,0.00015565049],"about_ca_topic_score_codex":0.014644398,"about_ca_topic_score_gemma":0.1365042,"teacher_disagreement_score":0.6138537,"about_ca_system_score_codex":0.000044292567,"about_ca_system_score_gemma":0.00016260122,"threshold_uncertainty_score":0.9953398},"labels":[],"label_agreement":null},{"id":"W4380925957","doi":"10.3138/ctr.135.009","title":"Nor the Cavaliers Who Come with Us","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Law; Copyright law; Moral rights; Political science; History; Intellectual property","score_opus":0.029203970798680156,"score_gpt":0.21377395252577805,"score_spread":0.1845699817270979,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925957","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005200851,0.21036065,2.508107e-7,0.013623318,0.00023781984,0.00043797112,0.00008505219,0.00003545401,0.77001864],"genre_scores_gemma":[0.5364979,0.38804322,0.000009782944,0.03547514,0.0017680145,0.00013974683,0.00003512075,0.00006841933,0.037962645],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920356,0.000045428635,0.0001642899,0.00013952813,0.00011460891,0.00033258804],"domain_scores_gemma":[0.99936384,0.00003531744,0.00004556296,0.00033035444,0.000060011902,0.00016492659],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012251102,0.00016950551,0.0003170587,0.000049961785,0.001156993,0.000026551903,0.00022197665,0.00001669946,0.0025521072],"category_scores_gemma":[0.000003805266,0.00008296613,0.000076397555,0.00007311594,0.0006071515,0.000095498195,0.00001111992,0.00012521262,0.00034921887],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000953876,0.000010982444,0.0071205893,0.0012569024,0.0002456644,0.00010595968,0.031641606,0.0000024527412,1.7480336e-7,0.03701768,0.86072016,0.061868284],"study_design_scores_gemma":[0.000075683616,0.000054568452,0.00045945798,0.000983264,0.00007625301,0.000054524233,0.00051160954,7.655242e-7,3.8222197e-7,0.000041378484,0.99759513,0.00014696165],"about_ca_topic_score_codex":0.106048524,"about_ca_topic_score_gemma":0.6760714,"teacher_disagreement_score":0.73205596,"about_ca_system_score_codex":0.00006313213,"about_ca_system_score_gemma":0.00018549754,"threshold_uncertainty_score":0.9983597},"labels":[],"label_agreement":null},{"id":"W4380925962","doi":"10.3138/ctr.136.011","title":"Dramatic Initiatives at the University of Alberta","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Amateur; Outreach; Theatre studies; Studio; Visual arts; Media studies; Art; History; Political science; Sociology; Law","score_opus":0.030004579701994695,"score_gpt":0.20701940967539276,"score_spread":0.17701482997339807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925962","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009073221,0.13101804,1.6130025e-7,0.0042964965,0.00009654942,0.00021823666,0.000052153253,0.00000764635,0.8552375],"genre_scores_gemma":[0.76601475,0.20393737,0.0000036678475,0.0018866578,0.00012960179,0.000002374995,0.000017944929,0.000010957243,0.0279967],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955827,0.00004798735,0.00010673144,0.0000758119,0.00005879362,0.0001524185],"domain_scores_gemma":[0.99956584,0.000079358004,0.000050031842,0.0001933065,0.0000368624,0.00007460625],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006938724,0.00008364543,0.00020783627,0.000029504727,0.0007523571,0.000004171168,0.00015060854,0.000012410175,0.009174425],"category_scores_gemma":[0.000006990535,0.000053806572,0.00009379048,0.000042552187,0.00044779736,0.00008553558,0.000021940543,0.000053299456,0.0007634969],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001130787,0.000028196615,0.0035571647,0.0034863267,0.00033413433,0.000047553196,0.18845627,0.000001606413,0.0000011393626,0.048655078,0.69970477,0.055716485],"study_design_scores_gemma":[0.00004815066,0.000012710483,0.0003359201,0.0006131442,0.000057841127,0.0000096187805,0.0013831307,9.702138e-7,0.0000016061981,0.00005132,0.9974141,0.000071457245],"about_ca_topic_score_codex":0.10834499,"about_ca_topic_score_gemma":0.8291857,"teacher_disagreement_score":0.82724077,"about_ca_system_score_codex":0.00005338425,"about_ca_system_score_gemma":0.00013300862,"threshold_uncertainty_score":0.99173135},"labels":[],"label_agreement":null},{"id":"W4380925963","doi":"10.3138/ctr.129.010","title":"<i>Audience</i> is a verb: A conversation with Darren Copeland","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Relation (database); Sound (geography); Visual arts; Object (grammar); Aesthetics; Space (punctuation); Bridge (graph theory); Aside; Public space; Media studies; Sociology; Computer science; Art; Communication; Engineering; Literature; Acoustics; Artificial intelligence","score_opus":0.019320250315707877,"score_gpt":0.22328763315757943,"score_spread":0.20396738284187155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925963","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034364285,0.15597562,0.0000070906704,0.007957858,0.00037159518,0.0006176201,0.00013394261,0.000052452673,0.83144736],"genre_scores_gemma":[0.88685745,0.07473952,0.000037849328,0.031434614,0.00095674366,0.000036646525,0.00006152737,0.000041035935,0.005834615],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991712,0.000014559469,0.0001802394,0.00016427893,0.00011947212,0.00035024073],"domain_scores_gemma":[0.99947476,0.000026734877,0.000054239652,0.00019921348,0.000074937416,0.00017011688],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025964814,0.00014845259,0.00024772793,0.00006869014,0.00032292466,0.000046018977,0.00011612882,0.00002161164,0.002738986],"category_scores_gemma":[0.000003072341,0.00010094835,0.000055828932,0.0000787478,0.00017544962,0.00015599663,0.0000086235095,0.00009033629,0.00041146303],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043587497,0.000022527434,0.005854172,0.0023978595,0.00023333402,0.00008183084,0.051802155,3.2102048e-7,0.0000014701776,0.010983197,0.5220538,0.4065258],"study_design_scores_gemma":[0.00016276406,0.0000716698,0.00013460375,0.0012923526,0.000085528285,0.000012677814,0.0011258483,8.558627e-7,0.000007155054,0.000049791284,0.9968928,0.0001639607],"about_ca_topic_score_codex":0.031945556,"about_ca_topic_score_gemma":0.6175479,"teacher_disagreement_score":0.883421,"about_ca_system_score_codex":0.000087170956,"about_ca_system_score_gemma":0.00017699132,"threshold_uncertainty_score":0.99817264},"labels":[],"label_agreement":null},{"id":"W4380925965","doi":"10.3138/ctr.133.010","title":"New Voices, New Cultural Perspectives in TYA","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political theatre; Theatre studies; Power (physics); Theatre director; Visual arts; Postmodern theatre; Art; Sociology; Literature; Drama; Postmodernism","score_opus":0.049746231885994294,"score_gpt":0.25632343263132584,"score_spread":0.20657720074533154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925965","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017369265,0.56404907,3.3335687e-7,0.006930982,0.00022563558,0.00024560114,0.000020400552,0.000030991578,0.42676005],"genre_scores_gemma":[0.17989656,0.7197079,0.000099107216,0.004817918,0.0032813526,0.00002344851,0.0000311442,0.00004259692,0.09209994],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991127,0.000029539833,0.00020962827,0.00019379151,0.000092744456,0.00036158896],"domain_scores_gemma":[0.99937874,0.000017030748,0.000038011913,0.00019387883,0.00003938027,0.00033296522],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006678118,0.00018021071,0.00034624033,0.000103572514,0.00030345476,0.000036146135,0.00017428717,0.000027500024,0.0058135865],"category_scores_gemma":[0.000009385193,0.00013283237,0.000116721305,0.00009624699,0.00010799858,0.00024267593,0.000013599738,0.00014652537,0.0006414555],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000034383938,0.000008404122,0.0010713185,0.00029909136,0.00004438011,0.00004900762,0.06765838,4.544119e-7,3.4534662e-7,0.018256994,0.7588011,0.1538071],"study_design_scores_gemma":[0.00013774991,0.000026332493,0.00048803323,0.0009831018,0.0000277171,0.000026026579,0.0034820614,4.252608e-7,7.136943e-7,0.00020732706,0.99443156,0.00018897979],"about_ca_topic_score_codex":0.37917992,"about_ca_topic_score_gemma":0.8563095,"teacher_disagreement_score":0.47712955,"about_ca_system_score_codex":0.00015485295,"about_ca_system_score_gemma":0.00062387873,"threshold_uncertainty_score":0.99509525},"labels":[],"label_agreement":null},{"id":"W4380925966","doi":"10.3138/ctr.109.010","title":"DynamO Théâtre: Moving Images of Teenage Life","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dynamo; Movement (music); Visual arts; Presentation (obstetrics); Art; Meaning (existential); Amateur; Performance art; Aesthetics; Literature; History; Art history; Philosophy; Epistemology","score_opus":0.027898610811760975,"score_gpt":0.21678196978036984,"score_spread":0.18888335896860886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925966","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00039479035,0.4059284,3.9109918e-7,0.0037572465,0.00019284262,0.0001984482,0.00012878136,0.000027425964,0.5893717],"genre_scores_gemma":[0.54524547,0.4222504,0.000025906524,0.005279257,0.0007548041,0.00003735592,0.00001747158,0.000044000084,0.026345339],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999094,0.000037490274,0.00029181587,0.00015115127,0.000105397536,0.0003201483],"domain_scores_gemma":[0.999306,0.000037730824,0.00007946401,0.00029621663,0.000058140933,0.0002224492],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013586241,0.00016653366,0.00040414542,0.00010328788,0.00027402525,0.000033722517,0.00019224206,0.000024915013,0.0127304895],"category_scores_gemma":[0.000019556723,0.00012485056,0.00015228978,0.00007025258,0.00017556519,0.00014871702,0.00002048225,0.00010439579,0.0004354726],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000015879874,0.000027510285,0.00052309,0.0044126892,0.00015139687,0.000022025746,0.004623589,9.220568e-7,0.0000030968106,0.021648573,0.6166227,0.35196283],"study_design_scores_gemma":[0.000063973144,0.000028403692,0.000056382603,0.0015982969,0.00008762829,0.000003570781,0.00039100123,0.000009861555,0.000004188406,0.000065315755,0.9975334,0.00015798995],"about_ca_topic_score_codex":0.025491474,"about_ca_topic_score_gemma":0.13767113,"teacher_disagreement_score":0.56302637,"about_ca_system_score_codex":0.00004395305,"about_ca_system_score_gemma":0.00006090328,"threshold_uncertainty_score":0.988172},"labels":[],"label_agreement":null},{"id":"W4380925987","doi":"10.3138/ctr.117.009","title":"Strategic Narratives: The Embodiment of Minority Discourses in Biographical Performance","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Aesthetics; Sociology; Gender studies; Psychology; Visual arts; Art; Literature","score_opus":0.034123720838106913,"score_gpt":0.2511115025067136,"score_spread":0.2169877816686067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925987","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35816303,0.28599843,5.8568588e-8,0.010162473,0.00024580763,0.00060983544,0.000081873564,0.000014358026,0.34472412],"genre_scores_gemma":[0.93039906,0.068722956,0.0000033826268,0.00057984365,0.00013340695,0.000035905505,0.0000076626875,0.000005299652,0.000112470094],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915594,0.00004401122,0.00027708063,0.00013454897,0.00010959313,0.0002788227],"domain_scores_gemma":[0.99957955,0.000017610215,0.000061100975,0.00021364914,0.000038225702,0.0000898439],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021779518,0.00014948327,0.0003030041,0.00010814278,0.00025281022,0.000022121305,0.00020185304,0.000022817898,0.0004535262],"category_scores_gemma":[0.0000018279052,0.00008578027,0.000112306,0.00013817937,0.00034679446,0.000110815,0.0000129726395,0.00014558338,0.000030868345],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017864064,0.00015815457,0.0081094485,0.0050666602,0.00020470843,0.000020781676,0.047556292,0.000022189746,0.00000459022,0.89581794,0.002602862,0.040418528],"study_design_scores_gemma":[0.0005352018,0.00035625085,0.0030316021,0.008106992,0.00015278319,0.000014115012,0.02331035,0.0000045384686,0.000029596154,0.010940871,0.95299613,0.0005215446],"about_ca_topic_score_codex":0.039758917,"about_ca_topic_score_gemma":0.59095544,"teacher_disagreement_score":0.9503933,"about_ca_system_score_codex":0.000069140915,"about_ca_system_score_gemma":0.0002661705,"threshold_uncertainty_score":0.9666354},"labels":[],"label_agreement":null},{"id":"W4380925993","doi":"10.3138/ctr.125.016","title":"A View from the Border","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Performance art; History; Art; Media studies; Visual arts; Art history; Sociology","score_opus":0.019740121895380644,"score_gpt":0.23261347171418786,"score_spread":0.21287334981880723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925993","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002704875,0.51924306,2.818948e-7,0.014890242,0.00024796784,0.00021645047,0.00015749638,0.000023860799,0.46495017],"genre_scores_gemma":[0.32486024,0.53279907,0.000035548328,0.09599942,0.0102351075,0.00026685864,0.00040821143,0.00010644902,0.035289064],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926025,0.000044933615,0.00019502231,0.00013692824,0.000084400206,0.00027844874],"domain_scores_gemma":[0.9994799,0.000058104484,0.000037682756,0.00030623333,0.000039635994,0.00007844134],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012708678,0.00014308542,0.00024179283,0.000021936523,0.0005168908,0.00007578828,0.00021061015,0.000017968301,0.011198982],"category_scores_gemma":[0.000003881404,0.00008005599,0.0001114738,0.00004988353,0.00013370339,0.000079614605,0.000014148367,0.00009875797,0.0010477441],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.484955e-7,0.000006174179,0.00040074877,0.00023277385,0.000042151434,0.000006437073,0.0011397256,1.7370743e-7,1.8760048e-7,0.03841184,0.7002362,0.25952286],"study_design_scores_gemma":[0.000044228014,0.000007492917,0.000252559,0.001024659,0.00008560637,0.0000017993069,0.00018264439,6.3445356e-7,4.6885825e-7,0.0011817338,0.9970969,0.00012126219],"about_ca_topic_score_codex":0.4519066,"about_ca_topic_score_gemma":0.9168757,"teacher_disagreement_score":0.46496913,"about_ca_system_score_codex":0.000043140644,"about_ca_system_score_gemma":0.000120670324,"threshold_uncertainty_score":0.99973005},"labels":[],"label_agreement":null},{"id":"W4380925995","doi":"10.3138/ctr.119.016","title":"Cheering for a Change: Actor-Cheerleaders Revive an Ancient Choral Tradition","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Power (physics); Aesthetics; Choir; Pound (networking); Visual arts; Expression (computer science); Art; Media studies; History; Sociology","score_opus":0.11809363689500622,"score_gpt":0.2802058137203514,"score_spread":0.16211217682534518,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925995","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021331264,0.80726796,0.000029118633,0.05460641,0.0030285455,0.006625121,0.0017309188,0.0003222084,0.10505848],"genre_scores_gemma":[0.8847652,0.09055466,0.00011471362,0.019267341,0.0036150937,0.0008881963,0.00033731875,0.000076695986,0.0003807752],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904233,0.000018738907,0.00020648382,0.00022212771,0.000090972455,0.0004193199],"domain_scores_gemma":[0.99935794,0.000010523867,0.00005515002,0.00022380687,0.000066200795,0.00028640294],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019222351,0.00019367244,0.00032507392,0.00009251757,0.00043864222,0.00006463737,0.00014622201,0.000034165663,0.00034564213],"category_scores_gemma":[0.000006851068,0.0001605879,0.00015339765,0.000058781705,0.00010360969,0.00038165733,0.000005792502,0.00009415005,0.00006685837],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002487464,0.00009602217,0.00006504999,0.00959926,0.00021769282,0.000024720095,0.08504971,0.00000991771,0.00002183521,0.13680518,0.036145117,0.7319406],"study_design_scores_gemma":[0.00019529216,0.00013798632,0.00007442247,0.0021919915,0.000092116046,0.0000061068945,0.0015370712,0.0000039433467,0.0000101692,0.00031904323,0.9952018,0.00023005772],"about_ca_topic_score_codex":0.021352392,"about_ca_topic_score_gemma":0.30506113,"teacher_disagreement_score":0.9590567,"about_ca_system_score_codex":0.00025245437,"about_ca_system_score_gemma":0.00019294613,"threshold_uncertainty_score":0.9851645},"labels":[],"label_agreement":null},{"id":"W4380926007","doi":"10.3138/ctr.106.007","title":"First Tellers of Tales","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Storytelling; History; Literature; Art; Focus (optics); Visual arts; Narrative","score_opus":0.033264322095945965,"score_gpt":0.228989361321987,"score_spread":0.19572503922604104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926007","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019342846,0.2863211,2.4329253e-7,0.003989437,0.0002164967,0.00019182175,0.000057766032,0.000018478837,0.7072704],"genre_scores_gemma":[0.50998414,0.47992846,0.000010220494,0.0023165853,0.00046969522,0.000021819564,0.000016105925,0.000020102902,0.0072328597],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994147,0.000013814855,0.00018915828,0.00009687514,0.00006568512,0.00021980019],"domain_scores_gemma":[0.9995748,0.000024383162,0.000044002685,0.00019254415,0.00004253652,0.00012174019],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000093145114,0.00010759668,0.0002637163,0.00006990335,0.00023046423,0.000014067939,0.00012830827,0.000016459586,0.0060327086],"category_scores_gemma":[0.0000056135514,0.00008032043,0.00010666565,0.00005324437,0.00016109658,0.000074252224,0.00000968477,0.00005227663,0.00030158946],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008841031,0.000038463815,0.0046305587,0.0064459727,0.00023850426,0.000053609303,0.012824766,0.0000045125016,0.0000010235282,0.08129337,0.3975727,0.49688768],"study_design_scores_gemma":[0.000042911066,0.000023666254,0.00006816884,0.001564347,0.000047108068,0.0000074827344,0.00043446818,0.0000015664381,0.0000013299023,0.00014299569,0.9975672,0.00009874976],"about_ca_topic_score_codex":0.044971995,"about_ca_topic_score_gemma":0.70938694,"teacher_disagreement_score":0.70003754,"about_ca_system_score_codex":0.0000348551,"about_ca_system_score_gemma":0.00008498349,"threshold_uncertainty_score":0.9948759},"labels":[],"label_agreement":null},{"id":"W4380926016","doi":"10.3138/ctr.130.fm1","title":"Editorial: An Emerging Discourse","year":2007,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Narrative; Visual arts; Poetry; Art; Literature; History; Media studies; Sociology","score_opus":0.023505404313790515,"score_gpt":0.29863906972047577,"score_spread":0.27513366540668527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926016","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[6.712872e-7,0.13464405,1.3184949e-7,0.0004453065,0.69764453,0.00033182744,0.0008692532,0.00006548335,0.16599874],"genre_scores_gemma":[0.000009952703,0.15832293,0.000003505532,0.0005390456,0.8346092,0.00004452424,0.0010049897,0.00009894021,0.005366892],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972044,0.00009204748,0.0005726572,0.0005020776,0.0007402315,0.00088856684],"domain_scores_gemma":[0.99783546,0.00016597207,0.00020288113,0.0007485729,0.00041092534,0.000636188],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009893695,0.0005823684,0.0010088405,0.0002931794,0.00079283235,0.00020968886,0.0006045315,0.0003690067,0.0034450784],"category_scores_gemma":[0.00008086303,0.00046621333,0.00031850953,0.00008808905,0.00029068193,0.00033920116,0.000039935952,0.0010922559,0.00071961264],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003166276,0.000009370027,6.561666e-7,0.0018605208,0.00008040373,0.000013174094,0.0020561798,5.7423083e-8,1.3026721e-8,0.00057081383,0.92409635,0.0713093],"study_design_scores_gemma":[0.00009106315,0.000075441196,1.3689043e-7,0.0054231114,0.00039845417,8.6797354e-7,0.00085754605,1.9453117e-7,8.526777e-8,0.0000783593,0.99248546,0.00058924814],"about_ca_topic_score_codex":0.15651628,"about_ca_topic_score_gemma":0.81699485,"teacher_disagreement_score":0.6604786,"about_ca_system_score_codex":0.0003252224,"about_ca_system_score_gemma":0.0014670189,"threshold_uncertainty_score":0.999779},"labels":[],"label_agreement":null},{"id":"W4380926020","doi":"10.3138/ctr.134.006","title":"Theatre à la Carte!","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Order (exchange); Visual arts; Art; Nothing; Event (particle physics); Face (sociological concept); Media studies; History; Aesthetics; Sociology; Computer science; Philosophy","score_opus":0.033759832774927015,"score_gpt":0.22770762823521964,"score_spread":0.19394779546029262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926020","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00082133815,0.20544119,1.742726e-7,0.003510103,0.00027371652,0.00021884874,0.00007881278,0.000054743643,0.7896011],"genre_scores_gemma":[0.628933,0.34336355,0.000015647409,0.0090129515,0.0014607449,0.00007846141,0.000045210927,0.000055329343,0.01703511],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989962,0.00006798636,0.0002230653,0.00019038843,0.00011784769,0.00040451752],"domain_scores_gemma":[0.9992677,0.00004615726,0.00003957705,0.00032813166,0.00005253613,0.00026588654],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015596204,0.00020345442,0.0003694763,0.00009023627,0.0007167101,0.00003373829,0.00019829682,0.00003674141,0.0037586514],"category_scores_gemma":[0.000004734957,0.00015064397,0.00017258478,0.00006639573,0.0002976292,0.00013889455,0.000016817237,0.00015398354,0.0014408091],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000034748039,0.000022196786,0.0011465971,0.0012889692,0.00012941117,0.00019498436,0.012884826,4.473698e-7,8.170028e-7,0.043113932,0.66580755,0.2754068],"study_design_scores_gemma":[0.00007744468,0.000026206606,0.000078496814,0.0008273999,0.00006045265,0.000090163456,0.00031926745,7.343444e-7,0.0000016654677,0.00016136556,0.9981572,0.00019959232],"about_ca_topic_score_codex":0.043409716,"about_ca_topic_score_gemma":0.32396206,"teacher_disagreement_score":0.77256596,"about_ca_system_score_codex":0.00006777968,"about_ca_system_score_gemma":0.00028608486,"threshold_uncertainty_score":0.99933666},"labels":[],"label_agreement":null},{"id":"W4380926033","doi":"10.3138/ctr.137.002","title":"Intimate Interventions: An Interview with Diane Borsato","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The Void; Gesture; Psychology; Psychological intervention; Art; Visual arts; Void (composites); Art history; Philosophy; Linguistics; Epistemology","score_opus":0.050725559565630046,"score_gpt":0.2772704230585189,"score_spread":0.22654486349288885,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926033","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011725635,0.5386882,0.000009261965,0.020410296,0.00029768576,0.00076165027,0.00012993133,0.00013493707,0.4383955],"genre_scores_gemma":[0.5952338,0.34405822,0.00018364454,0.048599042,0.0012678177,0.00014415735,0.0002701347,0.00008471784,0.010158498],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989848,0.000079109464,0.00029498487,0.00020310926,0.00008791607,0.00035007665],"domain_scores_gemma":[0.99918747,0.000010065342,0.00006851588,0.00037229824,0.00007671525,0.0002849568],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002723352,0.0002069912,0.00039638372,0.00012450812,0.00032366163,0.00010725704,0.0002398474,0.00002197229,0.004060783],"category_scores_gemma":[0.0000043992814,0.00014114687,0.00016824491,0.0000847628,0.000111620444,0.0003494852,0.000010859618,0.0001288879,0.00036520895],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000040775935,0.00004053847,0.00005870302,0.0024002714,0.00007363834,0.000030450108,0.003056422,2.9482158e-7,2.111263e-7,0.02791676,0.040877137,0.9255415],"study_design_scores_gemma":[0.00009116584,0.0003147556,0.00013629581,0.010476354,0.00014327173,0.000019750196,0.0004957257,0.0000020428015,0.0000010642856,0.00045458565,0.98764694,0.00021802331],"about_ca_topic_score_codex":0.009352588,"about_ca_topic_score_gemma":0.4811914,"teacher_disagreement_score":0.94676983,"about_ca_system_score_codex":0.000071669376,"about_ca_system_score_gemma":0.00010067892,"threshold_uncertainty_score":0.99724424},"labels":[],"label_agreement":null},{"id":"W4380926035","doi":"10.3138/ctr.118.019","title":"After All: A Play in One Act","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moral rights; Copyright law; Law; Copyright Act; Political science; Law and economics; Sociology; Intellectual property","score_opus":0.03469585628361679,"score_gpt":0.237065790328466,"score_spread":0.2023699340448492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926035","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013741732,0.45265716,2.5638184e-7,0.015490047,0.00033686974,0.0006172222,0.00011018464,0.000043818305,0.5170027],"genre_scores_gemma":[0.8940537,0.09168345,0.000015243681,0.012540954,0.0004068381,0.00010631404,0.000017970131,0.000023190687,0.001152344],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919355,0.000020823774,0.00020166437,0.0001484669,0.000076958655,0.00035854403],"domain_scores_gemma":[0.99957657,0.000011447008,0.000025234707,0.00020343867,0.000020090212,0.0001632059],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012959381,0.0001416765,0.0002932124,0.00010838094,0.00008272633,0.00003676678,0.00011809343,0.00002541871,0.0036090042],"category_scores_gemma":[0.000004061152,0.000112905276,0.00008645619,0.000054330278,0.000078735946,0.00013033714,0.000012140454,0.00012368706,0.0007821049],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050781913,0.00021734434,0.0052992743,0.008380938,0.0004794418,0.00063396915,0.106388114,0.000010566313,0.0000037391171,0.124594145,0.048351042,0.70559067],"study_design_scores_gemma":[0.00014857267,0.00002829655,0.00050477043,0.0029011269,0.000041549643,0.0000045356796,0.00014598318,9.198995e-8,0.000001649753,0.0006988768,0.99536645,0.00015809585],"about_ca_topic_score_codex":0.09068773,"about_ca_topic_score_gemma":0.91332585,"teacher_disagreement_score":0.9470154,"about_ca_system_score_codex":0.00017161382,"about_ca_system_score_gemma":0.00020141195,"threshold_uncertainty_score":0.9999959},"labels":[],"label_agreement":null},{"id":"W4380926036","doi":"10.3138/ctr.115.009","title":"The Politics and Business of Playwriting","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Performance art; Politics; Art history; Art; Visual arts; Media studies; Sociology; Political science; Law","score_opus":0.026156644405394273,"score_gpt":0.22884862297215045,"score_spread":0.20269197856675616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926036","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015307869,0.46419457,1.8505055e-7,0.0018020154,0.00014725754,0.0001315804,0.00003270194,0.0000062489785,0.5321546],"genre_scores_gemma":[0.6026217,0.3915033,0.000015693076,0.0019400548,0.00024297215,0.00001709073,0.0000044195294,0.000018316543,0.0036364708],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999488,0.000032888816,0.00015806763,0.00006529291,0.00004771919,0.00020804178],"domain_scores_gemma":[0.99960214,0.000069085196,0.000037934875,0.00013189463,0.000077224424,0.00008173233],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019122142,0.00007773333,0.00016614661,0.000025635994,0.0005400016,0.000032029,0.00006514787,0.000011138239,0.00020374346],"category_scores_gemma":[0.000031263655,0.0000470654,0.00003192998,0.000040012274,0.00021212964,0.000045062097,0.0000063355687,0.000047967704,0.000013117807],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.0325833e-7,0.000002789365,0.000549776,0.0014059651,0.00003443432,0.000002206616,0.0016795668,8.0942336e-8,2.7542907e-7,0.8872988,0.012179081,0.09684661],"study_design_scores_gemma":[0.000032417414,0.000007442275,0.00006298439,0.000853967,0.000035079906,0.000007703003,0.00092610443,2.9653904e-7,0.0000024541332,0.0010652705,0.99694407,0.00006221361],"about_ca_topic_score_codex":0.015890062,"about_ca_topic_score_gemma":0.21748541,"teacher_disagreement_score":0.984765,"about_ca_system_score_codex":0.000017390743,"about_ca_system_score_gemma":0.00012597597,"threshold_uncertainty_score":0.99066323},"labels":[],"label_agreement":null},{"id":"W4380926051","doi":"10.3138/ctr.133.017","title":"Dance and Space at the New World Stage","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Visual arts; The arts; History; Media studies; Art history; Art; Sociology","score_opus":0.03686983459521901,"score_gpt":0.23036883240629105,"score_spread":0.19349899781107205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926051","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018394631,0.53266746,1.7999257e-7,0.020603428,0.00017656677,0.0002392674,0.000053748536,0.000019189949,0.4444007],"genre_scores_gemma":[0.05496654,0.43862194,0.000009996421,0.011082132,0.00087177724,0.000021897697,0.000009392274,0.000024825264,0.4943915],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993447,0.000028639675,0.00013248384,0.00014368002,0.00007743919,0.00027305936],"domain_scores_gemma":[0.9994257,0.000039227405,0.00003825601,0.00026644164,0.000019964073,0.00021042704],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009947532,0.00013740463,0.00022510762,0.00004322891,0.0009256687,0.000029835146,0.00012287853,0.000011435801,0.0048325453],"category_scores_gemma":[0.0000046901623,0.00008186459,0.0000619177,0.00006028282,0.00027546336,0.000089047004,0.000030233043,0.000095955926,0.00036065304],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002257284,0.0000021690732,0.0010543985,0.0003986819,0.00003112446,0.000020474437,0.0055807056,2.5886968e-7,3.4955397e-7,0.020102013,0.8920329,0.08077467],"study_design_scores_gemma":[0.00005601532,0.000011066688,0.00027654888,0.00050794025,0.000031688713,0.000018139843,0.0001683418,4.6082738e-7,0.0000025734848,0.000069774214,0.9987403,0.00011715247],"about_ca_topic_score_codex":0.060794856,"about_ca_topic_score_gemma":0.9036517,"teacher_disagreement_score":0.8428568,"about_ca_system_score_codex":0.00005275063,"about_ca_system_score_gemma":0.00016859466,"threshold_uncertainty_score":0.9960772},"labels":[],"label_agreement":null},{"id":"W4380926057","doi":"10.3138/ctr.137.fm","title":"Editorial","year":2009,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Passions; Aesthetics; Visual arts; Focus (optics); Sociology; Art; History; Literature","score_opus":0.014051785317813025,"score_gpt":0.23930131873646326,"score_spread":0.22524953341865023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926057","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[1.8502133e-8,0.18455532,1.1235971e-8,0.00068269006,0.5258208,0.0002267935,0.00063402636,0.000039069455,0.2880413],"genre_scores_gemma":[0.0000012760123,0.25066194,0.0000014790335,0.00091140525,0.7365219,0.00003544175,0.00056538876,0.000042859305,0.011258321],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997921,0.00006833681,0.00044369153,0.00038606787,0.00053221144,0.000648687],"domain_scores_gemma":[0.99845886,0.00014202888,0.00014896302,0.00055016286,0.0003159349,0.0003840191],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00036580957,0.00048994017,0.0009690142,0.00017007749,0.0005437937,0.0001770688,0.0005058791,0.00037912885,0.004139757],"category_scores_gemma":[0.000086564476,0.00038830377,0.00035424036,0.000058761594,0.00015782518,0.00014105797,0.00002451948,0.00087672676,0.0019443533],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000021781873,0.0000047893427,1.255527e-7,0.0014524047,0.00005884189,0.000006643214,0.00039576134,1.4780715e-8,5.1927516e-9,0.0005910258,0.9393365,0.058151737],"study_design_scores_gemma":[0.00009698273,0.00007561992,5.64585e-8,0.0059397444,0.00030964898,6.3432867e-7,0.00003979133,4.0327535e-8,3.906997e-8,0.0002373912,0.99284273,0.0004573272],"about_ca_topic_score_codex":0.07910612,"about_ca_topic_score_gemma":0.63738626,"teacher_disagreement_score":0.5582801,"about_ca_system_score_codex":0.00030358142,"about_ca_system_score_gemma":0.001689427,"threshold_uncertainty_score":0.9998569},"labels":[],"label_agreement":null},{"id":"W4380926073","doi":"10.3138/ctr.109.009","title":"“Performing Femininity” On Stage and Off","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Femininity; Masculinity; Gender studies; Aesthetics; Psychology; Sociology; Art","score_opus":0.050475379951751,"score_gpt":0.23511337270311056,"score_spread":0.18463799275135956,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926073","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048083854,0.24458382,2.2481384e-8,0.0028674975,0.00018278278,0.00018872862,0.00007056088,0.000025938329,0.74727225],"genre_scores_gemma":[0.49592176,0.45605132,0.0000071000477,0.011581316,0.0007351351,0.000036239184,0.0000113406495,0.00003211146,0.035623677],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992771,0.000023449387,0.00016491153,0.00015669208,0.00008009558,0.00029776452],"domain_scores_gemma":[0.9994931,0.000037792637,0.000035414916,0.0002044033,0.000023205415,0.00020604457],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012851616,0.00015481412,0.00026213858,0.000082116836,0.00047997248,0.000055158267,0.000093198614,0.000022764983,0.009404812],"category_scores_gemma":[0.000008244888,0.000116257936,0.000058862,0.000036467492,0.00012212417,0.0001111575,0.0000129568,0.00012418124,0.00063992816],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000012772576,0.000009628299,0.00028988376,0.0009885934,0.000036333277,0.000017257638,0.006107377,1.2959997e-7,1.7738647e-7,0.019379864,0.09079912,0.88237035],"study_design_scores_gemma":[0.00006901437,0.0000664705,0.000031277927,0.0013425266,0.000035886656,0.0000057882685,0.00057363766,0.000009551772,0.0000012954127,0.00003627439,0.99767435,0.00015390819],"about_ca_topic_score_codex":0.0062306486,"about_ca_topic_score_gemma":0.13718805,"teacher_disagreement_score":0.90687525,"about_ca_system_score_codex":0.000046407804,"about_ca_system_score_gemma":0.000027351207,"threshold_uncertainty_score":0.99150074},"labels":[],"label_agreement":null},{"id":"W4380926088","doi":"10.3138/ctr.140.013","title":"View and Reviews","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Perspective (graphical); Field (mathematics); Media studies; National identity; Relevance (law); Section (typography); Performance art; Performance studies; Identity (music); Sociology; Visual arts; History; Aesthetics; Political science; Art; Advertising; Art history; Law; Politics; Anthropology","score_opus":0.036198009137616775,"score_gpt":0.24803738683583357,"score_spread":0.21183937769821679,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926088","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000058387966,0.6286068,1.3008656e-7,0.007754136,0.00009588455,0.00026469558,0.000012710849,0.000016433178,0.3631908],"genre_scores_gemma":[0.017519359,0.9504265,0.000015685584,0.028145585,0.00045158638,0.000019198289,0.00000976747,0.000008661205,0.0034036427],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992771,0.000040393614,0.00022627693,0.00014659904,0.000050526465,0.0002590844],"domain_scores_gemma":[0.99950427,0.000011289706,0.00004083188,0.00020910012,0.000025080855,0.00020940756],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023205996,0.00014966431,0.00039893438,0.00005278894,0.0002964371,0.000048550453,0.00009875559,0.000017312472,0.0022265366],"category_scores_gemma":[0.000008262161,0.00010360475,0.00008459112,0.000042742682,0.00007672789,0.00011744879,0.00000658037,0.000082917286,0.00050723745],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[3.4770994e-7,0.0000026376001,0.000019380552,0.00067820493,0.0000069786893,0.0000032523742,0.00080252753,3.4363175e-9,2.0469417e-7,0.020399323,0.124280736,0.85380644],"study_design_scores_gemma":[0.000037126392,0.000040250296,0.000059729362,0.002921604,0.000060172602,0.0000101761225,0.00005250859,2.695954e-7,3.449605e-7,0.00063232455,0.9960472,0.00013829609],"about_ca_topic_score_codex":0.0050773527,"about_ca_topic_score_gemma":0.13726503,"teacher_disagreement_score":0.87176645,"about_ca_system_score_codex":0.000030544732,"about_ca_system_score_gemma":0.000054199674,"threshold_uncertainty_score":0.99868554},"labels":[],"label_agreement":null},{"id":"W4380926091","doi":"10.3138/ctr.139.009","title":"The Modern in Modern Times","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Enlightenment; Modernity; Postmodernism; Skepticism; Humanism; Aesthetics; Morality; Public sphere; Modernism (music); The arts; Democracy; Sociology; Philosophy; Art; Law; Politics; Literature; Political science; Epistemology","score_opus":0.023298629847539627,"score_gpt":0.23248586102509877,"score_spread":0.20918723117755914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926091","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031724427,0.40918458,4.7075844e-7,0.014988021,0.000127787,0.00023672251,0.000017973145,0.000020818037,0.5751064],"genre_scores_gemma":[0.7362454,0.23835377,0.000005103473,0.010466507,0.00049423164,0.00003459241,0.000011089506,0.000017991388,0.014371335],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916637,0.000037391772,0.00020750097,0.00013295758,0.000083265724,0.00037253773],"domain_scores_gemma":[0.9995239,0.000033419612,0.000031059615,0.00026745957,0.000029040362,0.00011513085],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020938719,0.00013679432,0.00023123506,0.000055975994,0.00045011926,0.00007497579,0.00021142159,0.000020486603,0.00043853713],"category_scores_gemma":[0.00000619019,0.000082399056,0.000085042695,0.000048026097,0.00008874456,0.00010622113,0.000008098254,0.00012371877,0.00017578185],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017173701,0.000004935464,0.000035153127,0.000090091635,0.000011170054,0.000006325646,0.003192512,0.0000017587774,2.3128821e-7,0.025670998,0.038176354,0.93280876],"study_design_scores_gemma":[0.00005575406,0.000024115561,0.00006806232,0.00073144265,0.000020313855,0.0000030832232,0.00018534527,0.00008281529,4.999449e-7,0.020669272,0.97803605,0.00012322498],"about_ca_topic_score_codex":0.01271828,"about_ca_topic_score_gemma":0.58627045,"teacher_disagreement_score":0.9398597,"about_ca_system_score_codex":0.00007345312,"about_ca_system_score_gemma":0.00012856271,"threshold_uncertainty_score":0.99385613},"labels":[],"label_agreement":null},{"id":"W4380926100","doi":"10.3138/ctr.123.004","title":"Canadian Actors’ Equity: Recognize What Is “Canadian” about Theatre Practice in This Country","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Equity (law); Political science; Sociology; Media studies; Public relations; History; Law","score_opus":0.030141388206016737,"score_gpt":0.27799925698137784,"score_spread":0.2478578687753611,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926100","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018241524,0.36290282,2.34304e-8,0.06233889,0.00071421795,0.00060487457,0.0005423015,0.00003102271,0.57268345],"genre_scores_gemma":[0.07995599,0.7438755,0.000035913923,0.16104361,0.0021315739,0.00013590082,0.00019683359,0.00011336192,0.012511301],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965423,0.00017376403,0.00067190256,0.00056371617,0.0003154958,0.0017328172],"domain_scores_gemma":[0.9968354,0.00017809302,0.00014524955,0.00074122753,0.00022045053,0.0018795517],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00092399196,0.00054061133,0.00080028956,0.0006888532,0.000989278,0.0006782844,0.0006320101,0.0001912412,0.030709252],"category_scores_gemma":[0.00006173535,0.0004787611,0.00021490462,0.00034784267,0.00020464536,0.002057252,0.000045324072,0.0006181858,0.0032405183],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004170256,0.000012651772,0.00024093212,0.0004298849,0.00009350887,0.00008113916,0.0104750525,4.8789735e-7,1.0054856e-7,0.0023059882,0.26618564,0.72017044],"study_design_scores_gemma":[0.00019575855,0.000039362458,0.000044284792,0.0044177626,0.00019041827,0.000043807548,0.004833728,0.0000057578372,0.0000015366563,0.0001490981,0.9894817,0.0005967907],"about_ca_topic_score_codex":0.99407965,"about_ca_topic_score_gemma":0.99995196,"teacher_disagreement_score":0.72329605,"about_ca_system_score_codex":0.0026985146,"about_ca_system_score_gemma":0.0051419744,"threshold_uncertainty_score":0.9997664},"labels":[],"label_agreement":null},{"id":"W4380926103","doi":"10.3138/ctr.133.018","title":"Three Worlds, Three Scales","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scale (ratio); Opera; Visual arts; Event (particle physics); Literal (mathematical logic); Art; Performance art; Aesthetics; Geography; Cartography; Computer science; Art history; Physics","score_opus":0.04582996226830715,"score_gpt":0.2319813444584188,"score_spread":0.18615138219011165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926103","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017975193,0.44953066,0.0000029925623,0.0053978,0.00046144484,0.00037039048,0.00009239631,0.00007252444,0.5422743],"genre_scores_gemma":[0.5107625,0.4574055,0.00009598995,0.016575243,0.0041458593,0.00018092955,0.000089416964,0.000111710215,0.010632803],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989647,0.000016521237,0.0002467796,0.00020162642,0.00012947418,0.00044085452],"domain_scores_gemma":[0.9992326,0.0000292164,0.000046941008,0.00036455222,0.00006282441,0.00026386834],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012629543,0.00020921208,0.00038949988,0.000101410995,0.000856001,0.000033565666,0.00023887701,0.000029107958,0.0048288237],"category_scores_gemma":[0.0000063259363,0.00015589189,0.0001687675,0.00007851517,0.00032644585,0.00014937083,0.000022286447,0.00014120874,0.0015806587],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000034998773,0.000016081896,0.0064644576,0.0010611456,0.00011276067,0.000080704165,0.0021749348,2.7230269e-7,2.9127236e-7,0.047800053,0.56165755,0.38062823],"study_design_scores_gemma":[0.000069955764,0.000025200998,0.0009761109,0.0010071881,0.000049997267,0.000031307452,0.000071351235,0.0000018631682,6.9501306e-7,0.0011651231,0.9963831,0.00021812785],"about_ca_topic_score_codex":0.0589167,"about_ca_topic_score_gemma":0.9558031,"teacher_disagreement_score":0.89688635,"about_ca_system_score_codex":0.000073148396,"about_ca_system_score_gemma":0.00019031567,"threshold_uncertainty_score":0.9991967},"labels":[],"label_agreement":null},{"id":"W4380926127","doi":"10.3138/ctr.107.004","title":"Lighting from Character: The Art of Jeffrey Dallas","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Shadow (psychology); Apprenticeship; Visual arts; Style (visual arts); Scholarship; Character (mathematics); Art; Art history; Drama; Performing arts; Aesthetics; History; Archaeology; Psychology; Law","score_opus":0.02774396557471148,"score_gpt":0.2231009885410554,"score_spread":0.1953570229663439,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926127","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0065757087,0.23930027,3.8463673e-7,0.013771394,0.0004812419,0.0003185,0.00016084689,0.000025219526,0.7393665],"genre_scores_gemma":[0.5269806,0.4348849,0.000016388718,0.013858177,0.0032015794,0.000064041866,0.00013144451,0.000051969775,0.020810924],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919385,0.000045863308,0.0002696158,0.00013076545,0.00009753162,0.0002623571],"domain_scores_gemma":[0.9993463,0.00007224549,0.00008870476,0.00033015455,0.000054895674,0.000107693544],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018933816,0.00013942305,0.00031942938,0.00004421904,0.00033155142,0.00003868692,0.00023413636,0.000021349548,0.0070098],"category_scores_gemma":[0.0000101794485,0.0000821966,0.00012977634,0.000055006934,0.00012997254,0.00009905297,0.0000190527,0.00010940573,0.0006811236],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008350515,0.000024184856,0.0046847314,0.00097428245,0.00029317592,0.00003031999,0.014155536,3.5468022e-7,0.000011926352,0.020219298,0.31261286,0.646985],"study_design_scores_gemma":[0.000047673904,0.000016550892,0.0002890687,0.0014658344,0.000086059634,0.00000422044,0.00039658658,0.0000019469674,0.0000064223595,0.00018309575,0.9973963,0.00010625919],"about_ca_topic_score_codex":0.049519546,"about_ca_topic_score_gemma":0.5021554,"teacher_disagreement_score":0.7185555,"about_ca_system_score_codex":0.000033706332,"about_ca_system_score_gemma":0.000094566785,"threshold_uncertainty_score":0.9938979},"labels":[],"label_agreement":null},{"id":"W4380926129","doi":"10.3138/ctr.136.019","title":"Boom or Bust? A Survey of Theatre for Young Audiences Activities in Alberta","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bust; Boom; Census; Baby boom; Work (physics); Geography; Storm; Economic history; History; Demographic economics; Demography; Economy; Economic growth; Sociology; Meteorology; Engineering; Economics; Population","score_opus":0.0668419792674021,"score_gpt":0.2644980752862276,"score_spread":0.1976560960188255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926129","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07518721,0.33613324,0.0000018035049,0.0041253967,0.001254867,0.00270414,0.0016817446,0.000047514084,0.5788641],"genre_scores_gemma":[0.88080597,0.11067476,0.000013857213,0.0006270776,0.0002021215,0.00014138082,0.000047875455,0.000025315272,0.00746161],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987645,0.00008972685,0.00038782446,0.00021496786,0.00010947742,0.00043350057],"domain_scores_gemma":[0.9990899,0.00034851008,0.000103225255,0.0002534886,0.00008093806,0.00012392124],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037027022,0.00021428081,0.0006426121,0.00015578624,0.00037387796,0.000020379837,0.00023007201,0.000039383576,0.00089473475],"category_scores_gemma":[0.000047334164,0.00014500604,0.00013023574,0.00013679772,0.0003309615,0.0002090934,0.00001790833,0.00009422287,0.00002213014],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037953572,0.00024126687,0.15887314,0.017078143,0.0006693113,0.000089665395,0.12555754,0.000008691705,0.000003991583,0.019933196,0.27419767,0.40296787],"study_design_scores_gemma":[0.00025157075,0.00016436422,0.004241824,0.0025508474,0.00006329531,0.000022759334,0.0015131232,0.0000072156336,0.000007851485,0.00010344014,0.9907691,0.00030461626],"about_ca_topic_score_codex":0.6188222,"about_ca_topic_score_gemma":0.993301,"teacher_disagreement_score":0.80561876,"about_ca_system_score_codex":0.00007844464,"about_ca_system_score_gemma":0.0005445549,"threshold_uncertainty_score":0.9796718},"labels":[],"label_agreement":null},{"id":"W4380926138","doi":"10.3138/ctr.135.026","title":"eARTh Project","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performing arts; Drama; Ballet; Visual arts; Supporter; Art; Dance; Opera; Media studies; Art history; History; Management; Sociology","score_opus":0.05561540366091605,"score_gpt":0.24450288262280184,"score_spread":0.1888874789618858,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926138","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010280593,0.19976184,1.2324006e-7,0.0017556971,0.000261197,0.0003120832,0.000057884085,0.00004470043,0.79677844],"genre_scores_gemma":[0.2590053,0.6543653,0.00004302574,0.017421342,0.0023007167,0.00013804971,0.00006399129,0.000059675367,0.06660258],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993031,0.000027479771,0.00015649621,0.0001310043,0.00008096424,0.00030095901],"domain_scores_gemma":[0.99957526,0.000013435268,0.000027861177,0.00021179521,0.000043516953,0.00012812951],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000087001405,0.00012845518,0.00024732552,0.00008183693,0.00056355086,0.0000192284,0.00012153273,0.000016742653,0.003359576],"category_scores_gemma":[0.000004911038,0.00009357074,0.00010354099,0.00005680741,0.00015936232,0.00010992733,0.000009966352,0.00008789539,0.0010848318],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002531631,0.000014243838,0.00062849186,0.0013542717,0.00008104162,0.00009108731,0.011226115,1.0887696e-7,4.826698e-7,0.024924321,0.7878895,0.17378783],"study_design_scores_gemma":[0.00004661542,0.000027560021,0.00005808166,0.0006225343,0.000027866316,0.000037120793,0.00017592873,5.0460187e-7,0.0000015815889,0.00003984564,0.9988294,0.00013294298],"about_ca_topic_score_codex":0.0628612,"about_ca_topic_score_gemma":0.47491705,"teacher_disagreement_score":0.73017585,"about_ca_system_score_codex":0.000029791294,"about_ca_system_score_gemma":0.0003233944,"threshold_uncertainty_score":0.9996929},"labels":[],"label_agreement":null},{"id":"W4380926164","doi":"10.3138/ctr.135.008","title":"Telling an Old Story in a New Way: One Reed Theatre Ensemble Devises an Alternative Perspective on a Conflicted History","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Narrative; Perspective (graphical); Visual arts; Performance art; Power (physics); Performance studies; Art; Media studies; Art history; Sociology; History; Literature","score_opus":0.09008455973589381,"score_gpt":0.26277867855888504,"score_spread":0.17269411882299124,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926164","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04470122,0.40847978,0.0000020640782,0.0035071992,0.00062769064,0.0012764507,0.00011453972,0.00014624977,0.54114485],"genre_scores_gemma":[0.7530948,0.22018641,0.00006745905,0.0108471,0.002377856,0.0000914113,0.00008661435,0.00012669043,0.013121675],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99814916,0.0002467481,0.00034217574,0.00049036706,0.00021652311,0.0005550254],"domain_scores_gemma":[0.9986144,0.00008240432,0.00011754208,0.0005086724,0.00014754623,0.00052948354],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002713575,0.00036780917,0.0006980068,0.00035208825,0.0005082681,0.00003088219,0.0003101865,0.00006569708,0.0017137182],"category_scores_gemma":[0.000018766712,0.00032054054,0.00014637217,0.00010061009,0.0002955946,0.00041073782,0.000016368474,0.00041827542,0.00016996647],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018887297,0.0005574543,0.0008157747,0.0012700284,0.0004942035,0.00051805546,0.48512843,0.000034565124,0.000028420269,0.19320586,0.061591342,0.256167],"study_design_scores_gemma":[0.00039693818,0.00043690027,0.00023104185,0.0025010982,0.000093651266,0.00001972342,0.0058185672,0.000022352055,0.000013190103,0.00047636076,0.9895249,0.00046528986],"about_ca_topic_score_codex":0.31685975,"about_ca_topic_score_gemma":0.7804875,"teacher_disagreement_score":0.9279336,"about_ca_system_score_codex":0.0016675919,"about_ca_system_score_gemma":0.001074972,"threshold_uncertainty_score":0.99992466},"labels":[],"label_agreement":null},{"id":"W4380926165","doi":"10.3138/ctr.116.011","title":"FemFest","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Caucus; Outreach; Publishing; Performance art; Media studies; Art; Art history; History; Visual arts; Library science; Political science; Sociology; Law; Literature","score_opus":0.03338324674170506,"score_gpt":0.23301929847949343,"score_spread":0.19963605173778837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926165","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00015339033,0.22198866,1.8059832e-7,0.0017347009,0.00035061067,0.00014751856,0.000025853746,0.000022891178,0.7755762],"genre_scores_gemma":[0.602021,0.31599668,0.000043139484,0.029905163,0.0012565147,0.0001129227,0.000038746195,0.000070614115,0.050555237],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934125,0.000039597915,0.00014565761,0.0001189872,0.0000613451,0.00029314627],"domain_scores_gemma":[0.9995234,0.000016403976,0.000024759154,0.00021061116,0.00003640202,0.00018843035],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001570226,0.00012024856,0.00021379646,0.00005389495,0.0003474532,0.000038779748,0.00009656675,0.00001627992,0.011472919],"category_scores_gemma":[0.00001096781,0.00009036829,0.000087404675,0.00004295808,0.000088553286,0.000083830775,0.0000041968233,0.00007735351,0.0016283947],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[6.034765e-7,0.000009973963,0.00044781851,0.001100045,0.000056375375,0.000018806973,0.0026113456,1.2527276e-7,3.3027862e-7,0.4895605,0.3586318,0.14756228],"study_design_scores_gemma":[0.000039898645,0.000014481399,0.000013608821,0.000633755,0.000039323553,0.00000912612,0.0002729045,1.1512172e-7,0.0000021051515,0.0005108785,0.99833626,0.00012753066],"about_ca_topic_score_codex":0.017499903,"about_ca_topic_score_gemma":0.45756626,"teacher_disagreement_score":0.72502095,"about_ca_system_score_codex":0.00005166229,"about_ca_system_score_gemma":0.00016693992,"threshold_uncertainty_score":0.99914896},"labels":[],"label_agreement":null},{"id":"W4380926185","doi":"10.3138/ctr.118.007","title":"Black Theatre Aesthetics","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aesthetics; Art","score_opus":0.0271324689180819,"score_gpt":0.23297076021914634,"score_spread":0.20583829130106443,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926185","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012293675,0.1682908,0.0000012062656,0.017138895,0.00040271482,0.00040827715,0.000097719516,0.00007534565,0.8123557],"genre_scores_gemma":[0.6566029,0.3087942,0.000061552964,0.02478245,0.0018611291,0.00006924701,0.00007561696,0.000099513694,0.007653341],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889636,0.000028249711,0.00026125356,0.0002087532,0.00012794552,0.0004774256],"domain_scores_gemma":[0.9991901,0.000013966041,0.00004929799,0.00038745342,0.00006213511,0.00029703233],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015335069,0.00023218818,0.0003658639,0.00009428374,0.00042659882,0.00007162908,0.00024204905,0.00003818823,0.0027819667],"category_scores_gemma":[0.000003673534,0.00017335344,0.00017911762,0.000076512464,0.00030538053,0.00013319691,0.000019030093,0.00015803131,0.002448818],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000057256825,0.00005536958,0.00020832854,0.0027841732,0.00016349975,0.00009636144,0.020020947,0.000019511152,0.0000012087729,0.29816508,0.14118096,0.53729886],"study_design_scores_gemma":[0.00014113703,0.000054341544,0.000011372942,0.0018516444,0.000091918206,0.000016153668,0.0006905215,5.4248784e-7,0.000004057765,0.002745098,0.99415606,0.00023713491],"about_ca_topic_score_codex":0.036054835,"about_ca_topic_score_gemma":0.4801297,"teacher_disagreement_score":0.85297513,"about_ca_system_score_codex":0.00015773381,"about_ca_system_score_gemma":0.0003231692,"threshold_uncertainty_score":0.9983279},"labels":[],"label_agreement":null},{"id":"W4380926189","doi":"10.3138/ctr.132.004","title":"Tributes of Another Order","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Privilege (computing); Drama; Position (finance); Order (exchange); Media studies; Sociology; History; Political science; Law; Visual arts; Art","score_opus":0.027466028405636868,"score_gpt":0.24340171333208935,"score_spread":0.2159356849264525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926189","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00074717164,0.26080027,0.0000051762268,0.0019976147,0.00025427857,0.0002275441,0.00008927634,0.000020057063,0.7358586],"genre_scores_gemma":[0.76928973,0.18271396,0.00013150608,0.019608548,0.0019443316,0.000031148444,0.000067069705,0.00008413748,0.026129583],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993214,0.000014305534,0.00023019273,0.00009130496,0.000072041905,0.00027075416],"domain_scores_gemma":[0.99954575,0.000035686404,0.00005054295,0.00017951305,0.00009466012,0.00009383895],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030555367,0.000104763996,0.00026730055,0.00008150118,0.00013677188,0.000011099511,0.000110328736,0.00002020193,0.005840702],"category_scores_gemma":[0.000009604148,0.000075659475,0.00008187527,0.00007660835,0.00012323835,0.00006406958,0.0000076338,0.000057871348,0.00018188378],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008144696,0.00002549403,0.001423061,0.0026422595,0.00014931605,0.000015606527,0.0061712684,2.0416705e-7,0.000008166224,0.07194321,0.2145207,0.7030926],"study_design_scores_gemma":[0.00005904432,0.000025915455,0.00008970472,0.0008315953,0.00004501317,0.0000023600064,0.00031732264,1.8476372e-7,0.00003304159,0.0001541128,0.9983448,0.00009695473],"about_ca_topic_score_codex":0.030018846,"about_ca_topic_score_gemma":0.54008585,"teacher_disagreement_score":0.783824,"about_ca_system_score_codex":0.00003343717,"about_ca_system_score_gemma":0.000107976804,"threshold_uncertainty_score":0.9950681},"labels":[],"label_agreement":null},{"id":"W4380926200","doi":"10.3138/ctr.119.003","title":"<i>The Talking Creature:</i> Adventures with Audiences","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mistake; Humility; Adventure; Active listening; Event (particle physics); Visual arts; Media studies; Front (military); Aesthetics; Art; Sociology; Psychology; Communication; Art history; Law; Engineering; Political science","score_opus":0.011788743696694299,"score_gpt":0.21282109363057838,"score_spread":0.20103234993388408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926200","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00047510795,0.51130074,6.7453544e-7,0.013711603,0.00034143124,0.00030338878,0.000027021415,0.00003749017,0.47380254],"genre_scores_gemma":[0.64024365,0.341575,0.000030666422,0.011708652,0.0013724862,0.00012271413,0.000018585792,0.000040011604,0.004888232],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991523,0.000021840475,0.00015602354,0.0001534022,0.00012613129,0.00039028178],"domain_scores_gemma":[0.99946195,0.000035041052,0.000054381435,0.00023786389,0.000053753844,0.00015698552],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00015769813,0.00016497175,0.00021588444,0.000036747653,0.00141462,0.000121450714,0.00022788033,0.000018672754,0.00029882675],"category_scores_gemma":[0.0000066574353,0.00008173447,0.00008452628,0.00006981858,0.00033397722,0.00012651349,0.0000124652,0.00013318987,0.00012514029],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018505509,0.000022423894,0.00037729333,0.0015642704,0.0002747445,0.00008800599,0.013797418,0.000014505555,0.0000011426965,0.39685854,0.09249694,0.4944862],"study_design_scores_gemma":[0.00008349347,0.00005872979,0.000043549517,0.0020885426,0.00006960118,0.00001897692,0.00083309005,8.346903e-8,0.0000036578142,0.0009813022,0.99567544,0.00014350069],"about_ca_topic_score_codex":0.030960202,"about_ca_topic_score_gemma":0.8243423,"teacher_disagreement_score":0.9031785,"about_ca_system_score_codex":0.000079420475,"about_ca_system_score_gemma":0.00025227675,"threshold_uncertainty_score":0.9998854},"labels":[],"label_agreement":null},{"id":"W4380926212","doi":"10.3138/ctr.140.016","title":"A Global Perspective on Theatre for Social Change","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Perspective (graphical); Racism; Sociology; Politics; Diversity (politics); Field (mathematics); Refugee; Variety (cybernetics); Theatre studies; Media studies; Social science; Visual arts; Gender studies; Art; Political science; Anthropology; Law","score_opus":0.06852592380766862,"score_gpt":0.30249663819412576,"score_spread":0.23397071438645714,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926212","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001883783,0.12301355,5.9280455e-7,0.0518063,0.00036101718,0.0010836745,0.0007672476,0.000060002218,0.8227192],"genre_scores_gemma":[0.86852276,0.03948474,0.000019921088,0.07995596,0.008933099,0.00039155365,0.00008955768,0.000042874748,0.0025595021],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902976,0.00003065415,0.00016427951,0.00023110707,0.00009916508,0.00044502606],"domain_scores_gemma":[0.9995058,0.000020460155,0.000046712943,0.00016912605,0.00009755955,0.0001603227],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012208057,0.00021571922,0.0003730555,0.000060111983,0.00072238443,0.0000565329,0.00016587383,0.000040107276,0.0006757087],"category_scores_gemma":[0.0000054503203,0.00016377307,0.0002476588,0.00007294174,0.00008917785,0.00011479839,0.000006120162,0.0000762801,0.00015427753],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013637076,0.000019777171,0.000020126803,0.00023980514,0.000046576224,0.000004486924,0.008616592,3.6329695e-8,3.9244213e-8,0.43253914,0.11942264,0.43907717],"study_design_scores_gemma":[0.00016364253,0.00023430568,0.00019217559,0.0007190243,0.000102890524,0.0000033148888,0.0017268369,0.0000010095531,2.405057e-7,0.0065641943,0.99008274,0.00020961839],"about_ca_topic_score_codex":0.027017685,"about_ca_topic_score_gemma":0.37088168,"teacher_disagreement_score":0.8706601,"about_ca_system_score_codex":0.0004793873,"about_ca_system_score_gemma":0.00013411554,"threshold_uncertainty_score":0.9794615},"labels":[],"label_agreement":null},{"id":"W4380926222","doi":"10.3138/ctr.125.005","title":"<i>I Forget</i>, I Remember: A Canadian Director in the Serbian Theatre","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Serbian; State (computer science); Performance art; Media studies; Visual arts; Political science; Management; Sociology; History; Art; Art history; Computer science","score_opus":0.01926453455833004,"score_gpt":0.21654758015476136,"score_spread":0.1972830455964313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926222","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016403345,0.1538594,3.9590724e-8,0.024150241,0.00036655465,0.00074488943,0.0002514858,0.000034062024,0.818953],"genre_scores_gemma":[0.93923944,0.029719926,0.000009243289,0.022698883,0.0018116937,0.00021261437,0.00015288983,0.00006103103,0.0060942504],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99809283,0.00014060846,0.00040421143,0.0002875866,0.00019071158,0.00088402495],"domain_scores_gemma":[0.99902105,0.00007026837,0.00006032773,0.0004967274,0.0000565833,0.0002950306],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00054142287,0.00030951697,0.00044653806,0.00024711172,0.0007470264,0.00014474582,0.00047918982,0.00005829089,0.0014407553],"category_scores_gemma":[0.0000074617606,0.00020135951,0.00019607302,0.00022890868,0.00016788192,0.00018510885,0.0000140121065,0.0002682202,0.00035034123],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000051440043,0.000038194055,0.005635325,0.0014345511,0.00006853258,0.0002034826,0.008885455,0.0000028322736,0.0000011241403,0.06923235,0.7450763,0.16941671],"study_design_scores_gemma":[0.00010758727,0.00002407953,0.0005949299,0.0011187438,0.00006814971,0.00002077014,0.00092528376,0.0000023345776,0.0000012436917,0.00068451,0.99617356,0.00027878748],"about_ca_topic_score_codex":0.9690539,"about_ca_topic_score_gemma":0.99980116,"teacher_disagreement_score":0.9375991,"about_ca_system_score_codex":0.00029705142,"about_ca_system_score_gemma":0.0006414089,"threshold_uncertainty_score":0.9994721},"labels":[],"label_agreement":null},{"id":"W4380926223","doi":"10.3138/ctr.132.001","title":"Dispelling the Myth of Equality: A Report on the Status of Women in Canadian Theatre","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Caucus; Mandate; Political science; The arts; Gender studies; Public relations; Sociology; Law","score_opus":0.0425911888653453,"score_gpt":0.2703752754460884,"score_spread":0.22778408658074312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926223","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06392746,0.106706895,4.2117895e-7,0.016854526,0.00036730123,0.0010682017,0.0002968744,0.000012574516,0.81076574],"genre_scores_gemma":[0.96221095,0.031220471,0.0000018388491,0.0053554373,0.00020603304,0.000027710472,0.0000146371185,0.000021618442,0.00094128656],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974535,0.00012185437,0.0006529914,0.0001857598,0.0002061448,0.0013797514],"domain_scores_gemma":[0.9982909,0.00028050487,0.00018905602,0.0006146949,0.00007974064,0.0005451251],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002961045,0.00019895783,0.0005183418,0.00019484207,0.00030667498,0.000025496784,0.0003040695,0.0000385969,0.0010330732],"category_scores_gemma":[0.000073215626,0.00010446571,0.00014720707,0.00020246195,0.00032535923,0.000061634484,0.000017514103,0.00022937733,0.000031702075],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055870856,0.00008141911,0.026071658,0.004078271,0.0004914972,0.00026130996,0.15659717,0.0000150737305,0.000003627919,0.33264568,0.029108386,0.45059004],"study_design_scores_gemma":[0.00006307477,0.000051795974,0.00069559814,0.0015800766,0.000040025785,0.000007952298,0.0076815356,0.0000019199979,0.00000844487,0.0005477671,0.9891927,0.00012909365],"about_ca_topic_score_codex":0.94327015,"about_ca_topic_score_gemma":0.99589247,"teacher_disagreement_score":0.9600843,"about_ca_system_score_codex":0.0007841465,"about_ca_system_score_gemma":0.0013116098,"threshold_uncertainty_score":0.99988014},"labels":[],"label_agreement":null},{"id":"W4380926234","doi":"10.3138/ctr.120.002","title":"Technologies of the Monstrous: Notes on the Daniels’s <i>Monster</i> Trilogy","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Trilogy; Performing arts; Narrative; Storytelling; Art; Aesthetics; Improvisation; Visual arts; Literature; History","score_opus":0.030856402949754967,"score_gpt":0.21940896186603726,"score_spread":0.18855255891628228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926234","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019385092,0.3471995,0.0000014695476,0.1483434,0.0008717592,0.0017147473,0.00037055122,0.00015272715,0.48196074],"genre_scores_gemma":[0.9600831,0.034925234,0.000004582188,0.0044987574,0.00012417794,0.000045058183,0.0000026164685,0.0000141464225,0.00030228565],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991888,0.000045955723,0.00023238634,0.00013694951,0.00010689982,0.00028902132],"domain_scores_gemma":[0.9991843,0.00010514738,0.00008807786,0.0005417798,0.000042050273,0.000038650778],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017079603,0.00016828605,0.00029955266,0.000055782,0.00048168885,0.000026180858,0.00047150065,0.00003732996,0.00022366914],"category_scores_gemma":[0.000043603264,0.000074008254,0.00017983557,0.00010100772,0.00061053835,0.000049330843,0.00004252688,0.00018803692,0.00008786207],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009061411,0.000050409308,0.0015819973,0.0009208974,0.00024677897,0.000006774967,0.0055708536,0.000010690784,0.0000119699,0.5847524,0.056987863,0.34985036],"study_design_scores_gemma":[0.00010478581,0.00006885823,0.00008136144,0.0022836332,0.00009574009,0.000011397984,0.0014529009,1.8710101e-7,0.00020832322,0.0036251054,0.9919312,0.00013649683],"about_ca_topic_score_codex":0.020072296,"about_ca_topic_score_gemma":0.22603987,"teacher_disagreement_score":0.940698,"about_ca_system_score_codex":0.000066764034,"about_ca_system_score_gemma":0.00018648106,"threshold_uncertainty_score":0.9864531},"labels":[],"label_agreement":null},{"id":"W4380926244","doi":"10.3138/ctr.138.006","title":"Bridging the Gaps: The Puppets Up! International Puppet Festival","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Puppetry; Adventure; Visual arts; Art; Space (punctuation); Performance art; Aesthetics; Art history; Computer science","score_opus":0.02659007454463322,"score_gpt":0.25065906619026695,"score_spread":0.22406899164563374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926244","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010918173,0.16651925,0.0000012025757,0.22722434,0.001769361,0.0004564708,0.000094435556,0.000048826303,0.6027943],"genre_scores_gemma":[0.84296393,0.09026621,0.000003981759,0.04728619,0.0037938475,0.000043687753,0.000041530526,0.000022425644,0.015578163],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906933,0.00006208003,0.00021572382,0.00015114673,0.00016039012,0.00034135045],"domain_scores_gemma":[0.9993907,0.000049227612,0.00006041653,0.00032840768,0.000063454456,0.0001077452],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003327221,0.00016538575,0.00020086106,0.00004846554,0.000912276,0.00017223439,0.00049372273,0.000017577377,0.0023302282],"category_scores_gemma":[0.000019752537,0.00008104258,0.00014444972,0.00005749504,0.00017627496,0.00014404411,0.000022472124,0.00019605963,0.00039996466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002320556,0.0000052297146,0.00010829809,0.00007792634,0.000057915728,0.000008371444,0.0036375318,8.094307e-7,4.5805618e-7,0.047731277,0.3332971,0.6150728],"study_design_scores_gemma":[0.000058870333,0.000020005775,0.00040382767,0.0008356857,0.000058982256,0.000029108114,0.00051086314,0.000010474122,0.0000016479877,0.00060772256,0.9973423,0.00012051153],"about_ca_topic_score_codex":0.008715727,"about_ca_topic_score_gemma":0.11501169,"teacher_disagreement_score":0.84187216,"about_ca_system_score_codex":0.00007849401,"about_ca_system_score_gemma":0.00014313876,"threshold_uncertainty_score":0.99858177},"labels":[],"label_agreement":null},{"id":"W4380926253","doi":"10.3138/ctr.123.011","title":"Bridges and Boundaries: Locating Work and Process","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Context (archaeology); Dance; Sociology; Work (physics); Visual arts; Aesthetics; Pedagogy; Art; History; Engineering","score_opus":0.021820947487222485,"score_gpt":0.2412413228485809,"score_spread":0.21942037536135842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926253","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025552087,0.83312064,4.46802e-7,0.022232542,0.00013307692,0.00032122448,0.00003689479,0.000040412277,0.118562676],"genre_scores_gemma":[0.91765213,0.075586416,0.000014350573,0.00468744,0.0006005602,0.00002686531,0.0000063411326,0.000015941878,0.0014099319],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994014,0.000015124153,0.00014777377,0.0001448398,0.000053107084,0.0002377438],"domain_scores_gemma":[0.99963814,0.000021686159,0.00003279957,0.00010716136,0.000038425907,0.00016177709],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012872215,0.0001257939,0.00022559866,0.000042974472,0.0007385616,0.00020646135,0.000060620227,0.00001731019,0.00044255494],"category_scores_gemma":[0.000009099002,0.00009646718,0.000024013716,0.00003717751,0.00034285348,0.0001632208,0.000012723235,0.00007834276,0.00003675882],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000018904656,0.000003703986,0.0020658227,0.002233787,0.00003325836,0.000002756816,0.014779991,3.707767e-7,3.5148467e-8,0.011202881,0.018421914,0.9512536],"study_design_scores_gemma":[0.000048859412,0.000014537985,0.00015723755,0.001661605,0.0000459976,0.00000784639,0.0010805326,0.0000028323188,7.589628e-7,0.00008431239,0.9967626,0.00013289417],"about_ca_topic_score_codex":0.0074456297,"about_ca_topic_score_gemma":0.35019514,"teacher_disagreement_score":0.9783407,"about_ca_system_score_codex":0.000031432653,"about_ca_system_score_gemma":0.0001359494,"threshold_uncertainty_score":0.99916387},"labels":[],"label_agreement":null},{"id":"W4380926264","doi":"10.3138/ctr.107.009","title":"Lighting in Miniature","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Metaphor; Visual arts; Aesthetics; Frontier; Art; Individualism; Sociology; Law; Political science; Philosophy","score_opus":0.02585528785038547,"score_gpt":0.2350634125891291,"score_spread":0.20920812473874364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926264","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028878949,0.28266814,3.726318e-8,0.0072085354,0.00024146952,0.00017310037,0.000016101914,0.000020056552,0.70678467],"genre_scores_gemma":[0.57695866,0.38750204,0.00001832997,0.017030774,0.0017256946,0.000063647385,0.000032620716,0.00003920774,0.016629005],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928826,0.000025352047,0.00018264877,0.00012680782,0.0000582574,0.00031866645],"domain_scores_gemma":[0.99964166,0.000019354562,0.000028154302,0.00016350648,0.00002396956,0.00012335512],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014703425,0.000118077056,0.0002404573,0.00010336288,0.00018283146,0.00003366869,0.00011873618,0.00002513738,0.0033744595],"category_scores_gemma":[0.000007149585,0.00008950475,0.000068124784,0.0000844174,0.000048411053,0.000101774174,0.000009294681,0.00012497848,0.00041704756],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000047900153,0.00002139489,0.0076814163,0.0017274168,0.00004899252,0.00020886303,0.014377059,5.998116e-7,9.921865e-7,0.030518554,0.20493212,0.7404778],"study_design_scores_gemma":[0.000055102126,0.0000116213205,0.00017263654,0.0019189481,0.000017900764,0.000011380557,0.00043076792,0.0000010645999,4.2588314e-7,0.00015480431,0.9971043,0.00012106983],"about_ca_topic_score_codex":0.03774504,"about_ca_topic_score_gemma":0.83626556,"teacher_disagreement_score":0.79852057,"about_ca_system_score_codex":0.00006819135,"about_ca_system_score_gemma":0.000093388415,"threshold_uncertainty_score":0.9975366},"labels":[],"label_agreement":null},{"id":"W4380926267","doi":"10.3138/ctr.110.009","title":"<i>Gold Mountain Guest</i>: A Director’s Diary","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Honour; HAMLET (protein complex); Adventure; Population; Irish; Visual arts; History; Club; Art; Art history; Media studies; Sociology; Archaeology; Literature","score_opus":0.0321970005505904,"score_gpt":0.22212175378489618,"score_spread":0.18992475323430577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926267","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017331052,0.39507434,9.666946e-8,0.004513623,0.0005608019,0.00023656723,0.000098988705,0.000056916764,0.59928536],"genre_scores_gemma":[0.28317827,0.62448436,0.000015030056,0.027196564,0.004777274,0.00018273438,0.00006207518,0.00008796072,0.060015753],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988621,0.000075453034,0.00025294357,0.00021497587,0.000121558594,0.00047297415],"domain_scores_gemma":[0.99921054,0.00004926213,0.00004791348,0.00034741234,0.00004868831,0.00029616035],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002164752,0.00022216517,0.00038378674,0.00010072962,0.0003410971,0.00007409121,0.00021377756,0.00003284355,0.012807202],"category_scores_gemma":[0.000013567829,0.00017298863,0.0001565675,0.00008037636,0.00014341938,0.00017919134,0.000019265623,0.00014586149,0.0026134716],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.0363905e-7,0.00001398766,0.0002531721,0.00075440045,0.000052706422,0.000028148603,0.002791881,7.56823e-8,5.2780473e-7,0.0084970575,0.8006582,0.1869491],"study_design_scores_gemma":[0.00006439762,0.000025128105,0.00001868642,0.0012235021,0.000078148434,0.0000104695655,0.00017448812,0.000005397347,0.0000017692714,0.00008854068,0.99807334,0.00023615401],"about_ca_topic_score_codex":0.044843253,"about_ca_topic_score_gemma":0.4297283,"teacher_disagreement_score":0.5392696,"about_ca_system_score_codex":0.0001043126,"about_ca_system_score_gemma":0.0000522722,"threshold_uncertainty_score":0.9981631},"labels":[],"label_agreement":null},{"id":"W4380926274","doi":"10.3138/ctr.140.015","title":"At Home in Exile","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Drama; Context (archaeology); Uncanny; Commonwealth; Representation (politics); Privilege (computing); Politics; Aesthetics; Sociology; Media studies; History; Gender studies; Law; Visual arts; Art; Political science; Archaeology","score_opus":0.027237610726602534,"score_gpt":0.2336392437067914,"score_spread":0.20640163298018888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926274","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033960366,0.30172703,2.8450218e-8,0.0070618675,0.00019215595,0.00021960607,0.00003918382,0.00002401496,0.6873401],"genre_scores_gemma":[0.794245,0.17247984,0.0000053332415,0.01798514,0.0006226976,0.000028061446,0.000034663644,0.000017632383,0.0145816235],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929667,0.000022386874,0.00017696469,0.00012905392,0.000061245315,0.00031370585],"domain_scores_gemma":[0.99961364,0.000011958465,0.000024270043,0.00019045627,0.000018145653,0.0001415236],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011627637,0.00011957494,0.0002637294,0.000095647534,0.00019728082,0.000023437515,0.00011747911,0.000019392244,0.0054170922],"category_scores_gemma":[0.0000028649417,0.000092920265,0.00007339956,0.000057416513,0.00005192288,0.000092042974,0.000008367501,0.00007801256,0.0008690629],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000055138476,0.000022741013,0.0010554177,0.0008305581,0.000023304396,0.000071564034,0.0073038717,8.0113733e-7,0.0000013145335,0.04141899,0.30981436,0.63945156],"study_design_scores_gemma":[0.00006979884,0.000033102737,0.0005856179,0.0010379106,0.000015594358,0.000005379299,0.00010900085,6.8707885e-7,0.0000010448462,0.0006951158,0.9973131,0.00013363778],"about_ca_topic_score_codex":0.01789213,"about_ca_topic_score_gemma":0.69422865,"teacher_disagreement_score":0.790849,"about_ca_system_score_codex":0.0001559894,"about_ca_system_score_gemma":0.00007482496,"threshold_uncertainty_score":0.99990886},"labels":[],"label_agreement":null},{"id":"W4380926295","doi":"10.3138/ctr.126.030","title":"Thoughts for the New Alternative: Histories, Boundaries and the Space Apart","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Yesterday; Political theatre; Status quo; The arts; Performing arts; Visual arts; Performance art; Art history; History; Art; Space (punctuation); Media studies; Political science; Sociology; Law","score_opus":0.019486652047842345,"score_gpt":0.22947778003947078,"score_spread":0.20999112799162845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926295","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000023330664,0.7486951,0.000018830628,0.10059408,0.001336054,0.0009118951,0.00010132072,0.000022327906,0.14829706],"genre_scores_gemma":[0.18427561,0.4728046,0.00012220748,0.035882615,0.026809633,0.000785614,0.00009589229,0.00013385684,0.27908996],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992739,0.00004299495,0.00017974616,0.00014052818,0.00008638454,0.00027643354],"domain_scores_gemma":[0.9993286,0.00022077463,0.00006474697,0.00024848638,0.000055315206,0.000082061706],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0002944834,0.00016221472,0.00029715517,0.000025823565,0.0019506103,0.00027879112,0.00019346601,0.00001708259,0.00025254377],"category_scores_gemma":[0.000014822849,0.00007534067,0.000110603985,0.000037222522,0.00097655726,0.00010453141,0.000018135697,0.000089686444,0.000020362044],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010828745,0.0000012661558,0.00001285208,0.0001877147,0.0000380506,6.174692e-7,0.003929983,2.407862e-7,2.1223784e-8,0.4264896,0.551252,0.018076789],"study_design_scores_gemma":[0.00026757683,0.000019240062,0.000009513634,0.0002660466,0.00017679269,0.000005148974,0.0003709657,0.0000058662085,0.0000014664349,0.009538496,0.9892247,0.00011420979],"about_ca_topic_score_codex":0.19236542,"about_ca_topic_score_gemma":0.82401425,"teacher_disagreement_score":0.63164884,"about_ca_system_score_codex":0.00007429119,"about_ca_system_score_gemma":0.00030935238,"threshold_uncertainty_score":0.9993487},"labels":[],"label_agreement":null},{"id":"W4380926298","doi":"10.3138/ctr.116.005","title":"Often the only things left from a performance are the pictures","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"FREAK; Framing (construction); Visual arts; Art; Aesthetics; Computer science; Engineering; Structural engineering; Computer security","score_opus":0.02104977075188584,"score_gpt":0.2110831577622913,"score_spread":0.19003338701040545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926298","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009299843,0.47711763,3.8324364e-7,0.031072866,0.0007265919,0.00062347593,0.00013730075,0.000048418686,0.4809735],"genre_scores_gemma":[0.7820104,0.13607986,0.000007791848,0.07278794,0.000977231,0.00005004452,0.000021317384,0.00004087139,0.008024558],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988848,0.00012410952,0.0002412073,0.00019176255,0.00015573773,0.00040240746],"domain_scores_gemma":[0.9990652,0.000112727124,0.000096062795,0.0005417374,0.00006225858,0.000121982994],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035131144,0.00022793571,0.00031129154,0.00003502123,0.0014504291,0.00013981404,0.00043585786,0.00003237342,0.0033298626],"category_scores_gemma":[0.000025419411,0.0001028328,0.00015534445,0.00005407447,0.00028841788,0.00018804971,0.00002103875,0.00027869188,0.0004380144],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007838465,0.000022319271,0.009156885,0.0012198781,0.00042078158,0.000017661829,0.0536203,0.0000034441273,7.5511525e-7,0.06906141,0.5978022,0.26866648],"study_design_scores_gemma":[0.000054899992,0.00001761031,0.0007505355,0.0010671127,0.00012793505,0.000013480229,0.0026484674,0.0000024280641,0.0000028516602,0.0005720334,0.99457794,0.00016469424],"about_ca_topic_score_codex":0.031933013,"about_ca_topic_score_gemma":0.40175432,"teacher_disagreement_score":0.77271056,"about_ca_system_score_codex":0.000061481835,"about_ca_system_score_gemma":0.00024427887,"threshold_uncertainty_score":0.99984956},"labels":[],"label_agreement":null},{"id":"W4380926304","doi":"10.3138/ctr.106.006","title":"Reaching Out: Soulpepper, Youth and the “Classics”","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Outreach; Mandate; Mentorship; Politics; Ticket; Sociology; Media studies; Political science; Public relations; Visual arts; Art; Law","score_opus":0.045885367417949706,"score_gpt":0.23504263418655164,"score_spread":0.18915726676860192,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926304","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014085734,0.37572223,7.4357234e-7,0.016242448,0.00034255517,0.00032909782,0.00005295101,0.00003169742,0.6058697],"genre_scores_gemma":[0.54286605,0.43346566,0.0000045333345,0.013312236,0.001102406,0.00003552098,0.000020687243,0.000027980046,0.009164908],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991847,0.000077363075,0.00019420165,0.00015113885,0.00008248593,0.000310076],"domain_scores_gemma":[0.9994586,0.000055269735,0.000045612076,0.00025803267,0.00003048798,0.00015200891],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004022441,0.00015744858,0.000316157,0.00003745713,0.00077695824,0.00010588096,0.00015259688,0.000021360163,0.0006735341],"category_scores_gemma":[0.000014377973,0.00008688273,0.00010258912,0.000034355115,0.0003696221,0.0001141963,0.000024375713,0.00016044648,0.00017562768],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017240258,0.0000084638195,0.0007312298,0.00072223996,0.00014240222,0.000018317582,0.12505965,2.064399e-7,1.3557973e-7,0.13106616,0.047666922,0.694567],"study_design_scores_gemma":[0.00020460671,0.0000121660505,0.000019917112,0.00086011307,0.00013766049,0.000011774313,0.0035767742,0.0000032872406,1.0389383e-7,0.00067508634,0.9943687,0.00012983655],"about_ca_topic_score_codex":0.043670103,"about_ca_topic_score_gemma":0.48123813,"teacher_disagreement_score":0.94670177,"about_ca_system_score_codex":0.000042031785,"about_ca_system_score_gemma":0.00007445597,"threshold_uncertainty_score":0.96269816},"labels":[],"label_agreement":null},{"id":"W4380926306","doi":"10.3138/ctr.128.fm","title":"Remembering Herbert (c. 2006)","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Globe; Meaning (existential); Newspaper; Reading (process); The arts; Literature; History; Media studies; Art; Sociology; Visual arts; Psychology; Law; Political science","score_opus":0.021717785726265305,"score_gpt":0.22064869618272784,"score_spread":0.19893091045646252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926306","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004907245,0.22386597,2.5257413e-7,0.002764575,0.000304563,0.00017189847,0.00004706953,0.00004417878,0.7723108],"genre_scores_gemma":[0.6256566,0.1892514,0.0000835507,0.02016292,0.008228255,0.00017747987,0.00018457427,0.00015013476,0.15610509],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915755,0.000021399692,0.00021887288,0.00015148237,0.000084508574,0.00036621667],"domain_scores_gemma":[0.9995481,0.000014538251,0.00003720906,0.000233071,0.00004340817,0.00012369142],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012568558,0.00015329891,0.00026171497,0.00006732122,0.00037655298,0.000056788187,0.00013158949,0.000021509937,0.0057068192],"category_scores_gemma":[0.0000027984277,0.000121085526,0.00010936281,0.0000521063,0.0000885621,0.00011977329,0.000012308097,0.00008732817,0.0009530299],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000135089,0.000010768661,0.00071635767,0.0014039865,0.000039385173,0.000026154476,0.00073204655,0.000001548672,0.0000021864314,0.056770343,0.7941388,0.14615707],"study_design_scores_gemma":[0.000046448393,0.000011047879,0.00007592497,0.0011390743,0.000046100395,0.000006147307,0.00009180711,0.0000010977996,0.0000038169687,0.00044048982,0.99797124,0.00016682236],"about_ca_topic_score_codex":0.22197524,"about_ca_topic_score_gemma":0.828928,"teacher_disagreement_score":0.6251659,"about_ca_system_score_codex":0.000081322774,"about_ca_system_score_gemma":0.00009887093,"threshold_uncertainty_score":0.9998248},"labels":[],"label_agreement":null},{"id":"W4380926313","doi":"10.3138/ctr.109.fm","title":"Theatrical Bodies and Everyday Life","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Nobility; Argument (complex analysis); Human body; Period (music); Body language; Aesthetics; Performing arts; Literature; Art; Psychology; Law; Communication; Politics; Computer science","score_opus":0.04162657395855957,"score_gpt":0.2219324636525887,"score_spread":0.18030588969402914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926313","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034529477,0.54518104,1.07003274e-7,0.009484831,0.00017822196,0.00016994962,0.000043051452,0.00003187881,0.44456562],"genre_scores_gemma":[0.39417034,0.57781726,0.000010224361,0.013732483,0.0009991134,0.000039857812,0.0000073789884,0.000027521724,0.013195841],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914336,0.000040123094,0.00020306885,0.00017785003,0.00009127468,0.00034430242],"domain_scores_gemma":[0.9993281,0.00004703364,0.000032143358,0.00020476297,0.00003652264,0.00035143623],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011878595,0.00017331273,0.0003399002,0.00008646547,0.00047572277,0.000069237205,0.000113052614,0.000028368786,0.008442993],"category_scores_gemma":[0.000017869179,0.00012368936,0.00011502288,0.000029489916,0.0001995639,0.00013517727,0.000020741718,0.000116022464,0.0007315002],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016234125,0.0000137797815,0.0006893437,0.0012425008,0.00011481688,0.000017366794,0.009358378,9.122652e-8,1.425254e-7,0.016098324,0.63342065,0.339043],"study_design_scores_gemma":[0.00007297913,0.000032624157,0.00006513865,0.0005731608,0.00009717688,0.00001112327,0.00033300533,0.00000667904,2.2709825e-7,0.00019349196,0.9984416,0.00017284618],"about_ca_topic_score_codex":0.012436987,"about_ca_topic_score_gemma":0.15662706,"teacher_disagreement_score":0.43136978,"about_ca_system_score_codex":0.000037835372,"about_ca_system_score_gemma":0.00004341741,"threshold_uncertainty_score":0.99413925},"labels":[],"label_agreement":null},{"id":"W4380926328","doi":"10.3138/ctr.133.016","title":"“Scrounge” and “Exploit”: Amiel Gladstone Stages Invention and Intimacy in <i>Hippies and Bolsheviks and Other Plays</i>","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Residence; Art history; Performance art; Art; Visual arts; History; Sociology; Media studies","score_opus":0.03686320785825688,"score_gpt":0.23750852834632694,"score_spread":0.20064532048807004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926328","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36933887,0.599891,2.3164867e-7,0.0025172075,0.000062138344,0.00037271332,0.000089391586,0.0000200957,0.027708326],"genre_scores_gemma":[0.5752589,0.42149547,0.00001331339,0.0025464569,0.0000992473,0.000025558662,0.000006336154,0.000017243661,0.0005374643],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991876,0.00004454934,0.00022109764,0.00022681808,0.00006342708,0.00025653702],"domain_scores_gemma":[0.99960154,0.0000391713,0.000046034333,0.0001204438,0.000021280739,0.00017150301],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018143436,0.00018997696,0.00037918956,0.00012918797,0.00039221396,0.00007045536,0.0000450124,0.000036571673,0.00013742733],"category_scores_gemma":[0.000008619303,0.00015353627,0.000026226407,0.000046026293,0.00050699996,0.00024235646,0.00003592341,0.00012304603,0.000006403771],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004029108,0.00005414134,0.3346068,0.010478373,0.00025376768,0.00012736874,0.056245893,1.964412e-7,0.000020895011,0.061788615,0.027009593,0.5093741],"study_design_scores_gemma":[0.0003180907,0.00006682123,0.0064500226,0.0018965588,0.00006541036,0.00008076331,0.0015039268,0.000003641939,0.0000021549806,0.000809094,0.9885534,0.00025012283],"about_ca_topic_score_codex":0.044067703,"about_ca_topic_score_gemma":0.40011835,"teacher_disagreement_score":0.9615438,"about_ca_system_score_codex":0.000026743643,"about_ca_system_score_gemma":0.00004625143,"threshold_uncertainty_score":0.9622979},"labels":[],"label_agreement":null},{"id":"W4380926329","doi":"10.3138/ctr.114.fm","title":"Celebrating Canadian Plays and Playwrights","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Performance art; Art history; Event (particle physics); Art; Visual arts; History; Media studies; Sociology","score_opus":0.021634117258135587,"score_gpt":0.21284230607289278,"score_spread":0.1912081888147572,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926329","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020234066,0.18523057,1.2873029e-7,0.0016443755,0.00026735335,0.00026880312,0.00009621739,0.000020470865,0.8104487],"genre_scores_gemma":[0.91710824,0.06475014,0.00004172067,0.011354324,0.000509928,0.00005195443,0.000035351688,0.000044293967,0.0061040665],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990083,0.000050799328,0.00019649946,0.00018795121,0.00006821988,0.00048823588],"domain_scores_gemma":[0.9991121,0.000029555582,0.0000341243,0.0001912915,0.00004087461,0.00059201126],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019889504,0.00018087166,0.00028335722,0.00013250792,0.00089019514,0.0000901513,0.00009403627,0.000027868871,0.004363989],"category_scores_gemma":[0.000014041755,0.00014017924,0.00005735237,0.000053486998,0.000119967604,0.00013679014,0.0000052582263,0.00012495494,0.00027528327],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000013651703,0.000008549449,0.0023709205,0.0020852864,0.00013957874,0.00011964046,0.010958449,5.41822e-7,0.000001225648,0.6905959,0.19632292,0.09739559],"study_design_scores_gemma":[0.000060347724,0.000018956813,0.00003407376,0.00077649415,0.000045756417,0.000028608027,0.0005080874,0.0000014381897,0.0000029259832,0.0005336511,0.9977913,0.00019835576],"about_ca_topic_score_codex":0.68841654,"about_ca_topic_score_gemma":0.99706745,"teacher_disagreement_score":0.9150848,"about_ca_system_score_codex":0.00011405208,"about_ca_system_score_gemma":0.0005294839,"threshold_uncertainty_score":0.99654615},"labels":[],"label_agreement":null},{"id":"W4380926333","doi":"10.3138/ctr.139.005","title":"Women’s Auto/biographical Theatre: Affirmation, Preservation and Intercultural Communication","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Biography; Subjectivity; Oppression; Agency (philosophy); Gender studies; Identity (music); Sociology; Aesthetics; Art; Literature; Political science; Politics; Philosophy; Law","score_opus":0.025792526502107286,"score_gpt":0.23442790687806014,"score_spread":0.20863538037595286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926333","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049968895,0.42983752,0.0000030602382,0.10342511,0.00031656344,0.001255947,0.000127994,0.00021276521,0.41485214],"genre_scores_gemma":[0.8810605,0.11139833,0.00002369454,0.00663207,0.00018821999,0.00005538668,0.00008115,0.000009025587,0.0005516703],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991535,0.00008199527,0.00025774847,0.00014319764,0.00009048244,0.0002730936],"domain_scores_gemma":[0.9993549,0.00002839078,0.0000614928,0.00029365617,0.000082743514,0.00017883173],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025693866,0.00015514708,0.00025188376,0.000105291656,0.00051341363,0.00012011676,0.00017669532,0.00003629018,0.0007629937],"category_scores_gemma":[0.000008697803,0.000113622584,0.000065830434,0.000091166075,0.00014648042,0.00045486138,0.000016898044,0.0001370712,0.000054297325],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010315352,0.000032862277,0.0005505377,0.0008461958,0.00008982477,0.0000022559002,0.048993785,6.1157846e-7,0.00000430916,0.08151403,0.09917361,0.76878166],"study_design_scores_gemma":[0.000096949625,0.00006638784,0.0010544116,0.0009495588,0.00004097312,0.0000067917995,0.0015360219,0.000018401191,8.133529e-7,0.0022473992,0.99382377,0.0001585522],"about_ca_topic_score_codex":0.0071402206,"about_ca_topic_score_gemma":0.10833675,"teacher_disagreement_score":0.8946501,"about_ca_system_score_codex":0.0001022708,"about_ca_system_score_gemma":0.00005198412,"threshold_uncertainty_score":0.9994713},"labels":[],"label_agreement":null},{"id":"W4380926387","doi":"10.3138/ctr.109.006","title":"Making <i>MindLands:</i> The Multimedia Production","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Conviction; Character (mathematics); Mill; Work (physics); Performance art; Sociology; Visual arts; Art; Aesthetics; Media studies; Art history; History; Law; Engineering; Political science","score_opus":0.06472113979988064,"score_gpt":0.2464573373100709,"score_spread":0.18173619751019027,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926387","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002852777,0.36287996,1.9288338e-7,0.027107982,0.0010776416,0.00047269955,0.000032145006,0.000045426066,0.6080987],"genre_scores_gemma":[0.7184067,0.22995934,0.00002220821,0.017933872,0.005010525,0.00016242162,0.000020861868,0.00004955475,0.028434543],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992367,0.00004204464,0.00017400165,0.00015372023,0.00009741219,0.0002961268],"domain_scores_gemma":[0.99950594,0.000026145502,0.000046643312,0.0002927007,0.000044702832,0.000083877596],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018462748,0.0001354867,0.0001913339,0.00004851908,0.00068093464,0.000057824687,0.00016769224,0.000018167639,0.006302257],"category_scores_gemma":[0.0000164785,0.000078434656,0.00008987166,0.00006344504,0.00014954657,0.0001169614,0.000012103494,0.00013003594,0.0011664463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[6.275242e-7,0.0000067433657,0.00015178046,0.00040017598,0.000033630546,0.0000046454197,0.007812914,3.7468223e-7,3.4164847e-7,0.0017584751,0.44857392,0.54125637],"study_design_scores_gemma":[0.000033800887,0.000012349835,0.00002219362,0.00097365346,0.00006616734,0.000014576216,0.00040227242,0.000014953256,0.00000142956,0.000053507054,0.9982876,0.00011750601],"about_ca_topic_score_codex":0.006149117,"about_ca_topic_score_gemma":0.32081646,"teacher_disagreement_score":0.7181214,"about_ca_system_score_codex":0.000052280608,"about_ca_system_score_gemma":0.000028905539,"threshold_uncertainty_score":0.99961126},"labels":[],"label_agreement":null},{"id":"W4380926567","doi":"10.3138/ctr.104.008","title":"Funding Agencies for Italian Canadian Theatre Projects","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Representation (politics); Work (physics); The arts; Ethnic group; Identity (music); Bridge (graph theory); Performing arts; Public relations; Political science; Sociology; Media studies; Visual arts; Law; Aesthetics; Engineering; Art; Politics","score_opus":0.06180324613200182,"score_gpt":0.2557667446196089,"score_spread":0.19396349848760708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926567","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013123512,0.12698196,2.0782832e-7,0.006864924,0.00048276765,0.0013227375,0.000791393,0.00006737828,0.8621763],"genre_scores_gemma":[0.7080166,0.14959775,0.00009625659,0.027354699,0.004266857,0.0009398215,0.00047995656,0.00020796277,0.109040104],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998117,0.000045794877,0.00033855002,0.00033401191,0.00012494986,0.0010396886],"domain_scores_gemma":[0.998712,0.00004747296,0.000047604317,0.00040087054,0.00008079647,0.00071126287],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030392894,0.00032870934,0.00049250136,0.00023006913,0.001356223,0.0001660352,0.0003204268,0.00006253782,0.015862599],"category_scores_gemma":[0.000009212324,0.0002628454,0.0002586086,0.0001271766,0.00017400438,0.00025844754,0.000008607087,0.00014181135,0.00090876815],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006172689,0.000007938179,0.0002454644,0.0020997294,0.0001368659,0.000025996527,0.011083288,0.0000012584784,5.094397e-7,0.016209844,0.30793303,0.6622499],"study_design_scores_gemma":[0.00011219097,0.0000683261,0.00002426917,0.0016380685,0.0001327822,0.000013933937,0.0021530585,0.0000059134377,0.0000021968374,0.00032420864,0.9951626,0.0003624296],"about_ca_topic_score_codex":0.7132703,"about_ca_topic_score_gemma":0.9938058,"teacher_disagreement_score":0.75313616,"about_ca_system_score_codex":0.0004601991,"about_ca_system_score_gemma":0.0012048897,"threshold_uncertainty_score":0.99998236},"labels":[],"label_agreement":null},{"id":"W4380926608","doi":"10.3138/ctr.106.017","title":"The Theatre of Form and the Production of Meaning: Contemporary Canadian Dramaturgies","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":49,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ideology; Argument (complex analysis); Aesthetics; Hegemony; The arts; Meaning (existential); Realm; Sociology; Art; Politics; Visual arts; Epistemology; Law; Political science; Philosophy","score_opus":0.027933463460217335,"score_gpt":0.22302515517788413,"score_spread":0.1950916917176668,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926608","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023074748,0.3881063,4.08477e-8,0.025473112,0.00040810567,0.00067882414,0.000048286605,0.000010738266,0.58296716],"genre_scores_gemma":[0.8380683,0.1591413,0.0000015544991,0.00065216963,0.00022757617,0.000031308464,0.000006572334,0.000012914091,0.0018583126],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990174,0.00008442299,0.00036026325,0.00013346795,0.00011594021,0.0002885113],"domain_scores_gemma":[0.9990956,0.00013830622,0.00013900784,0.00036002012,0.00012478589,0.00014227987],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006416612,0.00015795836,0.000398556,0.00008492037,0.0008030926,0.000045536453,0.00022056712,0.000028557006,0.00014655203],"category_scores_gemma":[0.00003737498,0.00007651486,0.00012103033,0.000095033654,0.0009265135,0.00013915238,0.000018132385,0.00012333179,0.000008055446],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009407643,0.000011999475,0.001484303,0.0022266952,0.00039402803,0.000008900402,0.03719828,8.373438e-7,0.0000016056058,0.44125324,0.120270774,0.39705527],"study_design_scores_gemma":[0.00012689737,0.00003378231,0.00006921006,0.0012916574,0.00008389976,0.000018400182,0.0044144616,0.0000020628238,0.0000053936583,0.002018985,0.99184,0.0000952605],"about_ca_topic_score_codex":0.6209904,"about_ca_topic_score_gemma":0.9782593,"teacher_disagreement_score":0.8715692,"about_ca_system_score_codex":0.000051761326,"about_ca_system_score_gemma":0.00048494528,"threshold_uncertainty_score":0.61768204},"labels":[],"label_agreement":null},{"id":"W4380926722","doi":"10.3138/ctr.103.014","title":"The Devil and Joseph Scriven: Fair Play","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Dream; Mandate; Narrative; Visual arts; Formative assessment; Nature versus nurture; Performance art; Art; History; Sociology; Aesthetics; Media studies; Art history; Political science; Law; Literature; Psychology; Pedagogy","score_opus":0.018680681441266337,"score_gpt":0.21892478006304672,"score_spread":0.2002440986217804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926722","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013342116,0.46188283,3.863093e-8,0.007828951,0.00015754749,0.00021332066,0.000045211746,0.000021167163,0.5285167],"genre_scores_gemma":[0.12586473,0.83764184,0.000006026656,0.009570782,0.0007564633,0.000056933164,0.000013036086,0.000026087175,0.026064103],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925274,0.000042060532,0.00017162862,0.00013641077,0.00007285186,0.00032429042],"domain_scores_gemma":[0.9994989,0.000048921233,0.000023163857,0.00022504095,0.000027222513,0.00017672862],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018424867,0.0001401148,0.00021275762,0.000026912916,0.0011575002,0.000111283814,0.00015116279,0.000018998493,0.0053895186],"category_scores_gemma":[0.000004346282,0.000081319275,0.000069929985,0.000036315447,0.00025842656,0.00010259871,0.0000104087685,0.000102780905,0.00061159645],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016659665,0.0000019543843,0.00006573225,0.00021236135,0.00003278583,0.000005093405,0.0020923659,6.274778e-8,5.821073e-8,0.016819648,0.12984273,0.85092556],"study_design_scores_gemma":[0.000050714152,0.000022451864,0.00009498105,0.00070953794,0.000048361402,0.000011292963,0.00028428555,9.985856e-7,3.676609e-7,0.00045584282,0.99820036,0.00012082378],"about_ca_topic_score_codex":0.018687148,"about_ca_topic_score_gemma":0.59082836,"teacher_disagreement_score":0.8683576,"about_ca_system_score_codex":0.000034590656,"about_ca_system_score_gemma":0.0001005854,"threshold_uncertainty_score":0.9955197},"labels":[],"label_agreement":null},{"id":"W4380926840","doi":"10.3138/ctr.106.012","title":"Questioning an Aesthetic of Injury: Notes from the Development of BOOM","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dismemberment; Narrative; Boom; History; Aesthetics; Visual arts; Art; Literature; Law; Political science; Engineering","score_opus":0.037865847069622545,"score_gpt":0.258981017809393,"score_spread":0.22111517073977044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926840","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3405537,0.5180562,0.000010628086,0.007915464,0.00052081153,0.00087032747,0.00031694287,0.00005139917,0.13170454],"genre_scores_gemma":[0.97396016,0.024673875,0.00010101501,0.00086695974,0.0001700153,0.000017598097,0.000027513706,0.000013656847,0.00016921178],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928707,0.000050790408,0.00030876725,0.00009928613,0.00008905796,0.00016504347],"domain_scores_gemma":[0.9994772,0.000040617648,0.00009210549,0.0002426339,0.000066484215,0.00008096034],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022194322,0.0001076701,0.00026826304,0.000038406906,0.0002764139,0.00001646296,0.00018034769,0.000017456143,0.0010830342],"category_scores_gemma":[0.000008742558,0.000067414156,0.00005926093,0.00004912683,0.00014220187,0.000083212726,0.000013172439,0.00006277575,0.000035136156],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005345186,0.00001651867,0.0039203577,0.00029279446,0.000048086626,0.0000012981017,0.023228822,6.7907496e-7,0.0000045755187,0.007875699,0.002075405,0.96253043],"study_design_scores_gemma":[0.000040731895,0.0000382997,0.00055540353,0.002441952,0.000061367035,0.0000016576411,0.0009316332,0.0000016556442,0.000038658454,0.00036336633,0.9954241,0.000101166006],"about_ca_topic_score_codex":0.06445348,"about_ca_topic_score_gemma":0.63101894,"teacher_disagreement_score":0.9933487,"about_ca_system_score_codex":0.000033519373,"about_ca_system_score_gemma":0.00023942988,"threshold_uncertainty_score":0.9998301},"labels":[],"label_agreement":null},{"id":"W4380926855","doi":"10.3138/ctr.106.010","title":"Returning to <i>Uncertain Sacrifice</i>","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sacrifice; Rage (emotion); Agency (philosophy); Space (punctuation); Aesthetics; Content (measure theory); Art; Visual arts; Psychology; Sociology; Gender studies; History; Social psychology; Social science; Philosophy; Archaeology","score_opus":0.037313467358567616,"score_gpt":0.2512809372567416,"score_spread":0.213967469898174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926855","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011579688,0.15559885,0.000001447338,0.014695044,0.00047363093,0.00038508742,0.000049905182,0.00005972687,0.82757837],"genre_scores_gemma":[0.4651235,0.3342694,0.0001309448,0.1333295,0.004783862,0.00026409767,0.000094916024,0.00012876414,0.061875038],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99899423,0.000036583107,0.00021843101,0.00019754966,0.00010350779,0.0004496975],"domain_scores_gemma":[0.99922085,0.000025045634,0.000032903867,0.0002900421,0.000062580286,0.00036856064],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021619265,0.00017197315,0.0003048771,0.000095829535,0.00047850105,0.00007187729,0.00019643025,0.00002263124,0.005761656],"category_scores_gemma":[0.0000135046475,0.00013471785,0.00010215409,0.00011274831,0.0000616428,0.00011799966,0.000016415881,0.00011925802,0.0017696986],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000052724217,0.0000073411397,0.0005294543,0.0007121681,0.00004982905,0.000064954744,0.007083804,0.0000016023491,0.0000029737223,0.014285009,0.5551403,0.42211726],"study_design_scores_gemma":[0.000043298984,0.000034942845,0.00002101156,0.0016475864,0.000044163648,0.000019114561,0.0006436138,0.0000012397036,0.0000016401864,0.00012541165,0.997223,0.00019497819],"about_ca_topic_score_codex":0.05005634,"about_ca_topic_score_gemma":0.5679062,"teacher_disagreement_score":0.7657033,"about_ca_system_score_codex":0.00010160571,"about_ca_system_score_gemma":0.00013311583,"threshold_uncertainty_score":0.9990075},"labels":[],"label_agreement":null},{"id":"W4380927034","doi":"10.3138/ctr.106.008","title":"On the Streets with Cobblestone Youth Troupe: A Dossier","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Metis; Alliance; Tribe; Phoenix; Media studies; Mandate; Art; Visual arts; Sociology; Political science; History; Law; Archaeology","score_opus":0.03489439018562124,"score_gpt":0.2210627603537289,"score_spread":0.18616837016810767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380927034","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020328498,0.115500376,3.2804735e-7,0.016122395,0.00020094743,0.00063006097,0.00016389917,0.000047523827,0.84700596],"genre_scores_gemma":[0.9039483,0.0710507,0.0000026673804,0.016079975,0.00067592505,0.00007728091,0.000031512667,0.0000377358,0.008095897],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990863,0.00004928622,0.00016440774,0.00017285146,0.00013789296,0.00038921428],"domain_scores_gemma":[0.9992908,0.00005637229,0.000048149206,0.00037505248,0.00004881783,0.00018079177],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017061945,0.00020010916,0.0002804118,0.000058451402,0.0006443253,0.00007333445,0.00020167808,0.000021014992,0.005511748],"category_scores_gemma":[0.000006476549,0.00009836157,0.00008467392,0.00010346528,0.00021796177,0.00008188285,0.000009815194,0.00015709738,0.00048204328],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007016478,0.00007376933,0.0010333429,0.0010652023,0.00041088025,0.00015834041,0.03603696,0.0000034500636,4.5671896e-7,0.30074912,0.25197467,0.40842366],"study_design_scores_gemma":[0.000118300115,0.00011596012,0.000064686894,0.002078052,0.0001188637,0.000013613005,0.0021812208,0.0000012960135,6.428187e-7,0.00022282095,0.9949106,0.00017392787],"about_ca_topic_score_codex":0.0291559,"about_ca_topic_score_gemma":0.5678123,"teacher_disagreement_score":0.8836198,"about_ca_system_score_codex":0.000073083305,"about_ca_system_score_gemma":0.00015150971,"threshold_uncertainty_score":0.9953973},"labels":[],"label_agreement":null},{"id":"W4380928302","doi":"10.3138/ctr.130.fm","title":"Come Away: Remembering Mavor Moore","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Biography; Girl; History; Great Depression; Aesthetics; Performance art; Art; Psychoanalysis; Art history; Sociology; Visual arts; Psychology","score_opus":0.03370089600822684,"score_gpt":0.24939133166810856,"score_spread":0.21569043565988172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928302","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017618991,0.18022676,0.0000016470968,0.0027121773,0.0005642201,0.00028562447,0.000049332335,0.000060356128,0.81433797],"genre_scores_gemma":[0.81010437,0.1397589,0.00007559578,0.019340152,0.0037425023,0.000046755387,0.00007516464,0.000101642036,0.026754938],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99891925,0.000017580762,0.0002786983,0.00016843366,0.00010847819,0.0005075807],"domain_scores_gemma":[0.99929166,0.000032842814,0.000048242215,0.00028370452,0.0000567419,0.00028681773],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00041235297,0.00017646304,0.0003253103,0.000110930625,0.00044968055,0.0000490135,0.00017339516,0.000029893308,0.004901826],"category_scores_gemma":[0.000007611966,0.00013891679,0.00012637967,0.000071973904,0.00011813613,0.00012480747,0.000020347365,0.00014029053,0.0007689141],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000071345125,0.000016368627,0.0014111744,0.00351357,0.00013847688,0.00012098475,0.0065129474,5.0904987e-7,0.0000038885028,0.075010866,0.18367134,0.72959274],"study_design_scores_gemma":[0.00006109447,0.00002101114,0.00015295131,0.0014647217,0.00005460401,0.0000135574155,0.0005394401,9.0059086e-7,0.000005768286,0.00017585867,0.9973213,0.00018878595],"about_ca_topic_score_codex":0.036026813,"about_ca_topic_score_gemma":0.7147762,"teacher_disagreement_score":0.81364995,"about_ca_system_score_codex":0.000118570795,"about_ca_system_score_gemma":0.000102223275,"threshold_uncertainty_score":0.9960078},"labels":[],"label_agreement":null},{"id":"W4380928303","doi":"10.3138/ctr.135.024","title":"Forwards: The Theatre Centre’s Residence Program","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Residence; Diversity (politics); Sign (mathematics); Public relations; Media studies; Sociology; Field (mathematics); Visual arts; Management; Aesthetics; Political science; Art; Law","score_opus":0.03741578507772426,"score_gpt":0.24719079398518579,"score_spread":0.20977500890746154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928303","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009497564,0.32457796,2.2487406e-7,0.02343511,0.00046405566,0.0011672399,0.00008889796,0.00012991767,0.64918685],"genre_scores_gemma":[0.42305169,0.5293442,0.00005257081,0.017427735,0.002587739,0.000364694,0.000058703987,0.00008653351,0.02702612],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985589,0.00009192946,0.0003026469,0.00024736254,0.00019924132,0.0005999269],"domain_scores_gemma":[0.99896723,0.00006642322,0.00007049644,0.00054792827,0.00009610564,0.00025184403],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024489372,0.000251217,0.00036999997,0.00006535023,0.0014599492,0.000070328664,0.0004194456,0.00003508957,0.003177554],"category_scores_gemma":[0.0000129126865,0.00014276271,0.00022382518,0.00011401522,0.00049246906,0.00017812879,0.000033339384,0.0002076848,0.0009325233],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000037546372,0.000022149308,0.0008289958,0.0006365531,0.000079002224,0.000053468655,0.009357667,3.7975204e-7,1.3246148e-7,0.011587544,0.48418447,0.49324587],"study_design_scores_gemma":[0.00006920643,0.000046311805,0.00014141884,0.001338638,0.00008929089,0.00004661587,0.00090913277,0.0000026610473,0.000001798365,0.00027581103,0.99687403,0.00020506879],"about_ca_topic_score_codex":0.040285494,"about_ca_topic_score_gemma":0.51423585,"teacher_disagreement_score":0.62216073,"about_ca_system_score_codex":0.000089752895,"about_ca_system_score_gemma":0.00033853555,"threshold_uncertainty_score":0.9998454},"labels":[],"label_agreement":null},{"id":"W4380928338","doi":"10.3138/ctr.128.019","title":"The Drama Club at St.Thomas University, Fredericton, NB","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Club; Liberal arts education; Performance art; Visual arts; History; Art history; Media studies; Sociology; Art; Higher education; Political science; Law; Medicine","score_opus":0.01511806679768946,"score_gpt":0.1951490167273657,"score_spread":0.18003094992967625,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928338","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006732772,0.22510722,2.7981272e-7,0.008542733,0.00036216542,0.00026418667,0.00010717893,0.000041722233,0.7649012],"genre_scores_gemma":[0.24939765,0.3843266,0.00001762167,0.006001524,0.0029135922,0.000024354838,0.00017844327,0.000081937294,0.3570583],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906,0.00006503409,0.00017908738,0.00016741078,0.000110013716,0.0004184958],"domain_scores_gemma":[0.999349,0.0000667524,0.000059797007,0.00031869466,0.00006387733,0.0001418699],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016671093,0.00017028427,0.00024553094,0.000051927043,0.0019987484,0.000089376685,0.00028082388,0.000028874229,0.0017015397],"category_scores_gemma":[0.0000037133175,0.00011315053,0.00014876656,0.00007655584,0.00027878888,0.00010267374,0.000049539303,0.000100932964,0.00050123053],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003628547,0.000006179952,0.00037540693,0.00026102256,0.00004611014,0.000027443768,0.0007035888,5.262809e-7,4.1822886e-7,0.096087754,0.85942227,0.043065675],"study_design_scores_gemma":[0.00008366257,0.000019424828,0.0001333414,0.00036510173,0.00008011966,0.000007957578,0.00051648373,0.0000013451506,0.0000012177173,0.00045605388,0.9981735,0.00016179183],"about_ca_topic_score_codex":0.11430438,"about_ca_topic_score_gemma":0.91063464,"teacher_disagreement_score":0.7963303,"about_ca_system_score_codex":0.00023648447,"about_ca_system_score_gemma":0.00015096924,"threshold_uncertainty_score":0.99930054},"labels":[],"label_agreement":null},{"id":"W4380928346","doi":"10.3138/ctr.128.018","title":"All Roads Lead from Mulgrave (Road Theatre)","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Performance art; Political theatre; Indigenous; Art history","score_opus":0.028609865200826545,"score_gpt":0.2327673943127863,"score_spread":0.20415752911195978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928346","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020123261,0.30775747,5.779617e-7,0.0068659275,0.000551484,0.00036853302,0.0004237496,0.00008218316,0.68193775],"genre_scores_gemma":[0.830117,0.13424815,0.000051456842,0.016147295,0.0049415613,0.00011649879,0.0006027069,0.00010175811,0.013673588],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99839616,0.00007123718,0.0004026251,0.00033429248,0.00017721015,0.00061848393],"domain_scores_gemma":[0.9990901,0.000045819437,0.00008317585,0.0004929932,0.00006314677,0.00022480106],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017143236,0.00033478922,0.0005562311,0.00011355761,0.00043583714,0.00011391868,0.00030363593,0.00006131687,0.0057332497],"category_scores_gemma":[0.0000035419926,0.000255794,0.00026100402,0.000067672874,0.00020586896,0.00014936055,0.000026774987,0.0001949426,0.0019763182],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005742851,0.00002892855,0.0007359949,0.00046038732,0.00017609155,0.00004923314,0.0025491582,0.0000012877213,0.00000487086,0.017327653,0.3826938,0.5959669],"study_design_scores_gemma":[0.00014215175,0.000029119541,0.00031086063,0.0010339519,0.00019507295,0.0000046439154,0.00030139083,0.0000060961265,0.000009662453,0.0017127309,0.99592036,0.00033393776],"about_ca_topic_score_codex":0.6162634,"about_ca_topic_score_gemma":0.8720954,"teacher_disagreement_score":0.8281047,"about_ca_system_score_codex":0.00013857988,"about_ca_system_score_gemma":0.00016942347,"threshold_uncertainty_score":0.99998945},"labels":[],"label_agreement":null},{"id":"W4380928348","doi":"10.3138/ctr.135.007","title":"All Seams: Some Information from One Reed Theatre Ensemble","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Desk; Art; Visual arts; Computer science","score_opus":0.04184877910843429,"score_gpt":0.22090976563053583,"score_spread":0.17906098652210153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928348","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0053545046,0.27800122,0.0000027171836,0.012486897,0.00072386774,0.00078002096,0.0006689355,0.00015216293,0.7018297],"genre_scores_gemma":[0.38094473,0.56604004,0.0001022286,0.045333672,0.002923067,0.00014430775,0.000999677,0.000066059576,0.0034461948],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871653,0.000053216812,0.00040243327,0.00017341944,0.0001920727,0.000462321],"domain_scores_gemma":[0.9990637,0.00004441008,0.0000979628,0.000413888,0.0000854392,0.00029461016],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014656007,0.0002447623,0.0004702136,0.00012987455,0.00061354187,0.00006738901,0.00023830154,0.00005548833,0.0031668898],"category_scores_gemma":[0.000007949079,0.00019859451,0.00016625754,0.000065548695,0.0001606538,0.0008955831,0.000026751295,0.00017747968,0.0025244905],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016621669,0.00003670288,0.00047227647,0.0013882745,0.00037907375,0.000033925797,0.0264898,0.0000013713229,0.0000041160138,0.020481244,0.43780884,0.5128877],"study_design_scores_gemma":[0.00017000163,0.000037944475,0.000115967945,0.0011054173,0.00011965764,0.000009403163,0.000547081,0.000004186038,0.0000100119705,0.0010415346,0.9965749,0.0002639227],"about_ca_topic_score_codex":0.15604502,"about_ca_topic_score_gemma":0.27537906,"teacher_disagreement_score":0.6983835,"about_ca_system_score_codex":0.0001419188,"about_ca_system_score_gemma":0.00028558425,"threshold_uncertainty_score":0.99825215},"labels":[],"label_agreement":null},{"id":"W4380928392","doi":"10.3138/ctr.135.023","title":"Icaria","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Performance art; The arts; Turret; Visual arts; History; Archaeology","score_opus":0.042802220804125254,"score_gpt":0.2287769096478962,"score_spread":0.18597468884377094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928392","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007742466,0.23009814,1.6198535e-7,0.0037183617,0.00032718017,0.00016654814,0.00004331045,0.00003757264,0.76483446],"genre_scores_gemma":[0.5418141,0.4154419,0.000019744959,0.01969131,0.0016515112,0.00005774024,0.000038010203,0.0000361949,0.021249516],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993729,0.000021296093,0.00014889642,0.00011666806,0.00007109378,0.00026911666],"domain_scores_gemma":[0.99952376,0.0000143989155,0.000024517867,0.0002120468,0.00004007146,0.0001851901],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00007650574,0.00011453989,0.00023173074,0.000056037774,0.00054950407,0.000015990747,0.00012685655,0.0000136014505,0.007263844],"category_scores_gemma":[0.000003750137,0.0000854493,0.00009758027,0.00004056681,0.00016066882,0.000091445814,0.000009573413,0.000080166115,0.0015711682],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000014401917,0.000009127947,0.0008076588,0.00069283403,0.00007183448,0.00006597476,0.007074663,1.5786082e-7,3.21507e-7,0.04474794,0.84146506,0.105063014],"study_design_scores_gemma":[0.00004059293,0.000016118642,0.000104313134,0.00048302795,0.000034191427,0.00002857883,0.00011793258,5.4056085e-7,6.4495407e-7,0.00011025896,0.99894416,0.000119662036],"about_ca_topic_score_codex":0.0378318,"about_ca_topic_score_gemma":0.31416282,"teacher_disagreement_score":0.74358493,"about_ca_system_score_codex":0.00004693948,"about_ca_system_score_gemma":0.00017598641,"threshold_uncertainty_score":0.99920624},"labels":[],"label_agreement":null},{"id":"W4380928394","doi":"10.3138/ctr.135.001","title":"FIRST SEQUENCE: Collaborators Collaborating from Coast to Coast (Duets)","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Performance art; Art history; Sequence (biology); Art; Heaven; History; Performing arts; Literature","score_opus":0.04105734503154271,"score_gpt":0.247408415031655,"score_spread":0.2063510700001123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928394","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12723638,0.47997007,0.000003661436,0.031912483,0.0033476255,0.0032264749,0.011561897,0.0003721021,0.3423693],"genre_scores_gemma":[0.85389835,0.11690316,0.0001708062,0.02229483,0.0023733368,0.00024072,0.00023195511,0.00009686231,0.0037899527],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984391,0.00006210137,0.00041230762,0.00033413465,0.00020687608,0.00054549304],"domain_scores_gemma":[0.9985661,0.00007586645,0.00009187707,0.0004083516,0.00028951262,0.0005682799],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016569754,0.00030563536,0.0005821451,0.00012770732,0.0015525891,0.0000962392,0.0002930503,0.00004985283,0.0033292042],"category_scores_gemma":[0.000040462473,0.00025752766,0.00009702964,0.0003471277,0.0002057065,0.00020660908,0.00004075476,0.00015586133,0.0010732551],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001103104,0.00002335709,0.0060483334,0.00089294324,0.00016006481,0.00019188203,0.033698015,0.000013690605,0.0000071574514,0.004247756,0.92642,0.028285768],"study_design_scores_gemma":[0.00012108752,0.00005685409,0.00015730492,0.002019008,0.00006446875,0.000010925116,0.0026183445,0.000004081543,0.000008350712,0.000038977578,0.99456376,0.00033683595],"about_ca_topic_score_codex":0.20495154,"about_ca_topic_score_gemma":0.9492116,"teacher_disagreement_score":0.7442601,"about_ca_system_score_codex":0.00024366922,"about_ca_system_score_gemma":0.0008845258,"threshold_uncertainty_score":0.9999877},"labels":[],"label_agreement":null},{"id":"W4380928421","doi":"10.3138/ctr.130.008","title":"Site of Slam","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Competition (biology); Event (particle physics); Poetry; Point (geometry); Moment (physics); Visual arts; Class (philosophy); Word (group theory); Range (aeronautics); Art; Computer science; History; Literature; Artificial intelligence; Linguistics; Engineering; Mathematics; Philosophy","score_opus":0.02501817095118559,"score_gpt":0.24017062743556994,"score_spread":0.21515245648438436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928421","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026171622,0.21455324,9.3946977e-7,0.0009995966,0.0002497107,0.0001674227,0.00006269417,0.00001592817,0.7813333],"genre_scores_gemma":[0.886534,0.09852793,0.000029290273,0.0053180396,0.00095199543,0.000009487674,0.000031667034,0.000027814427,0.008569802],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993474,0.000011796389,0.0002245643,0.00008739059,0.00007166425,0.0002572239],"domain_scores_gemma":[0.9995454,0.000027663666,0.000048159167,0.00018425474,0.00005977099,0.00013476859],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029622618,0.00009548621,0.00024639355,0.00008455242,0.00014243509,0.000010044829,0.00008590528,0.000017059865,0.0030607397],"category_scores_gemma":[0.0000055549117,0.00007201257,0.00009700847,0.000050599014,0.000112319954,0.000064022,0.000008744924,0.00006132995,0.0003119016],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005281499,0.000015549576,0.0018765437,0.0033886882,0.00009124355,0.00002357119,0.009837367,1.4308127e-7,0.000007387987,0.09265229,0.11913057,0.7729714],"study_design_scores_gemma":[0.000039248556,0.00002407415,0.00018984625,0.0010428496,0.00004473969,0.000003084792,0.0002744437,1.8930612e-7,0.000014657173,0.00013493736,0.99814314,0.00008877377],"about_ca_topic_score_codex":0.041046675,"about_ca_topic_score_gemma":0.7084366,"teacher_disagreement_score":0.8839168,"about_ca_system_score_codex":0.000034896442,"about_ca_system_score_gemma":0.000081189166,"threshold_uncertainty_score":0.9978506},"labels":[],"label_agreement":null},{"id":"W4380928436","doi":"10.3138/ctr.132.005","title":"Nightwood Theatre: A Woman’s Work Is Always Done","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Residence; Work (physics); Period (music); Art; Media studies; Visual arts; Sociology; Engineering; Aesthetics","score_opus":0.02635118690526491,"score_gpt":0.233407789923796,"score_spread":0.20705660301853107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928436","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00097059633,0.32039475,0.0000020293146,0.009284896,0.00079041213,0.00046155468,0.00009528481,0.00008310849,0.6679174],"genre_scores_gemma":[0.55963063,0.31056628,0.00009051268,0.08263776,0.007659063,0.0001480365,0.0001120596,0.00019590753,0.03895979],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980853,0.000042542604,0.00045472285,0.00033115828,0.00021051486,0.00087572075],"domain_scores_gemma":[0.99871874,0.00006884146,0.00008818737,0.000545827,0.00008484344,0.0004935523],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00056401285,0.0003432196,0.00056012365,0.00018291941,0.00071954133,0.00009574645,0.00032930722,0.000066149005,0.0076951],"category_scores_gemma":[0.0000046018363,0.00025691054,0.00026606792,0.00020270653,0.00021598318,0.00017910232,0.000033157565,0.00024136984,0.0018947715],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012134771,0.000026820393,0.0009678676,0.0009501907,0.00016750963,0.00006462695,0.009621289,5.124672e-8,6.7469284e-7,0.008503987,0.54758745,0.43209738],"study_design_scores_gemma":[0.00013783276,0.000048510137,0.00013843455,0.0019864484,0.00013768894,0.000014047254,0.00072865933,1.727825e-7,0.000009152322,0.00035750165,0.99609387,0.0003477121],"about_ca_topic_score_codex":0.026316863,"about_ca_topic_score_gemma":0.4925828,"teacher_disagreement_score":0.62895757,"about_ca_system_score_codex":0.00017883307,"about_ca_system_score_gemma":0.00018961164,"threshold_uncertainty_score":0.9999883},"labels":[],"label_agreement":null},{"id":"W4380928468","doi":"10.3138/ctr.130.010","title":"Temporal Forms Unite! A Conversation between Victoria Stanton and Susanne de Lotbinière-Harwood","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Conversation; Performative utterance; Exaggeration; The arts; Transcription (linguistics); Sociology; Interview; Phone; Visual arts; Media studies; Art; Psychology; Linguistics; Aesthetics; Psychoanalysis; Communication; Philosophy; Anthropology","score_opus":0.024391874482532726,"score_gpt":0.24780064542069707,"score_spread":0.22340877093816436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928468","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1487513,0.29941997,0.000025611687,0.009139575,0.00095528684,0.0017083483,0.0007097196,0.0001840871,0.53910613],"genre_scores_gemma":[0.9709012,0.026196716,0.000016858165,0.0012662562,0.0008052977,0.000009757692,0.00008214702,0.00002248675,0.0006992916],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998973,0.000030292687,0.0002817614,0.00015959493,0.0001018483,0.00045351364],"domain_scores_gemma":[0.9992989,0.00006225267,0.000072533694,0.00016988767,0.000069942114,0.00032650438],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006133185,0.00017721733,0.0003271949,0.00013050313,0.00033642253,0.00006286098,0.000102496495,0.000046654484,0.0007065666],"category_scores_gemma":[0.000009936518,0.00013826169,0.000065140055,0.000079373334,0.00013427391,0.00020305622,0.00001540012,0.00012572891,0.00006472008],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004067674,0.000030353676,0.10914863,0.0061114198,0.0004436277,0.00008093012,0.05108354,1.8121484e-7,0.000007923827,0.08969459,0.042812526,0.7005456],"study_design_scores_gemma":[0.00017734684,0.0000770905,0.0020908362,0.0008670157,0.00011687921,0.0000054516418,0.0016831611,8.371038e-7,0.000008374293,0.00060941384,0.9941681,0.00019547659],"about_ca_topic_score_codex":0.036698535,"about_ca_topic_score_gemma":0.4449228,"teacher_disagreement_score":0.9513556,"about_ca_system_score_codex":0.00017188741,"about_ca_system_score_gemma":0.0001958992,"threshold_uncertainty_score":0.9697162},"labels":[],"label_agreement":null},{"id":"W4380928472","doi":"10.3138/ctr.130.021","title":"Blood Lines: A Review of d’bi.young’s <i>blood.claat</i>","year":2007,"lang":"en","type":"review","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Embarrassment; Pace; Visual arts; Downtown; Art; Media studies; Art history; History; Psychology; Sociology; Social psychology; Geography; Archaeology","score_opus":0.05608621774866892,"score_gpt":0.2915035219707893,"score_spread":0.2354173042221204,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928472","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.382215e-8,0.7141637,8.1345895e-8,0.0002907179,0.00071322225,0.0018319462,0.00091168337,0.00004845906,0.28204015],"genre_scores_gemma":[1.8901765e-7,0.9825293,0.000015936736,0.005038836,0.0019080096,0.00026015795,0.00047397843,0.00015091019,0.009622696],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9953372,0.00026423426,0.0022942198,0.0006681819,0.00042906296,0.0010071411],"domain_scores_gemma":[0.99659485,0.00019448358,0.00093052076,0.001342072,0.0003549145,0.0005831742],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0012517181,0.0011093359,0.005787039,0.00047673026,0.00039204455,0.00006252873,0.0009797435,0.0002541608,0.0064621083],"category_scores_gemma":[0.00007866335,0.0007860337,0.0021059632,0.0004628678,0.00040053786,0.00016467621,0.00009044917,0.00073085364,0.00084338384],"study_design_candidate":"systematic_review","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[2.816015e-7,0.000021830789,5.979835e-7,0.447918,0.0004304152,0.000037210164,0.00012945643,8.4947166e-10,1.537305e-9,0.0016264062,0.05454142,0.49529436],"study_design_scores_gemma":[0.00005650807,0.000049296148,2.3254776e-8,0.44263172,0.0078155,0.000118993186,0.000021696185,6.039331e-9,5.3551105e-8,0.000015779791,0.5488513,0.00043913088],"about_ca_topic_score_codex":0.018081907,"about_ca_topic_score_gemma":0.16723119,"teacher_disagreement_score":0.49485523,"about_ca_system_score_codex":0.00014220584,"about_ca_system_score_gemma":0.0018963164,"threshold_uncertainty_score":0.99993455},"labels":[],"label_agreement":null},{"id":"W4380928499","doi":"10.3138/ctr.131.001","title":"Public Dialogue on Science: Theatre as Mediator","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Politics; Economic Justice; Power (physics); Sociology; Aesthetics; Political science; Environmental ethics; Media studies; Law; Literature; Art; Philosophy","score_opus":0.04901632943878698,"score_gpt":0.26242380952499816,"score_spread":0.2134074800862112,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928499","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025627133,0.08486934,2.758044e-7,0.009139473,0.001158352,0.00041665728,0.000079221834,0.000068310714,0.9017057],"genre_scores_gemma":[0.92472106,0.05321765,0.000007754352,0.01708459,0.0023258524,0.000038143182,0.000039087106,0.000042146658,0.0025237058],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979885,0.000035289013,0.00033563917,0.00033958704,0.0003654479,0.0009354887],"domain_scores_gemma":[0.99844086,0.00009227824,0.00007174135,0.00048322472,0.00015336576,0.0007585332],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013066309,0.00025957162,0.0003882584,0.0004102617,0.0012117428,0.00017018805,0.00049403677,0.000044503264,0.004634937],"category_scores_gemma":[0.000054420474,0.00018450512,0.00015037817,0.0002913348,0.0007736302,0.00031542458,0.000034738317,0.00022059432,0.002594338],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006726905,0.000031961976,0.00048519974,0.00054152764,0.00005316154,0.00005313496,0.003966886,7.434607e-8,0.0000034570883,0.2271952,0.084705375,0.6829573],"study_design_scores_gemma":[0.000092687995,0.000095699594,0.00009340544,0.0007488019,0.00004201192,0.0000112671705,0.0006681897,3.3429697e-7,0.000021928246,0.00088539516,0.9970951,0.00024517777],"about_ca_topic_score_codex":0.019946655,"about_ca_topic_score_gemma":0.45528543,"teacher_disagreement_score":0.92215836,"about_ca_system_score_codex":0.00028653952,"about_ca_system_score_gemma":0.0009726098,"threshold_uncertainty_score":0.99818224},"labels":[],"label_agreement":null},{"id":"W4380928525","doi":"10.3138/ctr.130.022","title":"The Very First Elephant on the Very First Day: Nicholas Billon’s <i>The Elephant Song</i> Trumpets at the Stratford Regime","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Performance art; Visual arts; Colonialism; History; Art history; Literature; Archaeology","score_opus":0.025251970169616517,"score_gpt":0.2239069921606207,"score_spread":0.19865502199100418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928525","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018276265,0.431509,6.479468e-7,0.16879845,0.0025230146,0.0026842167,0.0003217856,0.0001042173,0.37578243],"genre_scores_gemma":[0.42657268,0.5226786,0.00000103596,0.028879743,0.0030642815,0.00029894983,0.000037929276,0.000112287475,0.018354481],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99705654,0.00020223098,0.0006353626,0.00042227365,0.0004495708,0.0012340003],"domain_scores_gemma":[0.99623364,0.0016235772,0.00023792888,0.0015152586,0.00010399093,0.0002856214],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0027798016,0.00052998326,0.00051996624,0.00006936882,0.007949032,0.000410956,0.0012040524,0.000080903956,0.0012474202],"category_scores_gemma":[0.00008007913,0.0002007811,0.00046936574,0.00021119573,0.00095889246,0.00019165745,0.00012541181,0.00060827873,0.0009637043],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007267889,0.000033526365,0.0002948833,0.0004767449,0.0003882217,0.00005525024,0.00903717,0.000003663417,0.0000014688197,0.03019175,0.8309698,0.1284748],"study_design_scores_gemma":[0.00014765133,0.0001274704,0.00024208822,0.0014196548,0.00020452475,0.000035047855,0.0024375848,0.000003752379,0.000021207665,0.00026065417,0.99477816,0.0003221829],"about_ca_topic_score_codex":0.0188492,"about_ca_topic_score_gemma":0.89809483,"teacher_disagreement_score":0.87924564,"about_ca_system_score_codex":0.00040037034,"about_ca_system_score_gemma":0.00033568672,"threshold_uncertainty_score":0.99981415},"labels":[],"label_agreement":null},{"id":"W4380928598","doi":"10.3138/ctr.131.016","title":"HIVE – Clawing at Theatre’s Coffin in Vancouver’s Downtown Eastside","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Coffin; Visual arts; Performance art; Citizen journalism; Art; Art history; History; Media studies; Sociology; Political science; Law; Archaeology","score_opus":0.023208840311878132,"score_gpt":0.23630204412292163,"score_spread":0.2130932038110435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928598","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031293193,0.1549962,9.601791e-7,0.0017035721,0.00096300524,0.0005267769,0.00009211259,0.00005210626,0.83853596],"genre_scores_gemma":[0.90262574,0.06805349,0.000035670757,0.011771667,0.0016491388,0.00006912273,0.00006572069,0.00008318673,0.015646238],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99807864,0.00005999605,0.0005155482,0.0003223856,0.0001773383,0.0008461141],"domain_scores_gemma":[0.9990048,0.000108220855,0.00009116742,0.0003856403,0.00005647662,0.00035372766],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006762364,0.00030951155,0.0005661734,0.00025739914,0.00049309083,0.000046828543,0.0002633016,0.000061288614,0.0065319063],"category_scores_gemma":[0.000011571224,0.0002458422,0.00019132462,0.00014637891,0.00018415411,0.00020707307,0.00005073246,0.00024328232,0.000665894],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000314776,0.000034814024,0.0059553357,0.0016389337,0.00011009901,0.00024639393,0.012235471,0.0000032144676,0.0000046888617,0.012588574,0.32768473,0.6394663],"study_design_scores_gemma":[0.00020554551,0.00003520731,0.00044257462,0.0022754162,0.00006197635,0.00001102131,0.0012635263,0.0000020021425,0.000008549255,0.0002456154,0.9951276,0.00032097442],"about_ca_topic_score_codex":0.13054635,"about_ca_topic_score_gemma":0.99161565,"teacher_disagreement_score":0.89949644,"about_ca_system_score_codex":0.0006085914,"about_ca_system_score_gemma":0.0002239018,"threshold_uncertainty_score":0.9999994},"labels":[],"label_agreement":null},{"id":"W4380928601","doi":"10.3138/ctr.129.001","title":"Moving the Furniture","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Residence; Art history; Art; Visual arts; Management; Theatre director; History; Sociology","score_opus":0.024966095417016363,"score_gpt":0.23700023568115355,"score_spread":0.2120341402641372,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928601","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004282743,0.30044073,0.0000012547522,0.0082687,0.00042434986,0.00022290817,0.000022429127,0.000028925288,0.6901624],"genre_scores_gemma":[0.78955835,0.13660662,0.000016917065,0.050008126,0.004358075,0.00003621562,0.0000268592,0.00005356821,0.019335294],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992397,0.000023100138,0.00017750589,0.00010597668,0.00008843458,0.0003653222],"domain_scores_gemma":[0.99946207,0.000055828423,0.00003668383,0.0002531383,0.000044220902,0.00014807149],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00049231586,0.00012347034,0.00017891235,0.0000515861,0.00068923365,0.000053117896,0.00020035513,0.000020851563,0.0029666487],"category_scores_gemma":[0.000008995443,0.00006812608,0.00010164429,0.000056651435,0.00013597729,0.00008167066,0.000014321514,0.00015456745,0.0004886525],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000019594079,0.0000048398065,0.00030855456,0.0006763015,0.00006144726,0.000024289788,0.00799363,1.7921576e-7,7.090591e-7,0.0651956,0.22668724,0.69904524],"study_design_scores_gemma":[0.000027737718,0.000010475975,0.00011829455,0.0006668586,0.00004911434,0.000009627098,0.0011912847,3.4079162e-7,0.0000017368972,0.00023913785,0.9975822,0.00010321789],"about_ca_topic_score_codex":0.026584826,"about_ca_topic_score_gemma":0.738478,"teacher_disagreement_score":0.78913003,"about_ca_system_score_codex":0.000058122125,"about_ca_system_score_gemma":0.00009496952,"threshold_uncertainty_score":0.9979448},"labels":[],"label_agreement":null},{"id":"W4380928656","doi":"10.3138/ctr.133.005","title":"Fifty-One Suitcases: Traces of Hana Brady and the Terezin Children","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wonder; Nazism; The Holocaust; George (robot); Art; Art history; History; Classics; German; Psychology; Theology; Archaeology; Philosophy","score_opus":0.02901841763705999,"score_gpt":0.21427522441089497,"score_spread":0.185256806773835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928656","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.054054942,0.8078331,2.1347556e-7,0.0066410154,0.00012303653,0.00069883163,0.0002420284,0.000021868469,0.13038497],"genre_scores_gemma":[0.7198427,0.27676758,0.0000050714007,0.001766795,0.00027132867,0.000022217198,0.000014246741,0.000012395921,0.0012976783],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992248,0.00006814294,0.00025252762,0.0001317107,0.0000938333,0.00022900684],"domain_scores_gemma":[0.999458,0.00007873948,0.000073796895,0.00023887573,0.000038159982,0.00011238315],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021614961,0.00014202726,0.00043789245,0.000058069338,0.0005108869,0.000022841963,0.00015904139,0.0000206712,0.0010050168],"category_scores_gemma":[0.000012270549,0.000083511455,0.00011046378,0.000049311657,0.0007286076,0.000101223515,0.000018001188,0.00009528433,0.000040601582],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000064220534,0.00009226315,0.015608817,0.0049819257,0.0011168021,0.00003978001,0.07591322,6.247639e-7,0.0000019996612,0.10593864,0.18775433,0.60848737],"study_design_scores_gemma":[0.00044832597,0.0000567042,0.0023216663,0.0014962449,0.00022587669,0.00007485771,0.0005250793,0.0000012708456,0.0000067154965,0.00032151467,0.99433005,0.0001917083],"about_ca_topic_score_codex":0.081183225,"about_ca_topic_score_gemma":0.33372217,"teacher_disagreement_score":0.8065757,"about_ca_system_score_codex":0.000017077875,"about_ca_system_score_gemma":0.00010336706,"threshold_uncertainty_score":0.9999082},"labels":[],"label_agreement":null},{"id":"W4380928696","doi":"10.3138/ctr.124.012","title":"Friction","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moral rights; Law; Copyright law; Political science; History; Art; Intellectual property","score_opus":0.02721217881824645,"score_gpt":0.2313190992254854,"score_spread":0.20410692040723896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928696","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026426444,0.2223096,3.674828e-7,0.010499287,0.0002519768,0.00014102182,0.000026862634,0.000037228318,0.76646936],"genre_scores_gemma":[0.5945924,0.33572647,0.00005000772,0.031457867,0.0057025426,0.00008178215,0.00004879596,0.0000433148,0.032296807],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994792,0.000015929803,0.00013366438,0.00009683721,0.000056252582,0.0002181424],"domain_scores_gemma":[0.9996513,0.000008981293,0.00002321557,0.00015160134,0.00003201127,0.00013286048],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009390436,0.000093745344,0.00015757873,0.000057631652,0.00031475202,0.00003131667,0.000084185755,0.000014579878,0.008738752],"category_scores_gemma":[0.00000270699,0.00007139897,0.00007324527,0.000033037057,0.00004866368,0.00014086142,0.000005879148,0.00006675815,0.0023472446],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.858958e-7,0.0000043508935,0.000058762114,0.0002735391,0.000020631385,0.0000016392958,0.0018104562,3.8169344e-7,2.752862e-7,0.027321294,0.2821723,0.6883359],"study_design_scores_gemma":[0.000032335374,0.000012059485,0.000021629214,0.00048458713,0.000036313708,0.00000401503,0.00014333031,0.0000026227576,0.0000018836819,0.00009085406,0.9990737,0.000096673364],"about_ca_topic_score_codex":0.021269327,"about_ca_topic_score_gemma":0.6237947,"teacher_disagreement_score":0.7341726,"about_ca_system_score_codex":0.00008155188,"about_ca_system_score_gemma":0.00007422163,"threshold_uncertainty_score":0.99842954},"labels":[],"label_agreement":null},{"id":"W4380928702","doi":"10.3138/ctr.115.002","title":"<i>Icycle:</i> New Languages","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mandate; Visual arts; Art; Work (physics); Art history; Engineering; Political science; Law; Mechanical engineering","score_opus":0.023479163737709613,"score_gpt":0.24035621428731,"score_spread":0.21687705054960038,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928702","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007546249,0.30616853,4.0247053e-7,0.0024779371,0.00021378203,0.00014016489,0.000023651413,0.00002954502,0.6908705],"genre_scores_gemma":[0.2657068,0.4668951,0.00015334281,0.07254969,0.0035126468,0.00008139045,0.00007386691,0.00013299246,0.19089416],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992608,0.000039442755,0.00015912522,0.00013923128,0.00007401734,0.0003273796],"domain_scores_gemma":[0.9993925,0.000020099298,0.000030341538,0.00024095949,0.000026248597,0.00028982456],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013005977,0.0001449112,0.00024974812,0.000057979112,0.0002688602,0.000048700585,0.00012051611,0.000020714742,0.011221315],"category_scores_gemma":[0.000013943175,0.000109838125,0.00010146029,0.000051834963,0.00006612317,0.00010055006,0.0000058064156,0.00008889006,0.0013033276],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[5.3241365e-7,0.00000491499,0.00016823247,0.00048121525,0.000038239028,0.000014740934,0.0020760177,1.1410252e-7,5.8913247e-7,0.15047833,0.65939003,0.18734702],"study_design_scores_gemma":[0.00006386747,0.00001544393,0.000009878688,0.00066554983,0.000052310686,0.000010113409,0.00043660626,6.978323e-8,0.0000066712464,0.00065061124,0.99793696,0.00015190123],"about_ca_topic_score_codex":0.049839865,"about_ca_topic_score_gemma":0.49208128,"teacher_disagreement_score":0.49997637,"about_ca_system_score_codex":0.000047556645,"about_ca_system_score_gemma":0.00027989084,"threshold_uncertainty_score":0.9994743},"labels":[],"label_agreement":null},{"id":"W4380928716","doi":"10.3138/ctr.111.015","title":"Reading <i>Elsinore:</i> The Ghost and the Machine","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"HAMLET (protein complex); Joke; Reading (process); Literature; Art; Nothing; Marginalia; Soliloquy; Philosophy; Linguistics; Epistemology","score_opus":0.02296235189425405,"score_gpt":0.20685535666597707,"score_spread":0.18389300477172302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928716","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007995881,0.46810684,1.2759601e-7,0.04887826,0.00017141455,0.00029132728,0.000039179286,0.00001544549,0.48241746],"genre_scores_gemma":[0.30880773,0.6393799,0.0000030905737,0.03647151,0.0008790768,0.000068817055,0.000008148986,0.000025638848,0.014356078],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992565,0.000085373555,0.0001780681,0.0001248864,0.00008199866,0.00027317228],"domain_scores_gemma":[0.9994061,0.00011765765,0.000044674605,0.00030165282,0.000026775433,0.00010314119],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034616241,0.00014667878,0.00026138127,0.000029939827,0.0011233157,0.000110797664,0.00020158723,0.000015207274,0.0028269787],"category_scores_gemma":[0.000012922437,0.00006308432,0.000093270006,0.00005347678,0.0005256784,0.0000842485,0.000025500642,0.00015340494,0.0002734901],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003844595,0.0000049992223,0.00017877198,0.00053440005,0.00009140794,0.000007671362,0.014438672,1.2433688e-7,1.1756359e-7,0.15794395,0.32102364,0.50577235],"study_design_scores_gemma":[0.00014494229,0.000010966067,0.000012570936,0.00053122884,0.00011586514,0.000022640177,0.00042503927,0.000027585007,2.8312388e-7,0.00038204965,0.9982277,0.00009911131],"about_ca_topic_score_codex":0.042618196,"about_ca_topic_score_gemma":0.27273485,"teacher_disagreement_score":0.6772041,"about_ca_system_score_codex":0.000026348967,"about_ca_system_score_gemma":0.00001904345,"threshold_uncertainty_score":0.99808455},"labels":[],"label_agreement":null},{"id":"W4380928718","doi":"10.3138/ctr.124.fm","title":"Editorial","year":2005,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Presentation (obstetrics); Art history; Performance art; Visual arts; Art; History; Medicine","score_opus":0.014417958599754631,"score_gpt":0.24037281636279967,"score_spread":0.22595485776304503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928718","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.2076476e-8,0.20857489,1.0136875e-8,0.00073029834,0.52718616,0.0002237287,0.0009285641,0.000038087142,0.26231828],"genre_scores_gemma":[0.0000012680425,0.2760601,0.0000019117288,0.0006371435,0.7059595,0.000060532024,0.00052429666,0.000056783116,0.016698457],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99789363,0.00006405671,0.00046118343,0.0003872748,0.0005352721,0.00065860956],"domain_scores_gemma":[0.9984319,0.00016676268,0.00015027076,0.0005496255,0.0003102958,0.0003911007],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003682561,0.00048919534,0.0009274952,0.00016840367,0.0005461796,0.0001668076,0.00051176123,0.00037840684,0.0072285747],"category_scores_gemma":[0.000080997306,0.00039009398,0.0003516189,0.00005254227,0.00019445238,0.00016298865,0.000037863723,0.00088949146,0.0033107386],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000019461052,0.00000457732,1.9329958e-7,0.0017361754,0.0000788683,0.000003851707,0.00050742575,2.829989e-8,4.3700203e-9,0.00037546948,0.9424763,0.054815207],"study_design_scores_gemma":[0.000102181606,0.00004024209,3.1017166e-8,0.0050334926,0.00031782573,6.299399e-7,0.000050979837,7.0545816e-8,3.860316e-8,0.000053764084,0.99393946,0.00046127927],"about_ca_topic_score_codex":0.08837285,"about_ca_topic_score_gemma":0.79041874,"teacher_disagreement_score":0.7020459,"about_ca_system_score_codex":0.000378136,"about_ca_system_score_gemma":0.001791017,"threshold_uncertainty_score":0.9998551},"labels":[],"label_agreement":null},{"id":"W4380928725","doi":"10.3138/ctr.127.014","title":"Balancing between Borders: Liveness and Aerial Theatre","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Performing arts; Liveness; Art; Visual arts; Theatre studies; Space (punctuation); Aesthetics; Political theatre; Theatre director; Computer science","score_opus":0.018889754390719726,"score_gpt":0.23379618543509761,"score_spread":0.2149064310443779,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928725","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015176098,0.36002025,0.0000011507412,0.006088267,0.00055719994,0.0005700057,0.0003085911,0.00008503791,0.6171934],"genre_scores_gemma":[0.95051575,0.042186733,0.000015614294,0.0016587828,0.0037927455,0.000039195736,0.00009471275,0.00003986923,0.0016565961],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989722,0.000049982853,0.00025835997,0.00021381871,0.00009858633,0.00040704917],"domain_scores_gemma":[0.9994799,0.000051313255,0.00005286503,0.00020889816,0.000041722855,0.00016530823],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019292555,0.00021092244,0.00045001376,0.00008531779,0.00052132533,0.000101687125,0.00012813078,0.00003970805,0.0012106203],"category_scores_gemma":[0.000003229936,0.00016447522,0.00009101234,0.000055044773,0.00016833431,0.00015680467,0.000022509434,0.00010981662,0.00013887585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009241074,0.000022820434,0.016334055,0.005092098,0.00020950496,0.000045045832,0.0076362435,0.0000014300645,0.0000035481733,0.03633858,0.13021268,0.80409473],"study_design_scores_gemma":[0.00012281684,0.000028920116,0.0006919663,0.0014426429,0.00013015268,0.0000057513876,0.00056279264,7.94049e-7,0.000003021124,0.00058975886,0.99619836,0.00022300587],"about_ca_topic_score_codex":0.16924903,"about_ca_topic_score_gemma":0.54584605,"teacher_disagreement_score":0.9353396,"about_ca_system_score_codex":0.00006299204,"about_ca_system_score_gemma":0.0001492793,"threshold_uncertainty_score":0.9997024},"labels":[],"label_agreement":null},{"id":"W4380928748","doi":"10.3138/ctr.103.016","title":"Critical Stages: Canadian Theatre in Crisis","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Misnomer; Performance art; Jazz; History; Art; Art history; Visual arts; Literature; Media studies; Sociology; Philosophy; Theology","score_opus":0.025429118980536763,"score_gpt":0.2560038427535516,"score_spread":0.23057472377301483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928748","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011865702,0.17198277,5.1035926e-8,0.028674565,0.00029046158,0.00038029,0.00040294894,0.000038463513,0.79704386],"genre_scores_gemma":[0.8017887,0.15967253,0.000014823239,0.030215206,0.0009430818,0.000114973445,0.00006905719,0.00006717907,0.007114462],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99809444,0.00009962982,0.00039396292,0.0003247351,0.00014370482,0.0009435059],"domain_scores_gemma":[0.9986279,0.00006330271,0.000020456077,0.00042989536,0.00006234319,0.00079611083],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002877598,0.00029125923,0.0005184882,0.0002881967,0.0005405812,0.00012843253,0.00030106812,0.00006879752,0.06245859],"category_scores_gemma":[0.00001315787,0.00024123999,0.00016260621,0.00015880015,0.00020641551,0.00034903357,0.000009442544,0.00027561825,0.0022815496],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005962014,0.000026777738,0.001331315,0.0015128484,0.00006146904,0.00023630512,0.008842715,0.000002005017,1.0793837e-7,0.030949777,0.33559185,0.62143886],"study_design_scores_gemma":[0.00009449793,0.000036358033,0.0001307682,0.0015275184,0.00006277827,0.000012874942,0.001358371,0.0000025481932,4.3629186e-7,0.0006941025,0.99576956,0.00031016977],"about_ca_topic_score_codex":0.92957616,"about_ca_topic_score_gemma":0.9983104,"teacher_disagreement_score":0.80060214,"about_ca_system_score_codex":0.00035850942,"about_ca_system_score_gemma":0.0007554021,"threshold_uncertainty_score":0.9984953},"labels":[],"label_agreement":null},{"id":"W4380928762","doi":"10.3138/ctr.101.009","title":"WHoS: A Night at the Pen","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Prison; Art; Romance; Performance art; Andromeda; Art history; Visual arts; History; Literature; Computer science; Archaeology","score_opus":0.022941016833701918,"score_gpt":0.22409726898686774,"score_spread":0.20115625215316582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928762","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010345228,0.281145,9.500608e-9,0.013859487,0.00013739204,0.00024791254,0.000067675915,0.000020669188,0.70348734],"genre_scores_gemma":[0.056759972,0.46656278,0.000002639606,0.03454151,0.0015906888,0.00013468399,0.00005413535,0.000044021763,0.44030955],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920005,0.000048736627,0.0001760013,0.00014575453,0.000093284645,0.0003362054],"domain_scores_gemma":[0.9994093,0.000030361813,0.000025110516,0.00035623752,0.000026065496,0.0001529319],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016536245,0.00014765703,0.00023621734,0.000029079112,0.00092107384,0.000060587412,0.00022713377,0.000018826284,0.121675126],"category_scores_gemma":[0.0000026791502,0.000081125545,0.00013101764,0.000047635724,0.00018929073,0.000090376576,0.000015013977,0.0000973177,0.006789924],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000001986458,0.0000032512835,0.000056034773,0.0002487062,0.000037384852,0.000007280791,0.0036631713,1.982402e-7,7.84955e-8,0.0043777036,0.5596694,0.4319348],"study_design_scores_gemma":[0.000045909554,0.000017057915,0.000033866883,0.0006588493,0.00006747004,0.000012179743,0.00019722526,6.559128e-7,8.366674e-7,0.0001414661,0.9986973,0.00012722955],"about_ca_topic_score_codex":0.04828325,"about_ca_topic_score_gemma":0.79070103,"teacher_disagreement_score":0.7424178,"about_ca_system_score_codex":0.00009465189,"about_ca_system_score_gemma":0.00010307139,"threshold_uncertainty_score":0.9939834},"labels":[],"label_agreement":null},{"id":"W4380928768","doi":"10.3138/ctr.124.003","title":"One Yellow Rabbit’s High Performance Rodeo, 1987-2005: A Chronology","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Art history; Windsor; Art; Poetry; Luck; Visual arts; History; Literature; Philosophy; Theology","score_opus":0.023820072548507116,"score_gpt":0.21477534651778274,"score_spread":0.1909552739692756,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928768","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014796771,0.37496477,0.000001059128,0.028365862,0.00076924573,0.00067208364,0.00014974698,0.00013146669,0.580149],"genre_scores_gemma":[0.56885123,0.38958457,0.0000742386,0.01257975,0.003284243,0.0001170139,0.000063754094,0.000058499976,0.02538671],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983747,0.000051328858,0.00037507908,0.00029961934,0.00013862873,0.0007606707],"domain_scores_gemma":[0.99905795,0.000026792293,0.00008384178,0.00045786542,0.000067154324,0.00030642148],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025346378,0.000272862,0.0005637009,0.00015436129,0.00057705434,0.00005395039,0.00030772574,0.000064065396,0.017187158],"category_scores_gemma":[0.000005880338,0.00023686272,0.00013372698,0.00007125073,0.00027097817,0.00028686022,0.00003199073,0.00024399547,0.0048294114],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000064011906,0.000031388063,0.00013489103,0.0015237014,0.00012447886,0.0000056563813,0.0018994345,0.000005987913,0.000002269524,0.009717438,0.1463841,0.84016424],"study_design_scores_gemma":[0.00019195696,0.00007471439,0.0002505802,0.0015482594,0.00012277161,0.000011332158,0.000106288,0.000016990798,0.000019794836,0.00004559953,0.99730396,0.00030777347],"about_ca_topic_score_codex":0.01865399,"about_ca_topic_score_gemma":0.595838,"teacher_disagreement_score":0.85091984,"about_ca_system_score_codex":0.00026685614,"about_ca_system_score_gemma":0.00032459732,"threshold_uncertainty_score":0.99594545},"labels":[],"label_agreement":null},{"id":"W4380928779","doi":"10.3138/ctr.101.006","title":"Theatre for Life: Public Ritual and Public Dreams in Vancouver","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mythology; MAGIC (telescope); Faith; Simplicity; Materialism; Aesthetics; Feeling; Common ground; Media studies; History; Sociology; Art; Visual arts; Literature; Psychology; Social psychology; Philosophy","score_opus":0.032370504112844034,"score_gpt":0.22907522791646062,"score_spread":0.1967047238036166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928779","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007108632,0.35257545,4.8569115e-7,0.018458422,0.00048557777,0.001219588,0.00035113512,0.000065874505,0.6197348],"genre_scores_gemma":[0.75039274,0.2235473,0.000028703465,0.014326827,0.0013546237,0.0003915105,0.0000928167,0.00007197435,0.009793525],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99858457,0.00005451303,0.00033021532,0.00028142967,0.00009955159,0.00064972363],"domain_scores_gemma":[0.99911463,0.00006931965,0.00003965287,0.00027250362,0.000057912817,0.0004459766],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002889485,0.00023796472,0.00047469078,0.00017112138,0.00044376895,0.00015421734,0.00019402255,0.000053483607,0.0064389226],"category_scores_gemma":[0.000017657467,0.00018451748,0.000118881275,0.00010993884,0.00020314692,0.0003841574,0.000015002528,0.0001422531,0.00015432348],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004982965,0.000023275403,0.001144216,0.0008778291,0.000051073344,0.000004824958,0.0019122002,1.2558e-7,5.704348e-8,0.012547885,0.15132666,0.8321069],"study_design_scores_gemma":[0.00029602347,0.000054123575,0.00006550914,0.0006275212,0.000044228655,0.000004274915,0.0010019923,0.000007712584,1.4134486e-7,0.000599538,0.9970589,0.00024002616],"about_ca_topic_score_codex":0.025714912,"about_ca_topic_score_gemma":0.89991236,"teacher_disagreement_score":0.8741974,"about_ca_system_score_codex":0.00009244046,"about_ca_system_score_gemma":0.00036235823,"threshold_uncertainty_score":0.99446934},"labels":[],"label_agreement":null},{"id":"W4380928780","doi":"10.3138/ctr.108.fm","title":"Editorial","year":2001,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performing arts; Profit (economics); The arts; Art; Visual arts; Management","score_opus":0.016263592328549892,"score_gpt":0.24162934454740653,"score_spread":0.22536575221885663,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928780","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.7828026e-8,0.16885759,1.783218e-8,0.00047916992,0.51202565,0.00022409021,0.0007348912,0.00003761754,0.31764096],"genre_scores_gemma":[8.2112217e-7,0.32044384,8.9198267e-7,0.00049315364,0.6591978,0.000057853627,0.00055662607,0.000053585347,0.019195411],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978542,0.000069910944,0.00045058815,0.0003971453,0.00053965516,0.00068851036],"domain_scores_gemma":[0.99836564,0.00017622222,0.00015037518,0.0005687956,0.00033739037,0.00040154744],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00036575008,0.0004947797,0.00095703255,0.00017685653,0.0005811374,0.00017393856,0.00051372626,0.0003843369,0.0097337775],"category_scores_gemma":[0.000091981994,0.00039374933,0.00035053754,0.000072633964,0.00020123874,0.00014368986,0.000037768445,0.00087618554,0.0027343244],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000023364794,0.000004648603,5.3806497e-7,0.001946365,0.00008533804,0.000011575857,0.0004169141,1.6765902e-8,4.2860955e-9,0.00043223274,0.9684365,0.028663551],"study_design_scores_gemma":[0.00010408616,0.000048479757,3.4272926e-8,0.005670797,0.00032570504,0.0000011971717,0.00006768133,4.8084072e-8,2.4113001e-8,0.00013698846,0.9931793,0.00046564397],"about_ca_topic_score_codex":0.15236191,"about_ca_topic_score_gemma":0.74559695,"teacher_disagreement_score":0.593235,"about_ca_system_score_codex":0.0003267733,"about_ca_system_score_gemma":0.0016428137,"threshold_uncertainty_score":0.99985147},"labels":[],"label_agreement":null},{"id":"W4380928782","doi":"10.3138/ctr.111.017","title":"Two-Tier Theatre? What does the Mirvishes’ success mean for Canadian theatre?","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Theatre studies; Political theatre; Performance art; Visual arts; Art; Theatre director; Art history; History; Drama","score_opus":0.03268294206562559,"score_gpt":0.24049968537054925,"score_spread":0.20781674330492367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928782","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00069187663,0.46622398,5.687707e-7,0.06361143,0.0022500777,0.0020717536,0.00066924066,0.000084010906,0.46439704],"genre_scores_gemma":[0.6278414,0.31766582,0.00002766895,0.034859486,0.004088848,0.00079094275,0.00014354267,0.00018445426,0.014397824],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99696064,0.00016898547,0.0005928542,0.0005608047,0.0002803726,0.0014363349],"domain_scores_gemma":[0.9975192,0.00023548788,0.00013412694,0.0010392352,0.00018773023,0.0008841974],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00063243555,0.0005983168,0.0008076444,0.00027778887,0.002534669,0.0007938256,0.0009354637,0.000095023046,0.011723775],"category_scores_gemma":[0.0000129426435,0.00033170043,0.00051408936,0.00020006791,0.00048796198,0.00083908817,0.000041389932,0.0003387686,0.0007174124],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000073663596,0.000026790014,0.00041010286,0.0012906104,0.0003305418,0.00002573006,0.020778734,0.0000019979407,5.175408e-7,0.021987103,0.22327289,0.7318676],"study_design_scores_gemma":[0.00027740537,0.000058612615,0.000016263704,0.001994773,0.0003394478,0.000021436648,0.005255508,0.000033433487,0.0000053572157,0.00084099243,0.99061286,0.00054392574],"about_ca_topic_score_codex":0.6622968,"about_ca_topic_score_gemma":0.99687016,"teacher_disagreement_score":0.76733994,"about_ca_system_score_codex":0.0003817647,"about_ca_system_score_gemma":0.0003999603,"threshold_uncertainty_score":0.9999135},"labels":[],"label_agreement":null},{"id":"W4380928787","doi":"10.3138/ctr.115.fm","title":"Editorial","year":2003,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Event (particle physics); Visual arts; Performance art; Art; Art history; Media studies; History; Sociology","score_opus":0.015089916876261222,"score_gpt":0.2368334473788238,"score_spread":0.2217435305025626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928787","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[1.6058742e-8,0.18342255,1.4560655e-8,0.00030057205,0.4978154,0.00022081423,0.0007215291,0.000025599276,0.31749347],"genre_scores_gemma":[5.7377173e-7,0.24258228,0.0000016125907,0.00074280944,0.73587954,0.00006574285,0.00042627283,0.000059328373,0.020241873],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99789387,0.00009977621,0.00044180072,0.00039351347,0.0005102129,0.0006608284],"domain_scores_gemma":[0.9984083,0.00016293032,0.00014821303,0.00056137115,0.00033001794,0.00038915506],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00042838557,0.00049272116,0.0009454615,0.00015690668,0.0005725243,0.00016344555,0.00042542987,0.00038086795,0.008385238],"category_scores_gemma":[0.00011801013,0.00039313233,0.00034426225,0.00006172787,0.00019708226,0.0001273121,0.00002388647,0.00085629977,0.0024114463],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000014422811,0.000004359856,2.905434e-7,0.0023463073,0.00008555329,0.0000054072993,0.00037052226,1.21912445e-8,4.5199537e-9,0.0009942146,0.9857051,0.0104868105],"study_design_scores_gemma":[0.00010179376,0.000043994143,1.419142e-8,0.004484581,0.00032161546,7.793207e-7,0.00005891455,2.0761602e-8,5.4132006e-8,0.00014987789,0.99437255,0.00046582214],"about_ca_topic_score_codex":0.07181134,"about_ca_topic_score_gemma":0.5987343,"teacher_disagreement_score":0.526923,"about_ca_system_score_codex":0.00031418467,"about_ca_system_score_gemma":0.0020003058,"threshold_uncertainty_score":0.99985206},"labels":[],"label_agreement":null},{"id":"W4380928806","doi":"10.3138/ctr.103.002","title":"Participatory Theatre: The Experiential Construct of House and Techno Music Events","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Emotive; Dance; Drama; Aesthetics; Escapism; Fantasy; Visual arts; Citizen journalism; Art; Storytelling; Entertainment; Construct (python library); Theatre studies; Sociology; Experiential learning; Reflexivity; Psychology; Literature; Social science; Social psychology; Narrative; Pedagogy","score_opus":0.03692194944948895,"score_gpt":0.2417012141495407,"score_spread":0.20477926470005176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928806","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22481242,0.46799728,2.3549197e-7,0.003467009,0.00054342154,0.0011548266,0.00024225519,0.00010952092,0.30167302],"genre_scores_gemma":[0.940491,0.057026446,0.0000039198317,0.001487272,0.0002416507,0.00006709898,0.0000036271254,0.000024017101,0.00065495004],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909836,0.00006149845,0.00027321102,0.00015817911,0.00010829211,0.0003004628],"domain_scores_gemma":[0.9994167,0.00003230998,0.000052769832,0.0003336092,0.000029448307,0.00013514522],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00018098742,0.00016432833,0.00032507078,0.000049472354,0.00042334554,0.000023623292,0.00017500845,0.000029060908,0.007518256],"category_scores_gemma":[0.0000033095064,0.0001007133,0.00010024875,0.00006168966,0.00055485393,0.00009487907,0.000017288745,0.000103513776,0.00010823751],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001053555,0.00002019781,0.0011495763,0.0010125856,0.00010763673,0.000007385651,0.01651604,4.2650115e-7,0.0000035640562,0.008162805,0.023622084,0.94938713],"study_design_scores_gemma":[0.00011886187,0.000041546482,0.00007729192,0.0009268401,0.00011693755,0.00001284121,0.0014086766,0.0000018031246,0.00001712324,0.0002930049,0.99684745,0.00013761876],"about_ca_topic_score_codex":0.014581065,"about_ca_topic_score_gemma":0.1193383,"teacher_disagreement_score":0.97322536,"about_ca_system_score_codex":0.000025406069,"about_ca_system_score_gemma":0.00011462252,"threshold_uncertainty_score":0.993389},"labels":[],"label_agreement":null},{"id":"W4380928812","doi":"10.3138/ctr.120.017","title":"Denise Clarke’s Body of Fact","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subconscious; Subtext; Dance; Performing arts; Conversation; Witness; Sign (mathematics); Aesthetics; Martial arts; Psychology; Art; Visual arts; Literature; Communication; Philosophy","score_opus":0.025177964187521697,"score_gpt":0.23662798444140246,"score_spread":0.21145002025388077,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928812","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004669078,0.31017104,0.00000115567,0.0045001036,0.00036956117,0.00040900122,0.00017106345,0.000034446213,0.67967457],"genre_scores_gemma":[0.9065999,0.08875203,0.000015290667,0.002538374,0.0003526001,0.000022222817,0.000016030514,0.000021264757,0.0016822985],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992805,0.000019786221,0.0002314029,0.00011868573,0.000087480774,0.0002621034],"domain_scores_gemma":[0.9994686,0.000013711823,0.00005538157,0.00024222775,0.000055710876,0.00016432437],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011690508,0.00013378897,0.0003247994,0.000075694385,0.00020264082,0.000019760322,0.00015083789,0.0000237906,0.00271422],"category_scores_gemma":[0.000006594725,0.00010067953,0.00014026141,0.000046406964,0.00013930311,0.00010304681,0.000011437655,0.000085947286,0.00032866962],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019779907,0.000121736986,0.0013192049,0.013396687,0.00060478854,0.00011481343,0.024823785,0.000011908439,0.0000357336,0.3042058,0.16728832,0.48805743],"study_design_scores_gemma":[0.00011667431,0.00004448684,0.00006682714,0.0018695329,0.000082546685,0.000004848847,0.00029224268,1.2828067e-7,0.00003315597,0.0006462592,0.99671096,0.0001323698],"about_ca_topic_score_codex":0.072663955,"about_ca_topic_score_gemma":0.42141673,"teacher_disagreement_score":0.9019308,"about_ca_system_score_codex":0.000078592624,"about_ca_system_score_gemma":0.00026798513,"threshold_uncertainty_score":0.99819744},"labels":[],"label_agreement":null},{"id":"W4380928816","doi":"10.3138/ctr.102.016","title":"The Edinburgh Festival and Fringe: Lessons for Canada?","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Presentation (obstetrics); Multiculturalism; The arts; Media studies; Opportunism; Political science; Sociology; Visual arts; History; Law; Art","score_opus":0.028492477122925196,"score_gpt":0.2432118860578967,"score_spread":0.21471940893497152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928816","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010982594,0.47318223,1.4519361e-7,0.083113045,0.0004962816,0.0006321673,0.00031731545,0.00002129132,0.44113928],"genre_scores_gemma":[0.2845532,0.58751124,0.000013396036,0.013831089,0.0025624237,0.00031613954,0.00003852627,0.000050496415,0.11112348],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992878,0.000015934895,0.00014904344,0.00012874794,0.000069856105,0.0003486161],"domain_scores_gemma":[0.9994865,0.00010505996,0.00002270537,0.00016894475,0.000037822163,0.00017895878],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001634361,0.00012560886,0.0001978567,0.000015829837,0.001304645,0.00007268737,0.0001283567,0.000014579774,0.001568074],"category_scores_gemma":[0.00000956809,0.00007681931,0.00005173639,0.000024358222,0.00013583964,0.000054621196,0.000007111469,0.00007390811,0.000011329069],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000020280613,9.784663e-7,0.000022024551,0.0001526882,0.000025274805,0.0000018443218,0.00043438538,1.5175387e-7,2.985892e-8,0.009924504,0.40443504,0.58500105],"study_design_scores_gemma":[0.000059766095,0.000017312117,0.000054558142,0.00047947324,0.00005788485,0.0000058214173,0.00028246385,0.0000037516702,4.5718713e-7,0.00033483616,0.9985893,0.00011441877],"about_ca_topic_score_codex":0.84060687,"about_ca_topic_score_gemma":0.99847764,"teacher_disagreement_score":0.59415424,"about_ca_system_score_codex":0.00007850696,"about_ca_system_score_gemma":0.00051350053,"threshold_uncertainty_score":0.9999955},"labels":[],"label_agreement":null},{"id":"W4380928919","doi":"10.3138/ctr.115.004","title":"New Play Development","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Performance art; Art history; Visual arts; Art; History","score_opus":0.03134541485759198,"score_gpt":0.2268735923026789,"score_spread":0.1955281774450869,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928919","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010360436,0.22355656,0.0000027308479,0.0011102748,0.0003624054,0.0001899889,0.000008427794,0.000025075115,0.7746409],"genre_scores_gemma":[0.221344,0.3513954,0.0022014484,0.055714235,0.0036880118,0.00025118573,0.0001330627,0.00021699478,0.36505568],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992577,0.000026999034,0.0001891558,0.00013156285,0.00007855206,0.00031606434],"domain_scores_gemma":[0.9994566,0.00001390811,0.00002870495,0.00017560592,0.000027736896,0.0002974861],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014576984,0.00014039596,0.00022809544,0.000060442366,0.00036665154,0.000041120536,0.00010793937,0.000018218057,0.0150173735],"category_scores_gemma":[0.0000071353734,0.00010614735,0.00006452071,0.00004260205,0.00003616075,0.00007927651,0.0000058356013,0.000074369345,0.001669939],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[5.2345735e-7,0.000004096159,0.00016506153,0.00046158818,0.000056145833,0.000008501805,0.005855128,1.135305e-7,1.716964e-7,0.10119657,0.42300895,0.46924314],"study_design_scores_gemma":[0.000057553563,0.0000097846705,0.000023231343,0.0007889107,0.00002840203,0.0000063839,0.00020042423,3.6179614e-8,0.0000098406,0.00022564847,0.99849373,0.00015602881],"about_ca_topic_score_codex":0.014410941,"about_ca_topic_score_gemma":0.504849,"teacher_disagreement_score":0.5754848,"about_ca_system_score_codex":0.00008864716,"about_ca_system_score_gemma":0.0007329484,"threshold_uncertainty_score":0.99910736},"labels":[],"label_agreement":null},{"id":"W4380928962","doi":"10.3138/ctr.126.025","title":"Yukon PIPE Takes Theatre Outside the Box","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Thriving; Visual arts; Government (linguistics); Tourism; History; Art; Sociology; Archaeology; Social science","score_opus":0.021128411243662968,"score_gpt":0.2186945919158231,"score_spread":0.19756618067216014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928962","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00027930096,0.28321546,0.0000010099628,0.015456247,0.00044197688,0.00041282823,0.00011644683,0.00005883729,0.70001787],"genre_scores_gemma":[0.8288794,0.100646906,0.000030965883,0.02418406,0.006511121,0.00024223041,0.00015652299,0.00012077417,0.039228026],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859285,0.000083728024,0.00035009897,0.00024009557,0.0001679998,0.0005651983],"domain_scores_gemma":[0.9991131,0.00007169462,0.00008090899,0.00051321095,0.00006891967,0.00015220344],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028770187,0.0002821739,0.00040671838,0.00008125884,0.0009968822,0.00014342548,0.00035940378,0.00003982514,0.003424034],"category_scores_gemma":[0.000005264342,0.00016216475,0.00023572745,0.00009253476,0.00029195263,0.00015712903,0.000018330988,0.00019912125,0.000984628],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000041750664,0.000022403228,0.0007015558,0.0010080582,0.00009368825,0.000028317581,0.0035055825,0.0000024741419,0.0000027591045,0.06312899,0.70401347,0.2274885],"study_design_scores_gemma":[0.00007655634,0.000026610314,0.00012642503,0.0009426524,0.00013861425,0.000013722121,0.0009468185,0.0000017651375,0.000008902702,0.0011055348,0.9963778,0.00023457485],"about_ca_topic_score_codex":0.16256453,"about_ca_topic_score_gemma":0.7995181,"teacher_disagreement_score":0.8286001,"about_ca_system_score_codex":0.00009689309,"about_ca_system_score_gemma":0.00019308286,"threshold_uncertainty_score":0.99979323},"labels":[],"label_agreement":null},{"id":"W4380928973","doi":"10.3138/ctr.109.012","title":"Views &amp; Reviews","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theme (computing); Visual arts; Aesthetics; Statement (logic); Section (typography); Media studies; Art; Sociology; Advertising; Political science; Law; Computer science","score_opus":0.11272877267335996,"score_gpt":0.2664198846902291,"score_spread":0.15369111201686914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928973","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000017747861,0.5101862,2.7118364e-7,0.0038281882,0.00026598282,0.00031808089,0.000028900833,0.000024132762,0.48533052],"genre_scores_gemma":[0.0025171093,0.9189369,0.000029969233,0.017239414,0.0010116503,0.000105805244,0.00002370312,0.000026554922,0.060108878],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988127,0.000082648956,0.00038720787,0.00020489372,0.00009233333,0.00042023833],"domain_scores_gemma":[0.9991172,0.000020595424,0.000077747885,0.00046028997,0.00004157099,0.0002825855],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029505405,0.00022148599,0.0005470436,0.000087293265,0.00044007474,0.000059184167,0.0002256081,0.00002728795,0.059091657],"category_scores_gemma":[0.00001766366,0.00015606717,0.00023333546,0.000081787155,0.00012097693,0.00015045308,0.000015439393,0.00013964738,0.019750727],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[1.5392958e-7,0.0000048999577,0.000022129714,0.00078281725,0.000012828809,0.000002214032,0.0017085281,1.3521477e-8,1.2808637e-7,0.0033399959,0.670014,0.32411227],"study_design_scores_gemma":[0.00004421856,0.000014817182,0.0000039560127,0.002311684,0.00007627259,0.00000935474,0.00004905531,7.831583e-7,2.0810462e-7,0.000098760465,0.9971816,0.00020932192],"about_ca_topic_score_codex":0.01174916,"about_ca_topic_score_gemma":0.60195273,"teacher_disagreement_score":0.5902036,"about_ca_system_score_codex":0.00007545566,"about_ca_system_score_gemma":0.0000309473,"threshold_uncertainty_score":0.9948317},"labels":[],"label_agreement":null},{"id":"W4380928976","doi":"10.3138/ctr.107.fm","title":"The Paradox of Stage Lighting in Canada: Sometimes So Transparent that It’s Invisible","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Opera; Visual arts; Art; History","score_opus":0.05574556170036842,"score_gpt":0.244931768664048,"score_spread":0.18918620696367958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928976","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014028667,0.76502234,4.622407e-7,0.035532657,0.00055357657,0.00071392866,0.00033775848,0.000016057838,0.18379454],"genre_scores_gemma":[0.6634812,0.33072016,0.0000020405907,0.0024602504,0.00012638567,0.000034848916,0.00000922763,0.000016053064,0.0031498664],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878526,0.0000643155,0.00037432447,0.00015199663,0.0001664866,0.00045760843],"domain_scores_gemma":[0.9993434,0.00010885883,0.00009150166,0.00027826708,0.000035593857,0.00014237652],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031784503,0.00016944937,0.00040603866,0.0000753502,0.0004645399,0.000036263056,0.00026251806,0.000017516086,0.0011037993],"category_scores_gemma":[0.000007728451,0.00010685108,0.00009061957,0.00010346325,0.00011598065,0.000096627795,0.000012624709,0.00013168389,0.000019657227],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020682603,0.000031893444,0.04403651,0.0037964717,0.00024532367,0.00012481562,0.01918934,0.00003440742,0.0000011185056,0.015620998,0.16970356,0.7471949],"study_design_scores_gemma":[0.00008049732,0.00001610581,0.0004897007,0.0016497485,0.000034731005,0.0000027543904,0.0037761834,0.000006822318,0.000008433551,0.00006622285,0.99373204,0.00013676868],"about_ca_topic_score_codex":0.991615,"about_ca_topic_score_gemma":0.99996567,"teacher_disagreement_score":0.8240285,"about_ca_system_score_codex":0.0003642095,"about_ca_system_score_gemma":0.001470411,"threshold_uncertainty_score":0.9998093},"labels":[],"label_agreement":null},{"id":"W4380928978","doi":"10.3138/ctr.125.004","title":"Mutation and Performance Genealogy in <i>The Confessions of Punch and Judy</i>","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Apprenticeship; Visual arts; Queen (butterfly); Art history; Performance art; Sign (mathematics); Media studies; Art; History; Sociology","score_opus":0.018819339920510856,"score_gpt":0.22318893158850608,"score_spread":0.20436959166799523,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928978","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3106574,0.4397972,4.6047526e-7,0.006966203,0.0001287638,0.0005665752,0.000073538715,0.00000927932,0.24180059],"genre_scores_gemma":[0.9366069,0.06175234,0.000004201163,0.0013083175,0.00009915029,0.000020146947,0.000013437474,0.000004559971,0.00019098334],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995218,0.00004241187,0.00017029764,0.00008147605,0.000045333712,0.0001386727],"domain_scores_gemma":[0.9997736,0.000037016485,0.00003788147,0.000093598,0.000024283756,0.000033616456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017387993,0.00007645878,0.00017933678,0.000057456906,0.00017538843,0.00001785176,0.000053580643,0.000015979034,0.00010336968],"category_scores_gemma":[0.0000024296598,0.00004823364,0.000018926747,0.00003922575,0.000158377,0.00008304748,0.0000070003503,0.000059033853,0.000005504827],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011487257,0.000046401998,0.029772883,0.008694589,0.000037973346,0.000047370184,0.024300426,0.000002884012,0.000012722029,0.09635633,0.06373039,0.77698654],"study_design_scores_gemma":[0.00011917496,0.000051256036,0.0072259307,0.0010445991,0.00004585177,0.000039042,0.0007629752,0.000012660358,0.0000049503046,0.00038289506,0.99021834,0.00009231024],"about_ca_topic_score_codex":0.033493225,"about_ca_topic_score_gemma":0.5266607,"teacher_disagreement_score":0.926488,"about_ca_system_score_codex":0.00001216402,"about_ca_system_score_gemma":0.000047792953,"threshold_uncertainty_score":0.9729428},"labels":[],"label_agreement":null},{"id":"W4380928983","doi":"10.3138/ctr.107.001","title":"Looking for Enlightened Lighting:The Discourses of Lighting Design, Training and Practice","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Privilege (computing); Aesthetics; Naturalism; Atmosphere (unit); Gaze; Visual arts; Construct (python library); Representation (politics); Sociology; Art; Political science; Epistemology; Computer science; Politics; Philosophy; Law; Artificial intelligence","score_opus":0.0757729515623463,"score_gpt":0.2920996749361691,"score_spread":0.2163267233738228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928983","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011673231,0.69217986,0.00016748352,0.0534661,0.0005183582,0.0016819966,0.000069597416,0.00005151721,0.2506978],"genre_scores_gemma":[0.7577123,0.22578809,0.001427501,0.008748368,0.0023318739,0.00025005025,0.000019729612,0.00008621309,0.0036358552],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998994,0.00009971954,0.00030721765,0.0001653108,0.00009005767,0.0003437008],"domain_scores_gemma":[0.9986823,0.0007448988,0.00016340341,0.00018323802,0.00011332207,0.000112795766],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008767902,0.00016337978,0.00036291254,0.00006683061,0.00073913636,0.00007285484,0.00014597988,0.000024260828,0.00014362388],"category_scores_gemma":[0.00016220813,0.00010095547,0.00009589831,0.00006211505,0.00017355246,0.00023287919,0.00001587666,0.00008536841,0.000006596472],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033138578,0.000021139831,0.00011890265,0.0020692537,0.00029140132,0.000016855452,0.0650967,0.0000031136146,0.000021845472,0.053062644,0.016926514,0.8623385],"study_design_scores_gemma":[0.00010243433,0.0000726252,0.000005890688,0.00228591,0.000276573,0.00004686422,0.008554763,0.000013100138,0.000018627507,0.00042100248,0.98805827,0.00014396517],"about_ca_topic_score_codex":0.005015519,"about_ca_topic_score_gemma":0.05048726,"teacher_disagreement_score":0.97113174,"about_ca_system_score_codex":0.000029976898,"about_ca_system_score_gemma":0.00016954154,"threshold_uncertainty_score":0.9668389},"labels":[],"label_agreement":null},{"id":"W4380928995","doi":"10.3138/ctr.119.011","title":"Spektator","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moral rights; Guild; Law; Copyright law; Political science; Law and economics; Sociology; History; Intellectual property; Ecology","score_opus":0.02700791136981488,"score_gpt":0.2312871680815781,"score_spread":0.20427925671176322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928995","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008844566,0.25498015,5.5647797e-7,0.010020762,0.00043763043,0.0002348503,0.000061597806,0.000045388628,0.7333346],"genre_scores_gemma":[0.69891673,0.25763577,0.00006785143,0.030929625,0.0028501798,0.00008613452,0.000057509526,0.00006790519,0.009388315],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993721,0.000011309842,0.00014789283,0.00011871421,0.000068015026,0.0002819732],"domain_scores_gemma":[0.99953616,0.0000074306367,0.000025073996,0.00019497558,0.000034323737,0.000202034],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008874895,0.00011933291,0.0002124814,0.00005803956,0.00029694728,0.000037891758,0.00012469284,0.000015410349,0.0037734793],"category_scores_gemma":[0.000004345919,0.00008942174,0.0000968505,0.000040664185,0.00010119741,0.00010332614,0.000008519396,0.00007632281,0.0022327304],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000024885396,0.000021980482,0.00026415652,0.0022841196,0.00012058803,0.00006485611,0.0076352004,0.0000017599396,0.0000010956707,0.48186713,0.17527743,0.3324592],"study_design_scores_gemma":[0.00007966199,0.000022007178,0.000025425092,0.0012324183,0.00004189194,0.0000075731714,0.00021004783,5.4770833e-8,0.000003307347,0.0014639334,0.9967867,0.00012695296],"about_ca_topic_score_codex":0.07257268,"about_ca_topic_score_gemma":0.6707899,"teacher_disagreement_score":0.8215093,"about_ca_system_score_codex":0.000104931096,"about_ca_system_score_gemma":0.00022651203,"threshold_uncertainty_score":0.99854416},"labels":[],"label_agreement":null},{"id":"W4380928996","doi":"10.3138/ctr.104.009","title":"A Selected Chronology of Italian Canadian Theatre in Toronto from 1950 to the Present","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Newspaper; Amateur; Multiculturalism; Globe; Chronology; Ethnic group; Immigration; History; Media studies; Geography; Sociology; Political science; Anthropology; Archaeology; Law","score_opus":0.016148170692671222,"score_gpt":0.23142541136012829,"score_spread":0.21527724066745707,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928996","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01562973,0.30858192,5.2168907e-8,0.025576118,0.0002881959,0.0010485362,0.00086338446,0.000023247649,0.64798886],"genre_scores_gemma":[0.92601746,0.06288256,0.0000091722895,0.0059977197,0.0008496872,0.00015193417,0.00011169008,0.00003803627,0.003941747],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99846876,0.0001220594,0.00038709075,0.00026943078,0.00011141412,0.0006412614],"domain_scores_gemma":[0.9989128,0.00004780375,0.000042183146,0.0005132372,0.00006655995,0.0004173924],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017188396,0.00023573764,0.00050059456,0.00010326553,0.00029181546,0.00003809065,0.00043062406,0.00005815962,0.037276298],"category_scores_gemma":[0.0000072236717,0.00016037378,0.000106704494,0.00016108844,0.00012967816,0.0001227502,0.000016250691,0.00014635685,0.0005355258],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013637368,0.00002203532,0.0013735469,0.00032896124,0.00015333806,0.00002508914,0.021765625,0.0000074458167,0.0000011528255,0.002039063,0.17057517,0.80369496],"study_design_scores_gemma":[0.000106767504,0.00006573005,0.0017140469,0.0009586457,0.00006170603,0.0000033277058,0.001338072,0.0000050362114,0.000002891783,0.00007389722,0.9954773,0.00019253604],"about_ca_topic_score_codex":0.99512255,"about_ca_topic_score_gemma":0.99994445,"teacher_disagreement_score":0.9103877,"about_ca_system_score_codex":0.00067671185,"about_ca_system_score_gemma":0.0008068506,"threshold_uncertainty_score":0.96360373},"labels":[],"label_agreement":null},{"id":"W4380929001","doi":"10.3138/ctr.108.007","title":"Joining Forces in Summer Theatre","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Face (sociological concept); Pooling; Visual arts; Joint (building); History; Art; Art history; Geography; Engineering; Sociology; Social science; Computer science; Civil engineering; Artificial intelligence","score_opus":0.048177054478287594,"score_gpt":0.25717322421625427,"score_spread":0.20899616973796667,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929001","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002668363,0.23229557,1.3617873e-7,0.006633889,0.00027343264,0.00026823132,0.000028658145,0.00002698064,0.75780475],"genre_scores_gemma":[0.69240487,0.28549805,0.000011042768,0.01475548,0.0009816646,0.00008385435,0.00005283356,0.00004316283,0.0061690337],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883205,0.000048208614,0.00029958505,0.0002046275,0.000104179126,0.00051133987],"domain_scores_gemma":[0.99943626,0.000039931405,0.00004592749,0.00025858835,0.000032566437,0.00018670659],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025090572,0.00020142621,0.00039795498,0.00017450548,0.0003076905,0.00006051347,0.00018784018,0.000033563425,0.008045728],"category_scores_gemma":[0.000005745214,0.00015225785,0.00012346853,0.0001197354,0.000100719895,0.00020698192,0.000017832293,0.00015749467,0.00044944798],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008785319,0.000024509742,0.017087476,0.0013743191,0.00008255137,0.0001394536,0.010919671,0.0000025232218,8.643378e-7,0.027483178,0.1710201,0.77185655],"study_design_scores_gemma":[0.00010806126,0.000026556805,0.0001625866,0.0022707335,0.00003819791,0.000014608039,0.0011543789,0.0000040300256,8.101827e-7,0.0003024609,0.9957133,0.00020428319],"about_ca_topic_score_codex":0.08494983,"about_ca_topic_score_gemma":0.84635216,"teacher_disagreement_score":0.8246932,"about_ca_system_score_codex":0.00009733546,"about_ca_system_score_gemma":0.00013622732,"threshold_uncertainty_score":0.99286103},"labels":[],"label_agreement":null},{"id":"W4380929032","doi":"10.3138/ctr.112.009","title":"Views &amp; Reviews","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Improvisation; Liveness; Visual arts; Performance art; Art; Art history; History; Aesthetics; Computer science","score_opus":0.11272877267335996,"score_gpt":0.2664198846902291,"score_spread":0.15369111201686914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929032","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000017747861,0.5101862,2.7118364e-7,0.0038281882,0.00026598282,0.00031808089,0.000028900833,0.000024132762,0.48533052],"genre_scores_gemma":[0.0025171093,0.9189369,0.000029969233,0.017239414,0.0010116503,0.000105805244,0.00002370312,0.000026554922,0.060108878],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988127,0.000082648956,0.00038720787,0.00020489372,0.00009233333,0.00042023833],"domain_scores_gemma":[0.9991172,0.000020595424,0.000077747885,0.00046028997,0.00004157099,0.0002825855],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029505405,0.00022148599,0.0005470436,0.000087293265,0.00044007474,0.000059184167,0.0002256081,0.00002728795,0.059091657],"category_scores_gemma":[0.00001766366,0.00015606717,0.00023333546,0.000081787155,0.00012097693,0.00015045308,0.000015439393,0.00013964738,0.019750727],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[1.5392958e-7,0.0000048999577,0.000022129714,0.00078281725,0.000012828809,0.000002214032,0.0017085281,1.3521477e-8,1.2808637e-7,0.0033399959,0.670014,0.32411227],"study_design_scores_gemma":[0.00004421856,0.000014817182,0.0000039560127,0.002311684,0.00007627259,0.00000935474,0.00004905531,7.831583e-7,2.0810462e-7,0.000098760465,0.9971816,0.00020932192],"about_ca_topic_score_codex":0.01174916,"about_ca_topic_score_gemma":0.60195273,"teacher_disagreement_score":0.5902036,"about_ca_system_score_codex":0.00007545566,"about_ca_system_score_gemma":0.0000309473,"threshold_uncertainty_score":0.9948317},"labels":[],"label_agreement":null},{"id":"W4380929034","doi":"10.3138/ctr.117.fm","title":"Editorial","year":2004,"lang":"en","type":"editorial","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political theatre; Theatre studies; Happening; Postmodern theatre; Politics; Theatre director; Media studies; Performance art; Visual arts; History; Aesthetics; Sociology; Art; Political science; Drama; Literature; Art history; Law; Postmodernism","score_opus":0.014099530369353103,"score_gpt":0.23693009392993297,"score_spread":0.22283056356057987,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929034","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[2.5880105e-8,0.19167794,2.0924725e-8,0.00059405755,0.5712562,0.00026708413,0.0009986366,0.000041734947,0.23516425],"genre_scores_gemma":[0.0000023403243,0.2241784,0.0000016309793,0.0005459157,0.7668018,0.000066403496,0.0006204681,0.00006211213,0.0077209575],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979169,0.000051145424,0.0004405069,0.00039864075,0.00054210844,0.00065071834],"domain_scores_gemma":[0.99847305,0.00012636169,0.00014715806,0.00054682925,0.00031643375,0.00039015955],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032862864,0.0004932422,0.000931219,0.00016651554,0.0005711565,0.00016872204,0.00049961393,0.00038409577,0.0051764855],"category_scores_gemma":[0.00008713051,0.00039268512,0.00035917235,0.000059138965,0.00022519146,0.00014325493,0.000036851427,0.0008916861,0.002586081],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000020360176,0.000005021285,1.5189515e-7,0.0032442973,0.000085771564,0.000008386113,0.00064812513,6.256345e-8,5.1318843e-9,0.0012449367,0.98232377,0.0124374265],"study_design_scores_gemma":[0.00014279374,0.000054680026,2.6238302e-8,0.009402737,0.00031993602,7.589609e-7,0.000056135297,1.5571212e-8,5.8089125e-8,0.00036516963,0.9891959,0.0004617774],"about_ca_topic_score_codex":0.19114578,"about_ca_topic_score_gemma":0.76442236,"teacher_disagreement_score":0.5732766,"about_ca_system_score_codex":0.0005962869,"about_ca_system_score_gemma":0.0035399287,"threshold_uncertainty_score":0.9998525},"labels":[],"label_agreement":null},{"id":"W4380929040","doi":"10.3138/ctr.104.010","title":"<i>A Modo Suo (A Fable):</i> A Production History","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Art; Fable; Performance art; History; Art history; Humanities; Visual arts; Literature; Law; Political science","score_opus":0.029648584122783806,"score_gpt":0.20420996308698652,"score_spread":0.1745613789642027,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929040","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006826476,0.34775275,3.8578108e-8,0.003962659,0.00055570976,0.0002551548,0.000024600835,0.000048714068,0.6467177],"genre_scores_gemma":[0.08904357,0.5710936,0.000017304495,0.02015678,0.0033609516,0.00016038009,0.00007510798,0.00007129012,0.31602097],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911636,0.00003919378,0.00020293407,0.00021196072,0.000095881536,0.00033366893],"domain_scores_gemma":[0.99942946,0.000008255489,0.000031720683,0.0003068893,0.000046362762,0.00017731101],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016151108,0.00016279964,0.00027654553,0.00006905442,0.0002996893,0.000022418953,0.00013617228,0.00002504628,0.0411339],"category_scores_gemma":[0.0000044697435,0.0001312669,0.000109242625,0.000042532567,0.00014800498,0.00019778912,0.0000051832635,0.00011829726,0.002084704],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000022673198,0.0000074595378,0.000026582178,0.0005890365,0.00002366198,0.000004828203,0.0024257223,8.375719e-7,4.4191333e-7,0.0028643261,0.6094563,0.38459855],"study_design_scores_gemma":[0.000040673476,0.000022008024,0.000010058119,0.00095305836,0.00006623981,0.000011248142,0.00011619369,0.000001187125,0.0000015390747,0.00013267096,0.99847156,0.00017355487],"about_ca_topic_score_codex":0.0656619,"about_ca_topic_score_gemma":0.4302867,"teacher_disagreement_score":0.3890153,"about_ca_system_score_codex":0.00031859727,"about_ca_system_score_gemma":0.0002034782,"threshold_uncertainty_score":0.9986923},"labels":[],"label_agreement":null},{"id":"W4380929041","doi":"10.3138/ctr.118.022","title":"Outside of the Box","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Ignorance; Craft; Space (punctuation); Isolation (microbiology); Aesthetics; Art; Media studies; Visual arts; Sociology; Gender studies; Law; Political science; Philosophy","score_opus":0.02500180120989801,"score_gpt":0.22427436732326891,"score_spread":0.1992725661133709,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929041","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014047811,0.21263935,4.1588996e-7,0.014623668,0.00052322133,0.0003288019,0.00008491819,0.000016231883,0.7703786],"genre_scores_gemma":[0.93900996,0.048301563,0.000013398434,0.008632239,0.0004622388,0.000022706074,0.0000049178775,0.00001898067,0.0035339925],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947685,0.000017821156,0.00016732971,0.00007843873,0.00007491706,0.0001846594],"domain_scores_gemma":[0.99956304,0.000009712034,0.000046683523,0.00026431872,0.000038587346,0.00007764341],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000094045376,0.00009050596,0.00020118458,0.000030279445,0.00023766105,0.000012884495,0.0001881967,0.000013660271,0.0010230549],"category_scores_gemma":[0.000006486194,0.000051073246,0.00013384779,0.000047309477,0.0001644395,0.00005354788,0.000015849779,0.00007122066,0.00014595862],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000037819361,0.00003779585,0.001418328,0.005040272,0.0002199309,0.000012063688,0.024147699,0.00001019493,0.000006945409,0.5544324,0.13193399,0.28273657],"study_design_scores_gemma":[0.000058729653,0.000012929421,0.00011105686,0.0018656728,0.000052894997,0.0000033184035,0.00029049907,4.401457e-8,0.00002563016,0.0013844538,0.99612355,0.00007123488],"about_ca_topic_score_codex":0.066608526,"about_ca_topic_score_gemma":0.6203934,"teacher_disagreement_score":0.9376052,"about_ca_system_score_codex":0.00005801464,"about_ca_system_score_gemma":0.00023335905,"threshold_uncertainty_score":0.99989015},"labels":[],"label_agreement":null},{"id":"W4380929053","doi":"10.3138/ctr.104.016","title":"The Cabot Voyages (<i>I viaggi di Caboto</i>)","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; Entertainment; Immigration; Performance art; Media studies; Art; Visual arts; History; Art history; Sociology; Medicine","score_opus":0.017340600609554425,"score_gpt":0.2217516517918035,"score_spread":0.2044110511822491,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929053","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00055866444,0.40371132,5.9973324e-8,0.009116988,0.00030622658,0.0003167878,0.000083035564,0.000040887586,0.58586603],"genre_scores_gemma":[0.07001545,0.83238965,0.000003881265,0.010836904,0.0015958205,0.00013959108,0.000025202266,0.000045291814,0.08494823],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99882436,0.00006543009,0.0002659165,0.00018683128,0.00012836189,0.0005291116],"domain_scores_gemma":[0.9991703,0.00007258224,0.000038953414,0.0004320064,0.00005067505,0.00023547655],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024351157,0.000210402,0.00030113853,0.000036031834,0.0015446339,0.00015575562,0.00032596214,0.0000276091,0.011128336],"category_scores_gemma":[0.000006884873,0.00012356778,0.00015643037,0.0000695023,0.00028289045,0.00013005751,0.00001250731,0.00015892905,0.0021562052],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000025990253,0.0000047816015,0.00009538116,0.0002593005,0.00005224447,0.000010495414,0.0016883644,5.343414e-7,1.4631219e-7,0.010288638,0.23415896,0.75343853],"study_design_scores_gemma":[0.000058872225,0.00002630949,0.00007156671,0.00072700233,0.000069882575,0.000009207022,0.00028817263,0.0000017103806,0.0000014463982,0.0002678229,0.99829376,0.00018422831],"about_ca_topic_score_codex":0.061193984,"about_ca_topic_score_gemma":0.6835967,"teacher_disagreement_score":0.7641348,"about_ca_system_score_codex":0.00007301185,"about_ca_system_score_gemma":0.00016936143,"threshold_uncertainty_score":0.9997552},"labels":[],"label_agreement":null},{"id":"W4380929079","doi":"10.3138/ctr.108.001","title":"Co-production and the NAC","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The arts; Art; Visual arts; Art history","score_opus":0.03115109234516493,"score_gpt":0.24186602759579018,"score_spread":0.21071493525062523,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929079","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013328267,0.39168364,1.331681e-7,0.030258548,0.0003411666,0.00030708345,0.000014113661,0.000020399164,0.5760421],"genre_scores_gemma":[0.27958718,0.6967348,0.0000025474392,0.008721733,0.0013821773,0.00004873223,0.000009614216,0.000014488297,0.013498777],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994898,0.000044838627,0.00012034351,0.00010901826,0.00005604339,0.00017994654],"domain_scores_gemma":[0.9996569,0.000024567,0.000026691187,0.00017950902,0.000029731777,0.000082611645],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00028151777,0.000091963,0.00018997153,0.00003437408,0.00058121816,0.00004466989,0.000076503144,0.00001160126,0.0016416428],"category_scores_gemma":[0.000014798038,0.000050578983,0.000053041873,0.000034726778,0.00034398495,0.000086534055,0.0000047851054,0.000074083626,0.00021963041],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015208644,0.000005613907,0.00067301036,0.00075118366,0.0000876959,0.000009406956,0.009275109,1.747888e-7,4.1800914e-7,0.11503029,0.35473415,0.51941776],"study_design_scores_gemma":[0.00007782456,0.000008780513,0.000035553498,0.0005164841,0.000056636498,0.000028763954,0.0005444817,6.392818e-7,7.498063e-7,0.00049669005,0.998159,0.00007439708],"about_ca_topic_score_codex":0.028059345,"about_ca_topic_score_gemma":0.44673923,"teacher_disagreement_score":0.64342487,"about_ca_system_score_codex":0.000025559939,"about_ca_system_score_gemma":0.00004551862,"threshold_uncertainty_score":0.999271},"labels":[],"label_agreement":null},{"id":"W4380929084","doi":"10.3138/ctr.107.010","title":"Lights Up at the Registry Theatre","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Downtown; Mistake; Dream; Visual arts; Space (punctuation); Art; Art history; History; Computer science; Psychology; Archaeology; Political science; Law","score_opus":0.030912342478909716,"score_gpt":0.2365930069883797,"score_spread":0.20568066450946998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929084","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012039029,0.30325726,9.3764136e-8,0.024891457,0.0006459004,0.00032221075,0.00007040751,0.000041142874,0.66956764],"genre_scores_gemma":[0.2138254,0.5183725,0.0000031027391,0.022571864,0.0030242833,0.00013836665,0.00008666044,0.00006988332,0.24190798],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987595,0.00006872663,0.0002698355,0.00023856414,0.0001574891,0.00050586526],"domain_scores_gemma":[0.9989021,0.00005926753,0.00007360725,0.0006683427,0.00005646198,0.00024022012],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023938516,0.00024422415,0.00034683314,0.000055783366,0.0013022172,0.00008851199,0.00036764183,0.000040987306,0.012768133],"category_scores_gemma":[0.0000063528037,0.00013542558,0.00020790522,0.00009053326,0.0003024323,0.000121701145,0.000043791828,0.00017500905,0.0023238382],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000061542623,0.0000069157913,0.00039588744,0.000476582,0.000085380336,0.000041357263,0.0035373222,2.649165e-7,6.180531e-7,0.014798671,0.76588154,0.21476933],"study_design_scores_gemma":[0.00007798869,0.000022492051,0.000034431578,0.0010322743,0.00010764144,0.00006874857,0.00064503244,7.673332e-7,0.0000030972353,0.00031550394,0.9974897,0.00020230655],"about_ca_topic_score_codex":0.041461404,"about_ca_topic_score_gemma":0.7707589,"teacher_disagreement_score":0.7292975,"about_ca_system_score_codex":0.00016451454,"about_ca_system_score_gemma":0.00017044325,"threshold_uncertainty_score":0.999998},"labels":[],"label_agreement":null},{"id":"W4380929092","doi":"10.3138/ctr.104.014","title":"Transforming Traditions: <i>Commedia dell’Arte</i> and masQuirx (Contemporary Mask Performance)","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Visual arts; Art; Performing arts; Dance; Painting; Variety (cybernetics); Performance art; Photography; The arts; Art history; Computer science","score_opus":0.038078801877144235,"score_gpt":0.2171975702470328,"score_spread":0.17911876836988855,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929092","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021955708,0.33398646,3.6986177e-7,0.005285066,0.00020886783,0.00057176617,0.00022199548,0.0000644249,0.6377053],"genre_scores_gemma":[0.5515926,0.43744248,0.000010487061,0.006507685,0.0005570725,0.000078359444,0.0000687207,0.00003057868,0.003712044],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883497,0.000043700882,0.0003533697,0.00022917625,0.00011282589,0.00042595505],"domain_scores_gemma":[0.99932617,0.00003771949,0.000035784353,0.00024084465,0.000027611308,0.00033189607],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021189475,0.00025620422,0.00041612601,0.00010328819,0.0007176214,0.000079274636,0.0001556604,0.000042230044,0.00785278],"category_scores_gemma":[0.0000013247776,0.00020649051,0.00012057256,0.00007417262,0.00025751482,0.00048367237,0.0000042408583,0.00018346937,0.0004180458],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000075993808,0.000015747064,0.00029175717,0.001751248,0.000068141526,0.00001776513,0.009465148,3.5643194e-7,5.5932355e-7,0.0020621738,0.07324302,0.91307646],"study_design_scores_gemma":[0.00018849723,0.000074593045,0.000047864614,0.0020224897,0.00008660027,0.000035709505,0.000649794,0.000008872194,0.000003409862,0.00016304619,0.9964434,0.0002757602],"about_ca_topic_score_codex":0.009507496,"about_ca_topic_score_gemma":0.09826164,"teacher_disagreement_score":0.92320037,"about_ca_system_score_codex":0.000058431688,"about_ca_system_score_gemma":0.00018141391,"threshold_uncertainty_score":0.99708825},"labels":[],"label_agreement":null},{"id":"W4380929118","doi":"10.3138/ctr.121.014","title":"Contemporary Echoes from Playwrights Canada Press","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dysfunctional family; Daughter; Confusion; Psychoanalysis; Family member; Genealogy; Psychology; Sociology; History; Law; Psychiatry; Political science","score_opus":0.03320712324190232,"score_gpt":0.214524392120684,"score_spread":0.1813172688787817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929118","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00077714573,0.43676198,1.0515734e-7,0.0062179756,0.0003858454,0.0002422668,0.00070073403,0.000027864558,0.5548861],"genre_scores_gemma":[0.8571815,0.100692,0.000023540217,0.022592925,0.0035801858,0.000074655945,0.00023835369,0.000047701866,0.015569151],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990196,0.000040740717,0.00027461434,0.00020053705,0.00013507977,0.00032942853],"domain_scores_gemma":[0.99924487,0.00004926994,0.00005952222,0.00030392958,0.00004843332,0.000293955],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000075742115,0.00020207753,0.00036934263,0.000027302704,0.0003831307,0.000056475277,0.00023308066,0.000026916947,0.0045181657],"category_scores_gemma":[0.000004150136,0.00014681851,0.0000807512,0.000024174702,0.000085000516,0.0001920067,0.000016260296,0.00012617598,0.00019406494],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000019534068,0.0000049009354,0.00011808599,0.00022164464,0.00007276543,0.000018628738,0.0011331451,5.3179616e-7,1.651977e-7,0.00294513,0.9354023,0.060080748],"study_design_scores_gemma":[0.00008771686,0.000009939552,0.000042841897,0.0009697316,0.000046975336,0.0000018916261,0.0002080553,0.0000033367664,0.000010707939,0.00007712559,0.9983305,0.00021121516],"about_ca_topic_score_codex":0.99379945,"about_ca_topic_score_gemma":0.99979794,"teacher_disagreement_score":0.85640436,"about_ca_system_score_codex":0.0002036257,"about_ca_system_score_gemma":0.0010399487,"threshold_uncertainty_score":0.99639183},"labels":[],"label_agreement":null},{"id":"W4380929215","doi":"10.3138/ctr.104.001","title":"Laughing Blues: Charly Chiarelli’s <i>Cu’Fu?</i>","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; The arts; History; Media studies; Sociology; Visual arts; Art; Art history","score_opus":0.020730682228157882,"score_gpt":0.21871398183484647,"score_spread":0.1979832996066886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929215","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010906879,0.37571868,1.25381e-7,0.0033717991,0.00024033702,0.0002639611,0.000117459604,0.000061724364,0.6191352],"genre_scores_gemma":[0.10486709,0.8263215,0.000018839672,0.023851173,0.0022508968,0.000088809364,0.00008176513,0.000069948335,0.04245002],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998768,0.00004841847,0.00029440128,0.00023977451,0.00012853822,0.0005208811],"domain_scores_gemma":[0.9992372,0.000025074673,0.00004211842,0.00035875477,0.00004237361,0.00029451828],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019851819,0.00024203082,0.00040653953,0.00008195706,0.00064379897,0.000115193965,0.00025536632,0.00003703468,0.038079087],"category_scores_gemma":[0.0000037945345,0.00018963146,0.00018081062,0.000078040044,0.00014161125,0.00025039396,0.000010376202,0.00017918223,0.00412904],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000024565238,0.0000100549,0.00006709315,0.0010300821,0.000055899804,0.000027146409,0.0052228877,4.4762777e-7,2.7297673e-7,0.010081472,0.15318637,0.8303158],"study_design_scores_gemma":[0.00007727936,0.00003067639,0.000023094564,0.0020702053,0.000084315325,0.0000149146745,0.00022261449,0.0000031659201,0.0000014724172,0.00018667072,0.9970297,0.00025588868],"about_ca_topic_score_codex":0.07236079,"about_ca_topic_score_gemma":0.5123335,"teacher_disagreement_score":0.84384334,"about_ca_system_score_codex":0.00007687565,"about_ca_system_score_gemma":0.00015496733,"threshold_uncertainty_score":0.99664634},"labels":[],"label_agreement":null},{"id":"W4380929217","doi":"10.3138/ctr.128.020","title":"Reasons and/or Excuses for the Past, Present and Future: A Conversation with Daniel MacIvor","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Trilogy; Style (visual arts); Nova scotia; Sociology; Work (physics); Media studies; Visual arts; Psychology; Art; Art history; Engineering; Communication","score_opus":0.022714251576970015,"score_gpt":0.22471825547700672,"score_spread":0.2020040039000367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929217","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001067285,0.80509406,0.000010196629,0.13830468,0.0003089892,0.002118826,0.0003647257,0.000044348246,0.052686907],"genre_scores_gemma":[0.23543213,0.71240884,0.00015596088,0.009822954,0.018742044,0.0010343646,0.00012783418,0.000096829426,0.022179026],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995022,0.000018772866,0.00010963202,0.00012755442,0.00005399505,0.00018786167],"domain_scores_gemma":[0.99962294,0.00008601759,0.000038724334,0.00013695851,0.000042158994,0.00007321364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009856247,0.000120983284,0.00017836958,0.000028980849,0.00046629854,0.00007431067,0.00005775585,0.000016113512,0.00019107162],"category_scores_gemma":[0.000001245154,0.000058472055,0.000032380634,0.000028422834,0.00016865376,0.0000878989,0.000008720789,0.000044994937,0.000004048078],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046946963,0.000011740974,0.0010618147,0.0026296442,0.0001392451,0.000006743741,0.004948293,3.9538833e-7,2.896667e-7,0.034680337,0.5321368,0.42433777],"study_design_scores_gemma":[0.0001628672,0.000070013346,0.00031167892,0.00039953148,0.0001923113,0.000016541995,0.0014504812,0.000008899186,4.573465e-7,0.00012853381,0.9971552,0.0001034752],"about_ca_topic_score_codex":0.026504079,"about_ca_topic_score_gemma":0.42188942,"teacher_disagreement_score":0.46501842,"about_ca_system_score_codex":0.00002037404,"about_ca_system_score_gemma":0.000074890515,"threshold_uncertainty_score":0.9799785},"labels":[],"label_agreement":null},{"id":"W4380929218","doi":"10.3138/ctr.105.008","title":"Homage to a Master","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gratitude; Tribute; Expression (computer science); Debt; Art; Sociology; Visual arts; Psychoanalysis; Art history; Aesthetics; Psychology; Social psychology; Computer science","score_opus":0.04373870628329164,"score_gpt":0.2384766696209488,"score_spread":0.19473796333765714,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929218","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012925228,0.099943414,9.761834e-7,0.014511209,0.0004455572,0.00034430504,0.000049646915,0.000037206206,0.88337517],"genre_scores_gemma":[0.4348494,0.22843255,0.000076258846,0.14120227,0.004157001,0.00027331928,0.000055358996,0.00011134695,0.1908425],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926543,0.00002065574,0.0001559519,0.00014331451,0.00007198597,0.0003426661],"domain_scores_gemma":[0.9993891,0.00001146448,0.000018720113,0.00024227038,0.000038702674,0.00029970874],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010637114,0.00013192087,0.00023595741,0.000091375434,0.00025709107,0.00005616513,0.00014411201,0.000015013036,0.011153739],"category_scores_gemma":[0.0000045504594,0.0000988172,0.000085179556,0.000069196394,0.00004771723,0.00009571326,0.000016311533,0.00006539653,0.0038430272],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000032298526,0.0000073507317,0.00069653447,0.0005237412,0.000038595415,0.00005610705,0.004331205,1.7493115e-7,6.7891176e-7,0.009217002,0.5129989,0.4721265],"study_design_scores_gemma":[0.000040674757,0.00003273886,0.00009221566,0.00097284745,0.00003416983,0.00001253386,0.00026411036,3.494755e-7,5.0003325e-7,0.00010281034,0.99830276,0.00014430963],"about_ca_topic_score_codex":0.025857463,"about_ca_topic_score_gemma":0.6193551,"teacher_disagreement_score":0.69253266,"about_ca_system_score_codex":0.00005654021,"about_ca_system_score_gemma":0.00007506969,"threshold_uncertainty_score":0.9969326},"labels":[],"label_agreement":null},{"id":"W4380929263","doi":"10.3138/ctr.127.004","title":"The Actor as Sound Cyborg: An Interview with Marie Brassard","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Girl; Art; Psychology; Visual arts; Sociology; Developmental psychology","score_opus":0.02871058867051201,"score_gpt":0.2377788991494545,"score_spread":0.20906831047894248,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929263","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023437124,0.38850155,0.0000013808756,0.015639136,0.0003779615,0.0005727142,0.00011780871,0.0000656286,0.5923801],"genre_scores_gemma":[0.7048186,0.22194035,0.0000225739,0.026111107,0.0036506355,0.00021687166,0.00021942833,0.0001404416,0.042879995],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988702,0.0001003993,0.00025086626,0.00020014058,0.00013586726,0.00044253853],"domain_scores_gemma":[0.9991413,0.00007159522,0.00007193757,0.00044157953,0.00008399049,0.00018962105],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030612817,0.00022598462,0.00032150222,0.00004546303,0.0010384979,0.00026368196,0.00031095734,0.000027032602,0.0021598774],"category_scores_gemma":[0.0000064048286,0.000120283694,0.0001062756,0.0000658968,0.00029697927,0.00022216472,0.000019571602,0.00014862015,0.000491334],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014943686,0.00003497716,0.0008675406,0.0014008516,0.00020350302,0.000050822637,0.0023661223,8.52216e-7,4.844217e-7,0.15581605,0.21599782,0.6232461],"study_design_scores_gemma":[0.0000746049,0.00010708446,0.00013168044,0.0010352413,0.000105818806,0.000013980464,0.00038425453,7.6423976e-7,0.000001100357,0.0016308185,0.9963127,0.00020194543],"about_ca_topic_score_codex":0.07519236,"about_ca_topic_score_gemma":0.9181036,"teacher_disagreement_score":0.84291124,"about_ca_system_score_codex":0.00009387724,"about_ca_system_score_gemma":0.00023897669,"threshold_uncertainty_score":0.9987523},"labels":[],"label_agreement":null},{"id":"W4380929269","doi":"10.3138/ctr.115.018","title":"CounterPoses: Re-imagining Tableaux Vivants","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cult; Event (particle physics); Visual arts; Art; Everyday life; Discipline; Aesthetics; Sociology; History; Philosophy; Social science; Epistemology","score_opus":0.032023907876773644,"score_gpt":0.2486687646216535,"score_spread":0.21664485674487985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929269","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009570853,0.23125711,8.115865e-7,0.0014023078,0.0005290807,0.00021281866,0.0000634452,0.000034867633,0.76640385],"genre_scores_gemma":[0.74229425,0.21377549,0.000055224657,0.02329099,0.00084995833,0.00008446873,0.000039904757,0.000078191864,0.019531501],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988958,0.00006117924,0.00025687012,0.00020275726,0.00011283559,0.00047055742],"domain_scores_gemma":[0.99929565,0.000033317097,0.000055876284,0.00030950244,0.000072791896,0.00023285217],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028246254,0.00020014698,0.00036545587,0.00008832852,0.00050993386,0.00009369149,0.00016705146,0.000024017892,0.01110689],"category_scores_gemma":[0.00002223395,0.0001578258,0.00010811068,0.000069833164,0.00013279759,0.00020692703,0.000010085041,0.00013513851,0.0010513887],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005572185,0.00003738895,0.0010054508,0.0042597335,0.000274098,0.000098229044,0.02880823,0.0000012595135,0.0000026797059,0.24459434,0.4648278,0.25608522],"study_design_scores_gemma":[0.00008083664,0.00002342684,0.0000053844515,0.001959735,0.000071002345,0.000012030178,0.0022988769,0.0000013923989,0.000003333441,0.0003714975,0.9949628,0.00020969604],"about_ca_topic_score_codex":0.027863467,"about_ca_topic_score_gemma":0.385939,"teacher_disagreement_score":0.74687237,"about_ca_system_score_codex":0.0001048114,"about_ca_system_score_gemma":0.00029128112,"threshold_uncertainty_score":0.9997264},"labels":[],"label_agreement":null},{"id":"W4380929289","doi":"10.3138/ctr.109.011","title":"MindLands","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Moral rights; Law; Copyright law; Political science; History; Sociology; Intellectual property","score_opus":0.040454510469922426,"score_gpt":0.22115992302862794,"score_spread":0.1807054125587055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929289","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00015821923,0.2943158,6.706587e-8,0.005042988,0.00023511141,0.00011407854,0.00003795458,0.000023037435,0.70007277],"genre_scores_gemma":[0.47869152,0.42137966,0.0000145565855,0.02214705,0.0022073262,0.00007309754,0.00003250785,0.00004496414,0.07540932],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938637,0.0000177588,0.00014142723,0.000112500486,0.000065520115,0.00027645263],"domain_scores_gemma":[0.9995585,0.000013730595,0.000023461836,0.00019811059,0.000028956085,0.00017725013],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00007465202,0.00011413949,0.00020893764,0.00006159182,0.00030060209,0.00003828928,0.0001220413,0.000016760197,0.037371412],"category_scores_gemma":[0.000003870472,0.00008388298,0.00008932909,0.00003970922,0.00008109988,0.00008722392,0.000007581119,0.0000736045,0.0031878492],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[2.5939568e-7,0.000005742707,0.00015797466,0.00045970952,0.000027978787,0.000011079686,0.0027367026,3.6117733e-8,7.787958e-8,0.0101692155,0.590704,0.3957272],"study_design_scores_gemma":[0.000044059216,0.00001972875,0.0000128359825,0.0006703402,0.000041202427,0.0000072673893,0.00013422841,0.0000042866345,4.6539122e-7,0.000080179256,0.9988642,0.000121256606],"about_ca_topic_score_codex":0.015881155,"about_ca_topic_score_gemma":0.37887245,"teacher_disagreement_score":0.6246634,"about_ca_system_score_codex":0.000041610914,"about_ca_system_score_gemma":0.00002510347,"threshold_uncertainty_score":0.9975883},"labels":[],"label_agreement":null},{"id":"W4380929298","doi":"10.3138/ctr.113.007","title":"Legacies: Richard Rose’s Vision of Tarragon Theatre","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rose (mathematics); Successor cardinal; Art; Art history; Performance art; Conversation; Style (visual arts); Visual arts; History; Sociology; Biology; Horticulture; Communication","score_opus":0.022991785939984258,"score_gpt":0.24179391674405232,"score_spread":0.21880213080406807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929298","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012054669,0.28833053,8.3479046e-7,0.0018564418,0.00050779677,0.00036376636,0.00012593695,0.00003118766,0.70757806],"genre_scores_gemma":[0.8215035,0.16692077,0.000039904997,0.0033788304,0.00046182633,0.000051463296,0.000039418916,0.000056567224,0.007547714],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987356,0.000094833165,0.00037657472,0.00021950483,0.00016226145,0.00041121762],"domain_scores_gemma":[0.99913955,0.000042843407,0.0000972144,0.0004071546,0.00009265457,0.0002205681],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003366523,0.00023409651,0.000525275,0.0001325653,0.0003542822,0.000043758322,0.00019713814,0.000043036067,0.0052913055],"category_scores_gemma":[0.000014412051,0.00017184307,0.0002149159,0.0001083136,0.00020104862,0.00020057183,0.000013509312,0.00013453189,0.00031877588],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012766777,0.00008397981,0.00087358,0.007301811,0.00028339445,0.000029770605,0.015543059,0.0000034959737,0.000029275117,0.21428984,0.35600126,0.40554777],"study_design_scores_gemma":[0.000108297754,0.00008291454,0.000022142593,0.0018298294,0.00009402941,0.00000811278,0.0009766482,8.86606e-7,0.00004245624,0.00043098055,0.99619895,0.00020476586],"about_ca_topic_score_codex":0.019280668,"about_ca_topic_score_gemma":0.2035013,"teacher_disagreement_score":0.8202981,"about_ca_system_score_codex":0.000081124424,"about_ca_system_score_gemma":0.00023895755,"threshold_uncertainty_score":0.995618},"labels":[],"label_agreement":null},{"id":"W4381058523","doi":"10.1007/978-3-031-27284-4_2","title":"Virtue, Freedom, and Political Rule in David Milch’s Deadwood","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Lakehead University","funders":"","keywords":"Virtue; Soul; Politics; Connection (principal bundle); Aesthetics; Sociology; Political science; Philosophy; Epistemology; Law; Engineering","score_opus":0.03440746157304908,"score_gpt":0.23170868277850065,"score_spread":0.19730122120545157,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381058523","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005124791,0.00045106886,2.6361144e-7,0.0007231504,0.00056830235,0.00011533519,0.00015908513,0.000110117275,0.99736017],"genre_scores_gemma":[0.029968277,0.0003467484,0.000011092061,0.00038446818,0.0013762972,0.000010420018,0.000036191108,0.000052105846,0.9678144],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990505,0.0000050761823,0.00024944494,0.00024474383,0.00014243099,0.00030777854],"domain_scores_gemma":[0.99961686,0.00008355554,0.00003263096,0.00016285041,0.000034156223,0.00006996286],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000074398435,0.0002592599,0.00035975705,0.00018276834,0.00016236218,0.00008103977,0.00009372225,0.00012015342,0.002986863],"category_scores_gemma":[0.0000043376554,0.00020319445,0.0000762575,0.0000056134895,0.00038560646,0.000086020416,0.00013273135,0.00026430833,0.00094331655],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000081669905,0.0000071119757,0.00007442736,0.000050896102,0.00005110351,0.000015388032,0.0018871045,1.2209162e-7,2.0411034e-7,0.98807985,0.0088914335,0.00093417516],"study_design_scores_gemma":[0.0002564744,0.00007755264,0.00018092504,0.00014819931,0.00004583826,0.0000030080187,0.0010234555,0.0000058893534,0.0000017098173,0.1757793,0.8221333,0.00034433475],"about_ca_topic_score_codex":0.0008890706,"about_ca_topic_score_gemma":0.011898663,"teacher_disagreement_score":0.8132419,"about_ca_system_score_codex":0.00002430148,"about_ca_system_score_gemma":0.000023920511,"threshold_uncertainty_score":0.99983454},"labels":[],"label_agreement":null},{"id":"W4381281612","doi":"10.1080/14733285.2023.2217649","title":"Imagining an ecological right to the city in Toronto through drama-based research","year":2023,"lang":"en","type":"article","venue":"Children s Geographies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Institute for Christian Studies; University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Drama; Sociology; Alienation; Minor (academic); Media studies; Aesthetics; Literature; Art; Law; Humanities; Political science","score_opus":0.07962115720910765,"score_gpt":0.33682384661562176,"score_spread":0.25720268940651414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381281612","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9250658,0.00063733174,7.619313e-7,0.00404154,0.00029502672,0.000340173,0.000046701618,0.00018824001,0.069384426],"genre_scores_gemma":[0.99753004,0.00028956446,0.000024556486,0.0005838303,0.00075494073,0.00011978442,0.000047422065,0.000013141155,0.00063670013],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99851006,0.00013388274,0.00019461167,0.00030163865,0.00029480134,0.00056499155],"domain_scores_gemma":[0.99931425,0.00018313478,0.000023789944,0.00033367603,0.00009350816,0.000051660863],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00083973934,0.00015526953,0.00019172115,0.00023687631,0.0014051221,0.00024832482,0.0004059421,0.000039931678,0.0016993533],"category_scores_gemma":[0.00002824747,0.00009276249,0.00008613605,0.00043552555,0.00071469555,0.0003671561,0.00016679181,0.0002652873,0.00015886573],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014286887,0.00048071446,0.61752886,0.000023146573,0.00014164952,0.000017063881,0.21440397,0.00011771641,0.000008726908,0.07611141,0.08160026,0.009423642],"study_design_scores_gemma":[0.00036566076,0.00037676885,0.72170603,0.00003874804,0.000012838536,0.0000010902729,0.030653208,0.000039593724,0.000052847947,0.005612646,0.24086185,0.00027870102],"about_ca_topic_score_codex":0.01643159,"about_ca_topic_score_gemma":0.25673184,"teacher_disagreement_score":0.24030024,"about_ca_system_score_codex":0.000031407373,"about_ca_system_score_gemma":0.000018725468,"threshold_uncertainty_score":0.9998949},"labels":[],"label_agreement":null},{"id":"W4382044712","doi":"10.1353/vcr.2022.a900620","title":"Digital Choirs: Rupi Kaur and the Multiple, Theatrical Poetess","year":2022,"lang":"en","type":"article","venue":"Victorian review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Art; Poetry; Painting; Popularity; Literature; Visual arts; Psychology","score_opus":0.01643694947469624,"score_gpt":0.2147886541452434,"score_spread":0.19835170467054716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382044712","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031929195,0.5574732,0.0000031171405,0.012824364,0.002589398,0.0011841073,0.00027778378,0.00014053905,0.42231458],"genre_scores_gemma":[0.923298,0.05749979,0.0000045941474,0.0033158797,0.00261894,0.00032156287,0.000030725994,0.000028688619,0.012881841],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918616,0.000080070706,0.00021884646,0.0001501745,0.00018868338,0.00017605514],"domain_scores_gemma":[0.99946636,0.00020411103,0.00006176737,0.00020252631,0.000029561508,0.000035684334],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027848795,0.00013149732,0.00030117267,0.000024096033,0.00092183775,0.00013466072,0.00018032806,0.000008646853,0.0015151808],"category_scores_gemma":[0.000034133867,0.00007174404,0.000117302174,0.00006008324,0.00021264481,0.0001469504,0.00019255497,0.00017480804,0.00006769866],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023120994,0.00019871163,0.0044320887,0.0025939106,0.00042507632,0.000017855224,0.0566821,0.000001888035,0.0000012150485,0.47234142,0.15375356,0.30932096],"study_design_scores_gemma":[0.0004806236,0.00004899896,0.0000630377,0.00011936645,0.00005816965,0.000007444315,0.0006685952,0.0000072232783,1.8546763e-7,0.00034082256,0.9980939,0.000111619825],"about_ca_topic_score_codex":0.000022305305,"about_ca_topic_score_gemma":0.000048339025,"teacher_disagreement_score":0.92010504,"about_ca_system_score_codex":0.000017977713,"about_ca_system_score_gemma":0.000013897082,"threshold_uncertainty_score":0.9993976},"labels":[],"label_agreement":null},{"id":"W4382118223","doi":"10.1007/978-981-99-2291-8_2","title":"Prologue","year":2023,"lang":"en","type":"book-chapter","venue":"Studies in arts-based educational research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Praxis; Prologue; Dialogical self; Conversation; Action (physics); Pedagogy; Sociology; Art; Aesthetics; Psychology; Literature; Epistemology; Philosophy; Communication; Social psychology","score_opus":0.552760203767378,"score_gpt":0.49141206865200016,"score_spread":0.061348135115377844,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382118223","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026544224,0.0052141184,5.1749808e-8,0.0133223925,0.0023175408,0.0005062038,0.00015318031,0.000048728944,0.97817236],"genre_scores_gemma":[0.012497748,0.0026971863,0.00001599841,0.0002632525,0.0039209,0.0005275228,0.000159589,0.000075320815,0.9798425],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975373,0.00005060585,0.0004182887,0.0004866986,0.0009086621,0.00059841474],"domain_scores_gemma":[0.9959131,0.002568163,0.00008129911,0.00036677052,0.0010060396,0.00006462489],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013311829,0.0003063326,0.00043790488,0.00090886746,0.0010057506,0.000074845775,0.00032638776,0.000109319124,0.00489309],"category_scores_gemma":[0.0004291246,0.00025927686,0.00012739286,0.000064858956,0.0026320738,0.00008502252,0.00023452722,0.0009347533,0.004931292],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040811334,0.000045369132,0.00009433492,0.0002590569,0.00015135326,0.0000073032115,0.012553614,0.000008533786,2.1431345e-7,0.71424997,0.2711688,0.0014206157],"study_design_scores_gemma":[0.00014809523,0.00013251882,0.00009621042,0.0005079041,0.000012957029,4.914126e-7,0.0036158385,0.0000049067075,0.0000020158677,0.14959054,0.8456555,0.00023302039],"about_ca_topic_score_codex":0.00011771978,"about_ca_topic_score_gemma":0.008322842,"teacher_disagreement_score":0.5744867,"about_ca_system_score_codex":0.00036984615,"about_ca_system_score_gemma":0.0007956489,"threshold_uncertainty_score":0.99998593},"labels":[],"label_agreement":null},{"id":"W4382199450","doi":"10.3138/md-66-2-1280","title":"Decolonizing Curriculum: Teaching the Twenty-First-Century Dramatic Canon","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Contextualization; Indigenous; Drama; Curriculum; Semiotics; Storytelling; Syllabus; Art; Visual arts; German; Sociology; Postmodernism; Literature; History; Aesthetics; Narrative; Pedagogy; Linguistics; Philosophy; Interpretation (philosophy)","score_opus":0.021506790701944986,"score_gpt":0.24257471759397126,"score_spread":0.22106792689202626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382199450","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8895929,0.0013641965,0.00003472753,0.0039616395,0.0015845431,0.00030456058,0.000017192224,0.000463074,0.102677174],"genre_scores_gemma":[0.99142736,0.00016611043,0.000015009539,0.0003889887,0.0008683115,0.000058495658,0.000015204938,0.000028074284,0.007032429],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892074,0.00004863114,0.00020602687,0.00019164728,0.0002156843,0.00041728633],"domain_scores_gemma":[0.9994752,0.00011528448,0.000066230605,0.00026466892,0.000037591108,0.000041052128],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00030151667,0.00017344578,0.00017694436,0.00008470855,0.0021118585,0.00031439422,0.0002608878,0.00003168061,0.00027719897],"category_scores_gemma":[0.000027322492,0.00010907766,0.00012601662,0.00005581211,0.00013401936,0.00021744645,0.00014443576,0.00026790143,0.00070701295],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001836219,0.00015818088,0.0074239117,0.00023477274,0.00031020067,0.000031309184,0.6833887,0.0007428489,0.000029493924,0.10502468,0.08429578,0.118341774],"study_design_scores_gemma":[0.00030683225,0.000059423623,0.0008796062,0.00011416108,0.00007516393,0.000004185725,0.01782202,0.016648581,0.0000103192115,0.0074632373,0.95630956,0.00030691185],"about_ca_topic_score_codex":0.0006624461,"about_ca_topic_score_gemma":0.004765132,"teacher_disagreement_score":0.8720138,"about_ca_system_score_codex":0.00004400821,"about_ca_system_score_gemma":0.000020933394,"threshold_uncertainty_score":0.99918723},"labels":[],"label_agreement":null},{"id":"W4382199460","doi":"10.3138/md-66-2-rev6","title":"Bonnie Marranca. <i>Timelines: writings and conversations</i>","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Timeline; Visual arts; The arts; Spirituality; Performance art; History; Media studies; Art history; Art; Sociology; Aesthetics; Archaeology","score_opus":0.025810768405966834,"score_gpt":0.22813175622933218,"score_spread":0.20232098782336536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382199460","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84476584,0.00075981,0.00004497224,0.0048845834,0.0004918311,0.00016049668,0.0000715709,0.00047856555,0.1483423],"genre_scores_gemma":[0.97585994,0.00020236931,0.000018162535,0.00059729355,0.0005972866,0.000017545155,0.000021806598,0.000014763358,0.022670813],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994501,0.0000086791415,0.00012338403,0.00013816153,0.0000940693,0.00018558929],"domain_scores_gemma":[0.99974644,0.0000463405,0.000026184423,0.00010130237,0.000048591948,0.000031160333],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000087557586,0.00009554498,0.000117442105,0.000064074775,0.00042124427,0.00012125299,0.000054986194,0.000021667758,0.0003831309],"category_scores_gemma":[0.000008412394,0.0000818457,0.000033017226,0.000033821,0.00015715719,0.00016884592,0.000048133814,0.00006381343,0.00042792832],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008932923,0.00007694972,0.009574691,0.00035070052,0.00021397359,0.00003338887,0.46808252,0.00007680081,0.0005962881,0.08073988,0.28830662,0.15185887],"study_design_scores_gemma":[0.000562545,0.000051538747,0.0011433621,0.00004409446,0.000031435884,0.0000033985577,0.01221546,0.006959999,0.00008532443,0.014128239,0.96451324,0.0002613617],"about_ca_topic_score_codex":0.00010852946,"about_ca_topic_score_gemma":0.00023344341,"teacher_disagreement_score":0.67620665,"about_ca_system_score_codex":0.0000061439887,"about_ca_system_score_gemma":0.000008957315,"threshold_uncertainty_score":0.5500296},"labels":[],"label_agreement":null},{"id":"W4382199471","doi":"10.3138/md-66-2-1183","title":"Transculturation, Reclamation, and Adaptation: Approaches to Teaching <i>Father Comes Home from the Wars</i>","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Diaspora; Narrative; Storytelling; Drama; Mythology; Politics; History; Aesthetics; Literature; Tragedy (event); Art; Sociology; Visual arts; Gender studies; Law; Political science","score_opus":0.12961658244003782,"score_gpt":0.22775984493383902,"score_spread":0.0981432624938012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382199471","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9349779,0.0007154196,0.0016602566,0.034770038,0.00036868555,0.00038640434,0.00011338841,0.0003030848,0.02670485],"genre_scores_gemma":[0.9924232,0.0000489468,0.0001491853,0.00063555606,0.000602831,0.000050697407,0.000064519474,0.000013821902,0.0060112495],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939674,0.00004246902,0.00014940396,0.00015189617,0.00012733985,0.00013215846],"domain_scores_gemma":[0.9996876,0.00010150254,0.000029177356,0.0001291287,0.000027029218,0.000025571908],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016896392,0.00010577592,0.0001112257,0.00002954309,0.000881344,0.00024645112,0.00009502445,0.00002118681,0.0000869935],"category_scores_gemma":[0.000009109042,0.00006403452,0.00003407206,0.0000337221,0.00007402493,0.00023996367,0.00002540355,0.00009194836,0.000106809865],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001603059,0.00001306673,0.00054907735,0.000011574978,0.000062146115,4.3355587e-7,0.8825199,0.00041592107,0.000033030326,0.038930263,0.012628234,0.06482031],"study_design_scores_gemma":[0.0005794191,0.00008331852,0.010181874,0.00007271184,0.00007840557,0.0000014922673,0.11263913,0.025972415,0.000051338422,0.047198996,0.8027096,0.00043130468],"about_ca_topic_score_codex":0.00024541782,"about_ca_topic_score_gemma":0.0020234108,"teacher_disagreement_score":0.7900814,"about_ca_system_score_codex":0.000008119915,"about_ca_system_score_gemma":0.0000068587524,"threshold_uncertainty_score":0.6778675},"labels":[],"label_agreement":null},{"id":"W4382199481","doi":"10.3138/md-66-2-rev5","title":"Diana Looser. <i>Moving Islands: Contemporary Performance and the Global Pacific</i>","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Relevance (law); History; Political science","score_opus":0.02483294902604282,"score_gpt":0.21802627122057502,"score_spread":0.1931933221945322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382199481","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5098041,0.0018260909,0.000012022184,0.0023458188,0.00042684964,0.00018021748,0.00006777692,0.0002090036,0.48512807],"genre_scores_gemma":[0.9880547,0.00050753215,0.0000024019425,0.00043422254,0.00049354037,0.000027530643,0.000013728769,0.000012678612,0.010453692],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992277,0.000029202953,0.00016529312,0.00017392998,0.0001467707,0.0002571267],"domain_scores_gemma":[0.999622,0.000069430615,0.00004585147,0.00019161515,0.000034624674,0.000036496767],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022873297,0.0001476655,0.00019637497,0.000029992987,0.00077997707,0.00021467295,0.00013666379,0.000027856366,0.00006885925],"category_scores_gemma":[0.000007904924,0.00008897885,0.000058519377,0.00005630812,0.00045395736,0.00026865164,0.00011242007,0.000103311475,0.00018804673],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00083380396,0.000072623945,0.1138811,0.00038246653,0.00042539765,0.00004118688,0.4229736,0.00006941078,0.000010116906,0.15041144,0.1700635,0.14083536],"study_design_scores_gemma":[0.0031218082,0.0001372978,0.008732223,0.00012519423,0.00005637718,0.000012199998,0.027036583,0.022115117,0.000021291786,0.021674344,0.91642666,0.0005409339],"about_ca_topic_score_codex":0.00014961872,"about_ca_topic_score_gemma":0.00032492215,"teacher_disagreement_score":0.74636316,"about_ca_system_score_codex":0.000013300058,"about_ca_system_score_gemma":0.000021729798,"threshold_uncertainty_score":0.59990317},"labels":[],"label_agreement":null},{"id":"W4382199493","doi":"10.3138/md-66-2-1278","title":"Understanding Drama as Performance Texts: Teaching Gao Xingjian’s Plays of the 1980s","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Conceptualization; China; Literature; Key (lock); Art; Aesthetics; Sociology; Visual arts; History; Linguistics; Philosophy; Computer science","score_opus":0.07443240051934097,"score_gpt":0.25145065704029385,"score_spread":0.17701825652095288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382199493","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7689208,0.00011948628,0.00006922505,0.0009290524,0.00063458254,0.0001569799,0.000024189243,0.0001662288,0.22897948],"genre_scores_gemma":[0.9790141,0.00007059908,0.000008597757,0.00021714336,0.00045241995,0.000014502318,0.000006168767,0.000030460864,0.020186028],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880254,0.000040113788,0.00026276274,0.00020536837,0.00030503448,0.00038415182],"domain_scores_gemma":[0.99940354,0.00009052568,0.00011025442,0.00032332417,0.00003612,0.00003626008],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0002915844,0.00018660823,0.00022494797,0.00011452867,0.0014088333,0.00013938021,0.00031210898,0.000046624933,0.0002648396],"category_scores_gemma":[0.000024341367,0.00012602196,0.00012743521,0.00007488476,0.00027855794,0.00030381652,0.0001821801,0.0002970607,0.00022294234],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011871817,0.000113333976,0.014028895,0.00044253815,0.00028199283,0.0000092414375,0.48230505,0.0018597207,0.0006200508,0.46192324,0.02311416,0.015183035],"study_design_scores_gemma":[0.002873383,0.0007959495,0.0114083635,0.0018556617,0.0003074678,0.000035479443,0.10567802,0.074796565,0.003897005,0.097878076,0.69848937,0.0019846836],"about_ca_topic_score_codex":0.0001575844,"about_ca_topic_score_gemma":0.00042318553,"teacher_disagreement_score":0.67537516,"about_ca_system_score_codex":0.000078827405,"about_ca_system_score_gemma":0.000037676247,"threshold_uncertainty_score":0.9998912},"labels":[],"label_agreement":null},{"id":"W4382199503","doi":"10.3138/md-66-2-rev4","title":"Drew Lichtenberg. <i>The Piscatorbühne Century: Politics and Aesthetics in the Modern Theater after 1927</i>","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Art; Aesthetics; History; Literature; Art history; Political science; Law","score_opus":0.017990982989234575,"score_gpt":0.22188090036178126,"score_spread":0.2038899173725467,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382199503","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94998485,0.0019753259,0.0000071913864,0.011738707,0.00033256592,0.0002772663,0.000059899958,0.00010084765,0.035523336],"genre_scores_gemma":[0.9901987,0.0006239079,0.0000037653494,0.0028490769,0.00047010026,0.00007710999,0.00000928808,0.00002985943,0.0057382267],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887073,0.00006608215,0.00019693705,0.00020011512,0.00022200088,0.0004441446],"domain_scores_gemma":[0.99945784,0.00008172356,0.000032651926,0.00035806873,0.000033677214,0.000036045432],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023916425,0.00019558294,0.00017381049,0.00007293254,0.0004674071,0.0002732867,0.00023759934,0.0000451638,0.00007056405],"category_scores_gemma":[0.0000041268827,0.000101641876,0.00006644944,0.00006315628,0.0003498872,0.00012802237,0.000119587894,0.00021330501,0.00013742117],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006971246,0.000115506016,0.0067935935,0.000090474845,0.00007961728,0.000046485693,0.8829898,0.00006815613,0.000017574437,0.07114848,0.014852615,0.023727953],"study_design_scores_gemma":[0.00058418314,0.00011837179,0.0060520745,0.000070107315,0.00007645069,0.000019645004,0.012834433,0.0051259687,0.00002401289,0.10855417,0.86612207,0.00041853287],"about_ca_topic_score_codex":0.00026007192,"about_ca_topic_score_gemma":0.0015519623,"teacher_disagreement_score":0.8701554,"about_ca_system_score_codex":0.00001529195,"about_ca_system_score_gemma":0.000015126482,"threshold_uncertainty_score":0.41448355},"labels":[],"label_agreement":null},{"id":"W4382199508","doi":"10.3138/md-66-2-1279","title":"“A Terrible Art of Sharp-Shooting at the Audience”: Teaching the Shock of Modernist Drama via the Play of Ideas","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Feeling; Aesthetics; Ideal (ethics); Shock (circulatory); Politics; Comics; Power (physics); Sociology; Set (abstract data type); Visual arts; Literature; Art; Epistemology; Law; Political science; Philosophy; Computer science","score_opus":0.028629483622567998,"score_gpt":0.25010206156118997,"score_spread":0.22147257793862196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382199508","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90130454,0.0006063077,0.00018323147,0.0029443428,0.0002884871,0.00030610038,0.00009741842,0.000057188965,0.0942124],"genre_scores_gemma":[0.98447585,0.00004695956,0.000008528689,0.00014419515,0.00024299086,0.000026378559,0.000009977728,0.000021984455,0.015023133],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856985,0.00009596485,0.00044762375,0.0001877639,0.0003816732,0.0003171393],"domain_scores_gemma":[0.99868625,0.0004119673,0.00027783637,0.0005130619,0.00008974789,0.000021111668],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00078098953,0.00018225543,0.0003042306,0.00005777922,0.0013172596,0.00006552952,0.00055294606,0.000035400935,0.00025848733],"category_scores_gemma":[0.000044842163,0.000082836326,0.00018472463,0.00006820634,0.0008399685,0.00013865279,0.00038012434,0.00025641266,0.0000555511],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015491675,0.0001420232,0.008559894,0.00030900375,0.0005060749,0.0000031114714,0.86008096,0.0089307865,0.0039008646,0.062086023,0.024786277,0.03054007],"study_design_scores_gemma":[0.0019970017,0.0008630479,0.014360832,0.0011056083,0.00071600464,0.000031484215,0.12547013,0.34792972,0.01376709,0.0939692,0.39845052,0.0013393342],"about_ca_topic_score_codex":0.0008868178,"about_ca_topic_score_gemma":0.004166645,"teacher_disagreement_score":0.7346108,"about_ca_system_score_codex":0.000022906761,"about_ca_system_score_gemma":0.000028038912,"threshold_uncertainty_score":0.9999829},"labels":[],"label_agreement":null},{"id":"W4382199530","doi":"10.3138/md-66-2-1276","title":"Teaching Ayad Akhtar’s <i>Disgraced</i>: Navigating Islamophobia and Orientalism in the Drama Classroom","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Islamophobia; Syllabus; Orientalism; Literature; Sociology; Framing (construction); Media studies; History; Art; Aesthetics; Pedagogy; Islam","score_opus":0.021693364803899086,"score_gpt":0.2558033540167344,"score_spread":0.2341099892128353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382199530","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9500411,0.0003746749,0.0000069676307,0.0031423455,0.00036476785,0.0001817812,0.000028118147,0.00014905681,0.04571116],"genre_scores_gemma":[0.994679,0.000072641,0.000021120364,0.00071665214,0.0005839474,0.000042262687,0.000026979038,0.00002477594,0.0038326266],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988257,0.000081483806,0.00023403866,0.00025113652,0.00022127565,0.00038634025],"domain_scores_gemma":[0.99952245,0.00014886433,0.000056940367,0.00022055834,0.000021794822,0.000029415256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046276287,0.00018607342,0.00019498117,0.00006130023,0.0010249624,0.00033484685,0.00020342512,0.000043368003,0.00005624753],"category_scores_gemma":[0.0000185415,0.00012792645,0.000059545895,0.000069350375,0.00018083288,0.0002903142,0.0001310597,0.00047684833,0.000095972275],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021590602,0.000055014847,0.0058175866,0.00007502337,0.000033903176,0.000036666002,0.85905147,0.000035510744,0.00018075791,0.048183963,0.005467001,0.08104153],"study_design_scores_gemma":[0.0018017724,0.00027253124,0.009380952,0.0004899633,0.00008517568,0.000035489127,0.22641787,0.01756416,0.00010520365,0.09227946,0.6505183,0.0010491534],"about_ca_topic_score_codex":0.0017440418,"about_ca_topic_score_gemma":0.0045472127,"teacher_disagreement_score":0.6450513,"about_ca_system_score_codex":0.000020847187,"about_ca_system_score_gemma":0.00001182501,"threshold_uncertainty_score":0.7883286},"labels":[],"label_agreement":null},{"id":"W4382246797","doi":"10.1515/9780773549869-018","title":"Performance Studies and Canada","year":2017,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.02943798936439924,"score_gpt":0.20077925884947698,"score_spread":0.17134126948507775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382246797","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017982972,0.00004464884,4.5688505e-8,0.00016257417,0.0006412104,0.00020357962,0.0005292495,0.00006940475,0.9981695],"genre_scores_gemma":[0.017884536,0.0033010885,0.0000059234585,0.00012417107,0.0003496868,0.0000012076939,0.00001219579,0.000035402634,0.9782858],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988969,0.000013121668,0.00016637138,0.00037255837,0.00024725217,0.00030379035],"domain_scores_gemma":[0.9989728,0.000054010052,0.00023864678,0.0004340131,0.00020857889,0.000091982874],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.000056081797,0.00042858085,0.0005442571,0.00009401465,0.0024994228,0.00006308493,0.00032743166,0.00010967644,0.000063901134],"category_scores_gemma":[0.0000038862413,0.00039807495,0.00008852848,7.269468e-7,0.0007318969,0.00019210456,0.00048667542,0.00033082732,0.0000068213176],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007882246,0.0000032988394,0.000015079967,0.00047706743,0.0007482394,0.00011543002,0.0026620869,0.0000011323731,1.403231e-7,0.9519409,0.039247256,0.0047105774],"study_design_scores_gemma":[0.00029371263,0.00007200365,0.000014180005,0.0003592027,0.00025943067,0.0000017298587,0.0008252927,0.000001674651,0.000013749924,0.00019069067,0.99749017,0.000478168],"about_ca_topic_score_codex":0.2413794,"about_ca_topic_score_gemma":0.046493564,"teacher_disagreement_score":0.9582429,"about_ca_system_score_codex":0.00018111484,"about_ca_system_score_gemma":0.00008788922,"threshold_uncertainty_score":0.9998471},"labels":[],"label_agreement":null},{"id":"W4382247035","doi":"10.1515/9780773549869","title":"Performance Studies in Canada","year":2017,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; Computer science","score_opus":0.03829113242485229,"score_gpt":0.21523943565230755,"score_spread":0.17694830322745525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382247035","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034226957,0.0000263443,2.4833549e-8,0.00008075764,0.0011849987,0.0002867874,0.000628874,0.000059813563,0.99739015],"genre_scores_gemma":[0.017877277,0.0016758617,0.0000034795808,0.00011157014,0.00041710463,0.0000035259343,0.000029662391,0.00003808574,0.97984344],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99847895,0.000041336367,0.00025084332,0.00042398795,0.00032640414,0.00047845455],"domain_scores_gemma":[0.9987782,0.00008223591,0.00029346018,0.00057009683,0.00019546998,0.00008050692],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00008787897,0.00046983978,0.00071938656,0.00018297663,0.0015447406,0.000046744146,0.0006452802,0.00011551386,0.000068242785],"category_scores_gemma":[0.00000677601,0.0004577504,0.00012187913,0.0000043144682,0.000579297,0.0002502018,0.0005117453,0.0005297215,0.00001533272],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002577241,0.00002697634,0.0001832466,0.0016246362,0.0011721804,0.0007635124,0.012625602,0.000036127232,1.7451013e-7,0.45062423,0.5255646,0.0071209953],"study_design_scores_gemma":[0.0004484438,0.00005412133,0.000039100414,0.00061230815,0.00013567392,0.0000010270386,0.002196245,0.0000063212665,0.0000123882955,0.00007072625,0.9958865,0.0005371215],"about_ca_topic_score_codex":0.6805934,"about_ca_topic_score_gemma":0.31581178,"teacher_disagreement_score":0.47032192,"about_ca_system_score_codex":0.001539085,"about_ca_system_score_gemma":0.0006876467,"threshold_uncertainty_score":0.99978745},"labels":[],"label_agreement":null},{"id":"W4382682884","doi":"10.1515/9780773569119-060","title":"Feminist Theatre in Toronto: A Look at the Nightwood Theatre","year":2001,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Media studies; Art history; Sociology","score_opus":0.016823268258814597,"score_gpt":0.20257134446574418,"score_spread":0.18574807620692957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382682884","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00003165382,0.00008202435,2.0706096e-7,0.0002739098,0.0004499184,0.0005834476,0.001074778,0.00015228464,0.99735177],"genre_scores_gemma":[0.014259544,0.0013612356,0.0000030708866,0.00029138816,0.0005827644,0.0000053269328,0.000056798923,0.00007950201,0.98336035],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980573,0.00007003921,0.00033561603,0.0006040043,0.00037570004,0.0005573563],"domain_scores_gemma":[0.99866086,0.00013784124,0.00023090848,0.0007811915,0.00008033635,0.000108875145],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013095578,0.0006749445,0.00065819424,0.00010964665,0.0017440383,0.00009211739,0.0006678835,0.00029330575,0.0026602317],"category_scores_gemma":[0.0000010765656,0.0005078457,0.00038454347,0.0000062170852,0.0007826148,0.00015956236,0.00068922417,0.00056463317,0.00009664136],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002547419,0.000030989322,0.000020671907,0.000077702316,0.0003228684,0.0002013616,0.0074688825,0.000002785646,4.1568046e-7,0.9667758,0.019891042,0.0049527516],"study_design_scores_gemma":[0.00067338167,0.00012876473,0.0000042527404,0.00025304407,0.0002572993,0.0000064073915,0.004411112,0.0000017953329,0.000015068736,0.0007109237,0.99291897,0.0006189628],"about_ca_topic_score_codex":0.015806261,"about_ca_topic_score_gemma":0.0058097104,"teacher_disagreement_score":0.97302794,"about_ca_system_score_codex":0.00078874105,"about_ca_system_score_gemma":0.000043061773,"threshold_uncertainty_score":0.9997373},"labels":[],"label_agreement":null},{"id":"W4383218609","doi":"10.1111/johs.12430","title":"A Glass Bottle, A Talk, A Falling Star","year":2023,"lang":"en","type":"article","venue":"Sociology Lens","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Bottle; Art; Visual arts; The arts; Psychology; History; Archaeology","score_opus":0.05560873802733609,"score_gpt":0.2633324855606892,"score_spread":0.20772374753335313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4383218609","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9270609,0.00038151085,9.929068e-7,0.0022326524,0.00074635394,0.000067526984,0.000045226036,0.00026640404,0.069198415],"genre_scores_gemma":[0.9849495,0.0003473788,0.000011433018,0.0006715063,0.0009820191,0.000019148583,0.000026915604,0.000013244734,0.012978854],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935347,0.000030265677,0.000115526025,0.00013748821,0.00005407296,0.00030918248],"domain_scores_gemma":[0.9997204,0.000095542026,0.000030262758,0.00010141462,0.00003395152,0.00001841693],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001350064,0.00009747388,0.00016148762,0.000058888534,0.00045828687,0.000017111408,0.00008221348,0.00005402581,0.00075217633],"category_scores_gemma":[0.0000118327325,0.00007776629,0.000079230194,0.000024933213,0.00052266393,0.00008385227,0.000051204042,0.00014472617,0.001874621],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036877515,0.000039214574,0.0045988853,0.00006359733,0.0003419652,0.00004854606,0.5630973,0.000012470449,0.0003685185,0.30998176,0.11956872,0.0018421682],"study_design_scores_gemma":[0.000252901,0.00012392682,0.0018044921,0.000012901719,0.00002589605,0.0000018800794,0.032174345,0.00005356595,0.000028035443,0.013351926,0.951994,0.00017614958],"about_ca_topic_score_codex":0.00011674609,"about_ca_topic_score_gemma":0.0008442689,"teacher_disagreement_score":0.83242524,"about_ca_system_score_codex":0.00001401222,"about_ca_system_score_gemma":0.000017547032,"threshold_uncertainty_score":0.99890256},"labels":[],"label_agreement":null},{"id":"W4383292981","doi":"10.1080/13569783.2023.2228210","title":"Theatre beyond culture wars: why we need to get over ourselves","year":2023,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Drama; Solidarity; Meditation; Aesthetics; Sociology; Media studies; Engineering; Art; Visual arts; History; Political science; Law; Politics; Archaeology","score_opus":0.04349833363882643,"score_gpt":0.3281448830444181,"score_spread":0.28464654940559164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4383292981","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85074216,0.0021121656,7.4703536e-7,0.016892098,0.00060854555,0.00040028745,0.000012471263,0.00002390982,0.12920761],"genre_scores_gemma":[0.9828192,0.011899584,0.000024512648,0.00064810104,0.0019388968,0.000041257583,0.0000062549702,0.00002366705,0.002598531],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982043,0.00011038112,0.00041076168,0.00016179858,0.0005996048,0.0005131362],"domain_scores_gemma":[0.99895483,0.00026972598,0.00011701698,0.00027270513,0.00024217987,0.00014353565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021207444,0.00019380324,0.00027673884,0.0006700205,0.00083007885,0.00022233986,0.00044500103,0.0000633011,0.000180731],"category_scores_gemma":[0.000008013196,0.000112552494,0.00006156007,0.00054915575,0.00031983264,0.0003977959,0.00012930391,0.0007127602,0.00015798757],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001030447,0.00024133347,0.0033037483,0.00031214367,0.00012725285,0.0000030299964,0.37104198,0.0002789428,0.0004038044,0.015020831,0.31162134,0.29661512],"study_design_scores_gemma":[0.00041319063,0.00043919327,0.001652915,0.00030767237,0.000025132893,0.000016526914,0.12841833,0.000097795586,0.00040156062,0.010075286,0.8579629,0.00018947001],"about_ca_topic_score_codex":0.00010954106,"about_ca_topic_score_gemma":0.0002300471,"teacher_disagreement_score":0.5463416,"about_ca_system_score_codex":0.00006695001,"about_ca_system_score_gemma":0.0002355462,"threshold_uncertainty_score":0.6384379},"labels":[],"label_agreement":null},{"id":"W4384161301","doi":"10.7202/1100562ar","title":"Transnational Activism in the Post‑Digital Networks of the Bound Art Book Fair and the Hackney Comic + Zine Fair","year":2023,"lang":"en","type":"article","venue":"Mémoires du livre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Comics; Sociology; Context (archaeology); Media studies; Publishing; Empowerment; Optimal distinctiveness theory; Law; Political science; History","score_opus":0.011800693674047456,"score_gpt":0.20133787452887325,"score_spread":0.1895371808548258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384161301","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81590325,0.0008465255,0.000004915653,0.092836484,0.00050721696,0.0004869196,0.00013687772,0.000055401695,0.08922244],"genre_scores_gemma":[0.9881897,0.00013474906,4.3956558e-7,0.0010118845,0.00033542898,0.000029722592,0.000021517764,0.000009913787,0.010266652],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934447,0.000049104638,0.00015706172,0.00010610882,0.00017431309,0.00016896303],"domain_scores_gemma":[0.99937415,0.00036108668,0.000052782165,0.0001604976,0.00004002575,0.000011435352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002441116,0.00011593728,0.00015036814,0.00004053571,0.00052365457,0.00017114423,0.00022460942,0.000026574337,0.00011069706],"category_scores_gemma":[0.000010768893,0.000051291194,0.00008883147,0.00006634392,0.00075412035,0.00023266958,0.00006417754,0.00016469522,0.000011847312],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024135537,0.00008881437,0.0035398167,0.00004559575,0.00013668952,0.000003548778,0.112975754,0.0002715095,0.000008428657,0.7507849,0.1296399,0.002263724],"study_design_scores_gemma":[0.0011893642,0.00009156351,0.06328883,0.00003751577,0.000035478966,0.0000076822635,0.012285645,0.0018709463,0.000006677662,0.006513262,0.91452336,0.00014967997],"about_ca_topic_score_codex":0.000038427777,"about_ca_topic_score_gemma":0.0017662683,"teacher_disagreement_score":0.78488344,"about_ca_system_score_codex":0.000010540032,"about_ca_system_score_gemma":0.00002109468,"threshold_uncertainty_score":0.40275803},"labels":[],"label_agreement":null},{"id":"W4384703760","doi":"10.1386/atr_00072_2","title":"Editorial","year":2023,"lang":"en","type":"editorial","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Variety (cybernetics); Sociology; Poverty; Diversity (politics); Revels; Stigma (botany); Field (mathematics); Mental health; Public relations; Media studies; Social science; Pedagogy; Political science; Psychology; History; Anthropology","score_opus":0.05874174459422803,"score_gpt":0.3418191172550591,"score_spread":0.28307737266083105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384703760","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000029269822,0.00015136437,7.349386e-8,0.00009878175,0.5693163,0.00025716468,0.000315995,0.00023321087,0.42962417],"genre_scores_gemma":[0.00029458408,0.001350401,0.0000025652923,0.0000058215214,0.9657394,0.00042281946,0.00055672793,0.00018286098,0.031444803],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9943292,0.00012248105,0.00039140545,0.0006886279,0.0032026242,0.0012656256],"domain_scores_gemma":[0.9942583,0.004130508,0.00007727,0.00073321915,0.0006583361,0.00014241174],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.002360448,0.0004298689,0.0006104897,0.00052423106,0.0015722485,0.0005707666,0.00090297987,0.0007073879,0.0012068744],"category_scores_gemma":[0.00011875894,0.00033974406,0.00018350371,0.00020890236,0.0009461746,0.00009942474,0.00058310403,0.0031246352,0.014370112],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001372423,0.00003887876,2.2910734e-7,0.00017713837,0.00015899765,0.0000044211506,0.006117674,4.39599e-7,0.0000043669224,0.010438349,0.9728382,0.010084058],"study_design_scores_gemma":[0.00036144446,0.00012800879,7.500461e-8,0.000082870145,0.00003292095,4.3182663e-8,0.0031141078,6.02183e-7,0.000009379072,0.0063690473,0.9895387,0.0003627785],"about_ca_topic_score_codex":0.0012902579,"about_ca_topic_score_gemma":0.002364932,"teacher_disagreement_score":0.39817935,"about_ca_system_score_codex":0.00015975854,"about_ca_system_score_gemma":0.00047516948,"threshold_uncertainty_score":0.99990547},"labels":[],"label_agreement":null},{"id":"W4385341684","doi":"10.1515/9783111032931-004","title":"Chapter 4 Staging Deliberation: Forum Theatre as ‘Living Laboratory’ in Canada","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Deliberation; Psychology; Political science; Law","score_opus":0.019458359719296714,"score_gpt":0.195410346554145,"score_spread":0.17595198683484828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385341684","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00057300454,0.0004555129,5.1500376e-7,0.0012514992,0.0010403653,0.00015980132,0.00016199247,0.000093792034,0.9962635],"genre_scores_gemma":[0.10149287,0.00053394923,0.000004352973,0.0015551135,0.00082897407,0.000014923196,0.00002782342,0.000079453916,0.8954626],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988361,0.0000059605513,0.0003245342,0.00026432448,0.00025612,0.0003129435],"domain_scores_gemma":[0.99947643,0.00008915588,0.000080188416,0.0002117351,0.00009554581,0.000046940713],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008557948,0.0003119672,0.00033010557,0.00014457585,0.0003440878,0.000111549285,0.00012670908,0.000057927355,0.011714631],"category_scores_gemma":[0.0000025870515,0.00025864938,0.000060779144,0.000011346836,0.000066101435,0.00018565812,0.00009818554,0.0002709423,0.00043757507],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005527411,0.000002323328,0.00035964386,0.00004464457,0.00008200764,0.000039748913,0.0062915687,0.000007213141,3.775702e-7,0.96398896,0.021327794,0.007850216],"study_design_scores_gemma":[0.000076512595,0.000027074777,0.00003717572,0.00031278012,0.000020649763,6.9734756e-7,0.0067232633,0.0000164042,0.00000376174,0.005022757,0.9873784,0.000380487],"about_ca_topic_score_codex":0.5896141,"about_ca_topic_score_gemma":0.99735636,"teacher_disagreement_score":0.9660506,"about_ca_system_score_codex":0.00018040604,"about_ca_system_score_gemma":0.00041484257,"threshold_uncertainty_score":0.9999866},"labels":[],"label_agreement":null},{"id":"W4385396316","doi":"10.18733/cpi29691","title":"Towards Equity, Diversity, Inclusion, Belonging: Critical Posthumanism, New Materialism, and Theatre Pedagogies Transversalities","year":2023,"lang":"en","type":"article","venue":"Cultural and Pedagogical Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"University of Alberta","keywords":"Posthumanism; Materialism; Praxis; Subjectivity; Sociology; Embodied cognition; Equity (law); Politics; Diversity (politics); Anti-racism; Dialectical materialism; Epistemology; Gender studies; Aesthetics; Racism; Philosophy; Political science; Anthropology","score_opus":0.5902901076842084,"score_gpt":0.44908017143907003,"score_spread":0.1412099362451384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385396316","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9586382,0.0019764793,0.0000047559342,0.01165204,0.0012273113,0.00014874892,0.000109180095,0.00043301217,0.025810279],"genre_scores_gemma":[0.9858444,0.002172313,0.00001883383,0.0005501757,0.002168998,0.0000066603507,0.0000559986,0.000015110562,0.009167528],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985611,0.00005254819,0.00024168345,0.00034536954,0.00032841563,0.00047087073],"domain_scores_gemma":[0.999467,0.00010515864,0.00003253476,0.00011740716,0.00008575928,0.00019213615],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019858283,0.00029794403,0.00035754242,0.00008094896,0.003363407,0.0004850581,0.00023072661,0.000099677374,0.0013294847],"category_scores_gemma":[0.000021612103,0.00018872091,0.000096462674,0.00005523187,0.001435276,0.0006152304,0.0037867618,0.00017217881,0.00006475529],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000097921446,0.000026737467,0.00043707466,0.00018433313,0.00005641363,0.000031124924,0.6892099,8.1576866e-7,0.00015563698,0.27896035,0.016843973,0.013995736],"study_design_scores_gemma":[0.0009307669,0.0005825628,0.0051074363,0.0001495189,0.00019585149,0.000050284914,0.40723902,0.00002480751,0.00013104767,0.08040044,0.5043161,0.00087216316],"about_ca_topic_score_codex":0.0010122466,"about_ca_topic_score_gemma":0.00036061983,"teacher_disagreement_score":0.48747215,"about_ca_system_score_codex":0.000016244592,"about_ca_system_score_gemma":0.000023007973,"threshold_uncertainty_score":0.9995834},"labels":[],"label_agreement":null},{"id":"W4385446948","doi":"10.1080/13569783.2023.2205015","title":"Race &amp; representation in applied theatre: walking a fine line to salvage empathy &amp; creative imagination","year":2023,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Creativity; Empathy; Race (biology); Representation (politics); Aesthetics; Identity (music); Perception; Sociology; Politics; Virtue; Psychology; Gender studies; Visual arts; Social psychology; Art; Epistemology; Political science; Philosophy","score_opus":0.06927230118636807,"score_gpt":0.36810729477993703,"score_spread":0.29883499359356896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385446948","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9078163,0.0005259132,0.000013342131,0.0049874727,0.0002643999,0.00060546835,0.000006950902,0.00002100862,0.085759155],"genre_scores_gemma":[0.99431664,0.0026475114,0.00011804034,0.00014843947,0.000965083,0.00011308044,0.000028030421,0.000024346198,0.0016388119],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979734,0.00017344342,0.0005895287,0.00021932095,0.00058690715,0.00045744277],"domain_scores_gemma":[0.9985841,0.00056740706,0.00018703345,0.00029909282,0.00026774834,0.00009462875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003670745,0.0001914713,0.0003173973,0.0011483356,0.00056196534,0.0001833954,0.00032352997,0.000052738866,0.0001714748],"category_scores_gemma":[0.0000351028,0.00013158467,0.000043567536,0.0009723261,0.00025193478,0.0003660196,0.00012459228,0.0006964758,0.00015741767],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017932147,0.00031594327,0.0042918734,0.00021293195,0.000058143098,0.000001789659,0.42863995,0.0016900938,0.0012107184,0.0052046506,0.012545295,0.5440354],"study_design_scores_gemma":[0.0040423414,0.0010460381,0.0640716,0.0016700941,0.00010831376,0.000058127964,0.34353095,0.0013727066,0.0048841136,0.044171687,0.53392565,0.0011183659],"about_ca_topic_score_codex":0.00031743242,"about_ca_topic_score_gemma":0.0018833489,"teacher_disagreement_score":0.542917,"about_ca_system_score_codex":0.00014530035,"about_ca_system_score_gemma":0.00021837963,"threshold_uncertainty_score":0.5365867},"labels":[],"label_agreement":null},{"id":"W4385446951","doi":"10.1080/13569783.2023.2232734","title":"‘And yet’ … Critical questions, complicated conversations: curating a TYA curriculum","year":2023,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Curriculum; Representation (politics); Scripting language; Sociology; Computer science; Epistemology; Mathematics education; Pedagogy; Psychology; Political science; Programming language; Philosophy; Law","score_opus":0.06316698284667437,"score_gpt":0.36287166830164835,"score_spread":0.299704685454974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385446951","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9616244,0.0015156396,0.0000019413567,0.0078093177,0.0003048826,0.00021864858,0.0000046281107,0.000018798235,0.028501734],"genre_scores_gemma":[0.9933101,0.0058299215,0.000030985353,0.000101853635,0.00047827547,0.00003165378,0.000004002941,0.0000092405035,0.00020397853],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99891394,0.00010514078,0.00033060685,0.00009912395,0.00028339325,0.0002678132],"domain_scores_gemma":[0.99875295,0.0006849333,0.00007923652,0.00012670144,0.00028462513,0.000071545175],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018331842,0.00009736987,0.00015775728,0.00035798494,0.00089690427,0.00015269943,0.00015922086,0.00003211217,0.00007043538],"category_scores_gemma":[0.000042600703,0.00006244642,0.000020700074,0.00028466768,0.0006048205,0.00030574924,0.00006790123,0.00048137363,0.00004584729],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044456607,0.00048429964,0.023328073,0.00083651114,0.000117869444,0.0000034463922,0.18672778,0.00013160735,0.00030384443,0.34999347,0.03123883,0.4063897],"study_design_scores_gemma":[0.0016178017,0.0011313419,0.03714419,0.001972876,0.00011914459,0.00019355073,0.45361963,0.009452739,0.00041659878,0.08599268,0.40766412,0.0006753256],"about_ca_topic_score_codex":0.0001509608,"about_ca_topic_score_gemma":0.00007249672,"teacher_disagreement_score":0.4057144,"about_ca_system_score_codex":0.000036371854,"about_ca_system_score_gemma":0.00017109091,"threshold_uncertainty_score":0.6898353},"labels":[],"label_agreement":null},{"id":"W4385453249","doi":"10.1007/978-3-031-20196-7_26","title":"Emerging, Staying, or Leaving: ‘Immigrant’ Theatre in Canada","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Bishop's University","funders":"","keywords":"Immigration; Subaltern; Multiculturalism; Context (archaeology); Power (physics); Politics; Sociology; Variety (cybernetics); Gender studies; Theatre studies; Media studies; Political science; Visual arts; History; Art; Pedagogy; Drama; Law","score_opus":0.038385062519347465,"score_gpt":0.21936448015810564,"score_spread":0.1809794176387582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385453249","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024305256,0.0005543656,1.4508889e-7,0.0005002724,0.0013267548,0.00017040203,0.00017523882,0.00011159932,0.99691814],"genre_scores_gemma":[0.017767591,0.0014702321,0.0000022304066,0.0003789402,0.0008298712,0.000012902934,0.000044095577,0.000083868385,0.9794103],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866253,0.000005978762,0.00037697307,0.00029364292,0.00028683082,0.00037401458],"domain_scores_gemma":[0.9994788,0.000078007615,0.00009439064,0.00025406812,0.000045066827,0.000049667895],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007808088,0.00037273904,0.00047498374,0.0001828415,0.00027286433,0.00006112438,0.0002066761,0.00006880051,0.021210335],"category_scores_gemma":[0.0000025378117,0.00025397507,0.000099855955,0.0000140153725,0.00009720656,0.00008339473,0.00009760534,0.00034775157,0.00041498925],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006974139,0.000009791516,0.00033887554,0.00025271726,0.00028985777,0.0003521617,0.030100556,0.000010193623,1.868299e-7,0.50392336,0.42353305,0.041119535],"study_design_scores_gemma":[0.0001521531,0.000041726813,0.000020021904,0.00023515908,0.00003366715,0.0000019336871,0.009432853,0.000008933075,9.65479e-7,0.0019807147,0.9876993,0.00039261466],"about_ca_topic_score_codex":0.95833004,"about_ca_topic_score_gemma":0.99985695,"teacher_disagreement_score":0.5641662,"about_ca_system_score_codex":0.00020299229,"about_ca_system_score_gemma":0.00058719405,"threshold_uncertainty_score":0.99999124},"labels":[],"label_agreement":null},{"id":"W4385463492","doi":"10.1080/13569783.2023.2205014","title":"Trans/Queer representation and drama: engendering new forms of empathy and relationality","year":2023,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Windsor; University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Drama; Performative utterance; Closet; Empathy; Sociology; Queer; Gender studies; Representation (politics); Aesthetics; Friendship; Visual arts; Psychology; Art; Politics; Social psychology; History; Social science; Political science","score_opus":0.08800074202761488,"score_gpt":0.3464754297346509,"score_spread":0.258474687707036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385463492","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97419655,0.001448661,0.000004069636,0.0020337482,0.000116434734,0.00018517784,0.0000031821799,0.0000061323503,0.02200605],"genre_scores_gemma":[0.99025345,0.008950316,0.000023254139,0.000027934406,0.00034727665,0.0000085156325,0.0000032048206,0.000008213694,0.00037782197],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990074,0.000056609886,0.00034409025,0.00009951462,0.00030550375,0.00018687148],"domain_scores_gemma":[0.9992537,0.00032158106,0.00011542672,0.00011372659,0.00013098285,0.00006460775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017292731,0.00008888156,0.0001719804,0.0003047679,0.0003733735,0.000069088775,0.00010171893,0.000035314646,0.00003612548],"category_scores_gemma":[0.000008586559,0.00005708651,0.000022622287,0.00020426114,0.00032832366,0.00037276564,0.000045921744,0.00031466916,0.0000023753987],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00092138903,0.00010047519,0.02621512,0.0005673972,0.00011055731,9.447409e-7,0.47141477,0.00019927879,0.00056548044,0.04353511,0.0022219904,0.4541475],"study_design_scores_gemma":[0.0029914242,0.0011643387,0.32639903,0.0009337399,0.00013170723,0.00011098947,0.40972432,0.0015549348,0.0043814946,0.1815426,0.07051818,0.0005472433],"about_ca_topic_score_codex":0.00013459742,"about_ca_topic_score_gemma":0.000108806555,"teacher_disagreement_score":0.45360026,"about_ca_system_score_codex":0.000021003478,"about_ca_system_score_gemma":0.00014997458,"threshold_uncertainty_score":0.2871725},"labels":[],"label_agreement":null},{"id":"W4385490668","doi":"10.7202/1102386ar","title":"SJS-Who? Performance Ethnography and a Practice-Based Pedagogy","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Ethnography; Reciprocity (cultural anthropology); Accountability; Sociology; Pedagogy; Reflection (computer programming); Critical reflection; Performativity; Psychology; Aesthetics; Art; Computer science; Political science; Anthropology; Gender studies","score_opus":0.045559915349116825,"score_gpt":0.28968666378103675,"score_spread":0.24412674843191992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385490668","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94337153,0.00028396034,0.0000050853437,0.00970526,0.00072444597,0.00023002534,0.000024445399,0.00042236637,0.045232862],"genre_scores_gemma":[0.9872967,0.0016511431,0.00006438006,0.006716831,0.00052959734,0.00010185905,0.000029755141,0.00004545781,0.0035642472],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984247,0.000045504607,0.00030019545,0.00032728355,0.00030294535,0.0005993661],"domain_scores_gemma":[0.99917907,0.00021109373,0.000120275094,0.00029611008,0.00010145651,0.000092023554],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0004928805,0.00029291725,0.00029078833,0.00042164992,0.0009904758,0.00019015791,0.0001969493,0.000051677824,0.00044716368],"category_scores_gemma":[0.000017373042,0.0002474878,0.000084569365,0.0002284028,0.00056890794,0.0009375803,0.00009697662,0.00024311426,0.00076525816],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015174703,0.0002835779,0.17799324,0.0029982356,0.0006121994,0.000047474205,0.24633096,0.0013343418,0.00024030286,0.0074317427,0.3040311,0.25717935],"study_design_scores_gemma":[0.00078635145,0.00038183457,0.028570473,0.00017621125,0.000077932884,0.000015714506,0.007004437,0.0075932406,0.00016772667,0.000029972256,0.9546607,0.00053536886],"about_ca_topic_score_codex":0.00009716822,"about_ca_topic_score_gemma":0.00009383254,"teacher_disagreement_score":0.65062964,"about_ca_system_score_codex":0.000021738611,"about_ca_system_score_gemma":0.000040406318,"threshold_uncertainty_score":0.99999774},"labels":[],"label_agreement":null},{"id":"W4385491172","doi":"10.7202/1102407ar","title":"Up and Down: The Queer and Affective Potential of (the) Transition (from the Perspectives of a Director, Sound Designer, and Lighting Designer)","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Affect (linguistics); Transition (genetics); Nexus (standard); State (computer science); Aesthetics; Visual arts; Sociology; Work (physics); Affect theory; Engineering; Gender studies; Computer science; Psychology; Art; Social psychology; Communication; Mechanical engineering","score_opus":0.013318326721736813,"score_gpt":0.20419536568534077,"score_spread":0.19087703896360397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385491172","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9956005,0.0010797859,0.000020824256,0.002464944,0.0001836823,0.0002088384,0.000028602139,0.00002052897,0.00039224987],"genre_scores_gemma":[0.99867284,0.0007709288,0.0000060038615,0.00019333357,0.00016811275,0.00001850104,0.000001628572,0.00001026947,0.00015837168],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9993776,0.00006741602,0.00013926944,0.00014127161,0.00012765308,0.0001467716],"domain_scores_gemma":[0.9995528,0.00018889658,0.00008231807,0.00011801116,0.000043150332,0.000014838588],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023210801,0.0001241052,0.00016061333,0.00003776444,0.0006858731,0.00006180677,0.00008577393,0.000020567399,0.00003551494],"category_scores_gemma":[0.000005624998,0.000060433897,0.00004359357,0.000049136823,0.00080498075,0.00019314833,0.0000587308,0.000095932366,0.0000019099984],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019481078,0.000022871654,0.012464956,0.00022967093,0.00026550886,6.000898e-7,0.9705856,0.00011249482,0.004406085,0.0013141448,0.0018649868,0.008538267],"study_design_scores_gemma":[0.0018106773,0.00051196915,0.5010635,0.00062722486,0.0006129908,0.000020040252,0.4765613,0.005916778,0.0063090865,0.0025390028,0.0034059351,0.0006214233],"about_ca_topic_score_codex":0.0004454035,"about_ca_topic_score_gemma":0.00030513824,"teacher_disagreement_score":0.49402428,"about_ca_system_score_codex":0.000008506923,"about_ca_system_score_gemma":0.000008289814,"threshold_uncertainty_score":0.52752507},"labels":[],"label_agreement":null},{"id":"W4385527784","doi":"10.3998/mpub.11555896","title":"Revolutionary Stagecraft","year":2023,"lang":"en","type":"book","venue":"University of Michigan Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto; Queen's University; University of Cambridge; York University; University of Hawai'i; Princeton University; University of Minnesota; McGill University; University of Notre Dame; University of Oxford; Harvard University","keywords":"Art","score_opus":0.033951581777134726,"score_gpt":0.18423197302058195,"score_spread":0.15028039124344722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385527784","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019457495,0.0010565247,0.000002379471,0.000023828125,0.00043251814,0.0001547776,0.0007409419,0.00014985597,0.9972446],"genre_scores_gemma":[0.00024929785,0.000789028,0.000015749223,0.000020122485,0.0004227317,2.0584933e-7,0.00009663831,0.000028098644,0.99837816],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993052,0.000018252567,0.00012880283,0.00020244771,0.00017240141,0.00017292249],"domain_scores_gemma":[0.9994093,0.000052071242,0.00015256535,0.00024442092,0.00010278174,0.000038870076],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00005780348,0.00018692069,0.00031357666,0.00012430809,0.0003677556,0.0000062278423,0.00029762316,0.000103375794,0.000406164],"category_scores_gemma":[0.0000017366273,0.00020676969,0.00017232368,0.0000026373375,0.0005873719,0.000054231063,0.00022727711,0.00022442931,0.00014060314],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007081929,0.0000144952955,0.0000022669656,0.0003898177,0.0003972026,0.00004053736,0.088793516,0.0000029772496,0.0000038704625,0.18937105,0.71961427,0.0012991987],"study_design_scores_gemma":[0.0001981683,0.000054388198,0.0000059057556,0.00023225344,0.0001414005,6.430384e-7,0.0030223518,0.0000039058436,0.0000070955357,0.0027115482,0.99341166,0.00021068417],"about_ca_topic_score_codex":0.0004757935,"about_ca_topic_score_gemma":0.006508239,"teacher_disagreement_score":0.27379742,"about_ca_system_score_codex":0.000028284061,"about_ca_system_score_gemma":0.00011063316,"threshold_uncertainty_score":0.8431823},"labels":[],"label_agreement":null},{"id":"W4385854389","doi":"10.59962/9780774854436-002","title":"Acknowledgements","year":2007,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Brock University","keywords":"Computer science","score_opus":0.03572408523274958,"score_gpt":0.19362994975910233,"score_spread":0.15790586452635275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385854389","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00030673968,0.000595025,0.0000024613887,0.0000015559282,0.0006357496,0.00020945708,0.000716023,0.00006783065,0.99746513],"genre_scores_gemma":[0.00094839087,0.00042769208,0.000026693671,0.000025688016,0.00044839675,1.668825e-7,0.000028115308,0.000026228803,0.99806863],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991891,0.000006307101,0.00016318794,0.00023642015,0.00020767914,0.00019732406],"domain_scores_gemma":[0.999152,0.000021643402,0.00016446768,0.00020052551,0.00040594456,0.000055394725],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007088197,0.00012156613,0.00034370707,0.00004648811,0.00036518282,0.00011312817,0.0002741266,0.00013047727,0.018943282],"category_scores_gemma":[0.000001973836,0.00027420538,0.00017902425,0.0000013198074,0.00069033675,0.000074172094,0.00021311219,0.00020045032,0.00021235339],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024987146,0.000023861303,0.00001546945,0.0002227383,0.0003987871,0.00011959773,0.005774568,1.00510015e-7,2.4951436e-7,0.01167637,0.8431606,0.13858265],"study_design_scores_gemma":[0.00035672757,0.00006817496,0.00003637903,0.00043614145,0.00015780753,0.0000027384854,0.0004486736,8.09638e-7,5.239788e-7,0.0011413635,0.9970819,0.00026881185],"about_ca_topic_score_codex":0.03290384,"about_ca_topic_score_gemma":0.73049885,"teacher_disagreement_score":0.697595,"about_ca_system_score_codex":0.000036919773,"about_ca_system_score_gemma":0.000031505646,"threshold_uncertainty_score":0.99997103},"labels":[],"label_agreement":null},{"id":"W4386047845","doi":"10.5007/2175-8026.2023.e93859","title":"A long hope: the Prometheus Counter-Project","year":2023,"lang":"en","type":"article","venue":"Ilha do Desterro A Journal of English Language Literatures in English and Cultural Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Mythology; Injustice; Theme (computing); Democracy; Aesthetics; Meaning (existential); Sociology; History; Environmental ethics; Literature; Philosophy; Law; Art; Epistemology; Politics; Political science","score_opus":0.024256693597875353,"score_gpt":0.2935821761473444,"score_spread":0.26932548254946903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386047845","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8900647,0.09904786,1.0183717e-7,0.00016724617,0.0029047618,0.00021195915,0.000041564985,0.0000734773,0.007488338],"genre_scores_gemma":[0.98659176,0.0060648685,0.000016575259,0.00027116627,0.005130545,0.000029380557,0.000008240359,0.000019478357,0.0018680058],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984223,0.00013934122,0.00052458636,0.00019823115,0.00032258788,0.00039293309],"domain_scores_gemma":[0.99812657,0.00029656634,0.00023187223,0.00016166149,0.0011357198,0.000047600643],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007161469,0.00029337074,0.0005006964,0.00023213857,0.00043071594,0.00074191706,0.00029742977,0.0000620703,0.000031009095],"category_scores_gemma":[0.0010531229,0.00014457821,0.00015792686,0.0002796355,0.00045853946,0.0008877255,0.00016205145,0.0006248935,0.0000024759345],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000110456924,0.000028783938,0.0016296388,0.00012412171,0.00027357182,0.00016220295,0.9674958,0.000005602556,0.000011413128,0.00072203483,0.024701169,0.0047351923],"study_design_scores_gemma":[0.00084798515,0.00029402503,0.001159774,0.0006668115,0.00008045318,0.00003138906,0.7547155,0.0000037048162,0.00003522843,0.00017914473,0.241724,0.00026198864],"about_ca_topic_score_codex":0.000028710365,"about_ca_topic_score_gemma":0.00071172265,"teacher_disagreement_score":0.21702284,"about_ca_system_score_codex":0.000036791313,"about_ca_system_score_gemma":0.00002213056,"threshold_uncertainty_score":0.7154323},"labels":[],"label_agreement":null},{"id":"W4386096365","doi":"10.1080/13569783.2023.2249407","title":"Reconfiguring togetherness in the virtual drama classroom","year":2023,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Drama; Gentrification; Sociology; Hospitality; Media studies; Ethnography; Reflexivity; Public relations; Social science; Tourism; Political science; Economic growth; Visual arts","score_opus":0.06443517881615801,"score_gpt":0.326351776756244,"score_spread":0.261916597940086,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386096365","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8988337,0.0005677255,2.7438097e-7,0.0043159914,0.00035168312,0.0002352862,0.0000021600342,0.000007951944,0.09568523],"genre_scores_gemma":[0.9933106,0.0044226535,0.0000030428148,0.00018043909,0.0011008121,0.000040520208,0.000002434041,0.000012872465,0.0009266634],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9984266,0.00020054575,0.00040618947,0.00011114511,0.00046600835,0.00038947738],"domain_scores_gemma":[0.99878234,0.00070968684,0.00011122542,0.00022347018,0.00013098294,0.000042293446],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0050480613,0.00012450306,0.0001893106,0.0004889982,0.0006263395,0.00018759916,0.00049313396,0.00004381806,0.00010259373],"category_scores_gemma":[0.000012833032,0.000065962566,0.0000370027,0.0004304975,0.00036415947,0.00028637255,0.00006436405,0.0008297255,0.00007337573],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006827382,0.00021891524,0.006074851,0.00016109977,0.000043179192,0.0000042126458,0.38327557,0.000295201,0.000110185385,0.03055428,0.008118328,0.57046145],"study_design_scores_gemma":[0.0009783645,0.00068212044,0.02192958,0.0005643437,0.000023741211,0.000057135618,0.53411007,0.00047632612,0.000509054,0.019622892,0.42075497,0.00029142908],"about_ca_topic_score_codex":0.00017052848,"about_ca_topic_score_gemma":0.0004994144,"teacher_disagreement_score":0.57017,"about_ca_system_score_codex":0.000055661025,"about_ca_system_score_gemma":0.00022300874,"threshold_uncertainty_score":0.48173606},"labels":[],"label_agreement":null},{"id":"W4386098261","doi":"10.1080/13569783.2023.2247335","title":"Distance, disruption, and de-hierarchisation: negotiating care in the virtual space of Zoom theatre","year":2023,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wycliffe College; University of Guelph; University of Windsor","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Windsor; Sociology; Context (archaeology); Dignity; Zoom; Space (punctuation); Negotiation; Dramaturgy; Visual arts; Media studies; Computer science; Law; Social science; Art; Political science; History","score_opus":0.03158766504193456,"score_gpt":0.31335309430699154,"score_spread":0.281765429265057,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386098261","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9592633,0.002520076,0.0000023629118,0.0022235492,0.00015104724,0.0002513216,0.0000060727443,0.00000500971,0.035577253],"genre_scores_gemma":[0.99136615,0.0077950647,0.000012359159,0.000048046364,0.00057290914,0.000026746719,0.000004887671,0.000009698887,0.00016412811],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99868906,0.0001901455,0.00035721558,0.00009794838,0.00038236196,0.0002832746],"domain_scores_gemma":[0.9988764,0.00063075946,0.0001340406,0.00016921714,0.0001494436,0.00004016252],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024657527,0.000110098634,0.00018013941,0.0003558204,0.0005707151,0.000117746094,0.00025273487,0.000033917855,0.000019844216],"category_scores_gemma":[0.000011424526,0.000061664425,0.000026515145,0.0003674529,0.00048047898,0.0002514918,0.00005848437,0.00050760375,0.0000040644236],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005942699,0.00010671873,0.029730458,0.00035389318,0.00002962137,0.0000013870116,0.66418904,0.0008156769,0.00007308866,0.053831924,0.0014994572,0.24877448],"study_design_scores_gemma":[0.0007288108,0.00064692425,0.044242624,0.0005020789,0.000027736642,0.000027713511,0.86268127,0.00096282276,0.00015962467,0.007770795,0.082071684,0.00017791284],"about_ca_topic_score_codex":0.0001952309,"about_ca_topic_score_gemma":0.00044718548,"teacher_disagreement_score":0.24859656,"about_ca_system_score_codex":0.000051924384,"about_ca_system_score_gemma":0.00022985498,"threshold_uncertainty_score":0.43895373},"labels":[],"label_agreement":null},{"id":"W4386098408","doi":"10.1080/13569783.2023.2248891","title":"Hope in a collapsing world: youth, theatre, and listening as a political alternative","year":2023,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Active listening; Drama; Politics; Media studies; Political theatre; Literature; Social science; Sociology; Visual arts; Art; Political science; Law; Communication","score_opus":0.06103580256040027,"score_gpt":0.34802542988679797,"score_spread":0.2869896273263977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386098408","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8076913,0.0007910277,1.6896794e-7,0.0023164398,0.00021055788,0.00020498702,0.0000043145437,0.0000075305315,0.18877369],"genre_scores_gemma":[0.99503046,0.0030467876,0.000011722419,0.00016313924,0.0008308678,0.00002000635,0.0000027492179,0.000015232255,0.0008790294],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984505,0.0001350003,0.00039208122,0.00013905142,0.0003873918,0.0004959661],"domain_scores_gemma":[0.99898666,0.00053025194,0.0000966821,0.00013907738,0.00014185773,0.00010546902],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023568687,0.00013921966,0.00024390928,0.00097212254,0.0005267051,0.0001930433,0.00021396409,0.000033632077,0.000048913833],"category_scores_gemma":[0.000013666067,0.00008934468,0.00002865505,0.0005092258,0.00050364976,0.00030727484,0.00011495679,0.00064865756,0.00002334459],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0020151963,0.00029479543,0.025813507,0.00039309997,0.000111944195,0.000013437103,0.53699803,0.00017373884,0.00009641681,0.14596848,0.0018048001,0.28631657],"study_design_scores_gemma":[0.002325606,0.0010612169,0.014053813,0.002075347,0.00005989413,0.00011517667,0.8010569,0.0014406986,0.0007788795,0.06553178,0.110955946,0.00054468546],"about_ca_topic_score_codex":0.0007873181,"about_ca_topic_score_gemma":0.0008289741,"teacher_disagreement_score":0.28577188,"about_ca_system_score_codex":0.00009026106,"about_ca_system_score_gemma":0.0003185047,"threshold_uncertainty_score":0.4051043},"labels":[],"label_agreement":null},{"id":"W4386119861","doi":"10.1080/20567790.2023.2246998","title":"The Stanislavsky–Grotowski lineage: Part II","year":2023,"lang":"en","type":"article","venue":"Stanislavski Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia, Okanagan Campus; University of British Columbia","funders":"","keywords":"Stanislavski's system; Consciousness; Embodied cognition; Aesthetics; Sociology; Art; Epistemology; Philosophy","score_opus":0.07327389295277681,"score_gpt":0.3002276950940087,"score_spread":0.2269538021412319,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386119861","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32399952,0.04046968,0.000003127741,0.021043163,0.015685596,0.0018580063,0.0006896378,0.003026689,0.5932246],"genre_scores_gemma":[0.7687581,0.027827827,0.000016169177,0.00049432367,0.0040435246,0.00044689904,0.000024676614,0.00007425533,0.19831422],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99787533,0.0000636675,0.0004709972,0.00035831056,0.0004407296,0.0007909517],"domain_scores_gemma":[0.9985264,0.0004951825,0.00013068276,0.00046854513,0.00032268744,0.000056492587],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006623276,0.00035637722,0.00041587892,0.00009358692,0.007370301,0.00022422863,0.00028737864,0.00004024064,0.00032497323],"category_scores_gemma":[0.00012262091,0.00020935868,0.00018283229,0.0002051086,0.0011372791,0.0002510239,0.0005106859,0.00023536387,0.000999395],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005701838,0.000036885234,0.00017454503,0.0000623612,0.0007221316,0.000027917102,0.13245158,0.0000051732086,0.000010707467,0.28379998,0.5762533,0.0063984133],"study_design_scores_gemma":[0.00026940007,0.000256815,0.00011207864,0.000047509275,0.00005723477,0.0000018064012,0.104114994,0.000011984241,0.0001253404,0.008031457,0.88669795,0.00027345275],"about_ca_topic_score_codex":0.00004499805,"about_ca_topic_score_gemma":0.0038582408,"teacher_disagreement_score":0.4447586,"about_ca_system_score_codex":0.000056593453,"about_ca_system_score_gemma":0.000042833042,"threshold_uncertainty_score":0.99977845},"labels":[],"label_agreement":null},{"id":"W4386174850","doi":"10.59962/9780774862646-001","title":"Illustrations","year":2020,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.030990711430932606,"score_gpt":0.1696130827391304,"score_spread":0.1386223713081978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386174850","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010941495,0.00026191882,0.0000025383285,0.000023807697,0.00019847199,0.00017967427,0.0016781278,0.00007807633,0.997468],"genre_scores_gemma":[0.011106815,0.00026919637,0.000024735253,0.00004566893,0.0003026376,2.3013172e-7,0.00004322799,0.000019665453,0.98818785],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939185,0.000006577804,0.00013030492,0.00020705735,0.00015130277,0.000112916445],"domain_scores_gemma":[0.999513,0.000018106522,0.00013010162,0.0001427859,0.00014049369,0.000055516448],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000021455926,0.00009584475,0.0002953563,0.00001924934,0.00038649453,0.00013520033,0.0002061838,0.000094510004,0.0031704917],"category_scores_gemma":[0.0000012482873,0.0002197955,0.00016296,0.0000011344958,0.0006777397,0.00007300951,0.00012621316,0.00019776112,0.000033142704],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019124063,0.000015702368,0.000005186398,0.0002292139,0.00042236786,0.00016427516,0.011681783,8.254994e-7,9.970771e-7,0.22731677,0.72272223,0.037421536],"study_design_scores_gemma":[0.000211619,0.00007261465,0.0000137039315,0.0002089842,0.00015623406,0.0000045429642,0.00073816825,0.0000031691343,2.8593197e-7,0.0023005805,0.99607074,0.00021936139],"about_ca_topic_score_codex":0.07796715,"about_ca_topic_score_gemma":0.5900718,"teacher_disagreement_score":0.51210463,"about_ca_system_score_codex":0.00001774993,"about_ca_system_score_gemma":0.000045943903,"threshold_uncertainty_score":0.99774075},"labels":[],"label_agreement":null},{"id":"W4386178327","doi":"10.59962/9780774856379-002","title":"Acknowledgments","year":2007,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.037062400195034095,"score_gpt":0.19127573837922313,"score_spread":0.15421333818418903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386178327","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042309053,0.00065485353,0.0000020915213,0.0000019137058,0.00045666206,0.00020029748,0.0007829506,0.00006822342,0.99740994],"genre_scores_gemma":[0.0028224727,0.00046319028,0.000025956002,0.00002647759,0.00034009418,1.5840652e-7,0.000027100048,0.000026866834,0.9962677],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991836,0.000006291411,0.00016265099,0.00023785279,0.00021056572,0.00019902491],"domain_scores_gemma":[0.9993145,0.000023792707,0.00016624802,0.00020073204,0.00023530048,0.00005942156],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006672741,0.00012370816,0.00035604538,0.0000448462,0.00036616717,0.000113205,0.00026963375,0.0001438103,0.0051989704],"category_scores_gemma":[0.0000011885227,0.00027771638,0.00018591646,0.0000012696763,0.00071713375,0.00007463317,0.00019423659,0.00021703888,0.000064736145],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005147998,0.00004429068,0.000028298187,0.00039356548,0.00069066824,0.00028598323,0.011530025,2.2329819e-7,7.4536507e-7,0.054116808,0.70872074,0.22413719],"study_design_scores_gemma":[0.00035320953,0.000070062546,0.000030345436,0.0004836644,0.00014845273,0.0000051309353,0.00044536337,8.088073e-7,6.867174e-7,0.0012169252,0.996972,0.00027329646],"about_ca_topic_score_codex":0.08029357,"about_ca_topic_score_gemma":0.70711285,"teacher_disagreement_score":0.62681925,"about_ca_system_score_codex":0.000038888946,"about_ca_system_score_gemma":0.000033533364,"threshold_uncertainty_score":0.9999675},"labels":[],"label_agreement":null},{"id":"W4386184414","doi":"10.59962/9780774856379-001","title":"Preface","year":2007,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Philosophy","score_opus":0.03412926928533134,"score_gpt":0.18311376153552608,"score_spread":0.14898449225019475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386184414","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00048138102,0.0007120087,0.0000028822672,0.0000032432893,0.00040893443,0.00022182375,0.0008994201,0.00008617858,0.99718416],"genre_scores_gemma":[0.0030519413,0.0004891998,0.000034808694,0.00002945197,0.000429069,1.5323337e-7,0.000022818465,0.000028305505,0.9959143],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915934,0.000006818731,0.00016119245,0.0002490933,0.00022121985,0.00020232635],"domain_scores_gemma":[0.9993269,0.000029132261,0.00017610031,0.00021754397,0.00019187969,0.000058453166],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007056379,0.00012588153,0.00036583852,0.0000399409,0.00036896442,0.000120787714,0.00027063943,0.00016215048,0.003612706],"category_scores_gemma":[0.0000010934224,0.00028239118,0.00018806261,0.0000012155655,0.0007905558,0.00007934471,0.00017870986,0.00025566935,0.00002458602],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006434271,0.000035988713,0.000019856208,0.00045263523,0.0006481866,0.00032712662,0.0149531625,7.4025e-7,0.0000011944202,0.081084214,0.7295532,0.17285934],"study_design_scores_gemma":[0.00029925926,0.00007662272,0.000031518623,0.00041355012,0.00014560975,0.000008081743,0.00052146113,8.8741086e-7,6.3253185e-7,0.00097555027,0.99723774,0.00028907164],"about_ca_topic_score_codex":0.15720879,"about_ca_topic_score_gemma":0.7303903,"teacher_disagreement_score":0.5731815,"about_ca_system_score_codex":0.000033215983,"about_ca_system_score_gemma":0.000036390662,"threshold_uncertainty_score":0.9999628},"labels":[],"label_agreement":null},{"id":"W4386244492","doi":"10.17161/rrnmf.v4i3.21241","title":"MGFA Meeting Proceedings: Editor's Introduction","year":2023,"lang":"en","type":"article","venue":"RRNMF Neuromuscular Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Computer science","score_opus":0.016579115028243566,"score_gpt":0.21665640180094603,"score_spread":0.20007728677270248,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386244492","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9043219,0.0003607035,0.000004133211,0.010748707,0.03426524,0.00015172134,0.0000063847383,0.00044403315,0.049697142],"genre_scores_gemma":[0.74723613,0.00091704,0.000032419724,0.00031560202,0.2442734,0.0000128347365,0.000007199436,0.000055913704,0.0071494505],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886686,0.000024151226,0.00024802444,0.00017631051,0.00034285965,0.0003417984],"domain_scores_gemma":[0.9995226,0.00002179805,0.00011009479,0.000084446874,0.00018876529,0.0000722875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004668085,0.00014429414,0.00016139328,0.00019531425,0.0012145187,0.00038803485,0.00014819945,0.000027816837,0.00048660807],"category_scores_gemma":[0.0000749471,0.000113942275,0.00014093072,0.00011200379,0.000094553594,0.00048477203,0.000058214413,0.00037832672,0.0004423535],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021958946,0.00002867908,0.000594694,0.00005294624,0.000094085335,0.000029464074,0.020576028,0.000054205935,0.0012628012,0.004230071,0.9682601,0.0047949334],"study_design_scores_gemma":[0.000183602,0.00010472897,0.0006245838,0.000031641714,0.000035482208,0.00008153358,0.0065351636,0.00009677184,0.00015305764,0.0006497216,0.9913605,0.0001432346],"about_ca_topic_score_codex":0.0000068496443,"about_ca_topic_score_gemma":0.000009902755,"teacher_disagreement_score":0.21000816,"about_ca_system_score_codex":0.000023129134,"about_ca_system_score_gemma":0.000018050538,"threshold_uncertainty_score":0.9341218},"labels":[],"label_agreement":null},{"id":"W4386251063","doi":"10.1080/10714413.2023.2250702","title":"<i>The touch of the present: Educational encounters, aesthetics, and the politics of the senses</i> <b> <i>The touch of the present: Educational encounters, aesthetics, and the politics of the senses</i> </b> , by Sharon Todd, Albany, United States of America, State University of New York Press, 2023","year":2023,"lang":"en","type":"article","venue":"The Review of Education Pedagogy & Cultural Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"Social Sciences and Humanities Research Council","keywords":"Fandom; Politics; Sociology; Drama; Work (physics); Visual arts; Pedagogy; Aesthetics; Media studies; Art; Political science; Engineering","score_opus":0.026546143320667303,"score_gpt":0.28996965857692664,"score_spread":0.26342351525625934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386251063","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44458485,0.30382982,6.6502673e-7,0.24287805,0.0015720255,0.002789451,0.0017600819,0.000010889404,0.0025741751],"genre_scores_gemma":[0.6443653,0.3229018,0.000008169286,0.0010502283,0.00040139485,0.00003978662,0.000054452656,0.000026374975,0.0311525],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966598,0.0010199753,0.0010031386,0.00023792959,0.00074364763,0.0003355006],"domain_scores_gemma":[0.9936208,0.002232561,0.0017369741,0.0010189264,0.0013498495,0.000040899115],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.00081901037,0.00034230642,0.00072156603,0.00003740783,0.0015435262,0.000038109956,0.0012963014,0.000045150588,0.000049169892],"category_scores_gemma":[0.00034609152,0.00011720699,0.00040472587,0.00041737288,0.010075391,0.00011352184,0.0006871828,0.00030851472,0.0000011996235],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018040129,0.00030341576,0.0024110186,0.002570494,0.0010300652,3.2651084e-8,0.30676875,0.00014995223,0.000051184827,0.055987492,0.62780166,0.0027455103],"study_design_scores_gemma":[0.0007324209,0.00010114436,0.0038374106,0.0025832178,0.0012485937,0.000011075211,0.22294733,0.000044741857,0.0007498804,0.008314051,0.7592188,0.00021131676],"about_ca_topic_score_codex":0.011575818,"about_ca_topic_score_gemma":0.0012992098,"teacher_disagreement_score":0.24182782,"about_ca_system_score_codex":0.000055830256,"about_ca_system_score_gemma":0.00059733377,"threshold_uncertainty_score":0.99975634},"labels":[],"label_agreement":null},{"id":"W4386256537","doi":"10.24908/iqurcp16689","title":"Theatrical Complications","year":2023,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Aesthetics; Art; Visual arts; Sociology; Social space; Space (punctuation); Media studies; Philosophy","score_opus":0.22845237463367507,"score_gpt":0.3872339818631196,"score_spread":0.1587816072294445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386256537","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14163457,0.00009927588,0.00006236152,0.14316094,0.0005164671,0.00082439743,0.000044292305,0.0011608524,0.7124968],"genre_scores_gemma":[0.97738343,0.0011310917,0.000022638844,0.00013427796,0.00094254786,0.00023012822,0.000022080005,0.000031362884,0.020102415],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975095,0.00004420632,0.0003022791,0.00044148564,0.0008090448,0.00089351763],"domain_scores_gemma":[0.99797714,0.0002540305,0.00005528447,0.00019948494,0.0013421208,0.00017196084],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009781277,0.0002025905,0.00025751223,0.00061611895,0.0016017893,0.0006841399,0.0005329301,0.00006277575,0.000273121],"category_scores_gemma":[0.00011752838,0.00016475878,0.0000848007,0.00061454176,0.0015576516,0.0005452004,0.0003344123,0.0005625942,0.0030245946],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019294604,0.00003514239,0.00098357,0.00006287275,0.00003930989,0.0000025884135,0.036177885,5.322327e-7,0.00008361226,0.79670805,0.16094111,0.004946049],"study_design_scores_gemma":[0.00031285145,0.00022856993,0.001895308,0.00012858874,0.000013656556,0.000003751677,0.03421147,0.00079193694,0.00015367204,0.2735788,0.68834645,0.00033496364],"about_ca_topic_score_codex":0.00036492778,"about_ca_topic_score_gemma":0.00009201394,"teacher_disagreement_score":0.8357489,"about_ca_system_score_codex":0.00007547035,"about_ca_system_score_gemma":0.00013802748,"threshold_uncertainty_score":0.999698},"labels":[],"label_agreement":null},{"id":"W4386382867","doi":"10.1080/13528165.2022.2224211","title":"Unintentional Poetics of Deleuze's Diagram between Mapping and Tracing","year":2022,"lang":"en","type":"article","venue":"Performance Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Ephemeral key; Diagrammatic reasoning; Poetics; Relation (database); Tracing; Diagram; Art; Art history; Visual arts; Literature; Philosophy; Computer science; Linguistics; Poetry","score_opus":0.17419964320451867,"score_gpt":0.3350622823161693,"score_spread":0.16086263911165063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386382867","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96235484,0.0006590956,0.000008240796,0.00033102647,0.00011017431,0.00012330478,0.000047505873,0.000019405667,0.036346406],"genre_scores_gemma":[0.99594796,0.00047010888,0.000030530322,0.000014066943,0.00034353256,0.000045829715,0.000017794682,0.000010882248,0.0031192813],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986726,0.00007949959,0.00021268544,0.000144615,0.0005415173,0.00034909317],"domain_scores_gemma":[0.9994847,0.00013805208,0.000042597887,0.00012242109,0.00017243119,0.0000397948],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0011664466,0.00008089652,0.00016293397,0.0002828442,0.0015638763,0.000046809953,0.00016624668,0.000014096492,0.0007554304],"category_scores_gemma":[0.000015398362,0.00007234675,0.00003898425,0.00013146231,0.00047539195,0.00017825229,0.00030761046,0.0004237427,0.000013791301],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001476703,0.00020142124,0.4673806,0.0010380612,0.0002757058,0.0000063840225,0.14065225,0.00018023042,0.00040550967,0.0565548,0.0052588917,0.32789844],"study_design_scores_gemma":[0.0012575814,0.0018687217,0.18299821,0.0002321423,0.000046291778,0.000021325912,0.09095069,0.0056356904,0.0011990279,0.0027156314,0.71245676,0.0006179101],"about_ca_topic_score_codex":0.0001433384,"about_ca_topic_score_gemma":0.000046693985,"teacher_disagreement_score":0.7071979,"about_ca_system_score_codex":0.000043651602,"about_ca_system_score_gemma":0.000044974153,"threshold_uncertainty_score":0.99973595},"labels":[],"label_agreement":null},{"id":"W4386428455","doi":"10.1093/actrade/9780197538296.003.0001","title":"Introduction","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bourgeoisie; Quarter (Canadian coin); Government (linguistics); Modernity; Mythology; Meaning (existential); Economic history; Political science; Art; Sociology; History; Law; Literature; Philosophy; Epistemology; Archaeology; Linguistics","score_opus":0.03964140754170278,"score_gpt":0.20953070972971535,"score_spread":0.16988930218801257,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386428455","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000015942785,0.00009977486,3.7712675e-7,0.0018114789,0.0026845469,0.000048546557,0.000021878388,0.00023454461,0.9950973],"genre_scores_gemma":[0.00009858107,0.00047235927,0.0000022121515,0.00009988321,0.017785985,0.0000030727101,0.000042649415,0.000030145036,0.9814651],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961907,8.496161e-7,0.0000986004,0.00012225525,0.00007865673,0.00008055318],"domain_scores_gemma":[0.9997913,0.0000094684965,0.00003038668,0.00011788872,0.000039477556,0.000011426689],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000032530083,0.00011549103,0.0001296991,0.00006840302,0.00016631406,0.000040530624,0.000042943655,0.000039155842,0.046320353],"category_scores_gemma":[0.0000010367291,0.000085618594,0.000064849795,0.0000016595976,0.00009911189,0.000049429444,0.000028793298,0.000105667605,0.01616891],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000013545338,5.190789e-7,7.757883e-8,0.000008842621,0.00002919169,5.08125e-7,0.0011239516,7.507093e-8,5.8135118e-8,0.575595,0.41909733,0.004143061],"study_design_scores_gemma":[0.000021656451,0.00002520089,5.285559e-7,0.000012052852,0.000023468592,4.2741902e-7,0.00021280897,4.6036251e-7,0.0000012147682,0.039290823,0.960299,0.000112340436],"about_ca_topic_score_codex":0.000025452962,"about_ca_topic_score_gemma":0.0011643152,"teacher_disagreement_score":0.54120165,"about_ca_system_score_codex":0.000009225498,"about_ca_system_score_gemma":0.000006161427,"threshold_uncertainty_score":0.9845971},"labels":[],"label_agreement":null},{"id":"W4386504409","doi":"10.1515/9781772126211-043","title":"A Dialogue on the State of the Theatre in Canada","year":2022,"lang":"en","type":"book-chapter","venue":"University of Alberta Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"State (computer science); Cognitive science; History; Epistemology; Computer science; Psychology; Philosophy; Programming language","score_opus":0.02071547327888106,"score_gpt":0.15189250299946502,"score_spread":0.13117702972058395,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386504409","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0064939326,0.00006510456,1.3476537e-8,0.00018310192,0.00019557474,0.0002023636,0.00030380383,0.0000022994464,0.99255383],"genre_scores_gemma":[0.2365242,0.00008617014,1.8987402e-7,0.00007746752,0.000027386413,3.6678347e-7,0.00000516266,0.000009570405,0.7632695],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944156,0.000029363971,0.00011530286,0.00011404396,0.00019130876,0.00010843549],"domain_scores_gemma":[0.99926686,0.00024208889,0.000159167,0.00029073755,0.00002776292,0.000013359189],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000042808944,0.00013568999,0.0002248677,0.000035952904,0.00026946203,0.000004846135,0.00041470863,0.000019826794,0.0011664046],"category_scores_gemma":[0.0000014553525,0.00008767618,0.000101599144,0.0000022126042,0.0003093189,0.000019161891,0.00023288556,0.00025166167,0.0000013441525],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016966977,0.000012587525,0.000050222567,0.00008402943,0.00028970616,0.0000084635285,0.12967132,0.00010465469,7.0070473e-7,0.8511312,0.014566478,0.003910979],"study_design_scores_gemma":[0.00013151132,0.000036603473,0.000027614913,0.000099924364,0.000046659396,2.1457393e-7,0.001779721,0.0000043338446,0.000015698715,0.0011763279,0.99658054,0.00010084054],"about_ca_topic_score_codex":0.98504853,"about_ca_topic_score_gemma":0.99862665,"teacher_disagreement_score":0.98201406,"about_ca_system_score_codex":0.000090723326,"about_ca_system_score_gemma":0.00023794276,"threshold_uncertainty_score":0.9997467},"labels":[],"label_agreement":null},{"id":"W4386517011","doi":"10.1515/9781772126211","title":"Canadian Performance Documents and Debates","year":2022,"lang":"en","type":"book","venue":"University of Alberta Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Information retrieval; Computer science","score_opus":0.013655462439433927,"score_gpt":0.16637484226675392,"score_spread":0.15271937982731998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386517011","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004708502,0.0002932421,1.9881703e-8,0.000032964737,0.00019063592,0.00014020746,0.00011694728,0.000011655258,0.9945058],"genre_scores_gemma":[0.014638063,0.0004610973,0.0000028624897,0.000043871725,0.000084657164,4.6787315e-7,0.000056106368,0.000015031684,0.9846978],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939686,0.000013105314,0.0000915649,0.00018074836,0.0001204896,0.00019725891],"domain_scores_gemma":[0.9995623,0.000049071456,0.00009339824,0.00016668224,0.00004294149,0.00008559126],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000035678142,0.00017178773,0.0002462237,0.00013285864,0.0007443742,0.00002570386,0.00023396837,0.000058502817,0.0020717634],"category_scores_gemma":[9.962286e-7,0.00018954396,0.00005985008,0.0000020910406,0.0003109869,0.000097838056,0.00018506678,0.00018599247,0.000013042401],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018477763,0.000024934574,0.0003897594,0.00093303993,0.0011227629,0.000033368513,0.38214153,0.0000067707083,0.000001286244,0.18376648,0.41645026,0.01494504],"study_design_scores_gemma":[0.00019378934,0.000083433966,0.000021137781,0.000070072005,0.000111577036,0.0000014911487,0.0011258867,0.0000072066287,0.000003249864,0.00013161647,0.9980468,0.00020369547],"about_ca_topic_score_codex":0.6732894,"about_ca_topic_score_gemma":0.86020726,"teacher_disagreement_score":0.5815966,"about_ca_system_score_codex":0.00011928529,"about_ca_system_score_gemma":0.000195791,"threshold_uncertainty_score":0.99884045},"labels":[],"label_agreement":null},{"id":"W4386518561","doi":"10.1515/9781772126211-042","title":"A Dialogue on the State of the Theatre in Canada (1951)","year":2022,"lang":"en","type":"book-chapter","venue":"University of Alberta Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"State (computer science); History; Visual arts; Media studies; Art; Sociology; Computer science; Programming language","score_opus":0.021439012692726824,"score_gpt":0.15323174652609367,"score_spread":0.13179273383336684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386518561","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007575973,0.00007276045,1.5925165e-8,0.00019404311,0.0002231557,0.00022196013,0.00033884915,0.0000026821124,0.99137056],"genre_scores_gemma":[0.23567736,0.00009428657,2.2028652e-7,0.00008390435,0.00003059941,4.294106e-7,0.000006052643,0.000010718574,0.76409644],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938405,0.000032254196,0.00012740497,0.0001268245,0.00020883912,0.000120612334],"domain_scores_gemma":[0.99920297,0.00026016257,0.00017436591,0.000316434,0.00003101485,0.0000150739925],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000047438836,0.00014999168,0.00024651978,0.000040491737,0.00029425722,0.000005607199,0.00044958814,0.000022525688,0.0011788608],"category_scores_gemma":[0.000001662373,0.00009793167,0.00011076425,0.000002579763,0.0003331438,0.00002172472,0.00025331267,0.00027526641,0.0000016264032],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021323698,0.000016285881,0.00006454886,0.000104757804,0.00035977265,0.0000109751545,0.1497558,0.00012580442,9.502611e-7,0.82686454,0.017366335,0.005116963],"study_design_scores_gemma":[0.00014567403,0.000041466123,0.000032431428,0.00010924194,0.000052221472,2.5351224e-7,0.0018102613,0.0000048365396,0.00001686905,0.0011419014,0.99653256,0.00011226811],"about_ca_topic_score_codex":0.98339325,"about_ca_topic_score_gemma":0.9983864,"teacher_disagreement_score":0.97916627,"about_ca_system_score_codex":0.000099084486,"about_ca_system_score_gemma":0.0002567306,"threshold_uncertainty_score":0.9997342},"labels":[],"label_agreement":null},{"id":"W4386521936","doi":"10.1515/9781772124439-003","title":"Introduction: Recreating Giselle for the Twenty-First Century","year":2019,"lang":"en","type":"book-chapter","venue":"University of Alberta Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Alberta","keywords":"History","score_opus":0.024370189395853004,"score_gpt":0.1832938063433188,"score_spread":0.1589236169474658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386521936","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000025836809,0.000597081,0.000007300695,0.0004541445,0.0009948876,0.0004636674,0.00008036406,0.000018706267,0.997358],"genre_scores_gemma":[0.00089361053,0.0008045288,0.000021120792,0.000026623658,0.0016401646,6.2244794e-7,0.000032193402,0.000022479813,0.99655867],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993815,0.000006075738,0.00012886092,0.0002210684,0.00011366005,0.00014886858],"domain_scores_gemma":[0.99902385,0.00028994208,0.00020235033,0.00033180692,0.00012856518,0.000023474044],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000057778198,0.00019169887,0.00027811946,0.000047667643,0.00079776463,0.000029860174,0.000270639,0.00008253087,0.0017875246],"category_scores_gemma":[0.0000041102367,0.00015646087,0.00020672253,0.0000011791019,0.0003737195,0.00006501177,0.00013375198,0.00015815941,0.00004037632],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015580928,0.0000071078657,0.0000023995517,0.0002136335,0.00046136032,4.3100852e-7,0.05017233,0.000013578669,4.774274e-7,0.82721925,0.11789629,0.003857351],"study_design_scores_gemma":[0.00027751143,0.00007799913,8.439809e-7,0.0001147037,0.0003114952,7.149507e-7,0.0023217243,0.00002166784,0.000008725202,0.0002706906,0.9964143,0.0001795905],"about_ca_topic_score_codex":0.0049325293,"about_ca_topic_score_gemma":0.017026655,"teacher_disagreement_score":0.87851804,"about_ca_system_score_codex":0.000025171068,"about_ca_system_score_gemma":0.00002864185,"threshold_uncertainty_score":0.999125},"labels":[],"label_agreement":null},{"id":"W4386603052","doi":"10.4324/9781003006923-72","title":"Judith Thompson (b.1954)","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.06421684331901892,"score_gpt":0.2233202891542279,"score_spread":0.159103445835209,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386603052","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000053810136,0.00029657996,5.35524e-7,0.00055788015,0.0019921188,0.00010231447,0.000100776895,0.00035951665,0.9965849],"genre_scores_gemma":[0.00074187823,0.0010034512,0.0000058582436,0.00033183786,0.003976627,0.000007511223,0.000051943334,0.000067908084,0.993813],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992699,0.0000021067378,0.00017747535,0.00019913296,0.00016554975,0.00018582391],"domain_scores_gemma":[0.9996079,0.000037432827,0.00006278891,0.00020391402,0.00005696456,0.000030982006],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000053984044,0.00024639998,0.00029025087,0.00010279754,0.00031544434,0.00008756426,0.00011882482,0.000081595135,0.035738885],"category_scores_gemma":[0.0000013707286,0.00017694222,0.00014419876,0.0000034776992,0.00017376787,0.00006910639,0.00008095429,0.00019424497,0.01345116],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000036657134,0.0000018737991,7.7766566e-7,0.000026507398,0.000081819955,0.000005007178,0.0027551858,1.1741994e-7,6.293245e-8,0.7316837,0.2575708,0.007870511],"study_design_scores_gemma":[0.000059940816,0.00005571956,0.0000023808338,0.00008317689,0.0000495181,7.161192e-7,0.00058386533,0.0000015108456,0.0000013166695,0.030164197,0.9687435,0.00025414434],"about_ca_topic_score_codex":0.000073270734,"about_ca_topic_score_gemma":0.0037798248,"teacher_disagreement_score":0.7111727,"about_ca_system_score_codex":0.000015164586,"about_ca_system_score_gemma":0.000018207193,"threshold_uncertainty_score":0.98731697},"labels":[],"label_agreement":null},{"id":"W4386636901","doi":"10.4324/9781003263234-23","title":"Process, Pedagogy, Prefiguration, and the Promised Land","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Process (computing); Sociology; Pedagogy; Computer science","score_opus":0.035333926942184325,"score_gpt":0.2514546675528901,"score_spread":0.21612074061070577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386636901","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008785309,0.00063211075,2.2302387e-7,0.0021731902,0.00022269804,0.00035746302,0.000039751234,0.00011971676,0.996367],"genre_scores_gemma":[0.009899151,0.0011235214,7.87073e-7,0.00019082404,0.0010473848,0.00004479883,0.000032433934,0.000029430446,0.9876317],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946815,0.0000048448296,0.0001589556,0.00014844169,0.00011630233,0.000103286955],"domain_scores_gemma":[0.9996446,0.00006271947,0.00006956348,0.00012060738,0.00008563876,0.00001686462],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010333537,0.00017012663,0.0002184727,0.00003718143,0.00044328405,0.000118765696,0.000076577744,0.000051240888,0.0021003936],"category_scores_gemma":[0.000005100181,0.00008398154,0.000049509836,0.0000031687298,0.00048793372,0.00007882959,0.000035660614,0.00013610492,0.00030686762],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005163174,0.0000020086713,0.000013365803,0.000106831554,0.00010148871,7.665555e-7,0.022045983,1.8531887e-7,4.587488e-8,0.9599278,0.016057285,0.001692606],"study_design_scores_gemma":[0.00050560693,0.000032671167,0.000013113081,0.000061605104,0.000079047895,0.0000012635458,0.0009192648,0.000008477232,0.0000013817305,0.09148338,0.90673983,0.00015437347],"about_ca_topic_score_codex":0.000078531026,"about_ca_topic_score_gemma":0.0056064585,"teacher_disagreement_score":0.8906825,"about_ca_system_score_codex":0.0000038048418,"about_ca_system_score_gemma":0.00003413305,"threshold_uncertainty_score":0.99881184},"labels":[],"label_agreement":null},{"id":"W4386765088","doi":"10.26443/arc.v37i.507","title":"Studying Contemporary Festivity","year":2009,"lang":"en","type":"article","venue":"Arc The Journal of the School of Religious Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Art; Visual arts","score_opus":0.056049004796993214,"score_gpt":0.27604373503561347,"score_spread":0.21999473023862026,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386765088","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8952929,0.067621455,0.0000021063738,0.009881015,0.0012884655,0.00019469812,0.0000062323556,0.000016764021,0.025696393],"genre_scores_gemma":[0.9894543,0.007771623,0.00001696246,0.00072150055,0.0007413701,0.0000010341886,6.117614e-8,0.000007827158,0.0012853133],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9986722,0.00016291458,0.00054077053,0.00006902945,0.00036789355,0.00018717989],"domain_scores_gemma":[0.99826396,0.0003262044,0.00066265307,0.00027123533,0.00043923437,0.0000367471],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009957496,0.00016939327,0.00045451027,0.000069789705,0.00078167696,0.0000313694,0.00051483215,0.000018361452,0.0000134908505],"category_scores_gemma":[0.00025120034,0.0000718485,0.00025997893,0.00006618828,0.00049134134,0.00020402634,0.0001443779,0.0003510943,0.0000133251115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00071821496,0.00024294549,0.018637842,0.00009421264,0.002324173,0.000013972177,0.19332647,0.00016183782,0.00090885995,0.0035608346,0.77600116,0.0040094797],"study_design_scores_gemma":[0.0050692707,0.0063380976,0.109387346,0.003117536,0.0021815686,0.0003748659,0.36030218,0.000012163289,0.0044935197,0.18078646,0.32676262,0.0011743945],"about_ca_topic_score_codex":0.00007154888,"about_ca_topic_score_gemma":0.0001056825,"teacher_disagreement_score":0.44923857,"about_ca_system_score_codex":0.00003592234,"about_ca_system_score_gemma":0.00007196592,"threshold_uncertainty_score":0.6012106},"labels":[],"label_agreement":null},{"id":"W4386765339","doi":"10.26443/arc.v39i.446","title":"Playing in the Father's Love","year":2011,"lang":"en","type":"article","venue":"Arc The Journal of the School of Religious Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity Western University","funders":"","keywords":"Psychology; Psychoanalysis; Art","score_opus":0.054737161868072225,"score_gpt":0.2568973971763741,"score_spread":0.20216023530830188,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386765339","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89579,0.032086536,0.0000012442607,0.0033279841,0.0009729884,0.00017949806,0.0000047665935,0.0000051664338,0.067631826],"genre_scores_gemma":[0.9867544,0.011387233,0.000022598455,0.00059329136,0.00047186538,0.0000018302785,3.1745202e-8,0.000009888471,0.000758874],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987244,0.00019234956,0.0004909298,0.000059593967,0.0003219574,0.00021078455],"domain_scores_gemma":[0.9986362,0.00035179444,0.00048230586,0.00029255144,0.00021844203,0.000018743423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012230983,0.00015066608,0.00032005805,0.00007380755,0.0004437621,0.000023099346,0.0008137713,0.000019405521,0.000060153277],"category_scores_gemma":[0.00014585102,0.000053248088,0.00021714451,0.000074235395,0.0005661034,0.00013814423,0.00016840256,0.00040210373,0.00004433397],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002928997,0.00008967598,0.020301266,0.000051079525,0.0008599635,0.000009301078,0.86882615,0.000032428045,0.00008733044,0.0035622546,0.1053594,0.0005282531],"study_design_scores_gemma":[0.0016355009,0.0012206684,0.046955127,0.0010623959,0.0009125184,0.00022775703,0.79193807,0.0000060060224,0.0009806061,0.09764876,0.056987613,0.0004249727],"about_ca_topic_score_codex":0.00030225536,"about_ca_topic_score_gemma":0.0010119166,"teacher_disagreement_score":0.094086505,"about_ca_system_score_codex":0.000028243652,"about_ca_system_score_gemma":0.00003353565,"threshold_uncertainty_score":0.34131044},"labels":[],"label_agreement":null},{"id":"W4386845956","doi":"10.29173/inton79","title":"Puppetry and Public Spectacle","year":2023,"lang":"en","type":"article","venue":"Intonations","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spectacle; Surprise; Visual arts; Event (particle physics); History; Media studies; Aesthetics; Sociology; Art; Political science; Law","score_opus":0.0476610955933151,"score_gpt":0.25185919759147785,"score_spread":0.20419810199816274,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386845956","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.387841,0.00016487447,0.0000027531728,0.009873346,0.0004168354,0.000047686517,0.000031334923,0.0002321454,0.60139006],"genre_scores_gemma":[0.9818779,0.00010213154,0.000008032108,0.00012214133,0.00033063107,0.000011775564,0.000013343764,0.0000044160406,0.017529598],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973494,0.0000042097,0.000053284406,0.00005766391,0.000054113945,0.00009576691],"domain_scores_gemma":[0.9998516,0.000032127162,0.000009769741,0.000050868483,0.000036478865,0.00001917871],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000038973023,0.000035718796,0.00003887049,0.000096904645,0.00037873135,0.00008712498,0.00003458369,0.000007874609,0.0011288332],"category_scores_gemma":[0.000013858152,0.000029870278,0.000013757434,0.00005277528,0.00009716786,0.00015624952,0.00003102695,0.00003459528,0.0005889482],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[6.5091496e-7,0.000012393874,0.002854645,0.0000058994433,0.000020934676,0.0000010839832,0.020757554,5.9858644e-7,0.000013714425,0.9144503,0.04766609,0.0142161725],"study_design_scores_gemma":[0.000057423647,0.000012158338,0.0069100372,0.0000029796884,0.0000035327457,7.652801e-7,0.0070841173,0.00007056887,0.000010592626,0.009358355,0.9764379,0.00005152555],"about_ca_topic_score_codex":0.00005858967,"about_ca_topic_score_gemma":0.0017737449,"teacher_disagreement_score":0.92877185,"about_ca_system_score_codex":0.000005726941,"about_ca_system_score_gemma":0.000007796217,"threshold_uncertainty_score":0.9997843},"labels":[],"label_agreement":null},{"id":"W4386845961","doi":"10.29173/inton84","title":"Crossing an Impossible Threshold","year":2023,"lang":"en","type":"article","venue":"Intonations","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brock University; University of Alberta","funders":"","keywords":"Liminality; Aesthetics; Experiential learning; Space (punctuation); Grief; Sociology; Isolation (microbiology); Process (computing); Performing arts; Point (geometry); Visual arts; Psychology; Art; Computer science; Pedagogy","score_opus":0.07321381658048377,"score_gpt":0.3092264619610953,"score_spread":0.23601264538061156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386845961","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5719385,0.00006573847,0.0000045079482,0.0011392778,0.0005378083,0.00004935038,0.000032535103,0.0003254441,0.42590684],"genre_scores_gemma":[0.97220504,0.000017022145,0.000018138624,0.00014385868,0.00057811564,0.000017334183,0.000033832734,0.000007873467,0.026978798],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996287,0.000004357427,0.00008301981,0.00007843246,0.00007827154,0.00012718335],"domain_scores_gemma":[0.9997898,0.000019579227,0.000015432728,0.000096978074,0.000055896373,0.000022311635],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007178998,0.000050452218,0.0000503942,0.00013658564,0.0011779044,0.00030092374,0.00006920137,0.00001204641,0.0010052953],"category_scores_gemma":[0.000004899362,0.000041836713,0.000026063699,0.0000882432,0.00016097364,0.00033669022,0.000024003974,0.000047730126,0.0006513356],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000035921205,0.00003765998,0.0015656386,0.0000088959405,0.000027401209,0.0000026428052,0.14886792,0.00009649063,0.00018400645,0.80153394,0.031831257,0.015840568],"study_design_scores_gemma":[0.0000964007,0.000035484856,0.0030102218,0.000009523875,0.000007686643,6.929275e-7,0.0070771896,0.00085911585,0.00012877559,0.01742341,0.9712452,0.00010628922],"about_ca_topic_score_codex":0.00010484877,"about_ca_topic_score_gemma":0.0024206827,"teacher_disagreement_score":0.93941396,"about_ca_system_score_codex":0.000009628045,"about_ca_system_score_gemma":0.000022562104,"threshold_uncertainty_score":0.9999079},"labels":[],"label_agreement":null},{"id":"W4386961660","doi":"10.3366/edinburgh/9781474487290.003.0005","title":"At the Intersection of Gender, Race, and White Privilege: A Case of Three Desdemona Plays","year":2022,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Privilege (computing); Genealogy; History; Law; Political science","score_opus":0.04175776123358581,"score_gpt":0.20177844289596586,"score_spread":0.16002068166238004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386961660","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011945734,0.00046445784,0.0000064257106,0.000014725729,0.0004944151,0.0002653311,0.0003961856,0.00002337947,0.98638934],"genre_scores_gemma":[0.15662253,0.00020884203,0.000004742745,0.000010392394,0.0002478367,0.0000013091798,0.00001211069,0.000016106134,0.84287614],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931735,0.000015894568,0.00017212796,0.0002053848,0.00016305248,0.00012617336],"domain_scores_gemma":[0.99928874,0.00008458249,0.00026526922,0.00024325884,0.00008681507,0.000031337564],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011026767,0.00020134766,0.00031876622,0.00009933952,0.00063319417,0.000013701156,0.00016121681,0.00007526556,0.0022312652],"category_scores_gemma":[0.0000016899709,0.00016703257,0.00013822816,0.0000034278535,0.00069249136,0.00008810205,0.00059952517,0.00027257192,4.1653465e-7],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00061343936,0.000023509294,0.00010039404,0.0002447476,0.00097067707,0.00030827944,0.12106354,0.0000167368,0.000014408926,0.82500947,0.046811376,0.0048234463],"study_design_scores_gemma":[0.00033002466,0.00013885614,0.000008010267,0.00006106249,0.00035172715,0.00007680886,0.004831192,0.000025137133,0.000026043319,0.0008815044,0.99309033,0.0001793164],"about_ca_topic_score_codex":0.00072751334,"about_ca_topic_score_gemma":0.004200385,"teacher_disagreement_score":0.9462789,"about_ca_system_score_codex":0.00007412406,"about_ca_system_score_gemma":0.000027227748,"threshold_uncertainty_score":0.99868083},"labels":[],"label_agreement":null},{"id":"W4386962578","doi":"10.3366/edinburgh/9781474484138.003.0006","title":"Empathetic Work Prior to Shooting","year":2022,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Character (mathematics); The Imaginary; Archetype; Set (abstract data type); Mythology; Vocabulary; Sociology; Art; Aesthetics; Psychology; Computer science; Linguistics; Literature; Psychoanalysis","score_opus":0.037565673839009085,"score_gpt":0.19774150196392476,"score_spread":0.16017582812491568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386962578","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042690136,0.00015499444,0.0000015838315,0.00007813915,0.0017999179,0.00040230303,0.00013754884,0.00014767385,0.9968509],"genre_scores_gemma":[0.005794259,0.000054830107,0.000014302799,0.0001431136,0.0011492167,0.0000020859711,0.000013669162,0.000041672098,0.9927868],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988295,0.000012250598,0.00016424993,0.00038408808,0.00030843716,0.00030147503],"domain_scores_gemma":[0.9992935,0.00006771475,0.00012257924,0.00034785518,0.00007481896,0.00009354916],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009614981,0.00032582364,0.00039154553,0.00020633076,0.000903384,0.00007797296,0.0004194692,0.00008617958,0.009016895],"category_scores_gemma":[0.000002549434,0.00034972504,0.00021765323,0.000004971922,0.00015365443,0.00008901863,0.00065980817,0.00046905945,0.000050639057],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018970635,0.000013987066,0.000008010809,0.00004964367,0.0002998766,0.000091041875,0.072235,0.000034094435,6.2715435e-7,0.763195,0.15123333,0.012649717],"study_design_scores_gemma":[0.00019456552,0.0001115805,0.0000012428591,0.00014614999,0.00015509577,0.0000011110743,0.0019697978,0.0000015656384,0.0000025198917,0.00017496904,0.99682397,0.00041742178],"about_ca_topic_score_codex":0.00016359887,"about_ca_topic_score_gemma":0.00008198116,"teacher_disagreement_score":0.84559065,"about_ca_system_score_codex":0.00014023307,"about_ca_system_score_gemma":0.00004733745,"threshold_uncertainty_score":0.99989545},"labels":[],"label_agreement":null},{"id":"W4387032340","doi":"","title":"Direniş Olarak Yerli Tiyatrosu: 1980’lerin Sonundan 1990’ların Başına Kanada’nın Gelişmekte Olan Yerli Tiyatro Sahnesinin Bir Merkezi Olarak Toronto","year":2023,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McMaster University","funders":"","keywords":"Biology","score_opus":0.026394483147135973,"score_gpt":0.23675522286263095,"score_spread":0.210360739715495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387032340","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3372723,0.0060459347,0.000028107128,0.0035210247,0.005158974,0.000999727,0.0010772821,0.0026424043,0.6432543],"genre_scores_gemma":[0.8736165,0.0013137762,0.00013686667,0.00086955447,0.003477637,0.00012710273,0.00033929566,0.0001726504,0.11994657],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9958164,0.00012698559,0.00087366515,0.000886668,0.0008022812,0.0014939907],"domain_scores_gemma":[0.9982066,0.00014709287,0.00020813645,0.0009084563,0.00019454154,0.00033512976],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00061048893,0.00082358124,0.00091639644,0.00026469937,0.0019085257,0.0005915629,0.0007054729,0.00019272095,0.009414861],"category_scores_gemma":[0.000024513041,0.0006739491,0.00047231844,0.00021537453,0.00049690355,0.0010769344,0.0003869774,0.00042026676,0.0044033597],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005052529,0.00047805408,0.02233222,0.00060941506,0.0016105345,0.00021178949,0.07671503,0.00003085986,0.0019410932,0.15730901,0.68840605,0.049850713],"study_design_scores_gemma":[0.00092827505,0.00035489374,0.008578036,0.000091476526,0.00015211322,0.000011495485,0.013250672,0.0002174113,0.0003024271,0.00049317005,0.97458386,0.0010361475],"about_ca_topic_score_codex":0.020630822,"about_ca_topic_score_gemma":0.17744009,"teacher_disagreement_score":0.5363443,"about_ca_system_score_codex":0.00023394337,"about_ca_system_score_gemma":0.00015445806,"threshold_uncertainty_score":0.99957114},"labels":[],"label_agreement":null},{"id":"W4387071576","doi":"10.1515/9780228019855-002","title":"Acknowledgments","year":2023,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"University of Warwick; Dartmouth College","keywords":"Geography","score_opus":0.03465371797530431,"score_gpt":0.20778546879288165,"score_spread":0.17313175081757734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387071576","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000004171191,0.0000030210624,6.00535e-7,0.0000744317,0.0011751693,0.00027416906,0.0011403546,0.00042096703,0.9969071],"genre_scores_gemma":[0.0005698294,0.00040289838,0.0000062945664,0.00008508008,0.00062599685,0.0000016902451,0.00006618375,0.00008366841,0.99815834],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987181,0.00001950143,0.00019935814,0.0004266153,0.00027656823,0.00035989253],"domain_scores_gemma":[0.99908704,0.000057275636,0.00016239032,0.00040631433,0.00018539903,0.00010161025],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006159205,0.0004387496,0.00045443184,0.00024356903,0.0010697892,0.00006296815,0.00039382555,0.00020087336,0.0006774629],"category_scores_gemma":[0.000002773972,0.0004436861,0.0002694084,0.000004085313,0.00036356773,0.00013620101,0.0005130566,0.00040862523,0.00079093344],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004878089,0.000008604681,8.0670185e-7,0.000105959196,0.0003727421,0.000085957356,0.0019271461,9.246819e-7,2.5891262e-7,0.94262004,0.05309961,0.0017291624],"study_design_scores_gemma":[0.00036202528,0.00007436675,0.0000016726423,0.00022497658,0.0002438446,3.8930662e-7,0.0004133049,0.0000013176792,0.000020117108,0.0017767892,0.99638885,0.0004923152],"about_ca_topic_score_codex":0.0005667264,"about_ca_topic_score_gemma":0.000022939941,"teacher_disagreement_score":0.9432893,"about_ca_system_score_codex":0.00012191306,"about_ca_system_score_gemma":0.000023922494,"threshold_uncertainty_score":0.99998707},"labels":[],"label_agreement":null},{"id":"W4387106208","doi":"10.1080/23268263.2023.2262196","title":"Sining Kambayoka Ensemble’s <i>Bayok</i> : Connecting Philippines and Canada in Teaching Voice and Performance","year":2023,"lang":"en","type":"article","venue":"Voice and Speech Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Appropriation; Sociology; Indigenous; Reflexivity; Politics; Attunement; Generosity; Autoethnography; Conversation; Pedagogy; Aesthetics; Gender studies; Political science; Epistemology; Social science; Law; Art","score_opus":0.029984846772964147,"score_gpt":0.24825040153193773,"score_spread":0.21826555475897358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387106208","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87433183,0.10222722,2.61325e-7,0.0021134496,0.00020404214,0.00021248758,0.000013401772,0.000057690933,0.020839617],"genre_scores_gemma":[0.75958914,0.2365204,0.000027640213,0.0017703318,0.0003306414,0.000015421103,0.000008622287,0.000018305333,0.0017194888],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892086,0.000049955874,0.00030113407,0.00026006045,0.00013060021,0.0003374188],"domain_scores_gemma":[0.99947995,0.00022751147,0.000079077574,0.000117371725,0.00003550196,0.000060573206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064806564,0.00019862317,0.0004053026,0.00007523118,0.00071193033,0.000095552125,0.00006609885,0.00002509243,0.0000305515],"category_scores_gemma":[0.000091761925,0.00015782978,0.000021866337,0.00007335075,0.00007664447,0.00029421074,0.000093675604,0.0002364269,0.00001215209],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015573112,0.000015266989,0.02712022,0.008749364,0.00006000434,0.000044419685,0.017082026,0.0000011836557,0.000047255104,0.0016118812,0.010600938,0.93465185],"study_design_scores_gemma":[0.00020888036,0.00007213558,0.0038973205,0.004515347,0.000056916717,0.000044129276,0.0038122064,0.00013319193,0.00001802766,0.000052588202,0.9868938,0.00029549352],"about_ca_topic_score_codex":0.08205619,"about_ca_topic_score_gemma":0.6606673,"teacher_disagreement_score":0.97629285,"about_ca_system_score_codex":0.000016800632,"about_ca_system_score_gemma":0.00003998794,"threshold_uncertainty_score":0.9240565},"labels":[],"label_agreement":null},{"id":"W4387188630","doi":"10.4324/9780429277856-29","title":"Tanya Moiseiwitsch (1914–2003)","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.052461226128849826,"score_gpt":0.2246697711337833,"score_spread":0.1722085450049335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387188630","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000068497243,0.00049507513,9.4682366e-7,0.00030690845,0.0023830382,0.00015744849,0.00014801917,0.00039765134,0.99610406],"genre_scores_gemma":[0.00058861077,0.0012483541,0.000009473278,0.00035294105,0.0029072864,0.000013243542,0.00007005725,0.00008979266,0.9947202],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990071,0.0000027710455,0.00027951162,0.0002516123,0.00021282461,0.00024616532],"domain_scores_gemma":[0.99938744,0.000026746813,0.000083847815,0.0002654209,0.00019017677,0.0000463683],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00007291054,0.00031690524,0.00035430436,0.00013636667,0.00036685655,0.00010623141,0.00016003779,0.00011343859,0.028187962],"category_scores_gemma":[0.0000048011157,0.00023665914,0.00012373521,0.000011194401,0.0002119316,0.00009021716,0.00009929203,0.00025465674,0.01649837],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004296306,0.000002605203,0.000002588695,0.000029962555,0.00010291892,0.000007651531,0.0026286426,1.457531e-7,1.0856467e-7,0.69183767,0.30141985,0.0039635357],"study_design_scores_gemma":[0.000084483254,0.000057543417,0.0000027782905,0.00008442866,0.00006160254,0.0000010737382,0.00053035165,0.0000027030512,0.0000017883028,0.022388833,0.97645324,0.00033116704],"about_ca_topic_score_codex":0.000114614944,"about_ca_topic_score_gemma":0.0039525353,"teacher_disagreement_score":0.6750334,"about_ca_system_score_codex":0.000016947994,"about_ca_system_score_gemma":0.000039408777,"threshold_uncertainty_score":0.9842674},"labels":[],"label_agreement":null},{"id":"W4387353876","doi":"","title":"Specialized Programs in Drama: a gateway to self and art in society","year":2015,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Gateway (web page); Visual arts; Art; Computer science; World Wide Web","score_opus":0.3489060375389749,"score_gpt":0.49783529844851343,"score_spread":0.1489292609095385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387353876","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9331113,0.005606497,0.000002172003,0.00046074024,0.00049071043,0.0006040937,0.000014144284,0.00003365271,0.05967667],"genre_scores_gemma":[0.9922999,0.0044301543,0.0001414637,0.00041932173,0.00055805244,0.00008187606,0.0000064522847,0.000030551164,0.002032208],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99832994,0.00009821794,0.0005718445,0.00027745642,0.0003515688,0.00037096647],"domain_scores_gemma":[0.99919283,0.0000694458,0.00020215928,0.0001882352,0.00016157053,0.00018576205],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010794585,0.0002341124,0.0006272394,0.00035850683,0.00018102473,0.0012705044,0.000682819,0.00005389771,0.0023273507],"category_scores_gemma":[0.00003880315,0.00019088546,0.00009941122,0.0003058091,0.00016225174,0.0014862263,0.00051476527,0.000263791,0.000036690777],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040091938,0.00065690256,0.6455929,0.00014239484,0.00019703472,0.000041701936,0.13692011,0.000025613868,0.00037534768,0.0015026099,0.1897029,0.024441555],"study_design_scores_gemma":[0.0018236957,0.00005424324,0.13752924,0.0005305302,0.00004131312,0.0000060848065,0.008906031,0.000033340795,0.00027665953,0.006713421,0.84356165,0.0005237656],"about_ca_topic_score_codex":0.001667202,"about_ca_topic_score_gemma":0.006963242,"teacher_disagreement_score":0.6538588,"about_ca_system_score_codex":0.000092088194,"about_ca_system_score_gemma":0.000089003835,"threshold_uncertainty_score":0.9997663},"labels":[],"label_agreement":null},{"id":"W4387386795","doi":"10.3138/9781487542535-012","title":"9 Washroom Dramas and Transgender Politics: A Transformative Approach toGendered Spaces in Canadian Public Schools","year":2022,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Transformative learning; Transgender; Gender studies; Politics; Sociology; Political science; Media studies; Pedagogy; Law","score_opus":0.05342111166376187,"score_gpt":0.21988219967168215,"score_spread":0.16646108800792028,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387386795","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005363247,0.0019849956,0.000003755219,0.0024550848,0.00018783045,0.00050072605,0.00082309527,0.000055826236,0.99345237],"genre_scores_gemma":[0.48564947,0.0012087371,0.000032313077,0.0006640857,0.00037822008,0.000079535625,0.00025950055,0.000063611405,0.5116645],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983466,0.000024199104,0.00036288853,0.00034996262,0.00024414895,0.0006722015],"domain_scores_gemma":[0.99939275,0.000027322052,0.000057586385,0.00019006195,0.000055788038,0.00027650213],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017539383,0.00042884634,0.0005020598,0.0006406801,0.00083414756,0.0003230696,0.00018263354,0.00014100822,0.016213372],"category_scores_gemma":[0.0000022060942,0.00036582787,0.00013385863,0.000019469897,0.0002702101,0.0004692808,0.000031563948,0.00067478005,0.000041148192],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000069690486,0.0000120774375,0.000051478768,0.00011860097,0.00019518925,0.0000069858565,0.085869096,9.106099e-7,8.161645e-8,0.9098076,0.0025947518,0.001336241],"study_design_scores_gemma":[0.00035532741,0.00007955145,0.000013271208,0.000026077494,0.000049074595,0.000008040725,0.03672073,0.000021718852,7.713773e-7,0.011958782,0.95029765,0.00046897383],"about_ca_topic_score_codex":0.13187069,"about_ca_topic_score_gemma":0.8117788,"teacher_disagreement_score":0.94770294,"about_ca_system_score_codex":0.00025203748,"about_ca_system_score_gemma":0.00048116283,"threshold_uncertainty_score":0.99987936},"labels":[],"label_agreement":null},{"id":"W4387480882","doi":"10.1515/9780887553325-003","title":"Acknowledgements","year":2009,"lang":"en","type":"book-chapter","venue":"University of Manitoba Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Acadia University","keywords":"Geography","score_opus":0.045291835034419255,"score_gpt":0.19198080452602465,"score_spread":0.1466889694916054,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387480882","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000077044075,0.00037892125,0.0000015065691,0.000009769558,0.0004562171,0.00015945967,0.00010326937,0.0000619083,0.9987519],"genre_scores_gemma":[0.0008932017,0.00029048225,0.000018220246,0.000030765816,0.0005897911,8.235475e-8,0.000017388116,0.000016637143,0.99814343],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937516,0.0000069714642,0.00012280868,0.00018586453,0.00016310139,0.00014607247],"domain_scores_gemma":[0.99931085,0.0000159897,0.00015550642,0.00023618467,0.00024455515,0.000036896603],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00003765492,0.0002144438,0.00030435453,0.00009776169,0.00029339612,0.000022712584,0.00029502792,0.00009393945,0.0033118716],"category_scores_gemma":[0.0000011938532,0.00023193848,0.00015881761,7.375986e-7,0.00036434,0.00006289322,0.0001457385,0.00017125018,0.00052191684],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010624415,0.000029704323,0.0000035842297,0.00019422083,0.00048710557,0.000033941207,0.018143058,6.995644e-7,0.00000150923,0.611998,0.2449459,0.12405599],"study_design_scores_gemma":[0.00025082476,0.00009666732,0.0000067054384,0.00017265351,0.00018551147,3.4911474e-7,0.00092021644,0.0000010099865,0.00001314771,0.0032904472,0.9948362,0.000226257],"about_ca_topic_score_codex":0.00024801615,"about_ca_topic_score_gemma":0.0133671705,"teacher_disagreement_score":0.7498903,"about_ca_system_score_codex":0.00003445551,"about_ca_system_score_gemma":0.000020237034,"threshold_uncertainty_score":0.99759924},"labels":[],"label_agreement":null},{"id":"W4387571470","doi":"10.1080/0740770x.2023.2262793","title":"Collaborative timeslips in Gabrielle Civil’s black feminist performance art and writing","year":2022,"lang":"en","type":"article","venue":"Women & Performance a journal of feminist theory","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Sociology; Gender studies; Visual arts","score_opus":0.009788011077799303,"score_gpt":0.2158694695914724,"score_spread":0.2060814585136731,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387571470","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8232533,0.00093744596,7.311866e-7,0.00014828255,0.0004493714,0.00015154853,0.00004453037,0.000019345383,0.17499548],"genre_scores_gemma":[0.9887344,0.0011477118,0.000027366097,0.00075669057,0.00062168017,0.000057614303,0.0000047627905,0.00003685455,0.008612868],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99759376,0.00018078726,0.0009012203,0.00024645598,0.00047102876,0.00060672517],"domain_scores_gemma":[0.9986867,0.00024471275,0.00057419704,0.0002177589,0.00014654871,0.00013011218],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0027438367,0.00031335015,0.0005950612,0.00038534793,0.0013435496,0.00016465796,0.00039050236,0.00004022341,0.0031002243],"category_scores_gemma":[0.000022666822,0.0002769555,0.00008502657,0.0002474103,0.0008109069,0.00055610226,0.00026121663,0.0007734576,0.000058698177],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0032813444,0.0004322698,0.051593028,0.0004386009,0.0002974703,0.00009688457,0.887294,0.00050285563,0.0001042573,0.02219338,0.013496879,0.020269059],"study_design_scores_gemma":[0.0017350665,0.0024985392,0.0023908883,0.0002538874,0.000042986456,0.00025720475,0.37033635,0.00041599188,0.00014795287,0.0006712588,0.620733,0.000516858],"about_ca_topic_score_codex":0.0000022592835,"about_ca_topic_score_gemma":0.000019724665,"teacher_disagreement_score":0.60723615,"about_ca_system_score_codex":0.00024657015,"about_ca_system_score_gemma":0.00022854729,"threshold_uncertainty_score":0.9999683},"labels":[],"label_agreement":null},{"id":"W4387666067","doi":"10.3138/cras-2023-011","title":"The Spectacle and Reification of <i>Traumapower</i> in <i>Game of Thrones</i>","year":2023,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Spectacle; Shame; Torture; Sociology; Depiction; Aesthetics; Power (physics); Criminology; Law; Political science; Literature; Art","score_opus":0.035042678386267595,"score_gpt":0.28623840116592725,"score_spread":0.2511957227796596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387666067","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38495514,0.567436,1.2626552e-7,0.0069104168,0.0002606015,0.0004740063,0.00014835963,0.000016698712,0.039798632],"genre_scores_gemma":[0.6150396,0.3844888,0.000003553464,0.00019301857,0.000030415902,0.000013849946,0.000001993447,0.0000044824515,0.00022434237],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992739,0.00003302692,0.0003532766,0.00009200319,0.0000899116,0.0001578664],"domain_scores_gemma":[0.99931085,0.0001452807,0.00021708966,0.00016501955,0.00013212665,0.000029630934],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002921971,0.00008310044,0.0004423432,0.00009122842,0.00012923562,0.0000039660413,0.000096165415,0.000005725859,0.000015441667],"category_scores_gemma":[0.00006958144,0.000054454078,0.000049197894,0.00022246203,0.001444484,0.000041360545,0.000026635704,0.00004428744,0.0000038300627],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044230346,0.000055358723,0.019290581,0.01943539,0.0008567542,0.000009443793,0.20389049,0.0000034977638,0.00013875273,0.09713631,0.17543815,0.48370105],"study_design_scores_gemma":[0.0001423623,0.00022004657,0.022603747,0.0035706246,0.00007645174,0.000001091834,0.097362734,0.0000023549949,0.00010994415,0.00055936154,0.87519467,0.00015657987],"about_ca_topic_score_codex":0.024344238,"about_ca_topic_score_gemma":0.2571154,"teacher_disagreement_score":0.69975656,"about_ca_system_score_codex":0.00002238967,"about_ca_system_score_gemma":0.00005958482,"threshold_uncertainty_score":0.98215276},"labels":[],"label_agreement":null},{"id":"W4387706692","doi":"10.33137/rr.v46i1.41755","title":"Engel, William E., and Grant Williams, eds. The Shakespearean Death Arts: Hamlet Among the Tombs","year":2023,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"HAMLET (protein complex); The arts; Art; Art history; Visual arts; Literature","score_opus":0.030514009290300098,"score_gpt":0.23180473882884498,"score_spread":0.20129072953854488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387706692","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9404833,0.0073839263,0.000006505078,0.004698235,0.00049211015,0.00036444224,0.000035287878,0.00017554974,0.046360653],"genre_scores_gemma":[0.9869516,0.009372283,0.0000029348396,0.00029827072,0.0005264475,0.00003687434,0.000028004273,0.000010679268,0.00277292],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928916,0.00002773816,0.0001876121,0.00012086958,0.0001552866,0.00021933297],"domain_scores_gemma":[0.99961656,0.00005273446,0.00007933018,0.00017804753,0.000042809104,0.000030497866],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00031551495,0.00013520685,0.00012815166,0.000049247396,0.0014675881,0.00020192175,0.000096938245,0.000031173913,0.000030581745],"category_scores_gemma":[0.000009200356,0.000058012167,0.000035532354,0.00006822234,0.00040481283,0.000549318,0.00006020153,0.00013468102,0.00004914983],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011523641,0.000052335366,0.025883395,0.00047221428,0.00030115692,0.000008927881,0.37481424,0.00006070472,0.00006997336,0.102940544,0.31414202,0.18113925],"study_design_scores_gemma":[0.0002168487,0.000073711235,0.048753195,0.0001061536,0.000029401788,0.0000062771987,0.009592729,0.00041553102,0.000065911656,0.00135961,0.93923336,0.0001472415],"about_ca_topic_score_codex":0.00013679639,"about_ca_topic_score_gemma":0.0008186386,"teacher_disagreement_score":0.6250914,"about_ca_system_score_codex":0.0000094153775,"about_ca_system_score_gemma":0.0000062819645,"threshold_uncertainty_score":0.9998324},"labels":[],"label_agreement":null},{"id":"W4387745331","doi":"10.1080/13569783.2023.2253045","title":"De-centring and the RiDE Journal","year":2023,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Centring; Art; Visual arts","score_opus":0.046658596657152815,"score_gpt":0.3188306804749026,"score_spread":0.27217208381774977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387745331","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93915015,0.0026001313,9.719669e-7,0.0072755073,0.00031879471,0.00017382647,9.4801356e-7,0.0000057648567,0.050473884],"genre_scores_gemma":[0.97295845,0.024613809,0.000008744379,0.00017065248,0.0014095734,0.000012266021,4.1043387e-7,0.00000898309,0.0008171235],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987904,0.00015928593,0.00031259438,0.00006344065,0.0003393621,0.00033492225],"domain_scores_gemma":[0.9988509,0.00067029113,0.00012414805,0.00011776693,0.0001651357,0.00007176546],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006322424,0.000090494126,0.00016407827,0.00031038903,0.0012843524,0.00031370073,0.00026028222,0.000025510588,0.000060508683],"category_scores_gemma":[0.000019730654,0.000043638902,0.000033070497,0.00020534985,0.00067972875,0.00024252324,0.000083534396,0.0007601076,0.000017271803],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0021594148,0.00010170844,0.0065611326,0.00021511965,0.00012560157,0.000004043848,0.30181074,0.00023185647,0.0000667659,0.066663705,0.019175423,0.6028845],"study_design_scores_gemma":[0.0031021724,0.00043106612,0.013666755,0.00061150227,0.00007801385,0.0004898771,0.250627,0.0014777756,0.00036835126,0.0660712,0.66280806,0.00026822407],"about_ca_topic_score_codex":0.00005745933,"about_ca_topic_score_gemma":0.00004715065,"teacher_disagreement_score":0.64363265,"about_ca_system_score_codex":0.000047944657,"about_ca_system_score_gemma":0.00026196404,"threshold_uncertainty_score":0.987833},"labels":[],"label_agreement":null},{"id":"W4388253806","doi":"10.1093/oso/9780198700708.003.0030","title":"Alternatives to the play-text","year":2002,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sculpture; Entertainment; Dance; Space (punctuation); Architecture; Art; Visual arts; Aesthetics; Installation art; Work (physics); Performance art; Sociology; Art history; Contemporary art; Engineering; Linguistics; Philosophy","score_opus":0.0508237754576291,"score_gpt":0.22581115782099173,"score_spread":0.17498738236336264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388253806","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000023087578,0.00083852967,0.0000020846055,0.002148314,0.0008071499,0.00015881186,0.000068877955,0.000055528282,0.9958976],"genre_scores_gemma":[0.0058869557,0.0007535293,0.000006156865,0.0016196336,0.0032164068,0.000011017916,0.000005646169,0.000027092661,0.98847353],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994057,0.0000032184805,0.00014039398,0.0001555466,0.00014968183,0.00014550312],"domain_scores_gemma":[0.99963117,0.000040852057,0.000044033506,0.00021157191,0.0000425847,0.00002981416],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000037625246,0.00020778445,0.00018843578,0.00005872265,0.00038916743,0.00010585642,0.00020678871,0.000034699107,0.06392091],"category_scores_gemma":[0.0000012486721,0.00010810225,0.000102261154,0.0000024765009,0.00014309252,0.00005601175,0.00008587412,0.00015575692,0.009594597],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003718938,0.0000024966926,9.408263e-7,0.0000048899474,0.000077493845,0.0000014738624,0.020626716,5.8822076e-7,4.5908486e-8,0.70704293,0.2623776,0.009861104],"study_design_scores_gemma":[0.00004093691,0.00006373474,0.0000032424298,0.000043393848,0.00002478055,9.177814e-7,0.0004727886,0.0000023913694,0.0000023349173,0.004764175,0.9944022,0.00017909972],"about_ca_topic_score_codex":0.000108934444,"about_ca_topic_score_gemma":0.0035981068,"teacher_disagreement_score":0.7320246,"about_ca_system_score_codex":0.00001255114,"about_ca_system_score_gemma":0.0000047516146,"threshold_uncertainty_score":0.99117655},"labels":[],"label_agreement":null},{"id":"W4388451927","doi":"10.25071/2817-5344/57","title":"Confronting Propaganda","year":2023,"lang":"en","type":"article","venue":"Canadian Journal for the Academic Mind","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Political science; Sociology; Media studies","score_opus":0.08028025552498,"score_gpt":0.2780844760046602,"score_spread":0.1978042204796802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388451927","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8222269,0.014966487,0.000055899305,0.039943036,0.0153708495,0.0009378899,0.00043550416,0.000065606626,0.10599782],"genre_scores_gemma":[0.91347486,0.00026641102,0.0000056705458,0.00040663022,0.0042636967,0.00001698441,0.0000053082845,0.000017517514,0.081542954],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928045,0.000010514586,0.00016591295,0.00007079041,0.00006979512,0.00040255347],"domain_scores_gemma":[0.9995296,0.00011426734,0.00006040562,0.00007155082,0.00006453857,0.00015964986],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004940214,0.00008171828,0.00009434445,0.000115164476,0.0023249532,0.00013516471,0.00024426664,0.000037850194,0.00095062563],"category_scores_gemma":[0.00006346011,0.00004953434,0.00007113038,0.00004079274,0.00018195088,0.00012900296,0.000009784753,0.00038190253,0.00024426018],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014368148,8.182392e-7,0.0012683843,0.000019151474,0.00012860894,0.000015508169,0.11549025,0.00003415509,0.000026596803,0.018083185,0.7280034,0.13691558],"study_design_scores_gemma":[0.00013209815,0.00002314668,0.00025012833,0.000031047868,0.000029464074,0.000028375449,0.013289326,0.00012723915,0.000028779403,0.0023464274,0.98363316,0.00008080455],"about_ca_topic_score_codex":0.0009150622,"about_ca_topic_score_gemma":0.03208622,"teacher_disagreement_score":0.25562978,"about_ca_system_score_codex":0.000033131237,"about_ca_system_score_gemma":0.00022573881,"threshold_uncertainty_score":0.9999626},"labels":[],"label_agreement":null},{"id":"W4388452422","doi":"10.1080/23268263.2023.2278242","title":"Staging Sex: Best Practices, Tools, and Techniques for Theatrical Intimacy","year":2023,"lang":"en","type":"article","venue":"Voice and Speech Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Theatre director; Storytelling; Pace; Media studies; Best practice; Political theatre; Performance art; Visual arts; Art; Sociology; Art history; Library science; Management; Narrative; Literature; Computer science; Geography","score_opus":0.1395774294174761,"score_gpt":0.3606956385243111,"score_spread":0.22111820910683497,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388452422","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.037271556,0.6848099,0.00003828596,0.03156289,0.0005582204,0.0035935047,0.00042429008,0.0008953795,0.24084593],"genre_scores_gemma":[0.007857491,0.9729547,0.00063107646,0.0022994112,0.0010051111,0.00017034379,0.00004035277,0.000026660031,0.015014889],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932486,0.000025170977,0.00019218304,0.00018263987,0.00008652985,0.00018860189],"domain_scores_gemma":[0.9994192,0.00026570042,0.00010566317,0.00011711938,0.00005503768,0.00003724253],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004617366,0.00012572497,0.00027902547,0.000056995694,0.00036427748,0.00015708937,0.0000643083,0.000021967357,0.00006761364],"category_scores_gemma":[0.00012039752,0.0000876394,0.000047485384,0.00006454929,0.00008578661,0.00034670558,0.00006950751,0.00009583096,0.000054959062],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000068072563,0.000017939008,0.00045109203,0.003363459,0.000036049518,0.0000041164435,0.0017830995,4.644634e-9,0.000011412568,0.005205894,0.03550442,0.9536157],"study_design_scores_gemma":[0.00006840263,0.00010556466,0.00004008375,0.0010199371,0.00011599473,0.000007117101,0.0010308606,0.000008873947,0.00003809701,0.00041053272,0.99702376,0.00013077783],"about_ca_topic_score_codex":0.00012888109,"about_ca_topic_score_gemma":0.00013187209,"teacher_disagreement_score":0.96151936,"about_ca_system_score_codex":0.000005735618,"about_ca_system_score_gemma":0.000013829633,"threshold_uncertainty_score":0.3573831},"labels":[],"label_agreement":null},{"id":"W4388547911","doi":"10.1515/9781552387917","title":"Sharon Pollock","year":2015,"lang":"en","type":"book","venue":"University of Calgary Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pollock; Art; Art history","score_opus":0.040193359120656316,"score_gpt":0.18993330242854947,"score_spread":0.14973994330789314,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388547911","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000031652413,0.000766827,0.0000036147364,0.0000066470925,0.0003084404,0.00014956117,0.0001436283,0.00006366143,0.998526],"genre_scores_gemma":[0.00023244035,0.00009191786,0.000021427111,0.000030459081,0.00036687887,1.4857746e-7,0.00005468551,0.000018061464,0.99918395],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993107,0.000017722872,0.000113728085,0.0001783611,0.00021772186,0.00016179678],"domain_scores_gemma":[0.99938804,0.000020154419,0.0001359259,0.00023531732,0.00015487755,0.000065682405],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000057811514,0.00019307746,0.00034888336,0.000083701794,0.00021028722,0.000018602199,0.00029081394,0.00011881685,0.0006643516],"category_scores_gemma":[0.0000012240853,0.00019941242,0.00014838635,0.0000013876639,0.00050011213,0.00006942351,0.00019703983,0.00021015803,0.00005668007],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012346254,0.000013977457,0.0000023213458,0.00019542035,0.0002458456,0.000025710711,0.03681237,6.471991e-7,6.670415e-7,0.47666872,0.4794064,0.0065044975],"study_design_scores_gemma":[0.00031103016,0.00009837422,0.0000018424375,0.00012764524,0.00016531751,9.2749906e-7,0.0006050545,0.000008718138,0.0000064022215,0.001514835,0.99694395,0.00021593059],"about_ca_topic_score_codex":0.0015167095,"about_ca_topic_score_gemma":0.002691874,"teacher_disagreement_score":0.51753753,"about_ca_system_score_codex":0.00006255909,"about_ca_system_score_gemma":0.0001589699,"threshold_uncertainty_score":0.8131802},"labels":[],"label_agreement":null},{"id":"W4388601767","doi":"10.1353/dtc.2023.a912012","title":"Hope in a Collapsing World: Youth, Theatre, and Listening as a Political Alternative by Kathleen Gallagher and Andrew Kushnir (review)","year":2023,"lang":"en","type":"article","venue":"Journal of dramatic theory and criticism","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Active listening; Ethnography; Politics; Media studies; Sociology; Gender studies; History; Political science; Law; Anthropology","score_opus":0.017306884043811106,"score_gpt":0.2763644009618858,"score_spread":0.2590575169180747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388601767","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9074486,0.037491728,0.0000064396468,0.0020955114,0.00023952663,0.00018310736,0.000033517907,0.000018740311,0.05248285],"genre_scores_gemma":[0.9894064,0.006366723,0.00001699195,0.0014062747,0.00025515317,0.000004416234,0.000001767156,0.000014976531,0.0025272933],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9988194,0.00015859758,0.00044468,0.00012307723,0.00016549828,0.00028871268],"domain_scores_gemma":[0.9990357,0.0005968721,0.00011000283,0.00006723144,0.000070778784,0.00011941161],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010833003,0.00016266028,0.00044980942,0.00020489584,0.00022810302,0.00013339237,0.000073354306,0.000027394286,0.00017091511],"category_scores_gemma":[0.00009543348,0.00011554823,0.000052072304,0.00007761667,0.00038282236,0.00029000585,0.00006361715,0.00021922997,0.0000063701536],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032942946,0.00011111088,0.0010104814,0.0019795808,0.00028010068,0.0001810926,0.17327388,8.1031493e-7,0.00009404215,0.79611444,0.0030164493,0.023608597],"study_design_scores_gemma":[0.004280453,0.0013221952,0.0009295614,0.017391445,0.000853752,0.000634307,0.31669167,0.00012439984,0.0002132262,0.59513366,0.06147142,0.00095392717],"about_ca_topic_score_codex":0.000042452048,"about_ca_topic_score_gemma":0.000063795575,"teacher_disagreement_score":0.2009808,"about_ca_system_score_codex":0.000015450212,"about_ca_system_score_gemma":0.000024976573,"threshold_uncertainty_score":0.471192},"labels":[],"label_agreement":null},{"id":"W4388797063","doi":"10.1353/tt.2023.a912301","title":"Actor Training in Anglophone Countries: Past, Present and Future by Peter Zazzali (review)","year":2023,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology; Ideology; Employability; Media studies; Gender studies; Pedagogy; Political science; Politics; Law","score_opus":0.025202477578372177,"score_gpt":0.24617992629709215,"score_spread":0.22097744871871997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388797063","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2956811,0.16713656,0.0000014442794,0.10065458,0.00396039,0.0012535295,0.0007620603,0.00062391296,0.42992643],"genre_scores_gemma":[0.4288506,0.405315,0.000056540102,0.010090315,0.06459818,0.00031403382,0.00042553016,0.00015944244,0.090190366],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927723,0.000025084537,0.00017242471,0.00014847875,0.00012148075,0.0002552932],"domain_scores_gemma":[0.99973667,0.000039495426,0.00003155639,0.00013557875,0.000020352169,0.000036322297],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012523841,0.00013863413,0.00023560667,0.000049589285,0.00015402531,0.00003710754,0.00008185416,0.000032202526,0.0006741654],"category_scores_gemma":[9.597015e-7,0.000101954436,0.000038885166,0.00006523326,0.00010383955,0.00011486484,0.000047885966,0.00011081495,0.000077854114],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002676312,0.000022674243,0.0009367135,0.0006884031,0.000059112954,0.000016373186,0.17887977,6.125726e-7,0.000009908945,0.002724006,0.6631092,0.15352644],"study_design_scores_gemma":[0.00019501521,0.000045666668,0.00049676787,0.0001443815,0.00001680043,0.0000015437321,0.008210714,0.000006308172,0.0000105027875,0.00023282616,0.99051,0.00012949696],"about_ca_topic_score_codex":0.000062198946,"about_ca_topic_score_gemma":0.00029314015,"teacher_disagreement_score":0.33973607,"about_ca_system_score_codex":0.000013082184,"about_ca_system_score_gemma":0.000014725284,"threshold_uncertainty_score":0.7381638},"labels":[],"label_agreement":null},{"id":"W4388797256","doi":"10.1353/tt.2023.a912299","title":"Theater of Lockdown: Digital and Distanced Performance in a Time of Pandemic by Barbara Fuchs (review)","year":2023,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Contemplation; Fantasy; Art; Surprise; Aesthetics; Literature; History; Media studies; Art history; Visual arts; Psychology; Sociology; Philosophy; Social psychology","score_opus":0.01383194079305625,"score_gpt":0.2152403589408594,"score_spread":0.20140841814780316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388797256","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.951028,0.0050265314,3.2160708e-7,0.00024594538,0.00006278706,0.00015402334,0.00017544732,0.000039029863,0.043267906],"genre_scores_gemma":[0.9823835,0.010824457,0.0000015484261,0.000062426785,0.00008505522,0.00000985184,0.000027200342,0.000009460583,0.006596533],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932516,0.000012644375,0.0002651384,0.0001109663,0.00011938396,0.0001667061],"domain_scores_gemma":[0.9997183,0.000032151536,0.00005608124,0.00014805647,0.000025072677,0.000020325062],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000113603906,0.00011426281,0.000302145,0.000053051233,0.00004936528,0.000011875582,0.000108256325,0.000024882127,0.00022983998],"category_scores_gemma":[0.0000030288513,0.00008156727,0.00004311703,0.00006502772,0.00018877586,0.00014728705,0.00005932089,0.00007094928,0.000036770838],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041070548,0.0003640632,0.412961,0.008226656,0.00029210577,0.0000071526124,0.09879308,0.000014102701,0.0013127974,0.004409379,0.064748585,0.40846038],"study_design_scores_gemma":[0.0016719641,0.0007571282,0.02346403,0.0034735007,0.00012644546,0.0000064275446,0.0041559273,0.00036292188,0.0020713606,0.0014268158,0.9616785,0.0008049918],"about_ca_topic_score_codex":0.0000250194,"about_ca_topic_score_gemma":0.000033588785,"teacher_disagreement_score":0.8969299,"about_ca_system_score_codex":0.0000063285365,"about_ca_system_score_gemma":0.000009456728,"threshold_uncertainty_score":0.33262166},"labels":[],"label_agreement":null},{"id":"W4388830292","doi":"10.5430/wjel.v14n1p178","title":"Trajectory of Reinvention of Witches: Its Politics, Appropriation and Popularization","year":2023,"lang":"en","type":"article","venue":"World Journal of English Language","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ideology; Drama; Literature; Politics; Aesthetics; Appropriation; Narrative; New Historicism; Sociology; History; Art; Philosophy; Law; Epistemology; Political science","score_opus":0.018873798698441482,"score_gpt":0.23471666677666628,"score_spread":0.21584286807822478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388830292","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98658216,0.0015510212,0.0000060053503,0.000041078973,0.0006033219,0.0000496861,0.000017095199,0.000013654887,0.011135956],"genre_scores_gemma":[0.9966954,0.00018568322,0.000030165971,0.000011020707,0.0009888131,5.5000703e-7,0.000009723669,0.0000068662994,0.002071753],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994251,0.000024924977,0.00029685724,0.000040974533,0.00013663108,0.00007549944],"domain_scores_gemma":[0.9993185,0.00003030495,0.0002742841,0.00004932587,0.00030780895,0.000019780759],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025462284,0.000053372187,0.00015929199,0.0002630165,0.000052328764,0.000012997309,0.000044525303,0.000015008051,0.00009463587],"category_scores_gemma":[0.00011783077,0.00004307214,0.000056231038,0.00007873228,0.00005279123,0.00019234432,0.000012391543,0.000070768256,0.0000010263052],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000099546414,0.00011570638,0.008032156,0.00083347864,0.00025536245,0.000009553851,0.8631724,0.000103470826,0.00440156,0.110584706,0.0032773644,0.009114659],"study_design_scores_gemma":[0.0058117695,0.0016745367,0.05223799,0.0026419996,0.0009044422,0.000011552784,0.6805372,0.000492801,0.05048075,0.0068431054,0.19744149,0.00092233345],"about_ca_topic_score_codex":0.00003657079,"about_ca_topic_score_gemma":0.0002565678,"teacher_disagreement_score":0.19416411,"about_ca_system_score_codex":0.000009915167,"about_ca_system_score_gemma":0.000013574548,"threshold_uncertainty_score":0.1756431},"labels":[],"label_agreement":null},{"id":"W4388900716","doi":"10.7202/1107072ar","title":"Le développement des performance studies à l’université et ses impacts sur l’institutionnalisation des pratiques artistiques performatives","year":2023,"lang":"fr","type":"article","venue":"Cahiers de recherche sociologique","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art; Philosophy","score_opus":0.2489133529294263,"score_gpt":0.37891959104930406,"score_spread":0.13000623811987777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388900716","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91753286,0.02859864,0.0005071495,0.009792829,0.00043631112,0.0004129506,0.00012688071,0.0004966643,0.042095687],"genre_scores_gemma":[0.56960213,0.4161258,0.0016617916,0.00053906365,0.0003090176,0.00005625803,0.000073745585,0.000027786235,0.011604413],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.994535,0.0035588988,0.00047948852,0.00035798977,0.0001848265,0.0008837428],"domain_scores_gemma":[0.99669975,0.0021055988,0.00024769612,0.00021525282,0.00058770966,0.00014399164],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":["sts"],"category_scores_codex":[0.007361192,0.00047568764,0.0005412071,0.00022370147,0.003373762,0.00017543841,0.00025334588,0.0011553832,0.000107154214],"category_scores_gemma":[0.0019387229,0.00043147895,0.00019442353,0.00026421438,0.006999433,0.001617123,0.00012043699,0.0022327406,0.00010973333],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000087923145,0.00009648072,0.005782357,0.0016074638,0.00071574183,0.000016429698,0.7180233,0.00029523467,0.00012189821,0.24299152,0.011403205,0.01885846],"study_design_scores_gemma":[0.0008487047,0.0012866297,0.037947547,0.0018847501,0.0002588973,0.00003777058,0.7646071,0.00056744093,0.007182298,0.052891545,0.13140975,0.0010775699],"about_ca_topic_score_codex":0.00042139404,"about_ca_topic_score_gemma":0.0017968277,"teacher_disagreement_score":0.38752714,"about_ca_system_score_codex":0.0023962245,"about_ca_system_score_gemma":0.001489185,"threshold_uncertainty_score":0.9998137},"labels":[],"label_agreement":null},{"id":"W4388947051","doi":"10.7577/ar.5079","title":"What is the problem of inequality, and can we solve it?","year":2023,"lang":"en","type":"article","venue":"Nordic Journal of Art and Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Scholarship; Inequality; Equity (law); Sociology; Social inequality; Drama; Public relations; Social equality; Political science; Law","score_opus":0.14946159256819694,"score_gpt":0.37473761705504516,"score_spread":0.22527602448684822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388947051","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8556847,0.008964335,6.8036854e-7,0.11902109,0.00027461717,0.00014111935,0.000012789902,0.000005792017,0.015894882],"genre_scores_gemma":[0.9416757,0.048579514,0.0000068331237,0.00014665123,0.00052798656,0.0000022158008,6.4826776e-7,0.0000058887017,0.009054546],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999088,0.00006458976,0.000220549,0.00005934381,0.0003745963,0.00019290831],"domain_scores_gemma":[0.9993342,0.0002086271,0.00006495731,0.00006861617,0.00027662446,0.00004694352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017700241,0.000055538912,0.0001555478,0.00016357002,0.00047435626,0.00016235164,0.00010429195,0.000019210549,0.00017145155],"category_scores_gemma":[0.000008910569,0.000028018932,0.000042536245,0.00008084721,0.0005778421,0.00022197323,0.0001214244,0.00028130782,0.000012427211],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013959224,0.00005422536,0.007555768,0.00040978353,0.00027418698,0.000019157435,0.5359401,0.0000015859287,0.0001713769,0.010174717,0.3210096,0.124249905],"study_design_scores_gemma":[0.00038748886,0.0005674231,0.0016667678,0.00041756712,0.00002059948,0.000018995444,0.12683563,0.000018312605,0.00018430143,0.0154356705,0.8543784,0.00006881593],"about_ca_topic_score_codex":0.000083347164,"about_ca_topic_score_gemma":0.00083648233,"teacher_disagreement_score":0.5333688,"about_ca_system_score_codex":0.000005479593,"about_ca_system_score_gemma":0.00005105888,"threshold_uncertainty_score":0.36484128},"labels":[],"label_agreement":null},{"id":"W4388951205","doi":"10.1080/10486801.2023.2249395","title":"Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in <i>The Father</i>","year":2023,"lang":"en","type":"article","venue":"Contemporary Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Dramaturgy; Aesthetics; Personhood; Dementia; Sociology; Narrative; Art; Psychology; Literature; Philosophy; Epistemology; Disease","score_opus":0.05211905737133754,"score_gpt":0.28149635215131846,"score_spread":0.22937729477998092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388951205","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50043255,0.21231337,0.000021413754,0.024438892,0.0006843544,0.004412756,0.00038860005,0.00016076869,0.2571473],"genre_scores_gemma":[0.97820556,0.020277148,0.000009170625,0.00074532226,0.00015626014,0.00014999839,0.000020850479,0.000015300351,0.0004203858],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982178,0.00030131883,0.0005925844,0.00024860745,0.00037218697,0.00026749916],"domain_scores_gemma":[0.99882495,0.0002543694,0.00021258801,0.00057732593,0.00008795717,0.000042815933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011624167,0.00023008589,0.00068635494,0.000071328424,0.0002988807,0.000034508947,0.00056497235,0.00002914112,0.00019624013],"category_scores_gemma":[0.000015946183,0.00010481027,0.00017986228,0.00044780146,0.00033751884,0.00019267885,0.00010457996,0.00016453477,0.000019467077],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008034937,0.00068870146,0.03652038,0.010920093,0.0007636195,0.000042640597,0.76412725,0.000041430674,0.0001531639,0.04423191,0.09413388,0.047573417],"study_design_scores_gemma":[0.00047716254,0.00053802837,0.010509273,0.0026060431,0.00014189721,0.0000039155675,0.052349605,0.0000093575645,0.00005798532,0.00030705045,0.93270576,0.00029394074],"about_ca_topic_score_codex":0.0014970405,"about_ca_topic_score_gemma":0.002978837,"teacher_disagreement_score":0.83857185,"about_ca_system_score_codex":0.000012270015,"about_ca_system_score_gemma":0.000083805695,"threshold_uncertainty_score":0.4274039},"labels":[],"label_agreement":null},{"id":"W4389155474","doi":"10.55016/ojs/ajer.v66i1.68900","title":"Playing for Time Theatre Company: Perspectives From the Prison (2019) McKean, A., &amp; Massey-Chase, K. (Eds.)(Preface by S. Busby)","year":2020,"lang":"en","type":"article","venue":"Alberta Journal of Educational Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Ottawa","funders":"","keywords":"Prison; Management; Sociology; Art; Psychology; Criminology; Economics","score_opus":0.08952384660844649,"score_gpt":0.34785212309485547,"score_spread":0.258328276486409,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389155474","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5148742,0.026096243,0.000009402492,0.36375365,0.00059030956,0.00054223853,0.00034296222,0.000003986766,0.09378696],"genre_scores_gemma":[0.92596835,0.0009782612,0.00015755453,0.0006946759,0.005840864,0.000031322106,0.00010788296,0.000038469876,0.06618262],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845046,0.00013901276,0.000345879,0.00020070744,0.0005171367,0.00034678172],"domain_scores_gemma":[0.98914105,0.009663304,0.00016129589,0.00016736428,0.0007201211,0.00014684418],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00046976627,0.00015013182,0.00025286098,0.00007567201,0.0011630714,0.0002438367,0.0005155033,0.000036545087,0.01605083],"category_scores_gemma":[0.0009358087,0.000095073265,0.00015304083,0.00008972648,0.00034454121,0.00033466532,0.00007767357,0.00046656883,0.00064444344],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002840821,0.00016007698,0.002137075,0.000018875806,0.0002659278,1.1513298e-7,0.098514624,0.0000078116855,0.00062071404,0.0073984317,0.8899898,0.00060244836],"study_design_scores_gemma":[0.0003915555,0.00022223116,0.00081203383,0.000067164925,0.000044547134,0.0000038009573,0.018848028,0.0000500397,0.000069415095,0.0009856798,0.9783776,0.0001279133],"about_ca_topic_score_codex":0.0015057292,"about_ca_topic_score_gemma":0.0016025088,"teacher_disagreement_score":0.4110941,"about_ca_system_score_codex":0.00006756053,"about_ca_system_score_gemma":0.00033818212,"threshold_uncertainty_score":0.9848486},"labels":[],"label_agreement":null},{"id":"W4389488364","doi":"10.12745/et.26.2.5699","title":"Editorial","year":2023,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Visual arts; Media studies; Art; Performance art; Sociology; Art history; Political science","score_opus":0.013207758337505343,"score_gpt":0.23224266014333153,"score_spread":0.2190349018058262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389488364","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000035267407,0.00023469371,6.147717e-8,0.000097426986,0.8230271,0.000112164205,0.00084574975,0.00042504104,0.1752225],"genre_scores_gemma":[0.000082211416,0.0003289909,0.0000015893094,0.000009549076,0.91003525,0.000044960012,0.00030707594,0.00011412092,0.089076266],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99794,0.00003880404,0.00029296256,0.00037477896,0.0008635779,0.0004898655],"domain_scores_gemma":[0.9985346,0.00065143366,0.000115679795,0.00039861773,0.00023033228,0.000069287205],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023965408,0.00039434052,0.0004812779,0.000141342,0.0005632302,0.00037928714,0.00040655446,0.00046761535,0.0011394868],"category_scores_gemma":[0.000072086645,0.00030968187,0.00024425512,0.00004689676,0.00023488721,0.00019797815,0.00014525345,0.0009449859,0.0072310944],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004069297,0.000014907648,0.0000031977693,0.00005672314,0.00013605483,0.000004191239,0.012886376,2.425495e-7,2.406003e-7,0.0005067611,0.9845786,0.0017719959],"study_design_scores_gemma":[0.0002675481,0.00017935826,0.0000013706035,0.00010916167,0.000087887274,4.1357172e-8,0.0006507478,2.503324e-7,8.3354644e-7,0.00077425793,0.99755335,0.00037519776],"about_ca_topic_score_codex":0.0017790402,"about_ca_topic_score_gemma":0.0026114546,"teacher_disagreement_score":0.08700814,"about_ca_system_score_codex":0.000045968474,"about_ca_system_score_gemma":0.00013784629,"threshold_uncertainty_score":0.9999355},"labels":[],"label_agreement":null},{"id":"W4389488728","doi":"10.12745/et.26.2.5265","title":"An Edition of Jonson’s Entertainment at Britain’s Burse and a New Letter by Collier on Massinger in the Athenaeum (1857)","year":2023,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Entertainment; Scholarship; Performance art; Classics; History; Art; Art history; Literature; Media studies; Visual arts; Sociology; Political science; Law","score_opus":0.02123871792080768,"score_gpt":0.2299976673431849,"score_spread":0.20875894942237722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389488728","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98108584,0.00018224712,8.113527e-7,0.0065365373,0.00024366623,0.00017724991,0.00006763397,0.0000315734,0.011674462],"genre_scores_gemma":[0.9909717,0.00008881173,0.000003210023,0.0011677713,0.00078072876,0.000023324708,0.000028945571,0.000014042776,0.006921465],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925077,0.00004761526,0.000148559,0.00015658171,0.0001886813,0.00020778363],"domain_scores_gemma":[0.9996716,0.0000633473,0.00004065892,0.00017983002,0.000012406763,0.00003215748],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017778609,0.00012328886,0.00014109552,0.00007667363,0.00023986162,0.00008165682,0.000104348925,0.000029589,0.00032894078],"category_scores_gemma":[0.000001542141,0.00007882964,0.000042749005,0.0000446457,0.00013875992,0.00015250506,0.000029619414,0.00009384303,0.00008002331],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018697591,0.00016854345,0.012484525,0.000038375932,0.00006098429,0.000014585435,0.37295827,0.000007289958,0.00080328045,0.0028455372,0.5969505,0.013481158],"study_design_scores_gemma":[0.00095525314,0.00091310655,0.026788373,0.0001465212,0.000042480096,0.0000027355495,0.019262813,0.00004192638,0.00040932637,0.0014843822,0.9496873,0.0002657751],"about_ca_topic_score_codex":0.0008541822,"about_ca_topic_score_gemma":0.0016416343,"teacher_disagreement_score":0.35369545,"about_ca_system_score_codex":0.00002811913,"about_ca_system_score_gemma":0.0000087228755,"threshold_uncertainty_score":0.3601671},"labels":[],"label_agreement":null},{"id":"W4389766646","doi":"10.5965/1414573104492023e0202","title":"Teatro para e com bebés: (in)definições, contextualização histórica e características","year":2023,"lang":"pt","type":"article","venue":"Urdimento","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"European Regional Development Fund; Fundação para a Ciência e a Tecnologia; Universidade do Minho; International Council for Canadian Studies","keywords":"Humanities; Art","score_opus":0.06297366042112709,"score_gpt":0.2943058880721589,"score_spread":0.2313322276510318,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389766646","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4884914,0.03789743,0.00003291881,0.020277185,0.01110224,0.0035395508,0.0025436324,0.0016070236,0.43450865],"genre_scores_gemma":[0.83660716,0.0019000821,0.0000036285485,0.00080475427,0.000684924,0.00013356474,0.00018303719,0.00006120592,0.15962167],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99716467,0.000121406534,0.0007155302,0.000550533,0.0004149137,0.001032927],"domain_scores_gemma":[0.99879533,0.00027956654,0.00016749336,0.0005162745,0.00008203338,0.00015932586],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00037277094,0.0005059764,0.00074972864,0.000395238,0.0007248865,0.00026957144,0.00033261842,0.00013495395,0.002998627],"category_scores_gemma":[0.00002814444,0.00046205174,0.00025261263,0.00025554514,0.00032033355,0.00029852317,0.00026904044,0.00036166632,0.0068418453],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000337746,0.00064980634,0.02968563,0.0005190533,0.00088980916,0.00039860883,0.22381972,0.000036196074,0.00016642654,0.04370561,0.6871011,0.01269029],"study_design_scores_gemma":[0.001197627,0.0003580066,0.007795159,0.00026016508,0.00018428202,0.0000049612386,0.015992371,0.00045435224,0.000046062094,0.00036715652,0.9727236,0.0006162503],"about_ca_topic_score_codex":0.0009362099,"about_ca_topic_score_gemma":0.0018681191,"teacher_disagreement_score":0.34811574,"about_ca_system_score_codex":0.00019047994,"about_ca_system_score_gemma":0.000075099,"threshold_uncertainty_score":0.9997831},"labels":[],"label_agreement":null},{"id":"W4390230408","doi":"10.12795/ren.2023.i27.10","title":"PLAYING GAMES/THE GAME IN TOMSON HIGHWAY’S REZ CYCLE.","year":2023,"lang":"en","type":"article","venue":"Revista de Estudios Norteamericanos","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Canadiana.org","funders":"","keywords":"Storytelling; Solidarity; Sociology; Media studies; Narrative; Art; Political science; Literature; Law; Politics","score_opus":0.021777500569488777,"score_gpt":0.2486446647922904,"score_spread":0.22686716422280162,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390230408","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9673367,0.0011363301,0.0000064462974,0.0018841876,0.00035084735,0.00036356403,0.000024455854,0.00030909159,0.02858835],"genre_scores_gemma":[0.99409336,0.0016304075,0.00001069419,0.0005872729,0.00086348946,0.00015114984,0.000011088986,0.000039173454,0.0026133514],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983374,0.0000848721,0.00039897466,0.0003163991,0.00025693866,0.00060542545],"domain_scores_gemma":[0.9991425,0.00021300073,0.00013847061,0.00039117498,0.000050713053,0.00006414098],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040400328,0.00024974922,0.00043565768,0.00017079122,0.00051727,0.00017080554,0.00031384057,0.00003447669,0.00028587764],"category_scores_gemma":[0.000057301295,0.00017753062,0.00013815552,0.00036779814,0.00041339645,0.00015146355,0.00014128443,0.000314234,0.0006470399],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015971505,0.00032659035,0.44424108,0.00042614373,0.0005560873,0.0003176158,0.1887727,0.00038976097,0.00023195999,0.09442319,0.122827485,0.14732766],"study_design_scores_gemma":[0.000421645,0.00014625349,0.14220078,0.00019248003,0.00006906499,0.000011650462,0.011723145,0.0003475095,0.0000141165165,0.00022204203,0.84421504,0.00043624485],"about_ca_topic_score_codex":0.00075617176,"about_ca_topic_score_gemma":0.00074247184,"teacher_disagreement_score":0.72138757,"about_ca_system_score_codex":0.00010772624,"about_ca_system_score_gemma":0.000067437926,"threshold_uncertainty_score":0.8316605},"labels":[],"label_agreement":null},{"id":"W4390399421","doi":"10.3138/md-66-4-rev2","title":"Meredith Conti and Kevin J. Wetmore, Jr. eds. <i>Theatre and the Macabre</i>","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Macabre; Contemplation; Liveness; Art; Performance art; Art history; Visual arts; Aesthetics; Philosophy; Theology; Computer science","score_opus":0.015994535178150887,"score_gpt":0.21223483455956513,"score_spread":0.19624029938141424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390399421","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58042806,0.013946751,0.000017697203,0.014174445,0.000957258,0.00048926205,0.00012450937,0.00036295303,0.38949904],"genre_scores_gemma":[0.9763906,0.002390205,0.000005786299,0.0007009229,0.0008282976,0.00003165278,0.000008866683,0.000019038294,0.019624636],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992911,0.000031668354,0.00013608082,0.00017886896,0.00012574355,0.00023649957],"domain_scores_gemma":[0.99962085,0.000114808885,0.00003472602,0.00016128756,0.000029070257,0.000039246443],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019110588,0.00014585389,0.00021765078,0.000040823405,0.0006416635,0.0002074466,0.00009228189,0.000029544972,0.00015072602],"category_scores_gemma":[0.0000055025384,0.00008410251,0.00004496174,0.00003079819,0.000653088,0.00013431546,0.00011644484,0.0001157729,0.000088618],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00042072896,0.000050715655,0.0036701371,0.0002272902,0.00037437625,0.000026411017,0.22222476,0.000014634971,0.000052350937,0.1597195,0.22617614,0.38704297],"study_design_scores_gemma":[0.0017219435,0.00006538127,0.001004358,0.000044436347,0.00007539925,0.00000807197,0.0054166527,0.002811555,0.000030649382,0.020569649,0.96802324,0.00022868144],"about_ca_topic_score_codex":0.0002935825,"about_ca_topic_score_gemma":0.00082380755,"teacher_disagreement_score":0.7418471,"about_ca_system_score_codex":0.000004222873,"about_ca_system_score_gemma":0.000008676365,"threshold_uncertainty_score":0.49352217},"labels":[],"label_agreement":null},{"id":"W4390414610","doi":"10.3138/md-66-4-rev3","title":"Barry Day, ed. <i>Noël Coward on (and in) Theatre</i>","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Appeal; Performance art; Theatre director; Theatre studies; Political theatre; History; Art; Literature; Art history; Visual arts; Law; Political science; Drama","score_opus":0.024043104205233264,"score_gpt":0.2322439295501194,"score_spread":0.20820082534488615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390414610","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6786995,0.00055069645,0.000003234073,0.0025164518,0.00046377437,0.000119978824,0.000034434845,0.00017617787,0.31743574],"genre_scores_gemma":[0.9904373,0.0004910064,0.0000026045684,0.00053585245,0.00046913876,0.000021868345,0.000009600475,0.000018665043,0.0080139395],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992943,0.000021563894,0.00012678168,0.00018066846,0.000120558434,0.0002561625],"domain_scores_gemma":[0.9997057,0.00007212742,0.00001941518,0.00015315163,0.000014898802,0.000034731605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013102943,0.00012859558,0.00016123743,0.00009630668,0.00024818812,0.00009166362,0.00008508247,0.000030667434,0.0002220497],"category_scores_gemma":[0.000004111176,0.00009956408,0.000039591254,0.000035171404,0.00012376907,0.00011926484,0.00006616281,0.0001230454,0.0005909082],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003173642,0.00021485031,0.015305256,0.00021960367,0.00016719548,0.000108839784,0.34457245,0.0005414129,0.000215024,0.08041049,0.20414399,0.35378352],"study_design_scores_gemma":[0.0007250009,0.00017239666,0.0041210195,0.000105345745,0.000019013996,0.0000019805766,0.0045994283,0.0024557842,0.00012508912,0.020771863,0.9665495,0.0003535757],"about_ca_topic_score_codex":0.00017092479,"about_ca_topic_score_gemma":0.0013345175,"teacher_disagreement_score":0.7624055,"about_ca_system_score_codex":0.000012546978,"about_ca_system_score_gemma":0.0000097366465,"threshold_uncertainty_score":0.7595127},"labels":[],"label_agreement":null},{"id":"W4390414853","doi":"10.3138/md-66-4-1267","title":"Shepard’s Political Economy: <i>Curse of the Starving Class</i> in Neoliberal Capitalism","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Capitalism; Neoliberalism (international relations); Narrative; Curse; Politics; Sociology; Political economy; Neoclassical economics; Political science; Art; Literature; Law; Economics; Anthropology","score_opus":0.022160257010978773,"score_gpt":0.22818286030899676,"score_spread":0.206022603298018,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390414853","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7449733,0.000081238686,0.0000010020462,0.0033031863,0.00033343438,0.00008660284,0.00003666876,0.000047352605,0.25113723],"genre_scores_gemma":[0.9917307,0.0000072744087,0.0000026441987,0.00087661657,0.00033575593,0.00001422434,0.000004875312,0.000014292351,0.0070136455],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992104,0.000027400245,0.00020002013,0.00012750246,0.00008782428,0.00034684272],"domain_scores_gemma":[0.99965125,0.000049992665,0.000035008496,0.00020190848,0.000029557345,0.000032262436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009805504,0.00010442278,0.00017416634,0.000066826484,0.00014668686,0.000051954892,0.0001685541,0.00003321981,0.00018272568],"category_scores_gemma":[0.0000060496927,0.00007278485,0.00008571255,0.000039952247,0.00025529927,0.00015152479,0.00012289097,0.00013261846,0.00007110546],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015925887,0.00003669387,0.0038141832,0.000053887936,0.00003389182,0.000004650331,0.10185258,0.00010041523,0.000025307292,0.8845879,0.0081513245,0.0013232314],"study_design_scores_gemma":[0.0010760449,0.00010175089,0.0101649845,0.00014576089,0.00004852768,0.0000035544017,0.018613268,0.0116045205,0.000489721,0.5734532,0.3837972,0.0005014961],"about_ca_topic_score_codex":0.0007937139,"about_ca_topic_score_gemma":0.0037426807,"teacher_disagreement_score":0.37564588,"about_ca_system_score_codex":0.000033714336,"about_ca_system_score_gemma":0.000037827795,"threshold_uncertainty_score":0.296808},"labels":[],"label_agreement":null},{"id":"W4390415121","doi":"10.3138/md-66-4-1284","title":"The Dialectical Image of White Masochism and the Fugitive Spectator: On Claudia Rankine’s <i>The White Card</i>","year":2023,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dialectic; Foregrounding; Degree Rankine; White (mutation); Agency (philosophy); Politics; Aesthetics; Power (physics); Sociology; Art; Political science; Epistemology; Law; Literature; Philosophy; Social science; Engineering","score_opus":0.012720708422020352,"score_gpt":0.22050394520215452,"score_spread":0.20778323678013416,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390415121","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4959519,0.0017598106,0.000052485695,0.055563442,0.0016064936,0.00082964246,0.0001742971,0.00018727595,0.44387466],"genre_scores_gemma":[0.97888076,0.00036200386,0.0000025045697,0.0004377271,0.00078489294,0.000044907163,0.000004198975,0.000019941544,0.019463075],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901956,0.00010931206,0.00019136483,0.00016610412,0.00023208243,0.000281588],"domain_scores_gemma":[0.9990801,0.000472505,0.00006605606,0.0002852061,0.00007035633,0.000025744765],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00037151438,0.00015794026,0.00021907297,0.000032405074,0.0017757727,0.00018565485,0.00019573436,0.000027137481,0.00009267061],"category_scores_gemma":[0.000034839817,0.00006760974,0.00012231305,0.000056795783,0.0015221888,0.0000844111,0.00015113586,0.00022575486,0.00010236657],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008217304,0.00003900538,0.0009050637,0.00004520334,0.000338263,0.0000087471535,0.6106796,0.00003930675,0.00004911291,0.31041098,0.065616496,0.011046451],"study_design_scores_gemma":[0.0038502805,0.00035644972,0.0122351665,0.000114474526,0.00034332782,0.000007869065,0.048989397,0.0041345544,0.00024350845,0.09161375,0.8375209,0.00059032603],"about_ca_topic_score_codex":0.00016534264,"about_ca_topic_score_gemma":0.0032506695,"teacher_disagreement_score":0.7719044,"about_ca_system_score_codex":0.000014719149,"about_ca_system_score_gemma":0.00002177515,"threshold_uncertainty_score":0.99952376},"labels":[],"label_agreement":null},{"id":"W4390890967","doi":"10.4000/clio.22716","title":"Danser dans la cour d’école à l’ère post-numérique","year":2022,"lang":"fr","type":"article","venue":"Clio","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Hôpital de l'Enfant-Jésus","funders":"European Commission","keywords":"Humanities; Art","score_opus":0.012461749358668625,"score_gpt":0.22377506720754478,"score_spread":0.21131331784887616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390890967","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2684956,0.009023517,0.000004516444,0.009731679,0.0033803987,0.0001926612,0.0010296593,0.00007604605,0.7080659],"genre_scores_gemma":[0.4956444,0.00076136005,0.00000670874,0.0013970011,0.0013867794,0.00007478096,0.000043870037,0.00003314684,0.50065196],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987179,0.0001633262,0.00025006616,0.00024569297,0.00021425668,0.0004087359],"domain_scores_gemma":[0.99938595,0.00011520215,0.00007931193,0.0002698295,0.00007935827,0.00007032886],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027487957,0.00022049157,0.0002492841,0.00007960197,0.0021185225,0.00013987291,0.00024820192,0.000056559,0.011174242],"category_scores_gemma":[0.000007948318,0.00021721452,0.00016719334,0.000070840164,0.00048512217,0.0002015734,0.00026663838,0.00046678266,0.00044205587],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095181735,0.00036711124,0.003328425,0.00015633795,0.0001853581,0.00015439051,0.20599113,0.00021379598,0.0000769924,0.651377,0.13382812,0.0042261356],"study_design_scores_gemma":[0.00029440538,0.00046415522,0.0013348262,0.000035032517,0.000038801354,0.000049943603,0.114228174,0.00006670249,0.000031645162,0.0009786354,0.8822168,0.0002608432],"about_ca_topic_score_codex":0.001859854,"about_ca_topic_score_gemma":0.0043732272,"teacher_disagreement_score":0.7483887,"about_ca_system_score_codex":0.00010360683,"about_ca_system_score_gemma":0.00010574823,"threshold_uncertainty_score":0.99918056},"labels":[],"label_agreement":null},{"id":"W4390902272","doi":"10.3138/tric-2023-0013","title":"<i>The Waltz</i>: Theatre of The Real, Grief, and Immigrant Narrative","year":2023,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Waltz; Narrative; Immigration; Ethnic group; Perspective (graphical); Identity (music); Sociology; Grief; Feeling; Gender studies; Aesthetics; History; Visual arts; Art; Literature; Psychology; Anthropology; Social psychology","score_opus":0.05444436866175055,"score_gpt":0.2962496240363285,"score_spread":0.24180525537457792,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390902272","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69963413,0.0014749868,1.1723508e-8,0.013756101,0.00044036383,0.00037849913,0.00010368154,0.000018438615,0.28419378],"genre_scores_gemma":[0.99447626,0.0036877934,4.084977e-7,0.000050892206,0.00021249408,0.000043979704,0.000002756574,0.0000137242705,0.0015117021],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99817735,0.00026959975,0.00023278243,0.00016752818,0.00059847377,0.00055428076],"domain_scores_gemma":[0.9986256,0.0008444354,0.000038589584,0.00034582027,0.00008752748,0.00005806417],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0010570808,0.00011849931,0.00018436142,0.00008502699,0.0013975132,0.000058849677,0.0003620794,0.000020252295,0.00006453249],"category_scores_gemma":[0.0000067727724,0.000057890382,0.00003942511,0.000307529,0.00085680577,0.0000707585,0.00021469216,0.00035952986,0.00000659573],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005153127,0.000058107147,0.036023654,0.00043221444,0.00028612322,0.000074242984,0.29443246,0.00007234939,0.00025486373,0.04361609,0.28038648,0.34384808],"study_design_scores_gemma":[0.00030592183,0.00011241773,0.0033595746,0.0001596613,0.0000073055767,0.0000021867365,0.25857216,0.00009734457,0.00024556537,0.0065637967,0.7304336,0.00014047445],"about_ca_topic_score_codex":0.9698863,"about_ca_topic_score_gemma":0.99839777,"teacher_disagreement_score":0.4500471,"about_ca_system_score_codex":0.0001518687,"about_ca_system_score_gemma":0.00087755,"threshold_uncertainty_score":0.99990255},"labels":[],"label_agreement":null},{"id":"W4390902311","doi":"10.3138/tric-2022-0009","title":"Closely Reading Community Audiences: <i>A Simple Twist of Faith</i> and Site-Specific Community Plays","year":2023,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Dramaturgy; Reading (process); Ethnography; Faith; Identity (music); Sociology; Simple (philosophy); Media studies; Audience reception; Aesthetics; Art; Epistemology; Political science; Anthropology; Law; Philosophy","score_opus":0.18364742904243778,"score_gpt":0.3277724731801882,"score_spread":0.14412504413775043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390902311","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76416135,0.00030156653,6.295152e-8,0.00039113426,0.00008271587,0.00013777112,0.00024978694,0.000020188087,0.23465541],"genre_scores_gemma":[0.99844587,0.0010574567,0.0000035628805,0.000047772846,0.00010801446,0.000016307229,0.000042618893,0.000015358768,0.00026304382],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99759567,0.0009106589,0.0002876281,0.00012421045,0.0004879332,0.0005938887],"domain_scores_gemma":[0.9973012,0.001992345,0.00004562147,0.0004563645,0.00010591958,0.00009850568],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0026638953,0.0001390563,0.00030092394,0.00024321045,0.0017056159,0.00006789125,0.00041599863,0.000027704826,0.00019405494],"category_scores_gemma":[0.000013480215,0.000116383424,0.00002776905,0.00032500306,0.0008097598,0.00012703206,0.00040499496,0.0011637332,0.000025530082],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004364941,0.00029721032,0.14871323,0.0018365514,0.00015917586,0.00012109443,0.43007904,0.00015826582,0.0009863458,0.019985713,0.28014523,0.11708164],"study_design_scores_gemma":[0.0005282498,0.0003079961,0.007665879,0.00029032657,0.000007091936,0.0000036181964,0.3359153,0.000119423494,0.00042998817,0.0085962955,0.6458354,0.0003004321],"about_ca_topic_score_codex":0.98367125,"about_ca_topic_score_gemma":0.9981288,"teacher_disagreement_score":0.36569017,"about_ca_system_score_codex":0.0002693305,"about_ca_system_score_gemma":0.0004104949,"threshold_uncertainty_score":0.99959403},"labels":[],"label_agreement":null},{"id":"W4391018430","doi":"10.17742/image29680","title":"Soft Transmissions: 7a*11d Festival of Performance Art","year":2023,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.05897783945273301,"score_gpt":0.3814257782838709,"score_spread":0.3224479388311379,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391018430","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7670093,0.007621602,0.000058557474,0.009607947,0.0022426525,0.00024614952,0.00013762142,0.000144468,0.21293171],"genre_scores_gemma":[0.9776336,0.003964969,0.00033778607,0.0000592302,0.0006634276,0.000010491737,0.000008487065,0.00001695722,0.017305057],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984195,0.000033330423,0.0007096105,0.0001329163,0.00040373765,0.0003008578],"domain_scores_gemma":[0.99163437,0.00017668027,0.00037346996,0.00012402455,0.0076339594,0.000057491907],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00039162976,0.00022359559,0.00047264493,0.0002675287,0.0010084376,0.0005161167,0.0002495265,0.00002363704,0.0002447415],"category_scores_gemma":[0.00041012673,0.00014135335,0.0002476396,0.0002161963,0.004378366,0.006832815,0.000073348834,0.000247737,0.00012934409],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00051339285,0.00059361017,0.018614046,0.0016837184,0.0033339888,0.0001432045,0.3160587,0.00051247526,0.012906442,0.106602125,0.4382217,0.1008166],"study_design_scores_gemma":[0.0015285806,0.000468294,0.015417921,0.0005795284,0.00025278685,0.00010123346,0.030150682,0.000121008125,0.0041384893,0.0062541873,0.9405524,0.0004348814],"about_ca_topic_score_codex":0.000004703577,"about_ca_topic_score_gemma":0.000017821376,"teacher_disagreement_score":0.5023307,"about_ca_system_score_codex":0.00004077508,"about_ca_system_score_gemma":0.00005312681,"threshold_uncertainty_score":0.9983311},"labels":[],"label_agreement":null},{"id":"W4391312749","doi":"10.33137/rr.v41i4.32459","title":"Knutson, Roslyn L., David McInnis, and Matthew Steggle, eds. The Lost Plays Database","year":2019,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Database; Art; Library science; Computer science","score_opus":0.016222422370554587,"score_gpt":0.2192588447615375,"score_spread":0.2030364223909829,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391312749","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82814014,0.013852897,0.000012417313,0.003174425,0.0006081584,0.00047588308,0.00013599,0.00006811678,0.15353195],"genre_scores_gemma":[0.98970115,0.00494867,0.000012799411,0.0004209076,0.00036223172,0.000010170658,0.000056198132,0.000009952993,0.0044779205],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936694,0.000019251187,0.00018352199,0.00013017765,0.00012384263,0.00017625514],"domain_scores_gemma":[0.9996097,0.000028424149,0.000089850095,0.00020699421,0.00003376822,0.000031257994],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017872223,0.00013021943,0.00014466284,0.000043435313,0.00052051607,0.00014510217,0.00007997653,0.000029507384,0.00024086023],"category_scores_gemma":[0.0000028667719,0.00006811435,0.000023050978,0.000030188796,0.00018586213,0.00083991565,0.000069147936,0.00011572174,0.00025511617],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00051013683,0.00018254596,0.021729477,0.0028759886,0.0003707992,0.0000064209466,0.25228435,0.000039682043,0.0017191907,0.36226752,0.22962782,0.12838608],"study_design_scores_gemma":[0.00045192707,0.00010622988,0.004190098,0.00018222122,0.000027357737,0.00001437862,0.005246181,0.0002840758,0.00035771544,0.00046731444,0.9884728,0.00019969713],"about_ca_topic_score_codex":0.00012840495,"about_ca_topic_score_gemma":0.00025866757,"teacher_disagreement_score":0.758845,"about_ca_system_score_codex":0.000009817462,"about_ca_system_score_gemma":0.000008856154,"threshold_uncertainty_score":0.40034413},"labels":[],"label_agreement":null},{"id":"W4391373942","doi":"10.26812/pajls.v15i.1391","title":"Performance as text: the legacy of post-1960s Japanese theatre","year":2015,"lang":"en","type":"article","venue":"Proceedings of the Association for Japanese Literary Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"History; Visual arts; Art","score_opus":0.02810942653846008,"score_gpt":0.2534713753721115,"score_spread":0.22536194883365143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391373942","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8884573,0.0035891815,3.4745997e-9,0.0044844234,0.00071308546,0.000526403,0.00007342581,0.00004256237,0.102113605],"genre_scores_gemma":[0.9682699,0.00023516436,0.000007264639,0.00035227166,0.0006562726,0.00010366694,0.000005476477,0.000021743412,0.03034824],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984879,0.00001742282,0.00050269725,0.00019339261,0.00049278565,0.00030579162],"domain_scores_gemma":[0.9966733,0.00032245624,0.0007082414,0.00014929785,0.002112331,0.000034405406],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085386104,0.00023846018,0.00046084533,0.00008344817,0.0007024916,0.00011485546,0.00048062086,0.000054002932,0.000014803599],"category_scores_gemma":[0.00042987164,0.00012386836,0.00024565388,0.00015162148,0.00033140692,0.0010509989,0.00023238242,0.00014666807,0.000015051285],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000295857,0.000103067236,0.03011318,0.0005602662,0.0008357782,4.7806395e-8,0.93197644,0.0000031309464,0.00019149181,0.007922557,0.026117705,0.0018804575],"study_design_scores_gemma":[0.0023469173,0.0015927262,0.011192468,0.00067660765,0.00076256465,0.000008899503,0.60539466,0.00010284608,0.003174191,0.017670266,0.35637584,0.000701981],"about_ca_topic_score_codex":0.000102104845,"about_ca_topic_score_gemma":0.00005168888,"teacher_disagreement_score":0.33025813,"about_ca_system_score_codex":0.00009807886,"about_ca_system_score_gemma":0.00003885223,"threshold_uncertainty_score":0.54030687},"labels":[],"label_agreement":null},{"id":"W4391383623","doi":"10.3138/ctr.195.018","title":"A Negotiation of Collaborative Play: <i>asses.masses</i>","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scholarship; Visual arts; Performance art; Theatre studies; Aesthetics; Art; Sociology; Media studies; Art history; Political science; Drama; Law","score_opus":0.01900507061256753,"score_gpt":0.24630778869875863,"score_spread":0.2273027180861911,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391383623","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034407544,0.5293363,0.0000017163726,0.004155902,0.0006380758,0.00033496227,0.00041569877,0.00004631537,0.46472698],"genre_scores_gemma":[0.67472523,0.31315616,0.000038740152,0.004094938,0.0012973942,0.000103939696,0.00013552986,0.000053606564,0.006394478],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992766,0.000040804938,0.00023882919,0.00014477647,0.00009712341,0.00020186088],"domain_scores_gemma":[0.99953216,0.000059990187,0.000040634623,0.00015916787,0.00010254869,0.000105468454],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016319253,0.00013343892,0.00029377107,0.0001138194,0.00015919314,0.000069882524,0.0000968301,0.000024682873,0.0023619116],"category_scores_gemma":[0.000008705873,0.000100048,0.00009707567,0.00017462189,0.00010298737,0.00020062084,0.000009222216,0.000090950605,0.00026568162],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000035739142,0.000013041207,0.00013971634,0.0077700987,0.00026514314,0.000030078403,0.018281255,0.000001565426,0.000007955839,0.2399867,0.5030962,0.23040466],"study_design_scores_gemma":[0.000033367538,0.000040427403,0.000010944127,0.0034841895,0.00011132501,0.0000033669708,0.00068196084,0.0000075807216,0.0000150641945,0.0003815874,0.9951154,0.000114760434],"about_ca_topic_score_codex":0.015386704,"about_ca_topic_score_gemma":0.3184187,"teacher_disagreement_score":0.67438114,"about_ca_system_score_codex":0.00007655242,"about_ca_system_score_gemma":0.000538879,"threshold_uncertainty_score":0.99855006},"labels":[],"label_agreement":null},{"id":"W4391454615","doi":"","title":"Schizzing the ethico-aesthetic paradigm: emergent collectivity and care for the event","year":2019,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Event (particle physics); Aesthetics; Psychology; Art; Physics","score_opus":0.028219665346413556,"score_gpt":0.2507834532341281,"score_spread":0.22256378788771453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391454615","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.818168,0.014017326,0.000080219776,0.024827505,0.0019443193,0.0020287102,0.00003806986,0.00011188655,0.13878395],"genre_scores_gemma":[0.99051124,0.00040174308,0.000004779041,0.00039130132,0.00019167662,0.000075621894,0.0000011418118,0.000007589749,0.008414913],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995625,0.000021317415,0.00008596893,0.0001034854,0.000081284954,0.00014543213],"domain_scores_gemma":[0.9996252,0.00014433423,0.000026168715,0.00015400791,0.000036898822,0.000013377202],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016566063,0.00008573089,0.000097342374,0.000013411169,0.0012493071,0.00008463464,0.00008657098,0.000015893966,0.00035113678],"category_scores_gemma":[0.0000037217874,0.00003644374,0.000060961374,0.000015369766,0.00012418367,0.000055477914,0.000041263538,0.00009328065,0.000030975756],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008709978,0.000032668955,0.0031492945,0.00013947027,0.0001364996,1.8588743e-7,0.35411677,0.00007430965,0.000009671767,0.58427894,0.024361163,0.03361396],"study_design_scores_gemma":[0.00023075868,0.0001301308,0.000826103,0.000015418664,0.000039072136,0.0000014457142,0.04946826,0.0004092477,0.00003172859,0.0013912364,0.94736296,0.000093608905],"about_ca_topic_score_codex":0.00032389388,"about_ca_topic_score_gemma":0.005789402,"teacher_disagreement_score":0.9230018,"about_ca_system_score_codex":0.000010708764,"about_ca_system_score_gemma":0.000017235147,"threshold_uncertainty_score":0.9608786},"labels":[],"label_agreement":null},{"id":"W4391866833","doi":"10.3138/tric.24.1.208","title":"Kathleen Gallagher and David Booth, eds. <i>How Theatre Educates: Convergences &amp; Counterpoints</i>","year":2003,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology; Art; Law and economics","score_opus":0.07087177776652868,"score_gpt":0.2941747649663175,"score_spread":0.2233029871997888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391866833","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18375787,0.0085199,3.1467042e-7,0.0065194503,0.0011703453,0.0004382832,0.0001056622,0.000029908877,0.79945827],"genre_scores_gemma":[0.9893305,0.003075809,0.000013850234,0.00038433078,0.0004299218,0.00006162312,0.000011519188,0.000031178497,0.0066612787],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974806,0.00029583377,0.00025066992,0.0003836122,0.00069200055,0.00089731853],"domain_scores_gemma":[0.998879,0.00038953725,0.000041273095,0.00037486435,0.00011933485,0.00019594928],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00094787625,0.00025021247,0.0003344048,0.00018146432,0.00060920045,0.00021765656,0.00029362037,0.000043907956,0.003474418],"category_scores_gemma":[0.00000869983,0.00019068104,0.000042893404,0.00015230187,0.00059561594,0.0002654115,0.000085070285,0.0004666394,0.00008730652],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024823053,0.00024893344,0.11495732,0.0007468673,0.00037560653,0.00014506046,0.050608724,0.000012007442,0.00014586528,0.01999204,0.65767,0.15484935],"study_design_scores_gemma":[0.000280956,0.00006120012,0.0001514264,0.000114292445,0.000008815504,0.000010188151,0.02258044,0.0000067115566,0.00009369845,0.0022386292,0.97421426,0.00023938023],"about_ca_topic_score_codex":0.869786,"about_ca_topic_score_gemma":0.9924919,"teacher_disagreement_score":0.8055726,"about_ca_system_score_codex":0.00036365533,"about_ca_system_score_gemma":0.0017363011,"threshold_uncertainty_score":0.9974365},"labels":[],"label_agreement":null},{"id":"W4391866902","doi":"10.3138/tric.24.1.218","title":"Morrow, Martin. <i>Wild Theatre: The History of One Yellow Rabbit</i>","year":2003,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rabbit (cipher); Art; Computer science; Computer security","score_opus":0.08953665098700622,"score_gpt":0.2631629953890434,"score_spread":0.1736263444020372,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391866902","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03489258,0.0091306055,3.1185868e-7,0.00212653,0.00091303035,0.00031413508,0.00003454011,0.000013890848,0.9525744],"genre_scores_gemma":[0.98735934,0.0006100121,0.0000075276785,0.00026145656,0.0002729907,0.00004952552,0.000002393836,0.00002532006,0.011411438],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974828,0.00043024024,0.00034582484,0.00022584923,0.0008128973,0.0007024162],"domain_scores_gemma":[0.9987357,0.0004798768,0.00005997321,0.0005214171,0.0001101124,0.00009288029],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013925056,0.00016645789,0.00029922367,0.00014363401,0.0002995567,0.000024335073,0.00039775803,0.000030693143,0.0026459114],"category_scores_gemma":[0.00001001865,0.000111890375,0.000066471854,0.00014337251,0.00077103823,0.00011184795,0.00007464809,0.0005427463,0.000040065544],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020559691,0.00022536708,0.008711089,0.00031090094,0.00017868356,0.000055678374,0.026028596,0.00006835364,0.00023838895,0.035777118,0.85964406,0.06855617],"study_design_scores_gemma":[0.0003032078,0.00007825637,0.00006877809,0.00008459186,0.000010495931,0.0000024696778,0.0116911,0.000023830944,0.0003229686,0.0019176458,0.9853584,0.0001382527],"about_ca_topic_score_codex":0.910671,"about_ca_topic_score_gemma":0.98913604,"teacher_disagreement_score":0.9524667,"about_ca_system_score_codex":0.0012399062,"about_ca_system_score_gemma":0.002855465,"threshold_uncertainty_score":0.9982658},"labels":[],"label_agreement":null},{"id":"W4391873225","doi":"10.3998/par.5041","title":"“The Lucky Fxxxers”: The Fringe Touring Performer as Embodied Theatre Archivist","year":2024,"lang":"en","type":"article","venue":"Performing Arts Resources","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Archivist; Embodied cognition; Performing arts; Art; Visual arts; History; Archaeology; Computer science; Artificial intelligence","score_opus":0.01863121541669528,"score_gpt":0.23664233993714687,"score_spread":0.2180111245204516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391873225","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.471899,0.0050006006,0.000001043416,0.003156871,0.001042707,0.00017224204,0.000009444438,0.00019280327,0.5185253],"genre_scores_gemma":[0.9306398,0.0009010031,0.0000071991035,0.0002777227,0.0037676662,0.00007794788,0.0000045869565,0.00005055957,0.064273484],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99813765,0.000046899415,0.00035955594,0.00035522814,0.00041509428,0.00068558374],"domain_scores_gemma":[0.99885,0.00051288825,0.00006435688,0.00044684717,0.000044821165,0.000081099526],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00064717355,0.0003328714,0.00023430378,0.00011555908,0.0057994374,0.0015857646,0.0005042898,0.000032164386,0.0007069786],"category_scores_gemma":[0.000025198833,0.00016210844,0.00023580066,0.00007426085,0.00079999235,0.00035138885,0.00020482033,0.0005377229,0.0009898351],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011264073,0.00003743536,0.00087557395,0.00028505662,0.00042032948,0.000029762345,0.47635022,0.000057573703,0.000037700825,0.05769091,0.031078132,0.43302467],"study_design_scores_gemma":[0.00009209339,0.00010579359,0.00020078699,0.00023699847,0.00007476739,0.000030783638,0.026897848,0.0014525355,0.00011831934,0.0012218647,0.96930176,0.00026644822],"about_ca_topic_score_codex":0.00042673235,"about_ca_topic_score_gemma":0.0011901453,"teacher_disagreement_score":0.9382236,"about_ca_system_score_codex":0.000044646706,"about_ca_system_score_gemma":0.000042230764,"threshold_uncertainty_score":0.999788},"labels":[],"label_agreement":null},{"id":"W4391946145","doi":"10.1386/aps_00079_1","title":"Class matters: Dialogue and dialogics in the work of Condé and Beveridge","year":2022,"lang":"en","type":"article","venue":"Art & the Public Sphere","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Ideology; Sociology; Citizen journalism; Capitalism; Working class; Narrative; Neoliberalism (international relations); Liberalism; Contemporary art; Aesthetics; Gender studies; Political science; Political economy; Art; Art history; Law; Politics; Performance art; Literature","score_opus":0.02933584107380353,"score_gpt":0.2024506159615533,"score_spread":0.1731147748877498,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391946145","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8977875,0.0018289232,6.8588696e-7,0.043485433,0.000318061,0.0002097958,0.00006498307,0.000016911332,0.05628769],"genre_scores_gemma":[0.99407595,0.00014282517,0.0000022389618,0.0038539155,0.00014177755,0.000050669794,0.0000104555,0.000005947721,0.0017162433],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994293,0.000092430404,0.00012278985,0.000092706934,0.000112078655,0.00015072394],"domain_scores_gemma":[0.999605,0.00017015895,0.00004675039,0.00014925557,0.000015049505,0.000013780734],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00033511658,0.00007856044,0.00011964289,0.000019172345,0.00051629584,0.00009682551,0.00016855492,0.000010573893,0.0010522665],"category_scores_gemma":[0.0000079384145,0.00004238928,0.00002498066,0.00006141687,0.00034594987,0.00012068096,0.00018210751,0.00014203087,0.000011625428],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006298299,0.00012362549,0.043912146,0.00004422627,0.00010239936,0.0000069683565,0.2942446,0.0000074154036,0.000007618332,0.23851739,0.40906462,0.013905996],"study_design_scores_gemma":[0.00018155042,0.00006239302,0.0072577535,0.0000046271693,0.000011310163,0.0000049728474,0.0415723,0.000005790928,9.4553826e-7,0.0016292105,0.9492062,0.000063001535],"about_ca_topic_score_codex":0.00020955686,"about_ca_topic_score_gemma":0.004815017,"teacher_disagreement_score":0.5401415,"about_ca_system_score_codex":0.0000074322543,"about_ca_system_score_gemma":0.000013697317,"threshold_uncertainty_score":0.9998609},"labels":[],"label_agreement":null},{"id":"W4392008609","doi":"10.5406/27697738.3.06","title":"The Self We Save: Interview with Theresa Carilli, May 2021","year":2023,"lang":"en","type":"article","venue":"Diasporic Italy Journal of the Italian American Studies Association","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology; Psychoanalysis; Art","score_opus":0.02501042081781036,"score_gpt":0.2601917305989423,"score_spread":0.23518130978113194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392008609","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75842166,0.04984482,0.000003696346,0.14534967,0.009306491,0.0006706089,0.00010211679,0.00015300102,0.03614791],"genre_scores_gemma":[0.94953346,0.031385344,0.000009705922,0.0003400377,0.0014641898,0.000014324159,0.0000016608705,0.000026230102,0.017225036],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982354,0.0002001816,0.00048056222,0.00012171115,0.0005947185,0.00036741773],"domain_scores_gemma":[0.9973427,0.00056310784,0.0012922961,0.00021369202,0.00054942584,0.00003878044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011169197,0.00020653955,0.0004635649,0.00008435076,0.001073962,0.00012737216,0.00037524992,0.000020102616,0.000031735017],"category_scores_gemma":[0.00015574391,0.00009236245,0.00028361272,0.00041270643,0.00035224942,0.00022354358,0.00012861614,0.00025945719,0.00007231391],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009659034,0.000093004135,0.02526294,0.00007025496,0.0071193394,0.000024178506,0.25815183,0.000054436478,0.000004475237,0.00338062,0.53685576,0.1688866],"study_design_scores_gemma":[0.00030285958,0.0003624835,0.029128281,0.00018047616,0.00036889417,0.0000072838884,0.32371384,0.00000644584,0.000013376068,0.00048608327,0.6452277,0.00020229348],"about_ca_topic_score_codex":0.00006686105,"about_ca_topic_score_gemma":0.0011055631,"teacher_disagreement_score":0.19111179,"about_ca_system_score_codex":0.00036789972,"about_ca_system_score_gemma":0.00006493072,"threshold_uncertainty_score":0.8260156},"labels":[],"label_agreement":null},{"id":"W4392263397","doi":"10.1353/tt.2024.a920469","title":"Critical Conversations: Emerging BIPOC Critics Reimagine Theatre Criticism through the Digital","year":2024,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Theatre criticism; Art; Sociology; Aesthetics; Literature; Literary criticism; Literary science","score_opus":0.029469409537599914,"score_gpt":0.28506159440900725,"score_spread":0.25559218487140734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392263397","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025486914,0.012004248,0.00031943579,0.09720907,0.004056508,0.0002372502,0.00035603793,0.0005385426,0.8827302],"genre_scores_gemma":[0.9750165,0.00049274537,0.00007987287,0.0017358258,0.005350961,0.000031002546,0.000030187975,0.000044936187,0.017217994],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987264,0.0000371224,0.00030409018,0.0002657853,0.00025415467,0.00041243614],"domain_scores_gemma":[0.9990382,0.0004386295,0.000015265774,0.00035419222,0.0001059784,0.000047707563],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011516095,0.00024413956,0.00021803477,0.00006373959,0.0008027681,0.000926919,0.00024141856,0.000046854082,0.0018942272],"category_scores_gemma":[0.000032431686,0.00015438792,0.00016900676,0.000081486316,0.0008178987,0.00080395234,0.0000979278,0.00034398976,0.000473934],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008556013,0.00004166077,0.000030432246,0.00020610396,0.00010073997,0.000037687783,0.060447775,0.0000035557496,0.0000046703003,0.8451082,0.04154457,0.052466013],"study_design_scores_gemma":[0.00009079827,0.00005973855,0.000004569691,0.00012400262,0.00010576807,0.000024447141,0.01934951,0.0003728821,0.000048945367,0.07622713,0.90338546,0.00020677266],"about_ca_topic_score_codex":0.00011326629,"about_ca_topic_score_gemma":0.00011712653,"teacher_disagreement_score":0.9724678,"about_ca_system_score_codex":0.000034807006,"about_ca_system_score_gemma":0.00004897722,"threshold_uncertainty_score":0.9990182},"labels":[],"label_agreement":null},{"id":"W4392263466","doi":"10.1353/tt.2024.a920468","title":"A Note from the Editor","year":2024,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology; Mathematics education","score_opus":0.01858377487729062,"score_gpt":0.2368276932758384,"score_spread":0.2182439183985478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392263466","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029708205,0.010715782,0.000036201596,0.03993006,0.03893924,0.00020547886,0.00036316295,0.0005208036,0.8795811],"genre_scores_gemma":[0.7435572,0.00038659724,0.000040959283,0.0016011079,0.2076112,0.000021931857,0.000028571723,0.000027668326,0.046724763],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99958134,0.000013610883,0.00008497083,0.00010197362,0.00009246395,0.00012565208],"domain_scores_gemma":[0.99968415,0.000111630354,0.000008040227,0.00016683768,0.0000137864245,0.000015530873],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005468913,0.000084767315,0.000079445526,0.000013132299,0.0002591993,0.00017774246,0.0001248832,0.00002023747,0.0019422179],"category_scores_gemma":[0.000002052095,0.00004389958,0.00006279192,0.000017955545,0.000112315895,0.00009446471,0.000038085414,0.0001242769,0.0007253999],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008147261,0.000009783592,0.00005996649,0.000018533372,0.00006721708,0.000005061646,0.105905384,8.998742e-7,0.00001080442,0.07596426,0.66248006,0.15546992],"study_design_scores_gemma":[0.000036785823,0.000020249356,0.000037915343,0.000034232373,0.00003160704,4.3031656e-7,0.0020009018,0.00006488982,0.00003348786,0.0077814586,0.98988956,0.00006849983],"about_ca_topic_score_codex":0.0005436627,"about_ca_topic_score_gemma":0.0014906771,"teacher_disagreement_score":0.8328563,"about_ca_system_score_codex":0.000010975301,"about_ca_system_score_gemma":0.00001757658,"threshold_uncertainty_score":0.99897015},"labels":[],"label_agreement":null},{"id":"W4392608416","doi":"10.33137/ijournal.v9i1.42240","title":"Building an Audience","year":2023,"lang":"en","type":"article","venue":"The iJournal Student Journal of the Faculty of Information","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Computer science","score_opus":0.039914506633668384,"score_gpt":0.30864314817526095,"score_spread":0.2687286415415926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392608416","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9921697,0.000059218888,0.000072424744,0.0025176562,0.001028207,0.00008039275,0.000015080128,0.000011483375,0.004045884],"genre_scores_gemma":[0.9989029,0.00014741108,0.000056751982,0.00017505277,0.00045722813,8.75078e-7,0.0000011453369,0.0000033461044,0.0002553007],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985616,0.00004721825,0.00058053853,0.00002451256,0.000634741,0.00015138404],"domain_scores_gemma":[0.99859565,0.000044904176,0.00085635163,0.00011375549,0.00035533443,0.000033998524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012092652,0.00008817356,0.00015755618,0.000112384616,0.0007980384,0.00015459488,0.00070208946,0.000014817353,0.000066741144],"category_scores_gemma":[0.000041267907,0.000038571885,0.00015758001,0.00010830139,0.00016625944,0.0015804113,0.00011358793,0.00023157122,0.000029588447],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028013135,0.00012223808,0.007404533,0.000087822715,0.0006475687,0.0000033886786,0.8234193,0.015439736,0.0005762195,0.048609365,0.042149674,0.061260074],"study_design_scores_gemma":[0.0018934958,0.001070425,0.19819772,0.0006587081,0.00030226895,0.00025129569,0.24362153,0.00095653173,0.002061228,0.008954246,0.5416421,0.00039043464],"about_ca_topic_score_codex":0.000030423478,"about_ca_topic_score_gemma":0.000043118638,"teacher_disagreement_score":0.57979774,"about_ca_system_score_codex":0.000035229477,"about_ca_system_score_gemma":0.00002989879,"threshold_uncertainty_score":0.6137946},"labels":[],"label_agreement":null},{"id":"W4392643390","doi":"10.58680/tp20022591","title":"Playtime","year":2002,"lang":"en","type":"article","venue":"Talking Points","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Psychology","score_opus":0.03453772885729077,"score_gpt":0.2144275199392978,"score_spread":0.17988979108200703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392643390","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17633192,0.00034713134,0.0000011710027,0.0006155635,0.0005388914,0.0000369068,0.000006927518,0.000107026346,0.82201445],"genre_scores_gemma":[0.9502403,0.000031532876,0.000019868497,0.00039378912,0.0006734674,0.0000035443054,0.0000015612575,0.000008626884,0.048627276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960583,0.0000061931705,0.000081776874,0.00008078476,0.00007500742,0.00015037379],"domain_scores_gemma":[0.9998317,0.000016498805,0.000022017623,0.000093658535,0.00001585464,0.00002029499],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003916511,0.00006928918,0.00007948687,0.00003444407,0.00026837768,0.00005242451,0.00006460068,0.000011500746,0.017859904],"category_scores_gemma":[0.000004477156,0.000055286262,0.000035947258,0.0000124166045,0.00007953756,0.00012262019,0.000024535972,0.000055394466,0.0037054096],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001875335,0.00015623128,0.00257839,0.00005914399,0.00014563849,0.000028425007,0.2627437,0.000003425362,0.000060456092,0.17039405,0.44312254,0.12068923],"study_design_scores_gemma":[0.00014179286,0.000039064726,0.00022598114,0.000020355474,0.000008342616,0.0000031513086,0.0007643414,0.00009310424,0.0000795142,0.00086760806,0.9976465,0.000110242356],"about_ca_topic_score_codex":0.000033497778,"about_ca_topic_score_gemma":0.00010180947,"teacher_disagreement_score":0.7739084,"about_ca_system_score_codex":0.0000075786616,"about_ca_system_score_gemma":0.0000010626254,"threshold_uncertainty_score":0.9970703},"labels":[],"label_agreement":null},{"id":"W4392693893","doi":"10.16995/intransition.11313","title":"Thinking Through Acting: Performative Indices and Philosophical Assertions","year":2016,"lang":"en","type":"article","venue":"[in]Transition","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Performative utterance; Epistemology; Philosophy; Aesthetics","score_opus":0.03893690229209097,"score_gpt":0.25741042618578014,"score_spread":0.21847352389368918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392693893","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93724203,0.00014669706,0.00008429078,0.010573089,0.00013682169,0.00010520401,0.000017346085,0.00004013057,0.05165439],"genre_scores_gemma":[0.9989413,0.0002756832,0.000026805936,0.0003514443,0.00031457213,0.00001632194,0.000005630076,0.0000066772986,0.00006158845],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9994018,0.00003760944,0.0001633161,0.00012277826,0.00011051941,0.00016396497],"domain_scores_gemma":[0.9997885,0.00008232913,0.000034423083,0.000056141736,0.000022880367,0.00001571399],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001710443,0.00009515329,0.0001245317,0.00008187641,0.00035564738,0.000051656352,0.000045705165,0.000039023464,0.00025044582],"category_scores_gemma":[0.0000048158972,0.00006276352,0.000027479706,0.000032388125,0.00013533242,0.0009405997,0.000012147276,0.00013810983,0.000025800016],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010398748,0.000104886596,0.00286084,0.00008241174,0.00003342191,0.000007492059,0.85874313,0.000010894407,0.000321886,0.12862025,0.00009781428,0.009013],"study_design_scores_gemma":[0.007470656,0.0011696919,0.065144576,0.0035359252,0.00017038909,0.000038492137,0.2386544,0.00064477103,0.0025058577,0.6072146,0.07166306,0.0017875269],"about_ca_topic_score_codex":0.00015506218,"about_ca_topic_score_gemma":0.0022492434,"teacher_disagreement_score":0.6200887,"about_ca_system_score_codex":0.000025872812,"about_ca_system_score_gemma":0.000008782462,"threshold_uncertainty_score":0.27422062},"labels":[],"label_agreement":null},{"id":"W4392858326","doi":"10.1080/23268263.2024.2330223","title":"The Woman’s Voice","year":2024,"lang":"en","type":"article","venue":"Voice and Speech Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Capilano University","funders":"","keywords":"Drama; Publishing; Art; Literature","score_opus":0.03175186477524841,"score_gpt":0.272573232358441,"score_spread":0.24082136758319259,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392858326","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015289187,0.81783736,5.880843e-7,0.011373298,0.0005982153,0.00015859594,0.000010100638,0.000079101344,0.16841383],"genre_scores_gemma":[0.014747357,0.9243054,0.000009056077,0.0034744763,0.0011433767,0.000034797984,0.0000029918956,0.000013367899,0.056269176],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943316,0.000022866965,0.00015540168,0.00012971376,0.00009748926,0.00016136767],"domain_scores_gemma":[0.9996278,0.00015114278,0.000018373905,0.00014436587,0.000030851166,0.000027465321],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029209934,0.00010489337,0.0001533017,0.00001777594,0.00052617403,0.00025886038,0.00009348478,0.0000121103,0.0003602889],"category_scores_gemma":[0.000017679213,0.000052338535,0.000068564295,0.000040226096,0.00013499233,0.00014578842,0.000039643677,0.00011264495,0.0012670953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000022001227,0.0000062936333,0.00002366828,0.0028619242,0.00007032242,0.000012081966,0.0033835797,6.832909e-9,0.000002025175,0.053905286,0.36574733,0.5739853],"study_design_scores_gemma":[0.000017732222,0.000026830048,0.000031206477,0.0019803112,0.000071458046,0.000011432912,0.00040118038,0.000005765898,0.0000040790133,0.00058255385,0.9967817,0.00008572361],"about_ca_topic_score_codex":0.000071340946,"about_ca_topic_score_gemma":0.00086315227,"teacher_disagreement_score":0.6310344,"about_ca_system_score_codex":0.0000064016353,"about_ca_system_score_gemma":0.000013906028,"threshold_uncertainty_score":0.9995105},"labels":[],"label_agreement":null},{"id":"W4392986070","doi":"10.3138/ecf.36.2.329","title":"Romantic Movements","year":2024,"lang":"en","type":"article","venue":"Eighteenth-Century Fiction","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Romance; Reflection (computer programming); Sociology; Pedagogy; Psychology; Psychoanalysis; Computer science","score_opus":0.016424472709648717,"score_gpt":0.22357370148236297,"score_spread":0.20714922877271424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392986070","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1979795,0.031497076,0.0000487603,0.00049092463,0.017806083,0.00029041272,0.0000688525,0.000776206,0.7510422],"genre_scores_gemma":[0.9813567,0.0062577687,0.000008198474,0.00012378329,0.0024276737,0.000021482894,0.0000484766,0.00001971133,0.009736254],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992654,0.000013483859,0.00016213725,0.00019471439,0.00016221404,0.00020205889],"domain_scores_gemma":[0.9997837,0.000017816912,0.000021358332,0.0001188209,0.000027174772,0.000031117685],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006504879,0.00013007713,0.00010345695,0.00010955226,0.00035581365,0.00023113396,0.0000671022,0.000026782516,0.0035044523],"category_scores_gemma":[0.0000015651686,0.00010044704,0.00008747897,0.000045779972,0.000062753126,0.00037880833,0.000028365585,0.00011147782,0.0011665388],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039123464,0.00017276319,0.0005255974,0.00024592312,0.00031987444,0.000022677641,0.031878777,0.000006098524,0.00024155997,0.4009284,0.51238513,0.05323407],"study_design_scores_gemma":[0.00010747247,0.000069916896,0.00030225565,0.00007590342,0.00003296354,0.0000020607115,0.00118085,0.00029901715,0.0001200447,0.00021640856,0.9974627,0.00013043804],"about_ca_topic_score_codex":0.00006399461,"about_ca_topic_score_gemma":0.000048455095,"teacher_disagreement_score":0.7833772,"about_ca_system_score_codex":0.000041963656,"about_ca_system_score_gemma":0.000010200389,"threshold_uncertainty_score":0.99961114},"labels":[],"label_agreement":null},{"id":"W4393051836","doi":"10.1177/27538702241240015","title":"The circus of liberation: Clowning as social creativity in insane clown posse's dark carnival","year":2024,"lang":"en","type":"article","venue":"DIY Alternative Cultures & Society","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Creativity; Psychology; Psychoanalysis; Art; Gender studies; Sociology; Social psychology","score_opus":0.024553038989153262,"score_gpt":0.2970506367780591,"score_spread":0.2724975977889058,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393051836","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8055576,0.008992493,0.0000067469155,0.0019485159,0.001313635,0.00028368144,0.00030410927,0.00010613689,0.18148705],"genre_scores_gemma":[0.9927055,0.00096390874,0.000010132199,0.00014727178,0.0022463142,0.0000372815,0.000047698093,0.000014702097,0.0038271556],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898016,0.000072701194,0.00024027943,0.00021239558,0.00026360515,0.00023087567],"domain_scores_gemma":[0.99948657,0.00019167655,0.000078267774,0.00009030676,0.00013139796,0.000021764003],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002451684,0.00017354485,0.00021150602,0.000019753481,0.0009383992,0.00029642956,0.00017469535,0.000048106158,0.00025541623],"category_scores_gemma":[0.000023801937,0.000106447755,0.0002538217,0.000083980696,0.00045697315,0.0003189625,0.00007633623,0.0003252182,0.000023093586],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026805841,0.00004353521,0.00052648387,0.00008460535,0.0003766672,0.0000071409263,0.7904684,0.000018843051,0.00024606087,0.15677036,0.04021444,0.011216639],"study_design_scores_gemma":[0.00053086726,0.00019733768,0.003413723,0.00024225484,0.00007640464,0.0000036865347,0.1250782,0.00023966187,0.0014019081,0.016675834,0.85175675,0.00038337882],"about_ca_topic_score_codex":0.0006770295,"about_ca_topic_score_gemma":0.001658459,"teacher_disagreement_score":0.81154233,"about_ca_system_score_codex":0.00007720728,"about_ca_system_score_gemma":0.00005451221,"threshold_uncertainty_score":0.72175026},"labels":[],"label_agreement":null},{"id":"W4393126993","doi":"10.1017/9781788214933.007","title":"The infrastructural politics of post-pandemic theatrical performance","year":2023,"lang":"en","type":"other","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Concordia University; John Abbott College; York University","funders":"","keywords":"Aside; Politics; Performing arts; Closure (psychology); The arts; Ticket; Political science; Media studies; Sociology; Visual arts; Law; Art","score_opus":0.01834533722192059,"score_gpt":0.23165420312077212,"score_spread":0.21330886589885154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393126993","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038222848,0.0010429116,2.344035e-7,0.00015621627,0.0012963846,0.00013154595,0.00012510768,0.00038732938,0.993038],"genre_scores_gemma":[0.05947484,0.0028129984,0.0000059558147,0.000080923644,0.0019383631,0.000008850773,0.000008806749,0.0002630442,0.9354062],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919,0.000013525377,0.00022017056,0.000116845615,0.00017841779,0.00028104923],"domain_scores_gemma":[0.99945074,0.000121427016,0.00010817911,0.00023338274,0.00005918832,0.000027094682],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006941653,0.00019194838,0.00024947134,0.000102664744,0.00036320533,0.00004070886,0.00023337774,0.00007680731,0.0032665464],"category_scores_gemma":[0.000010358441,0.000096402844,0.00010019745,0.00003191286,0.0005161131,0.000040410076,0.00008139068,0.00017878586,0.00030679887],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014470043,0.00000767986,0.0020081922,0.0001250251,0.00021773706,5.7127016e-7,0.005350053,6.948307e-7,7.344444e-7,0.09054304,0.87751555,0.024216248],"study_design_scores_gemma":[0.0000980464,0.00008287719,0.00061606336,0.00005913535,0.00003619914,0.0000015563946,0.002081247,0.000011761852,0.000003828615,0.0002603514,0.99660444,0.00014447219],"about_ca_topic_score_codex":0.0012041279,"about_ca_topic_score_gemma":0.0069439425,"teacher_disagreement_score":0.1190889,"about_ca_system_score_codex":0.00001668619,"about_ca_system_score_gemma":0.00004412586,"threshold_uncertainty_score":0.9976446},"labels":[],"label_agreement":null},{"id":"W4393580182","doi":"10.5281/zenodo.10384239","title":"Theatre Dress","year":2021,"lang":"en","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Computer graphics (images); Computer science","score_opus":0.04600914491203232,"score_gpt":0.240268553313561,"score_spread":0.1942594084015287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393580182","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000029181329,0.00036997636,0.000002915118,0.00031345873,0.00045408463,0.00017063733,0.77001524,0.0002811198,0.22836341],"genre_scores_gemma":[0.00053540326,0.0010810851,0.0000043045225,0.00023579998,0.001663527,4.669505e-8,0.9911255,0.00085361255,0.004500672],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984128,0.00019785643,0.00025318426,0.00040607943,0.0003505463,0.00037954585],"domain_scores_gemma":[0.9986483,0.000022163926,0.00011300434,0.00064053375,0.00047645043,0.00009958593],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002777712,0.00024283792,0.0002742215,0.0002013945,0.004364792,0.0016917832,0.0009993952,0.00008813256,0.123060405],"category_scores_gemma":[0.00007348239,0.0002225444,0.00010572959,0.00010939622,0.0003384015,0.00019099934,0.0013171295,0.0004714853,0.02504969],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001636111,0.00008104084,2.5558538e-8,0.0001735332,0.00010394923,0.000022299126,0.003075984,0.0000016565067,0.000003317907,0.001086172,0.9793663,0.01606935],"study_design_scores_gemma":[0.00018832913,0.00011829344,0.0000021948076,0.000091991744,0.000053935237,0.00003259166,0.002207609,0.0000024832398,0.00000695762,0.000053265492,0.99698025,0.0002620899],"about_ca_topic_score_codex":0.00012402392,"about_ca_topic_score_gemma":0.000026534146,"teacher_disagreement_score":0.22386274,"about_ca_system_score_codex":0.000071381655,"about_ca_system_score_gemma":0.0000049680934,"threshold_uncertainty_score":0.9993445},"labels":[],"label_agreement":null},{"id":"W4393658831","doi":"10.5281/zenodo.10384240","title":"Theatre Dress","year":2021,"lang":"en","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Computer graphics (images); Computer science","score_opus":0.04600914491203232,"score_gpt":0.240268553313561,"score_spread":0.1942594084015287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393658831","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000029181329,0.00036997636,0.000002915118,0.00031345873,0.00045408463,0.00017063733,0.77001524,0.0002811198,0.22836341],"genre_scores_gemma":[0.00053540326,0.0010810851,0.0000043045225,0.00023579998,0.001663527,4.669505e-8,0.9911255,0.00085361255,0.004500672],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984128,0.00019785643,0.00025318426,0.00040607943,0.0003505463,0.00037954585],"domain_scores_gemma":[0.9986483,0.000022163926,0.00011300434,0.00064053375,0.00047645043,0.00009958593],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002777712,0.00024283792,0.0002742215,0.0002013945,0.004364792,0.0016917832,0.0009993952,0.00008813256,0.123060405],"category_scores_gemma":[0.00007348239,0.0002225444,0.00010572959,0.00010939622,0.0003384015,0.00019099934,0.0013171295,0.0004714853,0.02504969],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001636111,0.00008104084,2.5558538e-8,0.0001735332,0.00010394923,0.000022299126,0.003075984,0.0000016565067,0.000003317907,0.001086172,0.9793663,0.01606935],"study_design_scores_gemma":[0.00018832913,0.00011829344,0.0000021948076,0.000091991744,0.000053935237,0.00003259166,0.002207609,0.0000024832398,0.00000695762,0.000053265492,0.99698025,0.0002620899],"about_ca_topic_score_codex":0.00012402392,"about_ca_topic_score_gemma":0.000026534146,"teacher_disagreement_score":0.22386274,"about_ca_system_score_codex":0.000071381655,"about_ca_system_score_gemma":0.0000049680934,"threshold_uncertainty_score":0.9993445},"labels":[],"label_agreement":null},{"id":"W4393871234","doi":"10.51937/amfiteater-2022-1/66-78","title":"The Death of Character in Postdramatic Comedy","year":2022,"lang":"en","type":"article","venue":"Amfiteater","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Character (mathematics); Comedy; Art; Literature; Linguistics; Philosophy; Mathematics; Geometry","score_opus":0.0221245920445901,"score_gpt":0.21330884071097278,"score_spread":0.19118424866638267,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393871234","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9360548,0.00019610234,8.580523e-8,0.00089707255,0.00031774904,0.000082904255,0.000019802876,0.000010011999,0.06242142],"genre_scores_gemma":[0.99080473,0.000024636254,0.0000015901747,0.00033449684,0.00008669176,0.00004033533,0.0000054257684,0.0000058573564,0.008696251],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954754,0.000031987012,0.00014027157,0.00005538509,0.0000968772,0.00012792456],"domain_scores_gemma":[0.9997807,0.00004996732,0.000034601067,0.00011306541,0.000014111148,0.000007569954],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014308088,0.00005350348,0.0000912952,0.000039780152,0.00036566134,0.000024487043,0.00011145828,0.0000046048804,0.0015822231],"category_scores_gemma":[0.0000017964468,0.00003140542,0.000032794585,0.000015366286,0.000074770884,0.000060223218,0.00007913949,0.00008722263,0.000040197352],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021386897,0.00022175004,0.20909011,0.00008051351,0.00015219589,0.000015333499,0.3350654,0.00001968071,0.00018206496,0.4328608,0.008067562,0.014030713],"study_design_scores_gemma":[0.00027328025,0.00014921039,0.03709502,0.000011165542,0.000010815495,0.0000026290966,0.009469548,0.000027595988,0.00008904867,0.0024090009,0.95036477,0.00009792954],"about_ca_topic_score_codex":0.00022449355,"about_ca_topic_score_gemma":0.00024700153,"teacher_disagreement_score":0.9422972,"about_ca_system_score_codex":0.000012695571,"about_ca_system_score_gemma":0.0000054034895,"threshold_uncertainty_score":0.99933046},"labels":[],"label_agreement":null},{"id":"W4393971182","doi":"10.7202/1108090ar","title":"Evergon: Theatres of the Intimate. Musée national des beaux-arts du Québec, Québec. October 20, 2022 – April 23, 2023. Curated by Bernard Lamarche","year":2023,"lang":"en","type":"article","venue":"Archivaria","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"The arts; Art; Art history; Visual arts","score_opus":0.026526075165330155,"score_gpt":0.23385054307372902,"score_spread":0.20732446790839887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393971182","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49098706,0.0026221185,0.000010427133,0.01953192,0.0013833988,0.00049439585,0.0012329997,0.00028573058,0.48345193],"genre_scores_gemma":[0.969686,0.00044510473,0.000020189556,0.0005468009,0.00057635515,0.00005327121,0.00013864618,0.000034466088,0.0284992],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985737,0.000099202465,0.00033705187,0.0002410706,0.00040131045,0.00034766292],"domain_scores_gemma":[0.9990118,0.00040696064,0.00011822718,0.0002637855,0.00014718108,0.000052010804],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00028575913,0.00022260979,0.00025241176,0.00010625415,0.00090318214,0.00007418572,0.00040237326,0.000033173135,0.002531496],"category_scores_gemma":[0.00008199259,0.00014657593,0.00016508928,0.00015838069,0.0007710894,0.00022036504,0.0003193117,0.00020685515,0.0005143108],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009856453,0.00010438931,0.010423982,0.00007616588,0.000294575,0.0000028013608,0.03727914,0.00007385249,0.00068826444,0.08019166,0.86866945,0.0020971382],"study_design_scores_gemma":[0.00043609017,0.000080404316,0.015896581,0.00007357952,0.000054012464,0.000004469557,0.0018351055,0.00037924782,0.00042164096,0.01954799,0.9610126,0.00025829845],"about_ca_topic_score_codex":0.08018072,"about_ca_topic_score_gemma":0.24361138,"teacher_disagreement_score":0.47869888,"about_ca_system_score_codex":0.0000606514,"about_ca_system_score_gemma":0.00036131832,"threshold_uncertainty_score":0.9983803},"labels":[],"label_agreement":null},{"id":"W4393974297","doi":"10.3138/ctr.196.009","title":"In PLACE OF SHOUTING","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Aesthetics","score_opus":0.029421579962414558,"score_gpt":0.255840886533981,"score_spread":0.22641930657156645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393974297","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009853038,0.53171074,9.642876e-8,0.0040729796,0.00035693927,0.0001265701,0.000041905416,0.000015491161,0.46268994],"genre_scores_gemma":[0.8515679,0.13676555,0.000007530319,0.002552959,0.00061220914,0.000024129098,0.000008802739,0.000023954515,0.0084369555],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994805,0.000018668807,0.00018246536,0.00009390036,0.00004752654,0.00017695682],"domain_scores_gemma":[0.99977535,0.000035730147,0.000013920117,0.00010376417,0.000014371615,0.0000568401],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019077801,0.000077938086,0.0002034723,0.00011350898,0.000055996807,0.000022841725,0.00007625292,0.000013116769,0.0027636928],"category_scores_gemma":[0.0000049260934,0.00005850745,0.00006506607,0.0000723263,0.000058836107,0.000102863414,0.00000805706,0.00008163468,0.0001866046],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000023016787,0.000009521364,0.00039127818,0.01621662,0.000084241874,0.00009158724,0.02396933,0.0000019198467,0.0000025283555,0.23196615,0.24568182,0.4815827],"study_design_scores_gemma":[0.000019169143,0.000010508514,0.000008566105,0.00583452,0.000024160096,0.000003346547,0.0003507172,0.000010034583,0.000002888346,0.00023973134,0.99342763,0.00006871278],"about_ca_topic_score_codex":0.048162792,"about_ca_topic_score_gemma":0.57267493,"teacher_disagreement_score":0.8505826,"about_ca_system_score_codex":0.00005549212,"about_ca_system_score_gemma":0.00015398444,"threshold_uncertainty_score":0.9981479},"labels":[],"label_agreement":null},{"id":"W4393984206","doi":"10.1515/9781438484235-002","title":"Acknowledgments","year":2021,"lang":"en","type":"book-chapter","venue":"SUNY Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; History","score_opus":0.07133055458705576,"score_gpt":0.2398129634549762,"score_spread":0.16848240886792046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393984206","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000013983591,0.004639357,3.6337246e-7,0.000014962352,0.0018172496,0.00015228539,0.00013744594,0.000090050184,0.9931343],"genre_scores_gemma":[0.00078876095,0.00038277425,0.0000058043634,0.00015220871,0.0026448464,0.000022565186,0.00005086173,0.000060890696,0.9958913],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907905,0.00000774853,0.00022884508,0.00027293502,0.00018718555,0.00022422078],"domain_scores_gemma":[0.99934554,0.000024820129,0.000095093164,0.00033988542,0.00014652195,0.000048147886],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000042453536,0.00030849237,0.00035708986,0.000051153118,0.00029196273,0.00014865054,0.0001766358,0.000113385504,0.005827349],"category_scores_gemma":[0.000002026161,0.00026404246,0.00018362304,5.443718e-7,0.00024102963,0.00004703631,0.00018672648,0.00027819688,0.00038976868],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009807799,0.0000057516204,5.9633135e-7,0.00011434298,0.00024732758,0.000018345616,0.007855568,7.659723e-8,0.0000012650084,0.9254843,0.052819517,0.013443101],"study_design_scores_gemma":[0.0001359217,0.000033945395,3.799788e-7,0.00025356878,0.000105670864,0.0000014161739,0.00011547107,5.736603e-7,0.00007339213,0.0053165276,0.9936543,0.00030880558],"about_ca_topic_score_codex":0.00006075221,"about_ca_topic_score_gemma":0.00091699226,"teacher_disagreement_score":0.9408348,"about_ca_system_score_codex":0.000023008877,"about_ca_system_score_gemma":0.000036906822,"threshold_uncertainty_score":0.99998116},"labels":[],"label_agreement":null},{"id":"W4394321687","doi":"10.6084/m9.figshare.14291370","title":"Language, Translation, and the Irish Theatre Diaspora in Quebec","year":2021,"lang":"en","type":"dataset","venue":"Figshare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Diaspora; Irish; Linguistics; Translation (biology); History; Art; Sociology; Gender studies; Philosophy; Biology","score_opus":0.03855948535873926,"score_gpt":0.25307190870986956,"score_spread":0.2145124233511303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394321687","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000215897,0.020240894,1.1361108e-9,0.00033564615,0.000100234225,0.00017464501,0.9735265,0.00001488472,0.0055856104],"genre_scores_gemma":[0.00033420144,0.00033820258,3.6756748e-7,0.00035007586,0.00083837396,0.00012677207,0.9967225,0.000010312336,0.0012792036],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936503,0.000049436265,0.00016602976,0.00016561714,0.00010797852,0.0001459126],"domain_scores_gemma":[0.9994713,0.00018380546,0.000060385053,0.00023223169,0.000034228295,0.000018062467],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000045698453,0.00017266165,0.00026269123,0.000053345317,0.00018111728,0.00020286372,0.00014791093,0.00007300469,0.19998282],"category_scores_gemma":[0.000031742973,0.00010564939,0.0000699573,0.000032515763,0.000051856758,0.00010904886,0.00005990522,0.0002630654,0.00039475682],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011845733,0.000008879097,9.250752e-7,0.00024394311,0.000026163936,0.000016739123,0.030541524,3.0932623e-7,5.8058105e-9,0.0000051559655,0.965079,0.004065529],"study_design_scores_gemma":[0.0003674757,0.000006086547,0.000036993384,0.0008738878,0.000024700703,0.0000012533619,0.015356169,0.000001955548,3.422926e-7,0.000007660059,0.9831811,0.00014237344],"about_ca_topic_score_codex":0.026810842,"about_ca_topic_score_gemma":0.46764687,"teacher_disagreement_score":0.440836,"about_ca_system_score_codex":0.000010316141,"about_ca_system_score_gemma":0.000046401736,"threshold_uncertainty_score":0.9796697},"labels":[],"label_agreement":null},{"id":"W4394599044","doi":"10.7202/1110556ar","title":"Everting the Theatrical Sphere Like Terayama","year":2024,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.016224737872441747,"score_gpt":0.2140562742437515,"score_spread":0.19783153637130976,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394599044","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81112933,0.002905831,0.00001548827,0.017949762,0.0036266197,0.00021489662,0.000015382511,0.00041381016,0.1637289],"genre_scores_gemma":[0.9805402,0.00024104184,0.000011449592,0.004275736,0.0015654983,0.000033277556,0.0000040013733,0.000025315365,0.013303445],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991061,0.000016629156,0.0001953086,0.00018152651,0.00017805285,0.00032239282],"domain_scores_gemma":[0.9996516,0.00007750569,0.000023273336,0.00019452308,0.000022547441,0.000030555653],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016755129,0.00016540746,0.00012764061,0.000052633874,0.0006844172,0.0003857681,0.00020746709,0.000021611293,0.0023026404],"category_scores_gemma":[0.0000016220387,0.00009036284,0.00009425315,0.000065763,0.00021602538,0.00038733403,0.00006857317,0.00023003126,0.0014660071],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066206,0.000043496286,0.0069663664,0.0007373872,0.00034126415,0.000020126232,0.15188463,0.00011533835,0.00006874434,0.012667552,0.5685752,0.25851372],"study_design_scores_gemma":[0.000073009294,0.000050867107,0.0006581295,0.000118449054,0.00004036028,0.000011655088,0.0030314743,0.0023902436,0.000054013955,0.0000918629,0.9933117,0.00016821003],"about_ca_topic_score_codex":0.000073013936,"about_ca_topic_score_gemma":0.00009099406,"teacher_disagreement_score":0.42473653,"about_ca_system_score_codex":0.000030126967,"about_ca_system_score_gemma":0.000019906734,"threshold_uncertainty_score":0.99931145},"labels":[],"label_agreement":null},{"id":"W4394599168","doi":"10.7202/1110551ar","title":"Anatomy of Conflict","year":2024,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Anatomy; Medicine","score_opus":0.021232460764481514,"score_gpt":0.2525799962098592,"score_spread":0.2313475354453777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394599168","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8440384,0.0015078459,0.0000053530803,0.0021714969,0.0012521091,0.000081518505,0.000027058055,0.00014166567,0.15077454],"genre_scores_gemma":[0.9929289,0.00033862083,0.000010329082,0.00064924214,0.0003372363,0.000011197068,0.0000051232723,0.000013118162,0.005706211],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946606,0.00000484566,0.00015793169,0.00010492221,0.00010669415,0.00015952789],"domain_scores_gemma":[0.99979883,0.000022691229,0.00002200654,0.0001093198,0.000026856089,0.000020308311],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000081383005,0.00009601883,0.00012781114,0.000108674765,0.00011248938,0.00006314785,0.00009211477,0.000013283204,0.0020327247],"category_scores_gemma":[6.836844e-7,0.00007188252,0.000057588906,0.000039979866,0.00020480038,0.00027300662,0.000025624022,0.00007722941,0.00040672437],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091273956,0.00007805863,0.009957492,0.0039645303,0.00051542575,0.000016256963,0.2581003,0.000067716064,0.0005311236,0.13120848,0.44236198,0.15310735],"study_design_scores_gemma":[0.00007243966,0.000058008303,0.00055467756,0.00013616233,0.000020243011,0.000002798316,0.0013715004,0.0006655084,0.0008878914,0.000044543514,0.9960768,0.00010942585],"about_ca_topic_score_codex":0.000057596262,"about_ca_topic_score_gemma":0.000027265805,"teacher_disagreement_score":0.5537148,"about_ca_system_score_codex":0.000010960605,"about_ca_system_score_gemma":0.000013500272,"threshold_uncertainty_score":0.99887955},"labels":[],"label_agreement":null},{"id":"W4394599198","doi":"10.7202/1110549ar","title":"Yuriko Doi’s Teaching and Transmission of Noh and Kyōgen in San Francisco","year":2024,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Explication; Dance; Singing; Visual arts; Art; Psychology; Linguistics; Management; Philosophy","score_opus":0.011263567793884521,"score_gpt":0.22083645003472072,"score_spread":0.2095728822408362,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394599198","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9742667,0.0030294475,0.000011335166,0.001200873,0.0002043095,0.00008511222,0.000007852867,0.00003503528,0.021159306],"genre_scores_gemma":[0.9979805,0.00080813,0.00006933413,0.00031204373,0.00013641996,0.00000843263,0.0000025677655,0.000012420195,0.0006701526],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941355,0.00001536812,0.00017961064,0.00014480011,0.000086105436,0.00016058682],"domain_scores_gemma":[0.99984056,0.000038541686,0.000019573388,0.00006703069,0.0000067535925,0.000027552209],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020721997,0.000114474016,0.00016361801,0.00013842928,0.00018024129,0.00006880604,0.00004784873,0.00002125356,0.00023147988],"category_scores_gemma":[8.3616777e-7,0.00008551679,0.000020492866,0.000024052057,0.00015827751,0.00033979505,0.000026444328,0.00018982681,0.000010859462],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008717275,0.000038192844,0.019432608,0.0028406486,0.00006474497,0.0000071497357,0.3001406,0.000025826728,0.0013858397,0.0030052068,0.006301091,0.6666709],"study_design_scores_gemma":[0.0007667789,0.0003752495,0.027838124,0.0019394469,0.00006705938,0.000017983579,0.010893982,0.0078009516,0.0009956522,0.00040019795,0.94836676,0.00053779606],"about_ca_topic_score_codex":0.00020676535,"about_ca_topic_score_gemma":0.00013522178,"teacher_disagreement_score":0.9420657,"about_ca_system_score_codex":0.000009077234,"about_ca_system_score_gemma":0.000007249636,"threshold_uncertainty_score":0.34872735},"labels":[],"label_agreement":null},{"id":"W4394848358","doi":"10.5040/9781350045521.ch-006","title":"Intermediality in the Theatre of Robert Lepage","year":2022,"lang":"en","type":"other","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Visual arts","score_opus":0.019920283814166,"score_gpt":0.23054889604797177,"score_spread":0.21062861223380577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394848358","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013802569,0.0008274925,1.5560397e-7,0.00029342057,0.00046911833,0.00014652728,0.000094546835,0.00003181888,0.9979989],"genre_scores_gemma":[0.04173032,0.0002985474,0.00000253773,0.00038788433,0.00076562155,0.000034267425,0.000031282383,0.00006164611,0.95668787],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994853,0.000052509353,0.00013638653,0.00009495177,0.00012746504,0.00010334834],"domain_scores_gemma":[0.999668,0.000042399424,0.000061474646,0.00021771596,0.0000047342733,0.000005644552],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014706745,0.00011223183,0.00020377568,0.00009218656,0.00006432881,0.000016171736,0.00024223163,0.000026813661,0.1780972],"category_scores_gemma":[0.0000016270553,0.00005900113,0.00007441772,0.000020507894,0.00018023973,0.00001956717,0.00007415432,0.00015406552,0.000042851574],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006912885,0.000038908332,0.00028934347,0.000058680427,0.00003545681,0.0000018388088,0.034758117,6.932899e-8,1.0041981e-7,0.034359545,0.9268105,0.0036404952],"study_design_scores_gemma":[0.00007960468,0.00004588953,0.000037191516,0.000024953091,0.00001319109,3.510798e-7,0.016258042,3.799043e-7,5.3980585e-7,0.00029198395,0.9831726,0.000075279546],"about_ca_topic_score_codex":0.0051560695,"about_ca_topic_score_gemma":0.08915465,"teacher_disagreement_score":0.17805435,"about_ca_system_score_codex":0.000009105861,"about_ca_system_score_gemma":0.000011513386,"threshold_uncertainty_score":0.9274659},"labels":[],"label_agreement":null},{"id":"W4394862508","doi":"10.1007/978-3-031-50917-9_13","title":"Age in Contemporary Drama and Performance: The Value of Considering Theatrical Time","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Drama; Value (mathematics); Aesthetics; History; Art; Literature; Mathematics; Statistics","score_opus":0.04415692139083816,"score_gpt":0.22679306984991718,"score_spread":0.18263614845907902,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394862508","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0073062703,0.0074060652,7.196238e-8,0.00041044518,0.00021482242,0.00020107531,0.00003075861,0.00003999977,0.9843905],"genre_scores_gemma":[0.43516976,0.0007727341,0.0000029619166,0.00010244802,0.00028618146,0.00000447609,0.0000056198687,0.000021498638,0.56363434],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922514,0.0000071124987,0.0003239068,0.00017551945,0.00013718106,0.00013115858],"domain_scores_gemma":[0.99959964,0.00013469775,0.000059569313,0.00016020657,0.00002531866,0.000020554284],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015788958,0.00022400358,0.00038939345,0.0001290618,0.00013155573,0.0000737478,0.00009483332,0.00008087569,0.0013033398],"category_scores_gemma":[0.0000017960077,0.00012493116,0.000086707354,0.000008387344,0.0005866509,0.00008500052,0.00013708725,0.00032646421,0.00016185115],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033323304,0.00000662131,0.00010274195,0.0002905295,0.00013424492,0.000026937241,0.017098133,0.0000011962736,0.0000017834617,0.97076887,0.008868928,0.0026667048],"study_design_scores_gemma":[0.00018364198,0.00016001277,0.00005509479,0.00048401355,0.00006300682,0.000008709084,0.0010786902,0.00013857443,0.000010112685,0.022662902,0.9749131,0.00024211199],"about_ca_topic_score_codex":0.00010518397,"about_ca_topic_score_gemma":0.00020845993,"teacher_disagreement_score":0.9660442,"about_ca_system_score_codex":0.000013274413,"about_ca_system_score_gemma":0.000038327435,"threshold_uncertainty_score":0.9996096},"labels":[],"label_agreement":null},{"id":"W4395027552","doi":"10.3138/md-67-1-1288","title":"Interface Theatre: Watching Ourselves Disappear","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Interface (matter); Visual arts; History; Art; Computer science; Operating system","score_opus":0.022744202893761008,"score_gpt":0.25412752565811636,"score_spread":0.23138332276435536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395027552","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35833442,0.0143186115,0.0009378412,0.0067809196,0.0027441697,0.00016143073,0.000055824356,0.0007487839,0.615918],"genre_scores_gemma":[0.9694079,0.00010814769,0.000020009044,0.0001248595,0.0011763575,0.000010414479,0.0000044939907,0.000027280565,0.029120535],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931705,0.000014900638,0.00012397004,0.00019394612,0.00011713994,0.00023299504],"domain_scores_gemma":[0.99975187,0.000036980826,0.000012132718,0.00015074908,0.000015971718,0.00003228288],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000082593775,0.00014216965,0.00013185226,0.000051310737,0.00030642844,0.00043327705,0.00012446532,0.000023547265,0.00077280286],"category_scores_gemma":[0.0000017279023,0.00009896084,0.000089717054,0.000019758156,0.00012092028,0.00030297943,0.000067579356,0.00016218396,0.0007669874],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029713605,0.00005693378,0.0002150658,0.00020944547,0.00024244722,0.000020626549,0.49374035,0.000119444754,0.00027560955,0.11633428,0.03462317,0.35413292],"study_design_scores_gemma":[0.00008230744,0.00005394494,0.000026214324,0.00015510486,0.000035035213,0.000004195136,0.0067843497,0.005202473,0.00021361597,0.018645553,0.968594,0.00020321121],"about_ca_topic_score_codex":0.00013017231,"about_ca_topic_score_gemma":0.0004537525,"teacher_disagreement_score":0.9339708,"about_ca_system_score_codex":0.000019811621,"about_ca_system_score_gemma":0.000013512489,"threshold_uncertainty_score":0.9858327},"labels":[],"label_agreement":null},{"id":"W4395027563","doi":"10.3138/md-67-1-1126","title":"Unwriting the Future: Russell Hoban’s Stage Adaptation of <i>Riddley Walker</i>","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Adaptation (eye); History; Psychology; Geology; Neuroscience","score_opus":0.026394036903553603,"score_gpt":0.22762680545380676,"score_spread":0.20123276855025315,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395027563","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67197734,0.037201878,0.0011334181,0.0045469804,0.0027283807,0.00038812647,0.00023138836,0.0003577932,0.2814347],"genre_scores_gemma":[0.98427325,0.00040088015,0.000023392595,0.00017299064,0.0016456502,0.000012899788,0.000011262339,0.000018838538,0.013440818],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933314,0.000022324786,0.00018258473,0.00013639459,0.00015864645,0.0001668774],"domain_scores_gemma":[0.9996755,0.00006524645,0.00003894702,0.00015382757,0.00004956179,0.000016933403],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014941931,0.00011247546,0.00012106685,0.000041447347,0.00031489352,0.00017042577,0.0001171727,0.000024576402,0.00036005082],"category_scores_gemma":[0.0000024228907,0.00006966689,0.000082813494,0.000035206867,0.00012450095,0.00020153113,0.000035621684,0.00013264189,0.000082486564],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003561006,0.000045874556,0.0001513862,0.00040076728,0.00015822318,0.000010283521,0.34817126,0.00052948756,0.00017075083,0.4306702,0.008129769,0.2115264],"study_design_scores_gemma":[0.000119334574,0.00005920103,0.000059920014,0.000094057425,0.000045317454,0.000001662646,0.038047,0.022811502,0.00034700005,0.003630391,0.9346415,0.00014314846],"about_ca_topic_score_codex":0.0002665673,"about_ca_topic_score_gemma":0.001858763,"teacher_disagreement_score":0.9265117,"about_ca_system_score_codex":0.000013955894,"about_ca_system_score_gemma":0.000024525189,"threshold_uncertainty_score":0.3942304},"labels":[],"label_agreement":null},{"id":"W4395032982","doi":"10.1515/9782763747323-fm","title":"Front Matter","year":2020,"lang":"fr","type":"paratext","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Canada Council for the Arts","keywords":"Front (military); Geology; Oceanography","score_opus":0.02684576459852259,"score_gpt":0.2298065957520378,"score_spread":0.2029608311535152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395032982","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013580453,0.013262268,0.000017129589,0.012992986,0.0075676925,0.000181663,0.00053101353,0.000037766487,0.9652737],"genre_scores_gemma":[0.002837089,0.0036267457,0.00003954305,0.0068762205,0.011344581,0.000027292332,0.00015867446,0.000047686506,0.97504216],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987314,0.000031197047,0.0003412721,0.00033688452,0.0001564486,0.0004028007],"domain_scores_gemma":[0.9994993,0.000039979088,0.00009119727,0.00021000791,0.00006324948,0.0000962428],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003200896,0.00042982804,0.0005483656,0.00005064437,0.0007133089,0.0002777695,0.00021651048,0.00014116084,0.8831039],"category_scores_gemma":[0.000001182191,0.00032528094,0.00023950922,0.000012955781,0.00038816815,0.00014400281,0.00015109441,0.00039341018,0.89008343],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022780378,0.000029273822,0.0001385048,0.00038595876,0.0002587683,0.0000058165433,0.016292457,0.0000028945606,6.774074e-7,0.01738406,0.96365345,0.0018253536],"study_design_scores_gemma":[0.00014040445,0.00012278768,0.000118260665,0.00012823062,0.00011760834,0.0000023354241,0.0031739185,0.000021046693,0.000013763826,0.000111845104,0.99558914,0.0004606583],"about_ca_topic_score_codex":0.00154658,"about_ca_topic_score_gemma":0.0009965665,"teacher_disagreement_score":0.031935684,"about_ca_system_score_codex":0.000038365564,"about_ca_system_score_gemma":0.00004466172,"threshold_uncertainty_score":0.99991995},"labels":[],"label_agreement":null},{"id":"W4395062102","doi":"10.1515/9780228019763-009","title":"5 Walk with Me: Engaging in Participatory Theatre to Walk the Path to Reconciliation in a Canadian University Context","year":2024,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Context (archaeology); Path (computing); Walk-in; Sociology; Political science; Computer science; Geography; Law; Medicine; Computer network","score_opus":0.02701170384529428,"score_gpt":0.19880657090077805,"score_spread":0.17179486705548377,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395062102","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020376472,0.000010265454,6.824009e-7,0.0013476254,0.0002251235,0.0007182986,0.0007249636,0.00006764789,0.99486774],"genre_scores_gemma":[0.40379685,0.00004339083,0.00000381113,0.00033826457,0.00008282142,0.0000025447878,0.000011888992,0.000029864908,0.59569055],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985956,0.00007115398,0.00017892847,0.00045480527,0.00020312413,0.00049638934],"domain_scores_gemma":[0.999184,0.00008480274,0.00006717377,0.00033485008,0.00010259634,0.00022654372],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00022816383,0.00035257035,0.00038315094,0.0005694253,0.00070680166,0.00006125942,0.0003387684,0.00012925216,0.0001006338],"category_scores_gemma":[0.000003417826,0.00029755716,0.00009408696,0.000026906448,0.00016312883,0.00014486126,0.00020186884,0.00058522634,0.00005235328],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024963167,0.000008818048,0.00013141861,0.000098141,0.00013687661,0.0005034951,0.054899134,0.000058240497,4.752611e-7,0.93801695,0.0022489934,0.0036478357],"study_design_scores_gemma":[0.00034619935,0.000112753805,0.000048232178,0.00060972985,0.00011952645,8.6790396e-7,0.017839782,0.000014538646,0.000008825061,0.00019782285,0.9803038,0.0003978694],"about_ca_topic_score_codex":0.40614006,"about_ca_topic_score_gemma":0.49171737,"teacher_disagreement_score":0.9780549,"about_ca_system_score_codex":0.0010323833,"about_ca_system_score_gemma":0.0001909509,"threshold_uncertainty_score":0.99994767},"labels":[],"label_agreement":null},{"id":"W4395066402","doi":"10.5463/thesis.578","title":"‘Why am I in theatre?’","year":2024,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Athena Sustainable Materials Institute","funders":"","keywords":"Art","score_opus":0.01798017355176521,"score_gpt":0.24961833791731672,"score_spread":0.2316381643655515,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395066402","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0442011,0.0028182354,2.266978e-8,0.00031495563,0.0026716562,0.000093555704,0.000015577514,0.00008842539,0.9497965],"genre_scores_gemma":[0.2757813,0.0005899281,0.0000028874622,0.00059349526,0.0014188088,0.00004941916,0.00034408312,0.000037538615,0.7211825],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943113,0.000006204003,0.00016259555,0.0001584855,0.00009380255,0.00014780476],"domain_scores_gemma":[0.9998318,0.000016650167,0.000020782672,0.000095915915,0.000021879634,0.000012979894],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000041244963,0.00016223223,0.00018892229,0.00017022743,0.0000899216,0.00011714853,0.00007877843,0.000058045163,0.0072845863],"category_scores_gemma":[8.4250314e-7,0.00011148648,0.0000811768,0.000025405774,0.000028534329,0.00007466027,0.000010166235,0.00020467988,0.0009969613],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041401305,0.000038651713,0.00006257074,0.0005713393,0.00010426088,0.000014663249,0.2524716,7.0512596e-7,0.000004681607,0.17578557,0.54784334,0.023061214],"study_design_scores_gemma":[0.00004948037,0.000027166252,0.00005726367,0.00017452042,0.0000300288,2.048765e-7,0.0404698,0.000005309759,0.000028798237,0.003935189,0.9550641,0.00015809902],"about_ca_topic_score_codex":0.0018669467,"about_ca_topic_score_gemma":0.21997277,"teacher_disagreement_score":0.40722078,"about_ca_system_score_codex":0.000016002887,"about_ca_system_score_gemma":0.00001931421,"threshold_uncertainty_score":0.9997809},"labels":[],"label_agreement":null},{"id":"W4395460399","doi":"10.1515/9782763729626","title":"Biennale Zones théâtrales 2015","year":2017,"lang":"fr","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geology; Geography","score_opus":0.05207084998901219,"score_gpt":0.2675180319324306,"score_spread":0.21544718194341844,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395460399","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00030671194,0.018288016,0.0000041348494,0.0051093143,0.004219856,0.00023012706,0.0004312089,0.000099674784,0.971311],"genre_scores_gemma":[0.0024559393,0.01370382,0.000051073435,0.00022237631,0.009086444,0.000022254108,0.000085266314,0.000057117784,0.9743157],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99838996,0.000029937342,0.00037734734,0.00038269474,0.00026025233,0.0005598196],"domain_scores_gemma":[0.99864525,0.00011427518,0.0002730848,0.0006715841,0.00018814698,0.000107636326],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018257883,0.00056064833,0.0006694738,0.00012863883,0.0032492946,0.000570291,0.0005282088,0.00023141761,0.027057033],"category_scores_gemma":[0.000010955215,0.0004216292,0.0003637676,0.0000064421715,0.0023656308,0.00045901258,0.00020595262,0.00037759062,0.007019615],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012913691,0.000035227193,0.0001268759,0.00023125793,0.00026666536,0.000011528853,0.0042574494,5.049351e-7,3.0331964e-7,0.48828024,0.49967167,0.007105373],"study_design_scores_gemma":[0.00016891514,0.0002013511,0.0002584399,0.0004883536,0.00026968002,0.000009068893,0.0008321062,0.000006919542,0.000007415766,0.0061873393,0.990956,0.0006143919],"about_ca_topic_score_codex":0.0011719792,"about_ca_topic_score_gemma":0.012677607,"teacher_disagreement_score":0.49128434,"about_ca_system_score_codex":0.00006327478,"about_ca_system_score_gemma":0.00020538151,"threshold_uncertainty_score":0.9998236},"labels":[],"label_agreement":null},{"id":"W4396683341","doi":"10.32873/uno.dc.jrf.24.01.25","title":"Into the Deep","year":2020,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Artificial intelligence; Computer science","score_opus":0.020023035853984458,"score_gpt":0.2257084310630743,"score_spread":0.20568539520908985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396683341","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5725787,0.021244789,0.00016745327,0.12518041,0.0028969778,0.00015184899,0.0000042904526,0.00005354761,0.27772197],"genre_scores_gemma":[0.990166,0.0023144109,0.00004250799,0.003868122,0.0025559925,6.2605204e-7,3.2875897e-7,0.000006150048,0.001045879],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995322,0.000016121568,0.00019874597,0.000036946494,0.00013987564,0.000076061144],"domain_scores_gemma":[0.99963945,0.0000361719,0.00013257885,0.000050942,0.00010112741,0.00003971199],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009818174,0.00005796681,0.00011477732,0.000022444658,0.00022004811,0.000064475586,0.00013765297,0.000012232207,0.00031847175],"category_scores_gemma":[0.000020546755,0.000029305651,0.00010230553,0.000022750082,0.0000745146,0.00013605133,0.000024447141,0.00015501362,0.00010706477],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011034339,0.000016096921,0.00031392628,0.000021603617,0.00009446858,0.00001579715,0.2492812,0.000067152025,0.000059880407,0.023095762,0.7114863,0.015437482],"study_design_scores_gemma":[0.00014626654,0.0002262398,0.00005224427,0.00001604241,0.000025148558,0.000008434564,0.0052107107,0.00006037619,0.00007027513,0.0013957105,0.99274546,0.00004308283],"about_ca_topic_score_codex":0.000048429367,"about_ca_topic_score_gemma":0.00014116424,"teacher_disagreement_score":0.41758725,"about_ca_system_score_codex":0.0000070819033,"about_ca_system_score_gemma":0.000015458889,"threshold_uncertainty_score":0.34870422},"labels":[],"label_agreement":null},{"id":"W4396738342","doi":"10.46522/ct.2023.02.04","title":"Perioada nord-americană","year":2024,"lang":"en","type":"article","venue":"Cercetări teatrale","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Romanian; Presentation (obstetrics); Variety (cybernetics); Cultural institution; Visual arts; Sociology; History; Art; Art history; Media studies","score_opus":0.03114467755421752,"score_gpt":0.2508162730079138,"score_spread":0.2196715954536963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396738342","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2694435,0.003893532,0.000009668333,0.0014802298,0.0019907749,0.000099385026,0.00004689619,0.0004566245,0.72257936],"genre_scores_gemma":[0.90049905,0.00027209168,0.00003589923,0.00027708546,0.002007457,0.000019618363,0.000009729838,0.000023980245,0.0968551],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929124,0.000011229648,0.00013160662,0.00019422392,0.00010995442,0.00026175688],"domain_scores_gemma":[0.99973285,0.000031232234,0.000012290558,0.0001538986,0.00002294456,0.000046760746],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000057382702,0.00013822017,0.00014877727,0.00007271225,0.00029750942,0.00024084566,0.00011386999,0.000021293201,0.009166931],"category_scores_gemma":[0.0000024887258,0.000105761064,0.000109633685,0.000048263813,0.00025195983,0.00024678334,0.000033847235,0.00013908179,0.0020298457],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025972502,0.00006763423,0.0014307618,0.00030068523,0.00023856333,0.000060211052,0.20580514,0.000008617144,0.00025275347,0.15365738,0.41340455,0.22474772],"study_design_scores_gemma":[0.000056969253,0.000069678375,0.0003499172,0.000039222352,0.00003073048,0.0000055970368,0.005307368,0.000053698113,0.000059664784,0.0005020521,0.99335784,0.000167245],"about_ca_topic_score_codex":0.00033229965,"about_ca_topic_score_gemma":0.000607121,"teacher_disagreement_score":0.63105553,"about_ca_system_score_codex":0.000027731798,"about_ca_system_score_gemma":0.000030400197,"threshold_uncertainty_score":0.99874717},"labels":[],"label_agreement":null},{"id":"W4396813235","doi":"10.4324/9781003453222-7","title":"Framing social drama","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Framing (construction); Sociology; Art; History; Literature; Archaeology","score_opus":0.033835924102581294,"score_gpt":0.23076287142656332,"score_spread":0.19692694732398203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396813235","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000009563677,0.001977153,5.016797e-7,0.0005398646,0.0013940731,0.000055937027,0.00006321149,0.00017918595,0.9957805],"genre_scores_gemma":[0.0041531385,0.0001852604,0.0000031500085,0.00027858096,0.0073684817,0.0000034620837,0.00002000633,0.000043151318,0.9879448],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946314,8.38747e-7,0.00013737888,0.00015248952,0.000115198636,0.0001309525],"domain_scores_gemma":[0.99983555,0.000014127577,0.000029082461,0.0000730159,0.000033636505,0.000014601193],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000029116087,0.00019168996,0.00020757978,0.00007102573,0.00037225767,0.00017556967,0.000072632145,0.00008966377,0.030985057],"category_scores_gemma":[3.3467796e-7,0.00014101103,0.00015883893,0.0000018413924,0.00017834739,0.000053742908,0.0000686572,0.00025208617,0.005617994],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016917327,0.0000012673779,1.5086333e-7,0.00006707952,0.00010761308,0.0000052462406,0.018593052,1.0326462e-8,8.749381e-8,0.84540653,0.12807792,0.0077393292],"study_design_scores_gemma":[0.000023518429,0.000018677594,2.8491044e-7,0.000056907633,0.00006729856,5.531051e-7,0.0007905744,0.0000011499588,6.729022e-7,0.13051605,0.8683488,0.00017552516],"about_ca_topic_score_codex":0.000040223742,"about_ca_topic_score_gemma":0.0011983124,"teacher_disagreement_score":0.74027085,"about_ca_system_score_codex":0.000017556691,"about_ca_system_score_gemma":0.000015062822,"threshold_uncertainty_score":0.9951562},"labels":[],"label_agreement":null},{"id":"W4396858275","doi":"10.15173/ijsap.v8i1.5560","title":"The choreography of partnership","year":2024,"lang":"en","type":"article","venue":"International Journal for Students as Partners","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Choreography; General partnership; Political science; Art; Visual arts; Dance; Law","score_opus":0.05189085369048495,"score_gpt":0.47986341303635816,"score_spread":0.4279725593458732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396858275","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5497135,0.010954492,0.00008872726,0.013444849,0.039067972,0.00058996986,0.00012405905,0.00014264404,0.38587382],"genre_scores_gemma":[0.97841316,0.00097368617,0.000007579542,0.00015953572,0.0020522848,0.00002551893,0.0000049065625,0.000012300948,0.018351007],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989103,0.000016345268,0.00027734792,0.00009197099,0.00053714454,0.00016688425],"domain_scores_gemma":[0.99935347,0.00019219426,0.000077236204,0.000065664506,0.0002714661,0.000039969415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040744455,0.00009510485,0.00009647673,0.00011950195,0.00043989046,0.0007732463,0.00052859087,0.000015274862,0.00020586827],"category_scores_gemma":[0.000027513946,0.000054774322,0.00023536949,0.000028125165,0.00021631991,0.0001945776,0.000051420906,0.00012363977,0.00004240559],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028578602,0.000088760506,0.006074954,0.000026149368,0.0025261154,0.000021724773,0.032240734,0.000016465774,0.000016215134,0.7553611,0.16238827,0.04095374],"study_design_scores_gemma":[0.00023514655,0.00011855471,0.00035300414,0.00007572484,0.00003946213,0.000015981208,0.0044562113,0.00002126347,0.000060874692,0.009761897,0.9847898,0.000072063835],"about_ca_topic_score_codex":0.000020687063,"about_ca_topic_score_gemma":0.00012555033,"teacher_disagreement_score":0.8224015,"about_ca_system_score_codex":0.0000253947,"about_ca_system_score_gemma":0.000037573176,"threshold_uncertainty_score":0.74564314},"labels":[],"label_agreement":null},{"id":"W4397002531","doi":"10.33137/rr.v47i1.43456","title":"Andreini, Isabella. Lovers’ Debates for the Stage: A Bilingual Edition. Ed. and trans. Pamela Allen Brown, Julie D. Campbell, and Eric Nicholson","year":2024,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Art history; Stage (stratigraphy); Psychoanalysis; Art; History; Psychology; Geology; Paleontology","score_opus":0.023127697938005603,"score_gpt":0.24663594622601817,"score_spread":0.22350824828801258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4397002531","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.60558915,0.33403862,0.0012694406,0.019540576,0.003240231,0.0026493939,0.0010885807,0.00048503667,0.03209899],"genre_scores_gemma":[0.9629631,0.033095296,0.00002250058,0.00022764227,0.00080160843,0.000040580202,0.00005742027,0.000014708919,0.0027771664],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935436,0.000014014171,0.00018949491,0.00016745487,0.00009646839,0.00017820633],"domain_scores_gemma":[0.99965805,0.00012975468,0.00004574218,0.00008601241,0.000045032262,0.000035380504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019330502,0.000145852,0.00014608038,0.000044469904,0.00070384104,0.00028213306,0.00004264364,0.000046537603,0.000053129963],"category_scores_gemma":[0.000008038386,0.0000804027,0.000036755606,0.0000289852,0.00027962076,0.0006482186,0.00002080206,0.00010941403,0.0000065703794],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038018852,0.0000784605,0.00030792088,0.004530399,0.0005926883,0.000005904912,0.36020544,0.00007776801,0.00033184738,0.035404447,0.28630337,0.31178156],"study_design_scores_gemma":[0.00038906292,0.00019042127,0.00021440395,0.00018722456,0.000074933734,0.000009751912,0.007901675,0.0021217838,0.0002516242,0.00051249895,0.9879838,0.00016278344],"about_ca_topic_score_codex":0.00006442914,"about_ca_topic_score_gemma":0.00031531212,"teacher_disagreement_score":0.7016805,"about_ca_system_score_codex":0.000012917029,"about_ca_system_score_gemma":0.000020169604,"threshold_uncertainty_score":0.5413447},"labels":[],"label_agreement":null},{"id":"W4398151194","doi":"10.1007/978-3-031-47312-8_8","title":"Calling from Canada: Exploring the Shift to Telephonic Theatre During COVID-19","year":2024,"lang":"en","type":"book-chapter","venue":"Palgrave studies in performance and technology.","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Coronavirus disease 2019 (COVID-19); Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2); 2019-20 coronavirus outbreak; Medicine; Virology; Outbreak; Internal medicine","score_opus":0.05586237454897324,"score_gpt":0.25295897830836883,"score_spread":0.19709660375939558,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4398151194","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6547745,0.07226068,4.6298123e-7,0.0106576895,0.003565001,0.0008552536,0.00035306904,0.00042820146,0.25710517],"genre_scores_gemma":[0.9406135,0.033969346,0.000007844078,0.0004200485,0.00093670445,0.00029388347,0.000012006783,0.00006597249,0.023680672],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979802,0.000007046816,0.00051755476,0.0006384659,0.00027473827,0.00058201497],"domain_scores_gemma":[0.99907804,0.0001720516,0.000105600506,0.0004901567,0.000069061236,0.00008512338],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00017654627,0.0005983025,0.00073645316,0.00049998844,0.0014507462,0.000077104974,0.0004195582,0.00015188119,0.00013102687],"category_scores_gemma":[0.000026250931,0.00040126924,0.000078329176,0.00010126733,0.0010573778,0.00006655869,0.0007506062,0.0010268067,0.00007615421],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026205447,0.00002154073,0.017287908,0.0039625806,0.004401443,0.00073282083,0.26528463,0.00012661426,0.000012369863,0.6335006,0.008692908,0.065714546],"study_design_scores_gemma":[0.0003848212,0.00015967598,0.0005542381,0.0018576636,0.0002629867,0.000017646778,0.033614453,0.00001556031,0.00007437848,0.07963022,0.8824309,0.0009974549],"about_ca_topic_score_codex":0.038264073,"about_ca_topic_score_gemma":0.78019446,"teacher_disagreement_score":0.873738,"about_ca_system_score_codex":0.00042716382,"about_ca_system_score_gemma":0.0001969209,"threshold_uncertainty_score":0.9998492},"labels":[],"label_agreement":null},{"id":"W4398151451","doi":"10.1007/978-3-031-47312-8_12","title":"Performing Dramaturgies of Care in Quarantine: Aging, Inclusivity, and Aesthetics in a Virtual World","year":2024,"lang":"en","type":"book-chapter","venue":"Palgrave studies in performance and technology.","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta; University of British Columbia","funders":"","keywords":"Quarantine; Aesthetics; Sociology; Psychology; Art; Biology; Ecology","score_opus":0.01713174347345088,"score_gpt":0.2607283236935965,"score_spread":0.24359658022014563,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4398151451","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58153766,0.14185998,5.2506262e-8,0.00057572994,0.0005535175,0.000447565,0.00004646292,0.0000988759,0.27488014],"genre_scores_gemma":[0.9024603,0.0822865,0.000013325587,0.000024961162,0.00011112994,0.00005153441,0.000007639834,0.000041362215,0.015003257],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982171,0.000007928828,0.0006928346,0.00047297933,0.00018607378,0.0004230571],"domain_scores_gemma":[0.9993565,0.000082773724,0.00017130467,0.00025562837,0.0001144299,0.00001932711],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0002594314,0.0005149275,0.0010713659,0.0024412768,0.00023367204,0.00003661126,0.00019739821,0.00024504392,0.000020950025],"category_scores_gemma":[0.000014487884,0.0004343884,0.00006190913,0.0001810199,0.0023647544,0.000118009615,0.0008627061,0.0010603487,0.000007946052],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009415728,0.00002116785,0.037251644,0.0042328136,0.00019196792,0.0000977716,0.15410872,0.0000085299425,0.0000023457194,0.7158972,0.00009277494,0.08800088],"study_design_scores_gemma":[0.004047428,0.0031562701,0.0023143652,0.041928757,0.0004687883,0.00011115545,0.27656668,0.00060508266,0.00022092614,0.22629698,0.44088995,0.0033935914],"about_ca_topic_score_codex":0.00006784543,"about_ca_topic_score_gemma":0.029605767,"teacher_disagreement_score":0.48960024,"about_ca_system_score_codex":0.00008959231,"about_ca_system_score_gemma":0.000036646303,"threshold_uncertainty_score":0.9998108},"labels":[],"label_agreement":null},{"id":"W4399020984","doi":"10.1017/9781108694131.126","title":"11 June 1772. Cleland to David Garrick","year":2024,"lang":"en","type":"other","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Art; Art history; History","score_opus":0.0213329656721743,"score_gpt":0.24016525100521866,"score_spread":0.21883228533304436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399020984","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000016128515,0.0024563642,0.0000019297554,0.0010393537,0.0035720544,0.00015569186,0.00014279729,0.00037041504,0.99224526],"genre_scores_gemma":[0.0004619497,0.00022513616,0.000027829967,0.0007082932,0.0047943187,0.00002245184,0.000017919352,0.00027665624,0.9934654],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933636,0.0000055534747,0.000119299155,0.00022244727,0.00011340658,0.00020290815],"domain_scores_gemma":[0.99970675,0.0000071454115,0.000024209186,0.00019817936,0.000014116985,0.00004958114],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000036591347,0.00021619395,0.0002473809,0.00018377088,0.00007437381,0.00013797959,0.00011588599,0.00006130351,0.09601558],"category_scores_gemma":[0.0000013541669,0.00014233567,0.000080392696,0.000024810071,0.00006643643,0.000025965546,0.000079828875,0.00010239563,0.025147678],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000024881942,0.000008441738,0.000012898629,0.00011701061,0.00008365217,0.0000050326,0.0085673025,3.5592876e-8,1.9059195e-7,0.035032634,0.9553517,0.0008186133],"study_design_scores_gemma":[0.000057924204,0.000036171787,0.0000023589953,0.00018352138,0.000053821663,8.5033656e-7,0.0013445715,2.7725537e-7,0.0000018195617,0.00030344326,0.9977811,0.00023415837],"about_ca_topic_score_codex":0.0018108747,"about_ca_topic_score_gemma":0.08835828,"teacher_disagreement_score":0.08654741,"about_ca_system_score_codex":0.000009619265,"about_ca_system_score_gemma":0.000010422534,"threshold_uncertainty_score":0.9756113},"labels":[],"label_agreement":null},{"id":"W4399161138","doi":"10.1515/9782763726656","title":"Biennale zones théâtrales 2013","year":2015,"lang":"fr","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; History","score_opus":0.053960731882857854,"score_gpt":0.23997380568221754,"score_spread":0.1860130737993597,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399161138","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005405906,0.027558282,0.0000040631594,0.0048250537,0.003384139,0.00024681428,0.00038522278,0.00013269261,0.96292317],"genre_scores_gemma":[0.0010907621,0.012606823,0.00007413816,0.00033668196,0.008187495,0.000025122485,0.000118961194,0.000061208295,0.9774988],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982924,0.0000413222,0.00042927207,0.00035736087,0.0003316826,0.0005479488],"domain_scores_gemma":[0.9989026,0.000107265056,0.00015158545,0.00035520818,0.00032942937,0.00015386728],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002137462,0.00055681524,0.00063977746,0.00015567623,0.00092599535,0.00023228873,0.00029377537,0.00022186516,0.030734107],"category_scores_gemma":[0.000005759072,0.00041384014,0.0002771766,0.00002149004,0.0014588555,0.00034862405,0.00015779762,0.0003558087,0.01112761],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012564962,0.000038266906,0.000047292822,0.00016273478,0.00020133815,0.0000059817435,0.006734202,0.0000026391192,1.5450628e-7,0.42401934,0.56570256,0.0030728898],"study_design_scores_gemma":[0.0001853052,0.0002836858,0.00003720108,0.00027302155,0.000238409,0.000009403567,0.002434305,0.000016535738,0.0000031838167,0.010733551,0.9851814,0.0006039872],"about_ca_topic_score_codex":0.0019893341,"about_ca_topic_score_gemma":0.016150689,"teacher_disagreement_score":0.41947883,"about_ca_system_score_codex":0.00010208981,"about_ca_system_score_gemma":0.00026813016,"threshold_uncertainty_score":0.9998313},"labels":[],"label_agreement":null},{"id":"W4399166843","doi":"10.7202/1111442ar","title":"CONSTRUIRE DES ESPACES THÉÂTRAUX OÙ SE SENTIR VOIR ET ENTENDRE","year":2023,"lang":"fr","type":"article","venue":"Voix et Images","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Communication; Psychology; Aesthetics; Art","score_opus":0.04218568456083609,"score_gpt":0.2999842602318536,"score_spread":0.2577985756710175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399166843","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.59260446,0.03134907,0.000013621309,0.090684295,0.005305173,0.0004512584,0.008862115,0.0008358585,0.26989415],"genre_scores_gemma":[0.44233304,0.031431787,0.00010423848,0.0007994508,0.0012655401,0.000038082668,0.0001106087,0.00006973528,0.5238475],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99799335,0.00017577983,0.0003341857,0.00038229598,0.00027155963,0.00084281515],"domain_scores_gemma":[0.9989704,0.00030289087,0.00011740007,0.00030204395,0.00018218154,0.00012510132],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00046889536,0.00042350043,0.00041189895,0.00021251522,0.0011794263,0.0006230162,0.00022194412,0.00010360384,0.0019968932],"category_scores_gemma":[0.000051062747,0.00036638396,0.00024062472,0.00017680966,0.0021335639,0.0009212372,0.00023584827,0.00036755006,0.0025972277],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050618626,0.00018954904,0.008534175,0.0010091343,0.0005532759,0.0002035737,0.17612402,0.000040876974,0.00023240311,0.06610526,0.71278286,0.034174282],"study_design_scores_gemma":[0.00040803538,0.00016289313,0.0053625437,0.0004798238,0.00013669448,0.000036070895,0.050829634,0.00003700893,0.0009251117,0.003445934,0.93772453,0.00045170158],"about_ca_topic_score_codex":0.0023373105,"about_ca_topic_score_gemma":0.007237015,"teacher_disagreement_score":0.25395337,"about_ca_system_score_codex":0.000040385934,"about_ca_system_score_gemma":0.00011618557,"threshold_uncertainty_score":0.9998788},"labels":[],"label_agreement":null},{"id":"W4399351784","doi":"10.1515/9783035627244","title":"Set Pieces","year":2024,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Set (abstract data type); Computer science; Programming language","score_opus":0.040302183795293905,"score_gpt":0.23684167745437668,"score_spread":0.19653949365908277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399351784","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000004173766,0.0055323252,1.689325e-7,0.00043679378,0.0023561823,0.000058502817,0.00022809756,0.00019256864,0.9911912],"genre_scores_gemma":[0.0003210131,0.00057265995,0.0000017194184,0.00032593118,0.0065603624,0.0000075594226,0.00010635978,0.000027242764,0.9920772],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995311,0.0000021678402,0.000110688685,0.0001403483,0.00009784294,0.000117867756],"domain_scores_gemma":[0.99980664,0.000015675196,0.000020055051,0.00011578423,0.000025200885,0.000016660497],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000033314525,0.00016132221,0.00017751518,0.000070302835,0.00014107332,0.00015656449,0.000089030116,0.000048939954,0.028345915],"category_scores_gemma":[4.8469093e-7,0.00010389177,0.00010135031,0.0000034550258,0.00010582602,0.00005528301,0.000058760572,0.00016967596,0.018076248],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[7.462888e-7,7.040987e-7,1.4270344e-7,0.00008627768,0.00006419175,0.000002701427,0.012542888,3.194867e-8,6.7072543e-9,0.34735182,0.6383196,0.0016308544],"study_design_scores_gemma":[0.000018170686,0.000030178633,8.843608e-8,0.00009968331,0.00006271938,6.229167e-7,0.001009375,0.0000015026483,5.5472475e-7,0.021883182,0.9767396,0.00015435854],"about_ca_topic_score_codex":0.000038805905,"about_ca_topic_score_gemma":0.0037277772,"teacher_disagreement_score":0.3384199,"about_ca_system_score_codex":0.000020295562,"about_ca_system_score_gemma":0.00005313786,"threshold_uncertainty_score":0.9826883},"labels":[],"label_agreement":null},{"id":"W4399360009","doi":"10.3390/socsci13060304","title":"Introduction to the Special Issue “Rethinking Artful Politics: Bodies of Difference Remaking Body Worlds”","year":2024,"lang":"en","type":"article","venue":"Social Sciences","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; University of Guelph; Trent University","funders":"","keywords":"Politics; Aesthetics; Sociology; Art; Political science; Law","score_opus":0.03739647293335136,"score_gpt":0.2937018555874069,"score_spread":0.25630538265405556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399360009","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30802768,0.0016503608,0.000019338333,0.10837567,0.014796701,0.0002837492,0.00004455594,0.0001650305,0.5666369],"genre_scores_gemma":[0.9034118,0.00003654866,0.00001768454,0.00025049064,0.08460381,0.0000062542244,8.10576e-7,0.0000040212726,0.011668608],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991354,0.000033146636,0.00015304485,0.0001793123,0.00026988154,0.00022921729],"domain_scores_gemma":[0.9997666,0.00007391485,0.000036519257,0.000059372494,0.000049560676,0.000014056943],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00041168576,0.00008485157,0.00012443664,0.00008193937,0.0018278988,0.00032634378,0.00019833885,0.000016883625,0.0010167746],"category_scores_gemma":[0.000032131833,0.00005020429,0.000057935875,0.00011476775,0.0009369486,0.00017970797,0.00007261645,0.00010235018,0.00009219322],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000032413855,0.00000643527,0.0001268311,0.0000285038,0.000017707558,4.3195755e-7,0.36053318,0.00000269966,0.000041829207,0.54443175,0.07973157,0.015075825],"study_design_scores_gemma":[0.000014777481,0.00006288134,0.000546235,0.00004652714,0.000016704691,4.7244058e-7,0.030327568,0.000022872317,0.00012309368,0.02975,0.93900293,0.00008590621],"about_ca_topic_score_codex":0.00039112702,"about_ca_topic_score_gemma":0.0037429335,"teacher_disagreement_score":0.8592714,"about_ca_system_score_codex":0.000024504112,"about_ca_system_score_gemma":0.00004144166,"threshold_uncertainty_score":0.9998964},"labels":[],"label_agreement":null},{"id":"W4399364295","doi":"10.2218/ed.9781836450283","title":"Limology","year":2024,"lang":"en","type":"book","venue":"University of Edinburgh eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.02149473360600165,"score_gpt":0.18239573592708208,"score_spread":0.16090100232108043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399364295","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001467674,0.000580949,0.0000010889015,0.00010236851,0.0014263025,0.00008385711,0.00012510802,0.00007439983,0.9974592],"genre_scores_gemma":[0.0027023146,0.00009448479,0.000007821176,0.00004201675,0.001258984,9.6700944e-8,0.000022226324,0.000013736594,0.9958583],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994574,0.000004830645,0.00010019124,0.00017932353,0.000110696135,0.00014756923],"domain_scores_gemma":[0.9996092,0.000044448363,0.00007725967,0.00015718066,0.00007989946,0.000032021268],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000051011433,0.00016540817,0.00030911012,0.00018373189,0.00019896902,0.00001556551,0.00019904951,0.00012324184,0.010397205],"category_scores_gemma":[0.000001190341,0.00016646851,0.00018981454,0.000003819609,0.0007157596,0.000031385476,0.00015265122,0.00025554147,0.0001509584],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020183175,0.0000045066427,0.000001179259,0.000066497065,0.0002035364,0.00004196389,0.030499572,1.33117e-7,9.951126e-7,0.13490677,0.8316278,0.002626854],"study_design_scores_gemma":[0.00009846056,0.000105687286,2.6448953e-7,0.0001819199,0.00021884576,0.0000018164068,0.0025503566,0.0000015709466,0.0000030216424,0.01871456,0.9779624,0.00016113915],"about_ca_topic_score_codex":0.00013747912,"about_ca_topic_score_gemma":0.0009733936,"teacher_disagreement_score":0.14633454,"about_ca_system_score_codex":0.00004782481,"about_ca_system_score_gemma":0.00014645437,"threshold_uncertainty_score":0.9905074},"labels":[],"label_agreement":null},{"id":"W4399369626","doi":"10.3138/ctr.197.011","title":"Lost Together","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; History","score_opus":0.030199295177310403,"score_gpt":0.24704258364074397,"score_spread":0.21684328846343356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399369626","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007160473,0.4356198,2.1862512e-7,0.005998875,0.0005311732,0.00011309327,0.00006277431,0.000039421884,0.557563],"genre_scores_gemma":[0.29494697,0.5128365,0.000016366208,0.02538934,0.004840623,0.00008327251,0.000061444814,0.00010860419,0.16171683],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993744,0.000019685775,0.00013733175,0.00014472583,0.000065783854,0.0002580701],"domain_scores_gemma":[0.9996242,0.000022784581,0.000009589523,0.00017580608,0.00002371207,0.00014389661],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012900696,0.00012387587,0.00018837312,0.000080507656,0.00017539627,0.000109673296,0.00010900004,0.00001838406,0.02314143],"category_scores_gemma":[0.0000027504746,0.00008608802,0.00011466886,0.000055903613,0.00008896367,0.00011698478,0.00000951671,0.00010260811,0.008138965],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.1973945e-7,0.0000023123416,0.000029147186,0.0021625024,0.00006244443,0.000035607714,0.003106157,5.0991765e-8,3.011518e-7,0.09583018,0.5141558,0.38461506],"study_design_scores_gemma":[0.000014912006,0.000014458086,0.000004412046,0.0030671298,0.00006537686,0.000008935717,0.00019390578,0.0000025257875,9.2422135e-7,0.00055232283,0.995951,0.00012407506],"about_ca_topic_score_codex":0.027444053,"about_ca_topic_score_gemma":0.44465908,"teacher_disagreement_score":0.48179522,"about_ca_system_score_codex":0.000064043794,"about_ca_system_score_gemma":0.00016866863,"threshold_uncertainty_score":0.99263334},"labels":[],"label_agreement":null},{"id":"W4399369741","doi":"10.3138/ctr.197.008","title":"If Not Democratic","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Democracy; Art; Sociology; Political science; Law; Politics","score_opus":0.030080155967273484,"score_gpt":0.24547480718216208,"score_spread":0.2153946512148886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399369741","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00012030119,0.4158106,6.012966e-7,0.0101102805,0.00077939604,0.00018786598,0.00007742193,0.00007807052,0.57283545],"genre_scores_gemma":[0.5655278,0.3378585,0.00001875718,0.023561047,0.0038405287,0.0001200408,0.000055533284,0.0000758136,0.06894199],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992661,0.000024412284,0.00017920026,0.00016061185,0.000079721955,0.00028996254],"domain_scores_gemma":[0.9995643,0.000036303296,0.0000128215615,0.00019200731,0.000025422032,0.00016916856],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014924142,0.00014052559,0.0002340658,0.00009306232,0.0002802872,0.00012141378,0.00012277406,0.000019129107,0.006809961],"category_scores_gemma":[0.0000048957813,0.00009951033,0.00012621086,0.00006387508,0.000091623544,0.00013824915,0.000010618228,0.00011648304,0.0026938731],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[5.366929e-7,0.00000237258,0.00001429461,0.003429831,0.000068741916,0.00004528457,0.002631313,1.2916328e-7,4.924611e-7,0.07866133,0.5078897,0.40725598],"study_design_scores_gemma":[0.000017785582,0.000017663828,0.0000062250615,0.0035640004,0.00010062098,0.000010147294,0.0001604255,0.000012425061,0.0000018234969,0.0008486775,0.9951213,0.00013891578],"about_ca_topic_score_codex":0.0155407395,"about_ca_topic_score_gemma":0.25190493,"teacher_disagreement_score":0.56540745,"about_ca_system_score_codex":0.00007407081,"about_ca_system_score_gemma":0.0002219825,"threshold_uncertainty_score":0.99808264},"labels":[],"label_agreement":null},{"id":"W4399369975","doi":"10.3138/ctr.197.001","title":"Creation Practices in Participatory Performance","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Visual arts; Sociology; Aesthetics; Art; Political science; Law","score_opus":0.09097803732260835,"score_gpt":0.3151293065027054,"score_spread":0.22415126918009703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399369975","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014884859,0.45352614,1.0131728e-7,0.0047934344,0.0004916506,0.0002408091,0.000022155182,0.000051880565,0.525989],"genre_scores_gemma":[0.82798916,0.16706303,0.000002832832,0.0013985105,0.0004492647,0.00007938468,0.0000136435565,0.000014955302,0.0029892244],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992446,0.00004277789,0.00020563687,0.00015951066,0.00007840403,0.0002690936],"domain_scores_gemma":[0.99963117,0.000048926482,0.00004354159,0.0001510628,0.000024038316,0.000101265345],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034789057,0.000114528084,0.00018741451,0.00014144466,0.0001599819,0.000099896126,0.00009183321,0.000020826483,0.0027431746],"category_scores_gemma":[0.000015703647,0.00008721275,0.000053335643,0.000095765936,0.00007965064,0.00040879005,0.0000081239705,0.00013514665,0.0009203953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000044392837,0.000016522683,0.0049812202,0.009752424,0.0000717795,0.00006109952,0.015430504,0.0000027143446,0.0000010236013,0.037717063,0.066446364,0.8655148],"study_design_scores_gemma":[0.000026657981,0.000024572628,0.00035386195,0.004542348,0.00005483224,0.000004833748,0.00034980636,0.000082265135,0.0000022144684,0.00009167121,0.99434954,0.00011736823],"about_ca_topic_score_codex":0.03212615,"about_ca_topic_score_gemma":0.5475795,"teacher_disagreement_score":0.9279032,"about_ca_system_score_codex":0.00012301707,"about_ca_system_score_gemma":0.00027313633,"threshold_uncertainty_score":0.9998575},"labels":[],"label_agreement":null},{"id":"W4399369979","doi":"10.3138/ctr.197.022","title":"Inside <i>The Maydee Box</i>","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts","score_opus":0.027041980359555497,"score_gpt":0.23723886389241328,"score_spread":0.2101968835328578,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399369979","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000054884305,0.4882238,2.696334e-7,0.01821775,0.0007090017,0.00017546455,0.00005718942,0.000051500447,0.49251014],"genre_scores_gemma":[0.34260353,0.5514346,0.000009345283,0.05209004,0.0045450204,0.00017536581,0.000047935508,0.00008560785,0.049008586],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922675,0.000035735993,0.00018151445,0.00015788067,0.00009058873,0.00030755124],"domain_scores_gemma":[0.9994952,0.000054718203,0.000015279487,0.0002724551,0.000028293287,0.00013402863],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021942417,0.00014723568,0.0002049879,0.000066349465,0.00044168372,0.00017593139,0.00018980145,0.000019036042,0.004737744],"category_scores_gemma":[0.0000050836193,0.00008313167,0.00014273134,0.00008351565,0.00015748637,0.00012936692,0.000017681861,0.000165116,0.0025015918],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[4.0597132e-7,0.0000015462936,0.0000122782885,0.0012517343,0.000051370687,0.00002814542,0.0027643552,9.1178215e-8,2.5042795e-7,0.08029391,0.6000308,0.31556517],"study_design_scores_gemma":[0.000016768054,0.000014680267,0.0000051996517,0.0023773543,0.00009581173,0.00001904013,0.0003176419,0.0000027256692,0.0000016106695,0.0009224637,0.99610317,0.0001235476],"about_ca_topic_score_codex":0.030171484,"about_ca_topic_score_gemma":0.49925268,"teacher_disagreement_score":0.4690812,"about_ca_system_score_codex":0.000066228815,"about_ca_system_score_gemma":0.00023357083,"threshold_uncertainty_score":0.9982751},"labels":[],"label_agreement":null},{"id":"W4399370068","doi":"10.3138/ctr.197.002","title":"On Uncomfortable Theatre and Cozy Revolution","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Performance art; Aesthetics; Sociology; Media studies; Advertising; Art history; Business","score_opus":0.02165396907812749,"score_gpt":0.23304788985077948,"score_spread":0.21139392077265198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399370068","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000590413,0.47813985,4.9655455e-7,0.00422432,0.00051119574,0.00024222235,0.00010906839,0.0000662321,0.5161162],"genre_scores_gemma":[0.49147993,0.4700398,0.000012188267,0.008657465,0.0014195011,0.00009781136,0.00007959075,0.00006812885,0.02814557],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917626,0.00003119774,0.00017742347,0.00021931683,0.00009058402,0.00030522188],"domain_scores_gemma":[0.99952465,0.000056071487,0.000017684359,0.00020422062,0.00002171604,0.00017563174],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019184499,0.00017427467,0.00026205898,0.00011781981,0.00038336308,0.00012170978,0.00008415723,0.000029686002,0.0025698268],"category_scores_gemma":[0.0000040403534,0.00012230294,0.00008783521,0.000072880335,0.00012002462,0.00015566881,0.000012672951,0.00014761092,0.0005525446],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000027647532,0.000005559166,0.000059199123,0.0036616714,0.00007522116,0.000026917734,0.0015780566,6.134657e-7,4.7602214e-7,0.2746455,0.37428787,0.34565616],"study_design_scores_gemma":[0.00003826144,0.000059218786,0.000010383378,0.005886894,0.000094944524,0.0000137213865,0.0001985604,0.00001799089,8.146146e-7,0.0026288126,0.9908933,0.00015708154],"about_ca_topic_score_codex":0.02547581,"about_ca_topic_score_gemma":0.26804313,"teacher_disagreement_score":0.61660546,"about_ca_system_score_codex":0.00010607212,"about_ca_system_score_gemma":0.00015380797,"threshold_uncertainty_score":0.998342},"labels":[],"label_agreement":null},{"id":"W4399370166","doi":"10.3138/ctr.197.004","title":"Summer Magic: Creating a Sense of Welcome Back to Performance","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"MAGIC (telescope); Art; Sense (electronics); Performance art; Art history; Visual arts; History; Aesthetics; Engineering; Astronomy; Physics","score_opus":0.04025507501781094,"score_gpt":0.25779640538905507,"score_spread":0.21754133037124412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399370166","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00983075,0.23068608,4.779206e-7,0.003675667,0.00060821755,0.00039482876,0.00016080069,0.00004052831,0.7546027],"genre_scores_gemma":[0.84820384,0.11324519,0.000060513,0.0055667744,0.0013777048,0.00004264354,0.00003036247,0.000064196895,0.031408794],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902433,0.000028503591,0.00030266712,0.00019408157,0.000106841064,0.00034357232],"domain_scores_gemma":[0.99940246,0.00004505453,0.00002929753,0.00024876042,0.000062598534,0.00021185106],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022354868,0.00017704305,0.00036830376,0.00016036956,0.00017945323,0.00006717823,0.000115227915,0.000022250653,0.007176576],"category_scores_gemma":[0.000006737243,0.00013072102,0.00013304368,0.00013843787,0.00009004297,0.00015105127,0.000023890043,0.000115564,0.0027968085],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008954972,0.000015413574,0.0009661655,0.026068589,0.00023927621,0.000061914696,0.02061122,0.000004906996,0.000011813877,0.031584717,0.31303915,0.6073879],"study_design_scores_gemma":[0.00003081508,0.00005839965,0.000056674206,0.008670766,0.00007606306,0.00001475929,0.00034158953,0.000021177673,0.000014337985,0.000033812117,0.9905129,0.00016870062],"about_ca_topic_score_codex":0.02337376,"about_ca_topic_score_gemma":0.13106254,"teacher_disagreement_score":0.83837306,"about_ca_system_score_codex":0.00007903626,"about_ca_system_score_gemma":0.00018017432,"threshold_uncertainty_score":0.99797964},"labels":[],"label_agreement":null},{"id":"W4399398156","doi":"10.1353/tj.2024.a929529","title":"Robert Lepage’s Original Stage Productions: Making Theatre Global by Karen Fricker (review)","year":2024,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Art; Art history; Visual arts; Biology; Paleontology","score_opus":0.020084655607760668,"score_gpt":0.28247129786504677,"score_spread":0.2623866422572861,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399398156","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0054227333,0.44380507,0.00011355582,0.013833498,0.005539487,0.0003970942,0.0004199786,0.0003770286,0.5300916],"genre_scores_gemma":[0.7282994,0.1333942,0.00043199063,0.0033475754,0.026426684,0.0000924233,0.00008894203,0.00017785173,0.10774096],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982451,0.00009360243,0.00045796487,0.00030580943,0.00039515822,0.0005023618],"domain_scores_gemma":[0.99940974,0.00004124137,0.0000982111,0.0002529037,0.00009982347,0.00009810645],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004949801,0.0003279265,0.0003673163,0.00009149347,0.0010067091,0.0004957987,0.00027358526,0.000044649387,0.009016922],"category_scores_gemma":[0.000005893138,0.00021785391,0.00027467654,0.00013467748,0.00018937056,0.0006975799,0.000065306675,0.00059939775,0.00067317655],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003941329,0.000077057986,0.00042922015,0.0006068257,0.00038581117,0.00007586844,0.0067340015,0.000007844236,0.000016267519,0.012050784,0.8022947,0.17728226],"study_design_scores_gemma":[0.00014833586,0.00012247285,0.000019384794,0.0016988766,0.00021726436,0.00039203753,0.0026474071,0.000028781127,0.000010922511,0.0017933842,0.9926364,0.00028475988],"about_ca_topic_score_codex":0.00012881754,"about_ca_topic_score_gemma":0.0003222812,"teacher_disagreement_score":0.7228766,"about_ca_system_score_codex":0.00016949979,"about_ca_system_score_gemma":0.00014304122,"threshold_uncertainty_score":0.991889},"labels":[],"label_agreement":null},{"id":"W4399398207","doi":"10.1353/tj.2024.a929532","title":"In The Lurch: Verbatim Theater and the Crisis of Democratic Deliberation by Ryan Claycomb (review)","year":2024,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Deliberation; Democracy; Sociology; Epistemology; Psychology; Aesthetics; Political science; Philosophy; Law; Politics","score_opus":0.015554797422414408,"score_gpt":0.24342533243017764,"score_spread":0.22787053500776322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399398207","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13566151,0.52059746,0.00006823126,0.15980005,0.0015616047,0.00083156757,0.00005531529,0.000044000208,0.18138024],"genre_scores_gemma":[0.9565167,0.038717683,0.0000071927357,0.0033025446,0.00059116137,0.000014349939,0.0000023484513,0.000010586771,0.00083745195],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990639,0.00021193812,0.00032081667,0.00007858838,0.00018285976,0.00014188499],"domain_scores_gemma":[0.99957305,0.00020288506,0.00005307462,0.00012049885,0.00003306383,0.000017420676],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009857791,0.00011492949,0.00021017567,0.000049672686,0.00034185578,0.00015777533,0.0001520806,0.000017723292,0.0006108553],"category_scores_gemma":[0.0000044356048,0.000045687193,0.000090555804,0.000047855443,0.00021276648,0.0002588004,0.000029548999,0.0002870533,0.000016749762],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000808478,0.00004033088,0.000062686086,0.0003790348,0.00015350297,0.000008779734,0.13185781,0.0000035173862,0.000028233371,0.018639961,0.80141807,0.047327198],"study_design_scores_gemma":[0.0016123146,0.00038602768,0.0001520125,0.0020095708,0.0006467656,0.00040583854,0.037620954,0.00079383556,0.00012451262,0.09453069,0.8613682,0.0003492803],"about_ca_topic_score_codex":0.00008519368,"about_ca_topic_score_gemma":0.00018546131,"teacher_disagreement_score":0.8208552,"about_ca_system_score_codex":0.000011158153,"about_ca_system_score_gemma":0.000018126993,"threshold_uncertainty_score":0.66884375},"labels":[],"label_agreement":null},{"id":"W4399564328","doi":"10.1386/public_00196_4","title":"Faye Driscoll: Weathering","year":2024,"lang":"en","type":"article","venue":"Public","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Weathering; Archaeology; Art; Geology; Geography; Geomorphology","score_opus":0.04291891247883428,"score_gpt":0.2328528478302683,"score_spread":0.18993393535143402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399564328","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08946053,0.0036582446,0.000014641035,0.0048182253,0.001683783,0.00005674218,0.000012966036,0.00038414975,0.89991075],"genre_scores_gemma":[0.9556767,0.00008717487,0.0000067611377,0.00015365217,0.0012591692,0.00001782074,0.0000029058913,0.000011748186,0.042784095],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960214,0.0000052693763,0.00007045707,0.00009421227,0.00006853629,0.00015940628],"domain_scores_gemma":[0.99985456,0.00001863629,0.0000061526657,0.0000783977,0.000018025525,0.00002422706],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00007002673,0.00006398873,0.00006374493,0.00006896551,0.00020679431,0.00049065583,0.00006874899,0.0000104824585,0.0033601895],"category_scores_gemma":[0.000003459119,0.000045980738,0.00004429666,0.000033274944,0.000059581263,0.0003257376,0.00003135597,0.000066192704,0.000963223],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000015020743,0.000013696641,0.00033499705,0.00006204959,0.000075288706,0.0000059148033,0.04497235,5.481349e-7,0.000017320008,0.82910264,0.058427095,0.066986606],"study_design_scores_gemma":[0.000026863498,0.000016194877,0.00006911352,0.00001676928,0.0000060926104,0.0000012935021,0.002088893,0.00010559862,0.0000147306855,0.001422595,0.9961627,0.00006911384],"about_ca_topic_score_codex":0.000052863914,"about_ca_topic_score_gemma":0.00044133462,"teacher_disagreement_score":0.9377356,"about_ca_system_score_codex":0.000012329445,"about_ca_system_score_gemma":0.000016356194,"threshold_uncertainty_score":0.9998146},"labels":[],"label_agreement":null},{"id":"W4399762762","doi":"10.3138/md-67-2-1291","title":"“You Are against UK Law”: Clean Break Theatre Company’s Carceral Dramaturgy","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Law; Visual arts; Art; Aesthetics; History; Sociology; Political science","score_opus":0.020727004871008724,"score_gpt":0.22897515520878559,"score_spread":0.20824815033777686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399762762","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29681784,0.0042321067,0.000026466061,0.0022326836,0.0016386422,0.00018817994,0.0002278765,0.00057630875,0.6940599],"genre_scores_gemma":[0.97673845,0.0001171303,0.000011348507,0.001175871,0.0020521926,0.000021020973,0.000052525964,0.000056088822,0.019775381],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99868727,0.000030517407,0.0002483448,0.00035087112,0.00023521692,0.00044778665],"domain_scores_gemma":[0.9994507,0.000048504215,0.00004012024,0.0003187603,0.000059150738,0.00008276284],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009173398,0.0002889667,0.00032048117,0.000090499176,0.0006736354,0.00068719307,0.00021982528,0.00006729824,0.0008880331],"category_scores_gemma":[0.0000014770498,0.00022107924,0.00019880051,0.00004106278,0.00032680182,0.00027488242,0.00010713007,0.00030841492,0.00056561193],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011427087,0.0001366698,0.00074853236,0.0004908987,0.0005408107,0.00019580296,0.2291747,0.0003101491,0.000098852994,0.42134213,0.09602413,0.25082305],"study_design_scores_gemma":[0.00029043463,0.000066582405,0.00021884822,0.00024883225,0.000061616665,0.000010742671,0.008235923,0.006134298,0.000084566636,0.011230907,0.9729877,0.0004295493],"about_ca_topic_score_codex":0.00091812015,"about_ca_topic_score_gemma":0.008550568,"teacher_disagreement_score":0.87696356,"about_ca_system_score_codex":0.00005525702,"about_ca_system_score_gemma":0.000028116414,"threshold_uncertainty_score":0.97233397},"labels":[],"label_agreement":null},{"id":"W4399762815","doi":"10.3138/md-67-2-rev1","title":"Ryan Claycomb. <i>In the Lurch: Verbatim Theatre and the Crisis of Democratic Deliberation</i>","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Deliberation; Democracy; Epistemology; Sociology; Political science; Philosophy; Law; Politics","score_opus":0.019127958857879383,"score_gpt":0.2285746756936271,"score_spread":0.20944671683574773,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399762815","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5409757,0.021941112,0.00030055825,0.0398965,0.0006593279,0.0007067,0.000058597856,0.00010454898,0.39535695],"genre_scores_gemma":[0.99712825,0.00027923705,0.0000113934675,0.0010206313,0.00024760453,0.000034650893,0.0000035355197,0.000010145234,0.001264526],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999352,0.00007647412,0.00018834771,0.00011796021,0.00013783721,0.00012741296],"domain_scores_gemma":[0.9995292,0.000238,0.000022257385,0.00017653032,0.00002381281,0.0000102031945],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029393102,0.0001029437,0.0001491268,0.0000402924,0.00029099526,0.000219569,0.00013370757,0.000020570866,0.00009748537],"category_scores_gemma":[0.0000038113071,0.000047099846,0.00006130606,0.000039912087,0.00027019903,0.00014997952,0.000045835994,0.00013363735,0.0000151141385],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007111533,0.000044614055,0.0001887125,0.00016560881,0.0001108293,0.0000055592723,0.59781957,0.00010127258,0.000015364532,0.31307477,0.034388587,0.054013997],"study_design_scores_gemma":[0.0017865921,0.00023061408,0.00051347475,0.0002710847,0.00031945223,0.000022441276,0.07055579,0.0623507,0.00013330053,0.6234015,0.23997635,0.00043864743],"about_ca_topic_score_codex":0.0002471623,"about_ca_topic_score_gemma":0.0015780821,"teacher_disagreement_score":0.52726376,"about_ca_system_score_codex":0.0000066170046,"about_ca_system_score_gemma":0.000015186577,"threshold_uncertainty_score":0.22381297},"labels":[],"label_agreement":null},{"id":"W4399762928","doi":"10.3138/md-67-2-rev6","title":"David Román and Sean F. Edgecomb, eds. <i>The Taylor Mac Book: Ritual, Realness, and Radical Performance</i>","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science; Art","score_opus":0.01631450193396737,"score_gpt":0.22024890721665613,"score_spread":0.20393440528268875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399762928","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7899274,0.084387265,0.000044099852,0.009487449,0.001591325,0.0004083609,0.00010560655,0.00036180663,0.11368666],"genre_scores_gemma":[0.97842413,0.004470043,0.000011751599,0.0009034862,0.0013462603,0.000033498818,0.000013062137,0.00003178225,0.014765985],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990195,0.000025460751,0.00019093652,0.00028656106,0.00016795227,0.0003095648],"domain_scores_gemma":[0.999598,0.00007647126,0.000024048892,0.00020155006,0.000026944623,0.000072981806],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018193013,0.00021050728,0.00021415438,0.000050159702,0.00086952525,0.0005435579,0.00012640232,0.00005030848,0.00038934016],"category_scores_gemma":[0.0000039760716,0.00013419725,0.00004995073,0.000022598178,0.0006889942,0.00044079937,0.0001376579,0.00026825228,0.000075065414],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011676089,0.000087200104,0.0017036912,0.0008230505,0.000270862,0.000039568127,0.1295986,0.000007978393,0.000072823546,0.07368524,0.16647142,0.6271228],"study_design_scores_gemma":[0.00027189593,0.00011195217,0.00033211452,0.00009470536,0.000071029106,0.000031893313,0.0008530336,0.008174731,0.00006369046,0.0023109724,0.9874561,0.00022792461],"about_ca_topic_score_codex":0.000117914526,"about_ca_topic_score_gemma":0.00031212528,"teacher_disagreement_score":0.82098466,"about_ca_system_score_codex":0.000014062686,"about_ca_system_score_gemma":0.000024483892,"threshold_uncertainty_score":0.6687773},"labels":[],"label_agreement":null},{"id":"W4399826672","doi":"10.1093/oso/9780197758236.003.0023","title":"Bob Fosse’s Wife, His Mistress, and His Daughter","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Honor; Wife; Art; Art history; Daughter; Humanities; Philosophy; Theology; Computer science; Law","score_opus":0.025196935131224354,"score_gpt":0.1860413338916288,"score_spread":0.16084439876040446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399826672","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001905483,0.0019213594,9.441399e-7,0.00012860615,0.00059301953,0.00018630277,0.0006341957,0.00015419564,0.99619085],"genre_scores_gemma":[0.0025286293,0.0019814332,0.000011720357,0.0000741089,0.0007051866,0.0000010228595,0.00004401427,0.000048546342,0.99460536],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990128,0.000007095518,0.00015229761,0.00040091627,0.00017262666,0.0002542585],"domain_scores_gemma":[0.99942386,0.00003210784,0.000093068236,0.00029418865,0.000072210794,0.0000845854],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000036970636,0.00038223565,0.00037325357,0.0001367268,0.0004895103,0.00016809191,0.00023245096,0.00016888873,0.0006313348],"category_scores_gemma":[6.9594694e-7,0.00036042,0.00017381228,0.0000020187151,0.0005903264,0.00013724873,0.0003672913,0.0002908724,0.000012847808],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060139726,0.0000051034735,0.0000034015775,0.00028661604,0.0003422517,0.00011277945,0.007060464,1.559474e-7,8.576839e-7,0.9186613,0.0681421,0.0053248317],"study_design_scores_gemma":[0.00023088069,0.00006523336,0.0000017119918,0.00027886545,0.00041457432,0.0000052055047,0.00049355073,0.0000053733697,0.000010240757,0.003190832,0.9948799,0.0004236323],"about_ca_topic_score_codex":0.00029632857,"about_ca_topic_score_gemma":0.0014210985,"teacher_disagreement_score":0.9267378,"about_ca_system_score_codex":0.00006560877,"about_ca_system_score_gemma":0.00002987856,"threshold_uncertainty_score":0.9998848},"labels":[],"label_agreement":null},{"id":"W4400033212","doi":"10.12745/et.27.1.5800","title":"Editorial","year":2024,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Art; Visual arts; Aesthetics","score_opus":0.009288879022070949,"score_gpt":0.2269261229803628,"score_spread":0.21763724395829184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400033212","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000022432403,0.0017017585,4.980421e-8,0.00011213082,0.67467767,0.00009550388,0.0007421556,0.0002384131,0.32240987],"genre_scores_gemma":[0.00023015293,0.0003153072,0.0000020328878,0.000014504599,0.8824544,0.000036117774,0.00019332842,0.000093734154,0.11666044],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980828,0.000029674406,0.00028421354,0.00041332323,0.00078802777,0.0004019184],"domain_scores_gemma":[0.9990835,0.0002417904,0.000070955546,0.00035997492,0.0001814785,0.00006225922],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018639074,0.00042155624,0.0004519477,0.00014161425,0.00037734685,0.0006862485,0.00035002336,0.0004657413,0.0019597795],"category_scores_gemma":[0.00002095527,0.00031036767,0.0002813776,0.00003537085,0.00023675234,0.00019853511,0.00014584693,0.0012682349,0.007024359],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003411322,0.000015174501,9.905555e-7,0.00013419738,0.00018077748,0.000006278521,0.017397083,9.3075705e-8,2.9735415e-7,0.0016635726,0.97839177,0.0021756412],"study_design_scores_gemma":[0.00016524589,0.00018680058,1.9296694e-7,0.00021042337,0.00017470116,1.5744395e-7,0.0004991466,3.1612706e-7,0.0000011951525,0.0022380226,0.9961433,0.00038054277],"about_ca_topic_score_codex":0.0010259238,"about_ca_topic_score_gemma":0.0012869037,"teacher_disagreement_score":0.20777668,"about_ca_system_score_codex":0.00005525026,"about_ca_system_score_gemma":0.00016852253,"threshold_uncertainty_score":0.99993485},"labels":[],"label_agreement":null},{"id":"W4400327741","doi":"10.1007/978-3-031-58370-4_7","title":"Decolonizing Notions of Empathy: Building Communities of Care","year":2024,"lang":"en","type":"book-chapter","venue":"Advances in mental health and addiction","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Empathy; Sociology; Psychology; Cognitive science; Social psychology","score_opus":0.020808723477404513,"score_gpt":0.2934052105018185,"score_spread":0.27259648702441397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400327741","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017431939,0.371612,0.0000023159491,0.000155463,0.001818139,0.00036875755,0.0012040264,0.00003923977,0.6073681],"genre_scores_gemma":[0.841263,0.14259112,0.000087755405,0.00007991458,0.0002712575,0.000014791409,0.00027558935,0.000024068579,0.015392492],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938434,0.0000070958026,0.00032102357,0.000086493055,0.00009119173,0.00010982614],"domain_scores_gemma":[0.99967015,0.00003693642,0.00015907535,0.00007161973,0.000035388228,0.000026840258],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000060720216,0.00012425547,0.0002864421,0.0001728879,0.00027700348,0.000010113534,0.000042436925,0.000036387384,0.00009912485],"category_scores_gemma":[7.8879776e-7,0.00011281616,0.000046413155,0.000010602696,0.00023681564,0.00017974894,0.00004305005,0.00017595336,0.0000020072473],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008200658,0.000020621375,0.00038715324,0.0034168868,0.000053265136,7.0287973e-7,0.3029501,0.000017232176,0.0000013573473,0.5616644,0.00027087223,0.1311354],"study_design_scores_gemma":[0.00019380951,0.00059134664,0.000023205273,0.0040603704,0.000025398122,0.0000018038268,0.095460795,0.000019493189,0.000013566657,0.0069575314,0.8925213,0.00013135545],"about_ca_topic_score_codex":0.00026381278,"about_ca_topic_score_gemma":0.0136452075,"teacher_disagreement_score":0.8922505,"about_ca_system_score_codex":0.0000679558,"about_ca_system_score_gemma":0.00003395296,"threshold_uncertainty_score":0.7614346},"labels":[],"label_agreement":null},{"id":"W4400426167","doi":"10.29173/crossings218","title":"After the Dream","year":2024,"lang":"en","type":"article","venue":"Crossings An Undergraduate Arts Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Dream; Psychology; Psychotherapist","score_opus":0.028669872945925,"score_gpt":0.2676070316534666,"score_spread":0.23893715870754162,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400426167","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5827116,0.008525004,0.00014497137,0.030436354,0.005608032,0.00012102303,0.00002274244,0.0002564886,0.37217382],"genre_scores_gemma":[0.9434657,0.00024580167,0.000021810705,0.0009435332,0.0037332408,0.0000065482127,0.0000018313822,0.000027334041,0.051554188],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990393,0.000030398416,0.0002305026,0.00015832082,0.00020970331,0.00033177173],"domain_scores_gemma":[0.99958193,0.000042959215,0.000046713652,0.0001555846,0.00008395435,0.00008884429],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032679882,0.00016479746,0.00012391953,0.00007979252,0.0024347713,0.006178822,0.0001701749,0.000022327655,0.0010985351],"category_scores_gemma":[0.000005071675,0.000088067034,0.00014080918,0.00004206323,0.0007510173,0.0010154955,0.00003793161,0.00038028846,0.00031937123],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015044898,0.000111881025,0.0004956569,0.00008115207,0.00032025555,0.00035679238,0.25229937,0.000018317474,0.0001222031,0.2073906,0.4101266,0.12852673],"study_design_scores_gemma":[0.00010034562,0.0000970175,0.00024834235,0.00009710303,0.000043464894,0.00030906012,0.0034145373,0.00014082134,0.000024774088,0.037266202,0.95810866,0.00014969602],"about_ca_topic_score_codex":0.000036099602,"about_ca_topic_score_gemma":0.0004416151,"teacher_disagreement_score":0.54798204,"about_ca_system_score_codex":0.000031589992,"about_ca_system_score_gemma":0.00007245593,"threshold_uncertainty_score":0.99981457},"labels":[],"label_agreement":null},{"id":"W4400440930","doi":"10.55016/ojs/ajer.v53i1.55203","title":"&lt;i&gt;Narratives in the Making: Teaching and Learning at Corktown Community High School&lt;/i&gt; by Mary Beattie","year":2007,"lang":"en","type":"article","venue":"Alberta Journal of Educational Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Narrative; Psychology; Pedagogy; Community college; Mathematics education; Medical education; Art; Literature; Medicine","score_opus":0.06765025000056986,"score_gpt":0.3584282711066012,"score_spread":0.29077802110603135,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400440930","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73652864,0.003011558,4.813817e-7,0.011178789,0.00015272808,0.00008129826,0.0000029157745,6.716349e-7,0.24904294],"genre_scores_gemma":[0.94286305,0.00031222473,0.000048647187,0.00029123836,0.00081265916,0.000006274058,0.000013976665,0.000012093991,0.055639867],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99735314,0.0012212674,0.00039338844,0.00010227496,0.00055699237,0.00037294888],"domain_scores_gemma":[0.9837513,0.015593164,0.00015727831,0.000145775,0.00027343232,0.00007906915],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0062106824,0.0001265544,0.0001895541,0.00023688767,0.0034294026,0.00021029163,0.00039199096,0.000039584196,0.0042102714],"category_scores_gemma":[0.0021760552,0.00008425502,0.000054084776,0.000090281705,0.0005418728,0.0004045531,0.00014022816,0.0021345993,0.00004930359],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048383162,0.0006877982,0.070140116,0.00008401189,0.00019650557,0.0000032062542,0.4294882,0.000012792922,0.0015040529,0.1460051,0.34778503,0.0036093735],"study_design_scores_gemma":[0.0003559917,0.0003910321,0.08734746,0.00019131006,0.000012788942,0.000054487828,0.05589918,0.0000033151916,0.000011479549,0.0023377668,0.853265,0.00013019],"about_ca_topic_score_codex":0.00073457044,"about_ca_topic_score_gemma":0.016689362,"teacher_disagreement_score":0.50548,"about_ca_system_score_codex":0.00015002531,"about_ca_system_score_gemma":0.00017308346,"threshold_uncertainty_score":0.997868},"labels":[],"label_agreement":null},{"id":"W4400607719","doi":"10.1353/tt.2024.a932204","title":"Disorganizing Representation in Theatresports: A Case Study in Improv Comedy","year":2024,"lang":"en","type":"article","venue":"Theatre topics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Representation (politics); Race (biology); Aesthetics; Identity (music); Event (particle physics); Art; Sociology; Visual arts; Epistemology; Gender studies; Philosophy; Law; Political science","score_opus":0.039692883553125675,"score_gpt":0.2953230588954716,"score_spread":0.25563017534234594,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400607719","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95913655,0.000966361,0.0000012729593,0.0006371544,0.0005958516,0.00037331315,0.000010908083,0.00010347799,0.03817511],"genre_scores_gemma":[0.9969129,0.00006750098,0.0000064933533,0.000045983288,0.0006286846,0.000039315928,0.000005501668,0.000018802635,0.0022748264],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99909985,0.000053323645,0.00028969554,0.00023202713,0.00011135834,0.00021375873],"domain_scores_gemma":[0.9996698,0.0000685715,0.000019474548,0.00020465789,0.000014946047,0.000022583026],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021401285,0.00013824835,0.0001994932,0.00022585122,0.00012209709,0.00013211396,0.0000787903,0.000026725225,0.00032025698],"category_scores_gemma":[0.0000036620554,0.000106554784,0.00004131158,0.00014707108,0.0000601629,0.0002567703,0.000052751835,0.00020042015,0.000036792655],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045958957,0.0003433375,0.112751976,0.00012132772,0.00005761871,0.005603631,0.71267784,0.00002317673,0.000015558004,0.0064162887,0.0005560398,0.16138723],"study_design_scores_gemma":[0.0014907672,0.0005823989,0.008427407,0.00028827463,0.00009896735,0.00034587935,0.85545653,0.0007885609,0.00007098529,0.005102244,0.12672716,0.0006208188],"about_ca_topic_score_codex":0.008013814,"about_ca_topic_score_gemma":0.08606468,"teacher_disagreement_score":0.16076642,"about_ca_system_score_codex":0.000054933444,"about_ca_system_score_gemma":0.000025759458,"threshold_uncertainty_score":0.9985919},"labels":[],"label_agreement":null},{"id":"W4400723765","doi":"10.3138/tric-45.1.intro-en","title":"Editorial Introduction: Participating in Theatre and Theatre Research","year":2024,"lang":"en","type":"editorial","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brock University; University of Alberta; University of Waterloo","funders":"","keywords":"Theatre director; Visual arts; Art","score_opus":0.07611497086977634,"score_gpt":0.3624023720072908,"score_spread":0.2862874011375145,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400723765","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012729809,0.0060924347,1.1673304e-8,0.004541797,0.80478257,0.0006350823,0.0005241801,0.000042203374,0.18210873],"genre_scores_gemma":[0.05330042,0.0029599837,0.0000029185608,0.000010587897,0.94140565,0.0007897349,0.000121134544,0.00011924506,0.0012903019],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9901143,0.0013432071,0.0008637134,0.0012059408,0.0042332015,0.0022396536],"domain_scores_gemma":[0.99391174,0.004377049,0.00007013933,0.00080601056,0.0005601028,0.00027494246],"candidate_categories":["metaepi_narrow","research_integrity"],"consensus_categories":[],"category_scores_codex":[0.007724994,0.0005550703,0.0009107296,0.0013108632,0.001003173,0.0006878446,0.00074675074,0.0004563101,0.00084884284],"category_scores_gemma":[0.00009501419,0.000448652,0.000088119465,0.000753163,0.0011085825,0.00031634409,0.0007668706,0.007612804,0.00009925039],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022686535,0.0000426041,0.00016349663,0.0007409754,0.00007462522,0.00012380294,0.00723185,0.000012369541,0.0000015842971,0.0003414754,0.94383854,0.047201786],"study_design_scores_gemma":[0.0004945352,0.00025021008,0.0000028067718,0.0009352794,0.000020950683,0.0000018668015,0.020287963,0.000044535318,0.0000070449855,0.0040661534,0.97346926,0.00041937374],"about_ca_topic_score_codex":0.9693028,"about_ca_topic_score_gemma":0.99737763,"teacher_disagreement_score":0.18081842,"about_ca_system_score_codex":0.0029746671,"about_ca_system_score_gemma":0.008222814,"threshold_uncertainty_score":0.9997965},"labels":[],"label_agreement":null},{"id":"W4400723840","doi":"10.3138/tric-2023-0007","title":"Manipulating Time as Abolition Dramaturgy","year":2024,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Dramaturgy; Art; Computer science; Aesthetics","score_opus":0.07013697145142259,"score_gpt":0.3208451834446522,"score_spread":0.25070821199322957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400723840","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14030254,0.0022260142,1.2177972e-7,0.0021639823,0.00045033306,0.00013300881,0.000036463003,0.00004933494,0.8546382],"genre_scores_gemma":[0.99418235,0.00013924096,0.000003144052,0.00008258595,0.0008995181,0.000024596495,0.000015577372,0.00001943542,0.0046335612],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99857444,0.00008859197,0.00016470127,0.00018809631,0.00047522478,0.00050892297],"domain_scores_gemma":[0.99945897,0.00027342053,0.000008244881,0.00014952545,0.00004194119,0.000067872905],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048395328,0.000099844874,0.00013131819,0.00019715146,0.0003107155,0.00019519922,0.00013533737,0.000019912452,0.003393562],"category_scores_gemma":[0.0000026154037,0.00007932371,0.000028450695,0.00013216064,0.00010903385,0.00017744496,0.000061531755,0.0003788892,0.00054844684],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008096916,0.000035374876,0.0008914356,0.00066125364,0.00012321313,0.0007934037,0.018766837,0.000094673065,0.00014433816,0.14881136,0.13775738,0.69183975],"study_design_scores_gemma":[0.00008191827,0.000044382516,0.0000916353,0.00029998773,0.0000037540378,0.0000089865935,0.0061768126,0.0013388051,0.00006658864,0.010088951,0.9816651,0.00013308307],"about_ca_topic_score_codex":0.97034997,"about_ca_topic_score_gemma":0.98454297,"teacher_disagreement_score":0.8538798,"about_ca_system_score_codex":0.0005512931,"about_ca_system_score_gemma":0.0010578353,"threshold_uncertainty_score":0.99751747},"labels":[],"label_agreement":null},{"id":"W4400723876","doi":"10.3138/tric-2023-0001","title":"<i>Lady Sunrise</i>: Reimagining a Modern Chinese Spoken Drama Classic in Contemporary Canada","year":2024,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Sunrise; Drama; Art; Literature; History; Geography; Meteorology","score_opus":0.08771791568777636,"score_gpt":0.31750525453979445,"score_spread":0.22978733885201807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400723876","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2755071,0.01104392,3.1473218e-7,0.010284832,0.0011855589,0.00037666663,0.00024206092,0.00004648467,0.7013131],"genre_scores_gemma":[0.9966074,0.00028290905,0.0000026711903,0.00026146448,0.0006432615,0.000067781744,0.00002621266,0.000041462452,0.0020668204],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99724233,0.0002029978,0.00039414314,0.0003989482,0.00088270515,0.00087888096],"domain_scores_gemma":[0.9988705,0.0005644916,0.000022321185,0.00032221107,0.00006660123,0.00015391197],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083447766,0.00024083852,0.00036235046,0.00035236066,0.000279884,0.00020838728,0.00036248518,0.000032416672,0.0003668606],"category_scores_gemma":[0.000008294947,0.00016923703,0.000040412302,0.00036873412,0.00020775257,0.00031422277,0.0001498181,0.0011291296,0.000014516831],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00042053536,0.000105890314,0.18881218,0.001349487,0.00027827607,0.008209596,0.045527536,0.00041674302,0.000041546507,0.007158547,0.48650226,0.2611774],"study_design_scores_gemma":[0.00044817815,0.00005280913,0.0014395854,0.00056694495,0.000004181791,0.000009468232,0.013058802,0.005428031,0.000009872722,0.0039932686,0.97464514,0.0003437401],"about_ca_topic_score_codex":0.99988705,"about_ca_topic_score_gemma":0.9999962,"teacher_disagreement_score":0.72110033,"about_ca_system_score_codex":0.0018442598,"about_ca_system_score_gemma":0.015237397,"threshold_uncertainty_score":0.9903453},"labels":[],"label_agreement":null},{"id":"W4400887250","doi":"10.1080/10486801.2024.2315930","title":"‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, &amp; the Director as a ‘Network Subject’","year":2024,"lang":"en","type":"article","venue":"Contemporary Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Visual arts; Phenomenon; Art; Sociology; Epistemology; Computer science; Philosophy; Library science","score_opus":0.07754315863350299,"score_gpt":0.29508404751097456,"score_spread":0.21754088887747158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400887250","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010312754,0.662721,0.000007962122,0.007448358,0.002102303,0.0009712792,0.0000763669,0.00036016002,0.32528135],"genre_scores_gemma":[0.5991388,0.3365685,0.000017092641,0.006545183,0.004762068,0.0003376057,0.00009772641,0.00011952927,0.052413527],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99742943,0.00031839372,0.000731966,0.0005571877,0.00037370605,0.00058930425],"domain_scores_gemma":[0.99835944,0.00054413127,0.0001428162,0.00074069086,0.00008854645,0.00012436458],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0009459643,0.00054725766,0.000892281,0.00007272713,0.00086400105,0.0004031813,0.00055461965,0.000071412505,0.004487092],"category_scores_gemma":[0.000026955679,0.00027877628,0.00050244725,0.00028979938,0.00046633458,0.0005599623,0.00014413915,0.00046267133,0.0021608465],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020276051,0.00008342686,0.00032049482,0.0080807125,0.00079627044,0.000100241516,0.012405201,0.000003161434,0.0000022287704,0.013753887,0.73903114,0.22522049],"study_design_scores_gemma":[0.00019432958,0.00012813772,0.000020199685,0.010691528,0.0002811483,0.00002555644,0.0005685749,0.000014661273,0.0000062250365,0.00076634827,0.9868802,0.00042312342],"about_ca_topic_score_codex":0.00036140982,"about_ca_topic_score_gemma":0.0020300234,"teacher_disagreement_score":0.5981075,"about_ca_system_score_codex":0.00005392211,"about_ca_system_score_gemma":0.0002732244,"threshold_uncertainty_score":0.99996644},"labels":[],"label_agreement":null},{"id":"W4400890231","doi":"10.1386/ijcm_00100_2","title":"Editorial: Community music and ‘making easy’","year":2024,"lang":"en","type":"editorial","venue":"International Journal of Community Music","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Psychology; Cognitive science; Communication; Visual arts; Aesthetics; Sociology; Art","score_opus":0.052417375444025416,"score_gpt":0.3077960286142149,"score_spread":0.2553786531701895,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400890231","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008176254,0.0014352424,0.00000274275,0.0003262354,0.95912135,0.00007076296,0.00035454574,0.000045888653,0.030466978],"genre_scores_gemma":[0.11725533,0.0005924523,0.000012160998,0.000197195,0.8805498,0.000003851298,0.000098031756,0.00005140004,0.001239819],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968558,0.0007246858,0.0007838303,0.00008436274,0.00132572,0.00022562312],"domain_scores_gemma":[0.994491,0.0023009833,0.000685426,0.0003851529,0.002065837,0.00007164768],"candidate_categories":["metaepi_narrow","research_integrity"],"consensus_categories":[],"category_scores_codex":[0.0021023198,0.00036939664,0.00061392825,0.00051443744,0.0010909165,0.0009349255,0.0016467945,0.00027992032,0.000495261],"category_scores_gemma":[0.0005723685,0.00030669777,0.00029960528,0.000045626413,0.00052378693,0.00054514536,0.0009126532,0.007141939,0.00004852341],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013026224,0.00013743743,0.000004855747,0.00015336278,0.00083375257,0.000012566946,0.07576991,0.0000022359782,0.0000038309104,0.0011204606,0.91732246,0.004508875],"study_design_scores_gemma":[0.0004948428,0.00031089303,0.000014625638,0.0012270906,0.0002203481,0.000019544621,0.0113138305,0.0000025909299,0.0000020090129,0.006779992,0.979349,0.00026524192],"about_ca_topic_score_codex":0.001945646,"about_ca_topic_score_gemma":0.008511613,"teacher_disagreement_score":0.10907908,"about_ca_system_score_codex":0.00019696876,"about_ca_system_score_gemma":0.0002726721,"threshold_uncertainty_score":0.9999385},"labels":[],"label_agreement":null},{"id":"W4400980124","doi":"10.5965/1414573102512024e0801","title":"O vídeo em cena","year":2024,"lang":"pt","type":"article","venue":"Urdimento","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec","funders":"","keywords":"Economics","score_opus":0.022527908288042794,"score_gpt":0.255835438264433,"score_spread":0.2333075299763902,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400980124","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.061261397,0.14127122,0.000014657805,0.0042461744,0.011992023,0.00036140997,0.00035066705,0.0005063248,0.77999616],"genre_scores_gemma":[0.63472617,0.001001639,0.0000029343498,0.0003575479,0.0024799525,0.000015705322,0.000017711862,0.000031177744,0.36136717],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987751,0.000025300405,0.00024532143,0.00030625126,0.00021962753,0.0004283837],"domain_scores_gemma":[0.9995822,0.00004903181,0.000025852964,0.00023221764,0.00003286705,0.00007788458],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014147842,0.0002585895,0.00023369357,0.00012749627,0.0005228904,0.0007507107,0.00014464097,0.000055846824,0.011579914],"category_scores_gemma":[0.0000023568753,0.00020646266,0.00018847338,0.00006359452,0.00011058597,0.0003036875,0.00011449225,0.0002050385,0.009153252],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025100826,0.00007336656,0.00010128655,0.00045219637,0.0006002873,0.000055930584,0.17570995,0.0000030832523,0.00003928838,0.11421787,0.67858994,0.030131683],"study_design_scores_gemma":[0.00013436389,0.00015201807,0.00006386121,0.00030431667,0.0001684352,0.000003814765,0.014366379,0.00022862204,0.00014985129,0.00073211885,0.98341703,0.0002791886],"about_ca_topic_score_codex":0.00017157017,"about_ca_topic_score_gemma":0.0005731547,"teacher_disagreement_score":0.57346475,"about_ca_system_score_codex":0.00006413441,"about_ca_system_score_gemma":0.000044041266,"threshold_uncertainty_score":0.9916182},"labels":[],"label_agreement":null},{"id":"W4400988216","doi":"10.4324/9781003393412","title":"Theory/Theatre","year":2024,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Art","score_opus":0.02050914410029713,"score_gpt":0.21778724239940506,"score_spread":0.19727809829910792,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400988216","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000019200643,0.006107977,6.1195124e-7,0.0002847334,0.0020125508,0.0000917716,0.000114337076,0.00027363322,0.9911125],"genre_scores_gemma":[0.0002750141,0.0003568907,0.000002736153,0.00042097352,0.005521578,0.000011048872,0.000050678987,0.000049393806,0.9933117],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993927,0.000007462099,0.00014190978,0.00018453755,0.00011345074,0.00015996906],"domain_scores_gemma":[0.9996887,0.000051770323,0.000023772634,0.00018355879,0.000028382077,0.000023848572],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0000838897,0.00022539613,0.00023261856,0.00009138998,0.00018147092,0.00015871947,0.00012003937,0.000071279974,0.044857766],"category_scores_gemma":[6.156026e-7,0.00014159874,0.00016937604,0.000004921008,0.00021810045,0.00005584056,0.000070651695,0.00024978528,0.015710138],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000025603215,0.0000018346163,7.5041825e-8,0.00006852987,0.00008867521,0.0000035461305,0.0059731267,1.7393974e-8,1.6526727e-8,0.50529194,0.4797003,0.008869389],"study_design_scores_gemma":[0.000021373866,0.000028497087,4.2987335e-8,0.00010391961,0.000090371585,0.0000010985027,0.00065170694,4.6975188e-7,7.016139e-7,0.27560055,0.7233497,0.00015161],"about_ca_topic_score_codex":0.000014486413,"about_ca_topic_score_gemma":0.00066781184,"teacher_disagreement_score":0.24364938,"about_ca_system_score_codex":0.000032660697,"about_ca_system_score_gemma":0.000073086485,"threshold_uncertainty_score":0.9850562},"labels":[],"label_agreement":null},{"id":"W4401007771","doi":"10.1080/17450918.2024.2377196","title":"Editing Arden: The <i>Dramatis Personae</i> List in <i>As You Like It</i>","year":2024,"lang":"en","type":"article","venue":"Shakespeare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"John Abbott College","funders":"Social Sciences and Humanities Research Council of Canada; McGill University","keywords":"History; Media studies; Advertising; World Wide Web; Psychology; Computer science; Internet privacy; Sociology; Business","score_opus":0.020498934418563097,"score_gpt":0.24050594798682232,"score_spread":0.22000701356825922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401007771","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06442906,0.011268502,4.7517716e-7,0.019215422,0.0035741685,0.00022127786,0.00014220343,0.00023191673,0.900917],"genre_scores_gemma":[0.9326108,0.00032574628,0.000004377277,0.0023869036,0.003181517,0.000021647404,0.000023528728,0.000028869761,0.0614166],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905974,0.000030700598,0.00019523028,0.00021609281,0.00019809499,0.0003001258],"domain_scores_gemma":[0.9996396,0.00009170355,0.000025032768,0.00017464957,0.00003833304,0.000030725045],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021239324,0.00016298592,0.00015289435,0.000059100184,0.00046534007,0.00050777657,0.00018321657,0.000032284526,0.0040551554],"category_scores_gemma":[0.000016206115,0.00010407671,0.00009976861,0.00008031523,0.00019825231,0.00024680747,0.000069885915,0.0002984373,0.0011284353],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013656651,0.000025558076,0.0005341022,0.00020706208,0.00006701975,0.00008190811,0.38367596,0.000008562384,0.00001218534,0.042856753,0.55498457,0.017532658],"study_design_scores_gemma":[0.00008423492,0.00004348464,0.000058487964,0.00025498716,0.00001781124,0.000010094425,0.06600715,0.00011483818,0.000011741237,0.0006921774,0.93256825,0.00013671172],"about_ca_topic_score_codex":0.00080115,"about_ca_topic_score_gemma":0.009502707,"teacher_disagreement_score":0.86818177,"about_ca_system_score_codex":0.00002963013,"about_ca_system_score_gemma":0.000030652267,"threshold_uncertainty_score":0.9996493},"labels":[],"label_agreement":null},{"id":"W4401184860","doi":"10.1386/atr_00088_1","title":"In the dead time: The unfacilitated encounters among participants of the Oberammergau Passion Play","year":2024,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Passion; Psychology; Social psychology","score_opus":0.06455639549210986,"score_gpt":0.32529121371654357,"score_spread":0.26073481822443373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401184860","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69562227,0.00094613974,5.7312997e-7,0.007563279,0.0002922092,0.0006988484,0.00004150523,0.000032096515,0.29480308],"genre_scores_gemma":[0.9958819,0.00016863117,6.4125993e-7,0.00017011254,0.00030363406,0.00019504306,0.0000037385685,0.00001629718,0.0032599915],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99791926,0.000328231,0.0002682757,0.00022177721,0.00068130123,0.0005811289],"domain_scores_gemma":[0.99831796,0.0010869438,0.000026118654,0.00047981672,0.0000593764,0.000029809933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023342753,0.00014667312,0.00016675904,0.00010752322,0.0007938619,0.00018896778,0.00064560975,0.000044914832,0.0007236573],"category_scores_gemma":[0.000013714388,0.000055755434,0.00009554929,0.00034403233,0.0012712675,0.000119677126,0.00018657923,0.0006415585,0.00033419524],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026265703,0.00022348325,0.002021615,0.0002711063,0.0003223115,0.000018462626,0.6066276,0.000090600806,0.0016368413,0.16687876,0.17077588,0.050870705],"study_design_scores_gemma":[0.00037332653,0.00015532083,0.0038407813,0.00032959657,0.000052374337,0.000002636422,0.0926622,0.0006505855,0.0025548968,0.017894354,0.8812342,0.00024971995],"about_ca_topic_score_codex":0.0014165372,"about_ca_topic_score_gemma":0.0030741876,"teacher_disagreement_score":0.71045834,"about_ca_system_score_codex":0.00003664961,"about_ca_system_score_gemma":0.00007531387,"threshold_uncertainty_score":0.79235405},"labels":[],"label_agreement":null},{"id":"W4401366014","doi":"10.24193/subbdrama.2024.1.04","title":"Liviu Ciulei and The Last Ones: Between Personal Trauma, Psychodrama, and Collective Drama","year":2024,"lang":"en","type":"article","venue":"Studia Universitatis Babeş-Bolyai Dramatica","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Psychodrama; Drama; Psychology; Psychotherapist; Psychoanalysis; Sociology; Visual arts; Art","score_opus":0.016476054419042582,"score_gpt":0.22543500936878594,"score_spread":0.20895895494974337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401366014","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5183306,0.009194249,0.00010520426,0.008784063,0.000837415,0.0009499686,0.00041631225,0.00025304878,0.46112916],"genre_scores_gemma":[0.98586404,0.0006294426,0.00013497159,0.00020250554,0.0005468427,0.000021846126,0.000011337077,0.000029950368,0.012559057],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985651,0.00014041738,0.000246216,0.00039490886,0.00027572183,0.0003776598],"domain_scores_gemma":[0.99821156,0.0013777772,0.000060729933,0.00015220752,0.000093785085,0.000103957085],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0003098777,0.00031494253,0.00048090506,0.0001825959,0.001595272,0.00056447426,0.00016601999,0.00006031886,0.0006242407],"category_scores_gemma":[0.000029497407,0.00021529305,0.0001159209,0.00017540377,0.0017415037,0.0004531807,0.0001532202,0.00031238588,0.00010632549],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013540148,0.00005417708,0.0015781794,0.00029392567,0.0015393576,0.000027148397,0.6776212,3.772257e-7,0.0000025560616,0.24249095,0.038247544,0.038009208],"study_design_scores_gemma":[0.005764255,0.00096913596,0.022781352,0.00075202866,0.001884771,0.000029076991,0.45105234,0.0006546002,0.0000100942225,0.03142114,0.48351607,0.0011651544],"about_ca_topic_score_codex":0.000161253,"about_ca_topic_score_gemma":0.0008424948,"teacher_disagreement_score":0.46753347,"about_ca_system_score_codex":0.0000747736,"about_ca_system_score_gemma":0.000092196846,"threshold_uncertainty_score":0.99970454},"labels":[],"label_agreement":null},{"id":"W4401505037","doi":"10.3167/turba.2024.030102","title":"Re/visiting","year":2024,"lang":"en","type":"article","venue":"TURBA","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Environmental science","score_opus":0.03070771577469588,"score_gpt":0.2430155235924855,"score_spread":0.2123078078177896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401505037","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.054732453,0.0034991216,0.0000028455515,0.0012189844,0.0009889858,0.000026047044,0.000008797181,0.00021755345,0.9393052],"genre_scores_gemma":[0.9460268,0.00003587573,0.000007775773,0.00022939578,0.001952863,0.0000031196812,0.0000028131585,0.0000069676307,0.051734388],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997324,0.000003563105,0.000055418946,0.000068117915,0.000046103214,0.000094422],"domain_scores_gemma":[0.9998964,0.000025373532,0.0000049395862,0.000052520518,0.000009890049,0.000010882982],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000045953548,0.00004657114,0.00004860522,0.0000259551,0.00015538701,0.000121715646,0.000034093744,0.000007549396,0.0032584628],"category_scores_gemma":[0.0000018276529,0.00003282032,0.00003180828,0.00001254924,0.00004283265,0.000106252046,0.000016457216,0.000056761764,0.0010522485],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000045107477,0.0000062121594,0.00012933329,0.000099651144,0.000054059215,0.000019244926,0.12528916,9.993822e-7,0.000017021144,0.5744603,0.23322901,0.06669045],"study_design_scores_gemma":[0.000019359857,0.000015020452,0.000036262885,0.000040217707,0.0000085193515,6.098106e-7,0.004448396,0.00006359076,0.00004565921,0.0023986134,0.9928685,0.000055243487],"about_ca_topic_score_codex":0.000046669484,"about_ca_topic_score_gemma":0.00019252766,"teacher_disagreement_score":0.89129436,"about_ca_system_score_codex":0.0000059667004,"about_ca_system_score_gemma":0.0000053459703,"threshold_uncertainty_score":0.9997255},"labels":[],"label_agreement":null},{"id":"W4401561102","doi":"10.4324/9781003042853-1","title":"Introduction","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geopolitics; Context (archaeology); History; Quarter (Canadian coin); Ideology; Event (particle physics); Political science; Epoch (astronomy); Pandemic; Coronavirus disease 2019 (COVID-19); Political economy; Media studies; Sociology; Politics; Law; Archaeology; Medicine","score_opus":0.02310176531413088,"score_gpt":0.20376373738559855,"score_spread":0.18066197207146767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401561102","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000011560993,0.0016474451,2.614286e-7,0.0026485948,0.0034732996,0.000044431315,0.000023271132,0.00015082894,0.9920107],"genre_scores_gemma":[0.0002761123,0.00044771333,0.0000023437744,0.00010718186,0.023984607,0.0000024051908,0.00002517321,0.000024630795,0.97512984],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963665,4.140501e-7,0.00009369516,0.00013483112,0.000067047324,0.00006735865],"domain_scores_gemma":[0.9998352,0.000004445291,0.000017100183,0.000103686994,0.000028943785,0.000010652617],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000022556314,0.00012386133,0.00011876719,0.00006502824,0.00010321607,0.00007751497,0.00003587627,0.00003753929,0.09190183],"category_scores_gemma":[2.9467876e-7,0.00008526965,0.000075389864,0.000001196265,0.000099800454,0.00004883217,0.000028245238,0.0001404641,0.016008303],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000011088532,5.345926e-7,1.699651e-8,0.000023640221,0.00004332663,8.112761e-7,0.0014294129,3.4156233e-8,7.5273704e-8,0.5884279,0.40699795,0.0030751838],"study_design_scores_gemma":[0.0000110432575,0.000024154471,3.7108737e-8,0.00002316899,0.000049036455,0.0000012181719,0.0001592203,6.3443036e-7,0.0000016363754,0.11477756,0.8848476,0.000104704006],"about_ca_topic_score_codex":0.000015971094,"about_ca_topic_score_gemma":0.0005545718,"teacher_disagreement_score":0.47784966,"about_ca_system_score_codex":0.000013022262,"about_ca_system_score_gemma":0.00000588536,"threshold_uncertainty_score":0.98475784},"labels":[],"label_agreement":null},{"id":"W4401725107","doi":"10.1080/13569783.2024.2368158","title":"The quiet revolution: grassroots theatre and solidarity in post-revolution Egypt","year":2024,"lang":"en","type":"article","venue":"Research in Drama Education The Journal of Applied Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Grassroots; Solidarity; QUIET; Political science; Media studies; Sociology; Populism; Gender studies; Law; Politics","score_opus":0.03207714769008149,"score_gpt":0.31432413664108444,"score_spread":0.282246988951003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401725107","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89935493,0.028560992,0.0000013289776,0.009594803,0.0006584615,0.00034567143,0.0000065735003,0.000011736345,0.061465483],"genre_scores_gemma":[0.9687622,0.029540854,0.000007944359,0.00007736929,0.0011060408,0.000031854423,0.0000027167246,0.00001357395,0.00045745174],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983889,0.00018143344,0.000455536,0.00015705723,0.00041287253,0.00040422875],"domain_scores_gemma":[0.9988341,0.00058851414,0.000086663975,0.00021129377,0.00020926268,0.00007017774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038396337,0.00015657,0.00020130197,0.0003659483,0.0011128391,0.00034815405,0.00027230853,0.000058843525,0.00004407964],"category_scores_gemma":[0.000012316447,0.00008319068,0.00004303494,0.00028514574,0.00071902305,0.00047182327,0.000095408985,0.0009584521,0.000018193678],"study_design_candidate":"design_other","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012696522,0.00023186712,0.007415676,0.0006394178,0.000114821894,0.0000041319395,0.10268753,0.00005386534,0.00019445381,0.101748176,0.0101529,0.7754875],"study_design_scores_gemma":[0.0009774381,0.0011611901,0.04507456,0.0018053295,0.000086007465,0.00022345608,0.1401441,0.0021128247,0.0002690815,0.067728326,0.7399333,0.00048435025],"about_ca_topic_score_codex":0.00040887212,"about_ca_topic_score_gemma":0.00227246,"teacher_disagreement_score":0.77500314,"about_ca_system_score_codex":0.0001306661,"about_ca_system_score_gemma":0.00044552173,"threshold_uncertainty_score":0.8559171},"labels":[],"label_agreement":null},{"id":"W4401878104","doi":"10.2139/ssrn.4917854","title":"Radical Listening and the Global Politics of Inclusiveness. In Inclusive Shakespeares: Identity, Pedagogy, Performance, ed. Sonya Freeman Loftis, Mardy Philippian, Justin P. Shaw (Palgrave, 2023), pp. 221-234","year":2024,"lang":"en","type":"article","venue":"SSRN Electronic Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Active listening; Identity (music); Politics; Sociology; Theology; Political science; Art; Aesthetics; Philosophy; Law; Communication","score_opus":0.008796257097852124,"score_gpt":0.2721798760370831,"score_spread":0.26338361893923096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401878104","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.775977,0.18830366,0.00012157344,0.0056079645,0.0013426908,0.00046595788,0.000153931,0.00007081624,0.02795638],"genre_scores_gemma":[0.9395874,0.057163015,0.000013489181,0.00014641542,0.0016561833,0.000011853538,0.000012847596,0.000028857488,0.0013799008],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9966112,0.00016312388,0.00068382244,0.00030119508,0.00053074304,0.0017099503],"domain_scores_gemma":[0.9991896,0.00017552757,0.000180498,0.0001984319,0.00016096437,0.00009498533],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019084677,0.00033019827,0.0005292077,0.00019664907,0.0011203202,0.00038385604,0.00050159945,0.000100402576,0.00030448844],"category_scores_gemma":[0.00006521759,0.00022919,0.00020803844,0.00021101999,0.0011612208,0.000512729,0.0005560344,0.0017282743,0.00003046412],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019937291,0.000042473464,0.006239971,0.00027585035,0.00036313865,0.000032226755,0.015168743,0.000029914405,0.000002999739,0.9669056,0.00080482394,0.009934907],"study_design_scores_gemma":[0.0050325315,0.0011353213,0.0038220342,0.0016621543,0.0006698702,0.001709294,0.07483049,0.0028562848,0.000015394688,0.73794055,0.1693944,0.00093166344],"about_ca_topic_score_codex":0.0024155553,"about_ca_topic_score_gemma":0.043523192,"teacher_disagreement_score":0.22896501,"about_ca_system_score_codex":0.00071684615,"about_ca_system_score_gemma":0.0014494853,"threshold_uncertainty_score":0.97393},"labels":[],"label_agreement":null},{"id":"W4401988694","doi":"10.7202/1112856ar","title":"Indigenous Theatre Protocols","year":2023,"lang":"fr","type":"article","venue":"Percées Explorations en arts vivants","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Geography; History; Environmental ethics; Ecology; Biology; Philosophy","score_opus":0.0777598485030687,"score_gpt":0.3210572600833692,"score_spread":0.2432974115803005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401988694","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2668562,0.008346082,0.0001113679,0.03714834,0.010812614,0.028555999,0.0030611693,0.0024182305,0.64269],"genre_scores_gemma":[0.43836236,0.013058668,0.00035222044,0.00093164557,0.014539381,0.030338237,0.0006946066,0.00031192586,0.50141096],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977621,0.00013499122,0.0005093156,0.00041895433,0.00036366863,0.00081097026],"domain_scores_gemma":[0.99890417,0.00018598748,0.00010651781,0.00051050604,0.00015800982,0.00013479865],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000375549,0.00040058425,0.00039955424,0.0003483697,0.002844068,0.00050169486,0.0003146024,0.00013547808,0.0026343858],"category_scores_gemma":[0.000030392186,0.0003665185,0.0001812631,0.00028474015,0.00049902144,0.0012239347,0.00017251233,0.00031972246,0.014522828],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005204498,0.00031973305,0.0009693584,0.0004261132,0.00026369488,0.00007058912,0.62735623,0.00023786863,0.00013045789,0.057390418,0.14975642,0.16302708],"study_design_scores_gemma":[0.00033798558,0.0002673044,0.0007132773,0.000354456,0.00006603279,0.000009654484,0.038146544,0.00019356125,0.0002131243,0.003887872,0.955364,0.00044622613],"about_ca_topic_score_codex":0.00032369583,"about_ca_topic_score_gemma":0.0019550393,"teacher_disagreement_score":0.80560756,"about_ca_system_score_codex":0.00009656497,"about_ca_system_score_gemma":0.00014924967,"threshold_uncertainty_score":0.9998787},"labels":[],"label_agreement":null},{"id":"W4402104679","doi":"10.55016/ojs/jet.v1i3.43500","title":"Drama as a University Discipline","year":2018,"lang":"en","type":"article","venue":"Journal of educational thought.","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Drama; Sociology; Media studies; Art; Visual arts","score_opus":0.022407279076369385,"score_gpt":0.27616502972032136,"score_spread":0.253757750643952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402104679","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56441003,0.00024295048,0.0000063056873,0.015676368,0.002149843,0.000028020813,0.000010581255,0.0000041990775,0.41747168],"genre_scores_gemma":[0.89136875,0.000058229383,0.00033725865,0.00021044005,0.009910336,1.3770412e-7,0.0000018616787,0.0000043443456,0.09810865],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960214,0.000014859565,0.00013214361,0.000045071065,0.000124204,0.0000815938],"domain_scores_gemma":[0.9993455,0.00007612057,0.00012965075,0.000055402612,0.0003504703,0.00004285621],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010539846,0.000053430766,0.000090955196,0.0000814021,0.0003394678,0.00003456009,0.00011742745,0.0000117118425,0.006293693],"category_scores_gemma":[0.000024961024,0.00003934079,0.00006611553,0.000036812075,0.00021693703,0.00027377123,0.000021892982,0.00007570491,0.0002631098],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010619239,0.00014327028,0.0013755093,0.00000704555,0.00008474278,0.0000018872609,0.025072714,0.0000011772428,0.000022340195,0.84898794,0.122931704,0.0012654898],"study_design_scores_gemma":[0.00015377146,0.00018337455,0.0026405351,0.000025943917,0.000024747951,0.000021666978,0.0062248292,0.0000017067936,0.00004545384,0.011993435,0.9786293,0.000055262564],"about_ca_topic_score_codex":0.000021549422,"about_ca_topic_score_gemma":0.00018664105,"teacher_disagreement_score":0.8556976,"about_ca_system_score_codex":0.000031997155,"about_ca_system_score_gemma":0.00015584401,"threshold_uncertainty_score":0.99461466},"labels":[],"label_agreement":null},{"id":"W4402297326","doi":"10.55016/ojs/jah.v2023y2023.77072","title":"Doing Time: Exploring Hermeneutic Temporality in Prison Theater","year":2023,"lang":"en","type":"article","venue":"Journal of Applied Hermeneutics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Melbern G. Glasscock Center for Humanities Research","keywords":"Temporality; Prison; Sociology; Aesthetics; Psychoanalysis; Epistemology; Psychology; Art; Philosophy; Criminology","score_opus":0.06445681657877418,"score_gpt":0.2562056959776988,"score_spread":0.19174887939892465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402297326","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8464539,0.000017007489,1.3316253e-7,0.0002811013,0.00044486206,0.00009308112,0.0000033534845,0.000040687264,0.15266585],"genre_scores_gemma":[0.9976684,0.00030845808,0.00006268906,0.00014607735,0.0007690026,0.0000119530105,0.000002000551,0.000024547064,0.0010069113],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987165,0.000023454839,0.00055378064,0.00011708025,0.0002578561,0.00033135962],"domain_scores_gemma":[0.9994821,0.00005827966,0.000204507,0.0001388252,0.00006173879,0.000054528708],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005538311,0.00015969765,0.00033739835,0.00024886645,0.00019216978,0.0000803033,0.00016896913,0.000038733124,0.000246944],"category_scores_gemma":[0.0000027994095,0.00012245502,0.00007481043,0.0001236625,0.00009467352,0.00025384483,0.000068257556,0.00028348295,0.00022165617],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00065758487,0.00040124086,0.005612122,0.00048475133,0.00045484363,0.00025975195,0.8749121,0.0040262095,0.006230788,0.029691653,0.010658736,0.06661021],"study_design_scores_gemma":[0.0025803975,0.00058977475,0.007641623,0.00038329183,0.00019221182,0.000029276569,0.076386444,0.00053508143,0.0057095676,0.04708537,0.8579509,0.00091602426],"about_ca_topic_score_codex":0.000005408416,"about_ca_topic_score_gemma":0.00006763033,"teacher_disagreement_score":0.8472922,"about_ca_system_score_codex":0.00006703765,"about_ca_system_score_gemma":0.000041002637,"threshold_uncertainty_score":0.49935707},"labels":[],"label_agreement":null},{"id":"W4402546344","doi":"10.5450/ejm.22.2.2024.30","title":"Performing Form: A Dialogue between Performance and Analysis","year":2024,"lang":"en","type":"article","venue":"European Journal of Musicology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Computer science; Psychology","score_opus":0.03805039361312667,"score_gpt":0.23262658733076905,"score_spread":0.19457619371764237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402546344","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9382824,0.0010766975,0.00006990982,0.00058077107,0.0007652769,0.00003376297,0.000009830954,0.000022210395,0.059159175],"genre_scores_gemma":[0.99587756,0.00036698752,0.00005952073,0.00021608036,0.002454662,5.6728607e-7,0.0000036336091,0.000015570806,0.0010053996],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913687,0.00009743536,0.00037071604,0.00010590054,0.000101856385,0.00018722127],"domain_scores_gemma":[0.9995756,0.00010572794,0.00011156834,0.00007379631,0.00007507125,0.000058210135],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007659781,0.00011651632,0.0003050293,0.0004001286,0.0002598469,0.0001335314,0.00012671531,0.00001382452,0.000510739],"category_scores_gemma":[0.0000116956735,0.00008091273,0.00014345947,0.00009874872,0.00020847126,0.00034155804,0.00006513986,0.00025105436,0.000068362075],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011667577,0.000051687446,0.06998355,0.0003177245,0.004662451,0.0004734226,0.23232605,0.000036590023,0.00007894606,0.008920375,0.022458652,0.6605739],"study_design_scores_gemma":[0.00030838352,0.0010375193,0.07151341,0.00008123688,0.0013158937,0.00007712994,0.0015027627,0.00025133783,0.000016221524,0.00022342292,0.9234897,0.00018300014],"about_ca_topic_score_codex":0.0000045218553,"about_ca_topic_score_gemma":0.00003812022,"teacher_disagreement_score":0.901031,"about_ca_system_score_codex":0.000015808202,"about_ca_system_score_gemma":0.000023314757,"threshold_uncertainty_score":0.55922335},"labels":[],"label_agreement":null},{"id":"W4402575022","doi":"10.1080/23268263.2024.2403787","title":"Building Embodiment: Integrating Acting, Voice, and Movement to Illuminate Poetic Text","year":2024,"lang":"en","type":"article","venue":"Voice and Speech Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Movement (music); Poetry; Communication; Linguistics; Psychology; Art; Aesthetics; Philosophy","score_opus":0.02452725197620629,"score_gpt":0.28592349925713306,"score_spread":0.26139624728092675,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402575022","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09679827,0.7493821,0.00003935719,0.008187043,0.0008777364,0.0009118644,0.000039267226,0.00019713258,0.14356725],"genre_scores_gemma":[0.45877838,0.49131876,0.0015774758,0.015366038,0.0019454199,0.00016769543,0.000011464694,0.000085165404,0.0307496],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990606,0.000026092666,0.0002700898,0.00027485023,0.00012967686,0.00023872597],"domain_scores_gemma":[0.9996312,0.000087618755,0.000041590327,0.00012548672,0.000040805782,0.000073278825],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036179228,0.000196535,0.00030803692,0.000083875806,0.00034712462,0.00027945059,0.00007442086,0.000019857973,0.00032244113],"category_scores_gemma":[0.00003278673,0.0001357976,0.000059294118,0.00007511653,0.00007322119,0.00021977328,0.00010749654,0.00015264405,0.00019738954],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000036338306,0.000016192844,0.000072379116,0.006207261,0.000094058014,0.000016970916,0.019894976,9.318299e-8,0.00015408742,0.02998527,0.012414809,0.93114024],"study_design_scores_gemma":[0.000047719408,0.000103514474,0.000033308526,0.009532181,0.0001264779,0.000007466937,0.002261391,0.000033886285,0.00012720561,0.00048472744,0.9870446,0.00019755115],"about_ca_topic_score_codex":0.00021780362,"about_ca_topic_score_gemma":0.0004687558,"teacher_disagreement_score":0.97462976,"about_ca_system_score_codex":0.000019486215,"about_ca_system_score_gemma":0.0000117753425,"threshold_uncertainty_score":0.55376655},"labels":[],"label_agreement":null},{"id":"W4403081434","doi":"10.5539/ass.v20n5p1","title":"Applying Media and Virtual Approaches to the Institutionalization of Puzhou Opera","year":2024,"lang":"en","type":"article","venue":"Asian Social Science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Institutionalisation; Opera; Sociology; Political science; Psychology; Art; Visual arts","score_opus":0.08949081262797166,"score_gpt":0.25839536227925103,"score_spread":0.16890454965127938,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403081434","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042561144,0.00066292135,0.0002844392,0.006955995,0.0010754659,0.00032114712,0.00003412681,0.000053208216,0.9480516],"genre_scores_gemma":[0.99898446,0.00001418076,0.000014222252,0.000109370034,0.00059557846,0.000027038033,0.000001254887,0.000001924963,0.00025197785],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995765,0.0000067760056,0.00006405459,0.00009581354,0.00016793757,0.00008890708],"domain_scores_gemma":[0.99990374,0.000015999325,0.000009657345,0.00003186628,0.00002130263,0.00001741425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002320141,0.00003868589,0.000047703914,0.000043333992,0.0008494074,0.00015166684,0.00010319831,0.000008144628,0.000041090916],"category_scores_gemma":[0.000012940246,0.000023625897,0.000013270465,0.00013546592,0.0009232543,0.00025803756,0.000054489094,0.000034351466,0.000012959466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[8.703581e-7,0.0000021834203,0.000020139994,0.0000050805215,0.0000025626423,9.300749e-8,0.1310596,8.7177483e-7,0.00002102192,0.7096729,0.0003073499,0.15890731],"study_design_scores_gemma":[0.00006977737,0.000052612435,0.0076039997,0.000054020344,0.0000207512,0.0000015250008,0.08892482,0.00017377481,0.00019903996,0.006396823,0.89634234,0.00016049224],"about_ca_topic_score_codex":0.000038524933,"about_ca_topic_score_gemma":0.00027825456,"teacher_disagreement_score":0.9564233,"about_ca_system_score_codex":0.000012649185,"about_ca_system_score_gemma":0.00005313479,"threshold_uncertainty_score":0.6533041},"labels":[],"label_agreement":null},{"id":"W4403147349","doi":"10.4324/9781032636337-5","title":"Evoked, If Not Depicted","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.035173868510400656,"score_gpt":0.22014406317441723,"score_spread":0.18497019466401657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403147349","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000016651027,0.0015123117,3.1906e-7,0.0005896079,0.0017723098,0.000105957224,0.00014407109,0.00029674836,0.995562],"genre_scores_gemma":[0.007947284,0.0006988539,0.0000051707566,0.0004187215,0.003137497,0.0000073046263,0.000040610805,0.000058669837,0.98768586],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992633,0.0000013711306,0.00020178621,0.00021647525,0.0001500988,0.00016695268],"domain_scores_gemma":[0.999654,0.000026697795,0.000037466947,0.00019060043,0.00005853726,0.000032727246],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003353125,0.00026470955,0.00027234078,0.00011036271,0.00019899632,0.00013636964,0.00010725508,0.00009253898,0.042101327],"category_scores_gemma":[8.5439143e-7,0.00018425219,0.00016991152,0.0000030501935,0.00016908802,0.0000665818,0.00008294578,0.00026597182,0.010761519],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007416223,0.0000022406246,5.31569e-7,0.00007409638,0.00016076717,0.000010472789,0.0043004006,7.453895e-8,3.418248e-7,0.8805202,0.11279106,0.0021323739],"study_design_scores_gemma":[0.000051345938,0.000047487454,0.0000011462653,0.00011947994,0.00010852817,0.0000019200002,0.00028566323,0.0000042671886,0.000005534895,0.05059078,0.9485305,0.00025335778],"about_ca_topic_score_codex":0.00009935259,"about_ca_topic_score_gemma":0.001771357,"teacher_disagreement_score":0.83573943,"about_ca_system_score_codex":0.000021480037,"about_ca_system_score_gemma":0.000019558596,"threshold_uncertainty_score":0.9900087},"labels":[],"label_agreement":null},{"id":"W4403334766","doi":"10.3138/jrpc-2022-0036","title":"Unpacking the Theatre-Religion Dialectic: Siting Christianity’s Mary Magdalene","year":2024,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Unpacking; Dialectic; Christianity; Art; Sociology; Philosophy; Theology; Linguistics","score_opus":0.014878713883387712,"score_gpt":0.24162301063793007,"score_spread":0.22674429675454236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403334766","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3865081,0.51286846,0.00009360478,0.012259871,0.0064769583,0.00030981158,0.000040870433,0.00015859999,0.0812837],"genre_scores_gemma":[0.9072909,0.08019922,0.000039614464,0.0008451783,0.00434027,0.0000017534729,0.0000051472166,0.00002026414,0.0072576785],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991507,0.0000567578,0.0003072549,0.000107444364,0.00020921572,0.00016861918],"domain_scores_gemma":[0.99959886,0.00003446889,0.00012474989,0.00008811398,0.00010121415,0.000052606414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003097229,0.00015625892,0.00020445921,0.00008668707,0.00055783876,0.00042993706,0.00011034939,0.000053320513,0.000032744727],"category_scores_gemma":[0.00001560493,0.00007802786,0.00017376411,0.0000628485,0.00010558719,0.0002883481,0.00003544123,0.00044598433,0.000018394077],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010443993,0.000033494216,0.0005825417,0.00031214155,0.00030813846,0.00017787374,0.077279426,0.00001317647,0.0005402954,0.10477072,0.7838955,0.03198228],"study_design_scores_gemma":[0.0001373968,0.00015533874,0.00002958924,0.00042198444,0.00013492483,0.00032101857,0.0019140302,0.00003452553,0.000042326486,0.004009293,0.9926812,0.00011839279],"about_ca_topic_score_codex":0.00011329351,"about_ca_topic_score_gemma":0.00028514426,"teacher_disagreement_score":0.52078277,"about_ca_system_score_codex":0.000023258928,"about_ca_system_score_gemma":0.000023481334,"threshold_uncertainty_score":0.42905012},"labels":[],"label_agreement":null},{"id":"W4403417506","doi":"10.3138/md-67-3-rev5","title":"J. Paul Halferty and Cathy Leeney, eds. <i>Analysing Gender in Performance</i>","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"History; Sociology","score_opus":0.028812841712449643,"score_gpt":0.22969178322387254,"score_spread":0.2008789415114229,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403417506","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8940932,0.01823557,0.00005138233,0.0005865542,0.0004159371,0.00008671527,0.000018098459,0.00011802063,0.08639452],"genre_scores_gemma":[0.99279153,0.0012318301,0.000019500118,0.00025926062,0.00048665266,0.000013579356,0.000010581577,0.00002147194,0.0051655993],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917614,0.000014653038,0.00018038043,0.000237288,0.00012914534,0.000262385],"domain_scores_gemma":[0.99976045,0.00002712391,0.000016536103,0.00013580629,0.000023811319,0.000036249006],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001334242,0.0001561856,0.00018821731,0.00012732788,0.0002574751,0.00029259356,0.000072893155,0.000035372566,0.00021736641],"category_scores_gemma":[0.0000018711384,0.00011776819,0.000052595537,0.000049956612,0.00013086652,0.00038137194,0.000061396735,0.00017093333,0.000072428054],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007436826,0.00011063773,0.013312949,0.0008897106,0.00036717943,0.00008458433,0.4080706,0.00042234847,0.00022591658,0.016390499,0.016566765,0.54348445],"study_design_scores_gemma":[0.0005817974,0.0001329073,0.0034714707,0.0002994415,0.00017135484,0.000027682336,0.0037708848,0.104440615,0.00024414717,0.016272565,0.86983234,0.00075477245],"about_ca_topic_score_codex":0.0002509586,"about_ca_topic_score_gemma":0.0014949546,"teacher_disagreement_score":0.8532656,"about_ca_system_score_codex":0.000026607446,"about_ca_system_score_gemma":0.000023598694,"threshold_uncertainty_score":0.48024476},"labels":[],"label_agreement":null},{"id":"W4403493784","doi":"10.1007/978-3-030-26825-1_238-1","title":"Research-Based Theater","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba; University of British Columbia","funders":"","keywords":"Computer science","score_opus":0.1976455021974393,"score_gpt":0.30957565177682267,"score_spread":0.11193014957938338,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403493784","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000051406637,0.00014455103,3.468927e-7,0.0014892053,0.00066674774,0.00013361593,0.00007332995,0.00022718946,0.99725986],"genre_scores_gemma":[0.0043338514,0.00016962008,0.0000033757856,0.0003040177,0.0019186442,0.00001590508,0.00004090905,0.000067685105,0.993146],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904233,0.000009530452,0.00015378927,0.00020204234,0.00032103126,0.00027130303],"domain_scores_gemma":[0.9994195,0.000105387626,0.00002468668,0.00026206486,0.00015393291,0.000034418932],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025104813,0.00018277766,0.00021054532,0.00025937005,0.00050352537,0.00011863984,0.00015352672,0.000082904015,0.03652957],"category_scores_gemma":[0.0000020599905,0.00012127001,0.00012095788,0.0000061940136,0.00074730726,0.000045789533,0.00007874722,0.00037032057,0.01977442],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008194414,0.0000024570502,5.5064675e-7,0.000030798965,0.000040944793,0.000006597971,0.0016694705,3.286671e-7,1.2788853e-7,0.7428079,0.25366837,0.0017642181],"study_design_scores_gemma":[0.00006739736,0.00007560843,0.0000012764255,0.00009783635,0.000013873649,1.3726267e-7,0.00044181859,0.000003790259,0.0000059206945,0.074924834,0.9242079,0.00015956599],"about_ca_topic_score_codex":0.0001434031,"about_ca_topic_score_gemma":0.0032253433,"teacher_disagreement_score":0.67053956,"about_ca_system_score_codex":0.00002123572,"about_ca_system_score_gemma":0.00003986887,"threshold_uncertainty_score":0.9809888},"labels":[],"label_agreement":null},{"id":"W4403566538","doi":"10.21463/shima.239","title":"Peter Brook’s Lord of the Flies: Violence on Vieques","year":2024,"lang":"en","type":"article","venue":"Shima","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Criminology; Geography; History; Genealogy; Ecology; Biology; Sociology","score_opus":0.02318380741440521,"score_gpt":0.23622298972799435,"score_spread":0.21303918231358915,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403566538","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4317442,0.002823604,0.0000014542098,0.0007210807,0.0016223806,0.000082181024,0.000051216666,0.000072425195,0.56288147],"genre_scores_gemma":[0.98894703,0.00029966058,0.000003241915,0.00030743063,0.0005242362,0.0000067918854,7.5077446e-7,0.000007216101,0.009903653],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996265,0.000010520777,0.00008826661,0.00008577808,0.00009344459,0.00009544599],"domain_scores_gemma":[0.99978715,0.000038296388,0.000014091825,0.00013263429,0.000019307261,0.000008542008],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000491881,0.00006814577,0.00007618274,0.000024998204,0.0001255472,0.00005318142,0.00010644315,0.000011041306,0.00050264405],"category_scores_gemma":[0.0000035781886,0.000035739748,0.000070573355,0.000017460137,0.00016682639,0.00007468849,0.00003727329,0.000068900874,0.00013784945],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044113964,0.00004839653,0.0011260798,0.00043537523,0.00013608226,0.000004751899,0.093254775,0.000008279512,0.00029912082,0.765274,0.03522124,0.10414781],"study_design_scores_gemma":[0.0000471756,0.00011630985,0.0010682988,0.0006448887,0.000021082848,7.812777e-7,0.001592622,0.000022790853,0.0030164572,0.00840007,0.9849743,0.0000952205],"about_ca_topic_score_codex":0.00008153247,"about_ca_topic_score_gemma":0.0005320766,"teacher_disagreement_score":0.94975305,"about_ca_system_score_codex":0.000008382519,"about_ca_system_score_gemma":0.000012730468,"threshold_uncertainty_score":0.55035996},"labels":[],"label_agreement":null},{"id":"W4403735664","doi":"10.1093/oso/9780197775936.003.0002","title":"Histories and Stories","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.03122367963066832,"score_gpt":0.20902334023863597,"score_spread":0.17779966060796765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403735664","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000008325857,0.019554578,1.4382988e-7,0.00045570213,0.0026650573,0.000050707145,0.000065991386,0.00014173028,0.97705775],"genre_scores_gemma":[0.0025834609,0.001354066,0.000005047479,0.0001030358,0.0020934984,0.0000039439515,0.000010540318,0.000032367643,0.99381405],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995498,6.813522e-7,0.000113484384,0.00015703807,0.000087029744,0.00009196857],"domain_scores_gemma":[0.99979585,0.000019502944,0.00002450051,0.00009925415,0.00003880374,0.000022075401],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000025556765,0.00019320201,0.00020776344,0.00006556046,0.00022674925,0.0001250707,0.00004165183,0.00005376165,0.00724475],"category_scores_gemma":[7.309979e-7,0.00013618532,0.000055049473,0.000001437769,0.0003948243,0.00007842345,0.00006420119,0.00014731064,0.00052595517],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000029724033,7.000882e-7,9.271155e-7,0.00009804965,0.00007663435,0.0000034415934,0.027017908,4.540692e-9,5.371032e-8,0.860918,0.109726116,0.0021552038],"study_design_scores_gemma":[0.000020205161,0.000042013387,2.3535534e-7,0.00005322508,0.00007158856,0.0000014799678,0.0012083162,1.8754724e-7,5.81724e-7,0.10756537,0.8908665,0.00017029053],"about_ca_topic_score_codex":0.00007630994,"about_ca_topic_score_gemma":0.0032914921,"teacher_disagreement_score":0.7811404,"about_ca_system_score_codex":0.000026016636,"about_ca_system_score_gemma":0.000013579635,"threshold_uncertainty_score":0.9936628},"labels":[],"label_agreement":null},{"id":"W4403740730","doi":"10.3389/fpsyg.2024.1504498","title":"Editorial: Methods in Performance Science","year":2024,"lang":"en","type":"editorial","venue":"Frontiers in Psychology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Psychology; Cognitive psychology; Cognitive science","score_opus":0.021399531516727376,"score_gpt":0.36262058664419206,"score_spread":0.3412210551274647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403740730","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00004314593,0.0046047317,0.000049597777,0.00014151867,0.880732,0.00016904042,0.00005193939,0.00006677322,0.11414126],"genre_scores_gemma":[0.000064416956,0.0045143757,0.0027483134,0.00007918957,0.98884267,0.00009806382,0.000030186657,0.0000524054,0.0035704104],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972718,0.000113299175,0.00056133064,0.0008189543,0.00050492265,0.00072972913],"domain_scores_gemma":[0.9990546,0.00015577377,0.00011519668,0.0004718675,0.00015013214,0.00005243605],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0021305874,0.00037073754,0.00070956204,0.0014994515,0.00020977085,0.0001638223,0.0008491828,0.00054245547,0.00016620853],"category_scores_gemma":[0.00016482703,0.00032393372,0.00009077435,0.00037539666,0.0016481576,0.00033554426,0.00017456977,0.0018818987,0.00015069595],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007887444,0.00003698118,0.00016179669,0.00013015175,0.000025125197,0.0000059369577,0.008637093,7.029103e-7,0.0000024111628,0.00024572233,0.94721144,0.043463763],"study_design_scores_gemma":[0.00040834304,0.000156616,0.000018987264,0.000208507,0.000022676768,4.9166596e-7,0.0007926375,0.00003078973,0.0000034172779,0.0055284337,0.99247736,0.0003517591],"about_ca_topic_score_codex":0.00013713923,"about_ca_topic_score_gemma":0.00045447686,"teacher_disagreement_score":0.110570855,"about_ca_system_score_codex":0.00021899924,"about_ca_system_score_gemma":0.00032030192,"threshold_uncertainty_score":0.99992126},"labels":[],"label_agreement":null},{"id":"W4404073543","doi":"10.7202/1114330ar","title":"Réimaginer la scène Zoom en tant qu’espace <i>crip</i>","year":2024,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Physics","score_opus":0.022724440331350987,"score_gpt":0.2516334488314057,"score_spread":0.22890900850005472,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404073543","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0070463503,0.18079701,0.00014146337,0.028229186,0.007290512,0.00043993825,0.00051801594,0.00064006675,0.77489746],"genre_scores_gemma":[0.66829985,0.008572408,0.000021327087,0.0012232208,0.0072403545,0.0000763651,0.00005578621,0.000121689125,0.314389],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99720335,0.00029041042,0.00067553343,0.00072107057,0.00035298793,0.00075664686],"domain_scores_gemma":[0.9983306,0.0005894403,0.00011962499,0.0004977338,0.00028107862,0.00018152362],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008004066,0.0007014206,0.0007328971,0.0002977922,0.00060713437,0.0013284917,0.000373575,0.00023721936,0.0019582752],"category_scores_gemma":[0.00006926867,0.0006078599,0.00041850185,0.00019247702,0.001324182,0.0011002256,0.00016220554,0.00065792125,0.0008547016],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025421368,0.00010702535,0.000266751,0.0012589222,0.00041988862,0.0003826448,0.12599419,0.0000013090836,0.00018994542,0.70236886,0.14771913,0.02126589],"study_design_scores_gemma":[0.00032233592,0.00019695428,0.00011921674,0.0017472738,0.00021792132,0.00009189824,0.007854762,0.0001586438,0.00012742102,0.024362661,0.96404195,0.0007589471],"about_ca_topic_score_codex":0.0024306064,"about_ca_topic_score_gemma":0.0011908115,"teacher_disagreement_score":0.8163228,"about_ca_system_score_codex":0.00013496366,"about_ca_system_score_gemma":0.00027291014,"threshold_uncertainty_score":0.9999232},"labels":[],"label_agreement":null},{"id":"W4404151774","doi":"10.1515/9781779400284","title":"An Open-Ended Run","year":2024,"lang":"en","type":"book","venue":"University of Regina Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.04421045285671611,"score_gpt":0.2229131088732334,"score_spread":0.1787026560165173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404151774","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000677132,0.0007382844,0.0000023072416,0.0001459023,0.00041316147,0.00024253332,0.0002686956,0.00010189093,0.9980195],"genre_scores_gemma":[0.001027043,0.00021884395,0.000027319214,0.000026079739,0.00037937993,3.7509938e-7,0.000051465813,0.000025499607,0.998244],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932504,0.000020727823,0.00006600185,0.00027613333,0.0001490808,0.00016302062],"domain_scores_gemma":[0.99933225,0.000019847586,0.00011328396,0.00038785583,0.000094355455,0.000052435425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006313692,0.0002116723,0.0003635826,0.000109911954,0.00033570055,0.00012943041,0.00079672993,0.00010694392,0.0002786312],"category_scores_gemma":[5.2670384e-7,0.00021257043,0.00010313321,0.0000023717967,0.00058067177,0.00018051204,0.0004102094,0.0002561069,0.00006506126],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046186702,0.000010028294,2.5331232e-7,0.00022245767,0.00016108269,0.00003480483,0.023300605,3.597159e-7,0.0000017188255,0.45539847,0.5178408,0.002983238],"study_design_scores_gemma":[0.00021826074,0.00019373446,5.149764e-7,0.0003284669,0.00024047699,0.0000014795442,0.0017303256,0.000008507645,0.000012756306,0.003393806,0.99362576,0.00024590362],"about_ca_topic_score_codex":0.0009574281,"about_ca_topic_score_gemma":0.0028088235,"teacher_disagreement_score":0.47578496,"about_ca_system_score_codex":0.000049525348,"about_ca_system_score_gemma":0.00014593347,"threshold_uncertainty_score":0.8668371},"labels":[],"label_agreement":null},{"id":"W4404644720","doi":"10.3138/ctr.198.010","title":"Interactive Theatre, Advocacy, and the Pursuit of Freedom","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aesthetics; Sociology; Visual arts; Art; Political science; Media studies","score_opus":0.017718750080621862,"score_gpt":0.24116075725549527,"score_spread":0.2234420071748734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404644720","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00025338907,0.5497681,5.9625654e-7,0.011004082,0.0005083844,0.00035189255,0.000096021366,0.000024362513,0.43799317],"genre_scores_gemma":[0.68204325,0.31014502,0.000008729151,0.0027500654,0.0008987287,0.00008389975,0.000015753492,0.00003402165,0.004020553],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917746,0.000072548115,0.00024398255,0.0001634152,0.000120146804,0.00022243141],"domain_scores_gemma":[0.9993687,0.00021116484,0.000038907565,0.00023434828,0.000046048237,0.00010082602],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042015585,0.0001600115,0.00038029428,0.00009163508,0.0002247727,0.00013456386,0.00023324175,0.000021094456,0.0017263507],"category_scores_gemma":[0.000010190787,0.000084743435,0.00015593029,0.000071006136,0.0006088491,0.00014997131,0.00004201128,0.00016314135,0.00012056507],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021565866,0.000007848185,0.00004771708,0.0037228598,0.00036661525,0.000016910022,0.025584586,5.6551346e-7,7.5977596e-7,0.21558791,0.14429697,0.61034566],"study_design_scores_gemma":[0.00013002266,0.000032203527,0.000013914192,0.0037869005,0.00021559464,0.000015366133,0.0016996519,0.00002633018,0.0000015749431,0.001463842,0.99250734,0.000107242595],"about_ca_topic_score_codex":0.06765942,"about_ca_topic_score_gemma":0.25021914,"teacher_disagreement_score":0.8482104,"about_ca_system_score_codex":0.000040492716,"about_ca_system_score_gemma":0.00023838197,"threshold_uncertainty_score":0.9991862},"labels":[],"label_agreement":null},{"id":"W4404644721","doi":"10.3138/ctr.198.021","title":"Encounters with Non/Living Beings: Puppet Artist Brad Brackenridge in <i>Process and Performance</i>","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Performance art; Process (computing); Aesthetics; Art history; Computer science","score_opus":0.009119391444041601,"score_gpt":0.21628765633950278,"score_spread":0.20716826489546117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404644721","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20393957,0.40597275,0.0000011067448,0.0042937193,0.0005212964,0.000668158,0.00013503457,0.000102372,0.384366],"genre_scores_gemma":[0.92292124,0.0739033,0.0000041842936,0.0021122785,0.0002698281,0.000053051917,0.000011293018,0.00002990753,0.0006949429],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989452,0.000019259602,0.00023570642,0.00027180754,0.00011253419,0.00041548844],"domain_scores_gemma":[0.99956214,0.000046691763,0.000029257995,0.00016528468,0.000031272706,0.00016532431],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023463917,0.0002228781,0.0003423951,0.00016456911,0.0002743862,0.00020152725,0.0001231787,0.000026547805,0.00051530165],"category_scores_gemma":[0.0000038859203,0.0001592244,0.000046159228,0.00014200274,0.00019868035,0.00047890365,0.00001693365,0.00020186602,0.00010995888],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020586309,0.000030829447,0.03686523,0.039629783,0.00023997013,0.00028342108,0.069238484,0.000005620965,0.0000022156323,0.0059515163,0.03492039,0.812812],"study_design_scores_gemma":[0.000092062735,0.00013423439,0.0010470536,0.028085215,0.00010794963,0.00007330883,0.0023045964,0.00012537552,0.000002601915,0.00005529916,0.96759844,0.00037386658],"about_ca_topic_score_codex":0.01388968,"about_ca_topic_score_gemma":0.49561208,"teacher_disagreement_score":0.93267804,"about_ca_system_score_codex":0.00009754995,"about_ca_system_score_gemma":0.00021794619,"threshold_uncertainty_score":0.9926769},"labels":[],"label_agreement":null},{"id":"W4404750074","doi":"10.3138/utq.93.03.15","title":"Drama","year":2024,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Drama; History; Art; Literature","score_opus":0.010634584949703188,"score_gpt":0.1894038943755881,"score_spread":0.17876930942588493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404750074","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10357371,0.0031564422,0.00004673835,0.00034970275,0.0007634097,0.00005231852,0.000041957894,0.00013306925,0.89188266],"genre_scores_gemma":[0.96075267,0.00006720776,0.000029345108,0.000011625699,0.00019810234,3.964444e-8,0.0000027852382,0.0000033867489,0.03893482],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974096,0.000006627775,0.000041148887,0.000076444616,0.000056380675,0.00007845516],"domain_scores_gemma":[0.99986005,0.00001465998,0.000010784474,0.00007131896,0.000025184929,0.000018008595],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000027893831,0.000049029386,0.000073958414,0.00001394913,0.00013174588,0.000029182005,0.00007818889,0.00001313402,0.0076447176],"category_scores_gemma":[2.1529887e-7,0.000046938465,0.00006102853,0.0000043253463,0.00011447643,0.00035386617,0.0000072385465,0.000027405513,0.00017914094],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025612448,0.000024742478,0.0000482545,0.00008419025,0.000111447705,0.000017238226,0.5794187,2.550897e-7,0.000040792325,0.24153028,0.04816922,0.13052924],"study_design_scores_gemma":[0.00007347661,0.00023395961,0.00017155778,0.000030422449,0.000024865729,5.244777e-7,0.07005897,0.000053671774,0.0000036725448,0.00033935346,0.9289464,0.00006312422],"about_ca_topic_score_codex":0.014240968,"about_ca_topic_score_gemma":0.061416734,"teacher_disagreement_score":0.8807772,"about_ca_system_score_codex":0.000030826257,"about_ca_system_score_gemma":0.000012327219,"threshold_uncertainty_score":0.9932624},"labels":[],"label_agreement":null},{"id":"W4404797288","doi":"10.1515/jcde-2024-2024","title":"The Unrepresentable Takes the Stage: Bisexual Legibility and Theatrical Monosexism in Contemporary English-Language Drama","year":2024,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Legibility; Art; Literature; Stage (stratigraphy); Theatrical production; Linguistics; Visual arts; Philosophy","score_opus":0.047203840504554104,"score_gpt":0.2912043133588594,"score_spread":0.24400047285430526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404797288","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7758165,0.08408187,0.0000031571042,0.0028778603,0.0037483976,0.00045889008,0.00005681557,0.0000710898,0.1328854],"genre_scores_gemma":[0.9923962,0.0005487291,0.000005921738,0.00016167415,0.0028523314,0.00001978997,0.000004110761,0.000029310797,0.003981976],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974659,0.00039719185,0.0010676455,0.00027868096,0.00042892277,0.00036162944],"domain_scores_gemma":[0.9973374,0.0017241037,0.0002437778,0.0003504006,0.00025272905,0.00009158964],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025155458,0.0002853024,0.0005178153,0.0002609161,0.00039461572,0.0010233575,0.0004701582,0.00009172472,0.00007138013],"category_scores_gemma":[0.00044041005,0.00015069154,0.00017247337,0.00021017522,0.0007158592,0.001502649,0.00011823701,0.0011544817,0.0000034261443],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00089365843,0.00030034402,0.04626966,0.00022182926,0.00031576926,0.0007203742,0.8430317,0.00007049996,0.00002250268,0.031003144,0.06388532,0.0132651795],"study_design_scores_gemma":[0.0010474847,0.00028084803,0.0018831106,0.00018184738,0.000015860676,0.000010323367,0.2789186,0.00021201707,0.000034784145,0.0011025779,0.7160997,0.00021287712],"about_ca_topic_score_codex":0.0007990365,"about_ca_topic_score_gemma":0.001081114,"teacher_disagreement_score":0.65221435,"about_ca_system_score_codex":0.00007190766,"about_ca_system_score_gemma":0.00033348423,"threshold_uncertainty_score":0.986826},"labels":[],"label_agreement":null},{"id":"W4404887458","doi":"10.3138/seminar.60.4.6","title":"Globalized Theatre | Tokenized Performance: Milo Rau’s German Intercultural Theatre in Belgium","year":2024,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"German; Theatre studies; Art; Visual arts; History; Archaeology; Drama","score_opus":0.030419671974510492,"score_gpt":0.3071446289525115,"score_spread":0.276724956978001,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404887458","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83040494,0.124568984,7.7468e-7,0.0019119243,0.0048412695,0.00020133126,0.000029786435,0.00007676007,0.037964206],"genre_scores_gemma":[0.9703026,0.022099234,0.000025511368,0.00020502899,0.0023465536,0.000014947801,0.0000043118757,0.00003454876,0.004967297],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.997757,0.00009829497,0.0009473028,0.00025644767,0.00042120783,0.0005197584],"domain_scores_gemma":[0.99902976,0.00021149676,0.00021638311,0.00020146449,0.00026409398,0.000076807926],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0006601547,0.00041769719,0.00086919015,0.0003731088,0.00039787102,0.00019799385,0.00036634502,0.00006715279,0.00044231088],"category_scores_gemma":[0.000015561065,0.00026175467,0.00039531098,0.0001866172,0.00043036023,0.00086112664,0.00018034004,0.00054963474,0.00011979185],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010056637,0.00021808656,0.0015885648,0.0013861526,0.0027413687,0.00061354984,0.6436246,0.000018539995,0.0006036191,0.0032529028,0.25333074,0.091616176],"study_design_scores_gemma":[0.0018426988,0.00084701926,0.0006831575,0.0035426875,0.00048964715,0.00059957674,0.11102077,0.00018052354,0.00047182044,0.0012078119,0.8784695,0.00064475613],"about_ca_topic_score_codex":0.00004705208,"about_ca_topic_score_gemma":0.00048506443,"teacher_disagreement_score":0.62513876,"about_ca_system_score_codex":0.00022740445,"about_ca_system_score_gemma":0.00008147094,"threshold_uncertainty_score":0.9999835},"labels":[],"label_agreement":null},{"id":"W4404905751","doi":"10.19179/rdf.v62i62.1542","title":"TEATRO PARA E COM BEBÉS NA CRECHE","year":2024,"lang":"pt","type":"article","venue":"Revista da FUNDARTE","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"European Regional Development Fund; Fundação para a Ciência e a Tecnologia; Universidade do Minho; International Council for Canadian Studies","keywords":"Psychology","score_opus":0.0657856938661856,"score_gpt":0.30008552769623703,"score_spread":0.23429983383005143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404905751","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041588593,0.48755306,0.00040257635,0.019325726,0.011266271,0.0021730233,0.0042209243,0.0014923523,0.43197745],"genre_scores_gemma":[0.71579593,0.005352928,0.000015476613,0.0005293976,0.0033057586,0.000058526854,0.00011030907,0.00009630249,0.27473536],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975545,0.0001224665,0.0006185087,0.00060424826,0.00037165426,0.0007286472],"domain_scores_gemma":[0.9988175,0.0002294471,0.000097396885,0.0005985441,0.00009835251,0.00015876953],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00048231968,0.0005459179,0.00068466016,0.00018466134,0.0013363259,0.0035088605,0.0003294035,0.00013267409,0.009411304],"category_scores_gemma":[0.000016964033,0.0004435469,0.00045427287,0.00016882573,0.00060391286,0.00046462755,0.00017772637,0.00066332077,0.0062322705],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008771294,0.000116017945,0.00049710687,0.003609221,0.0009930976,0.00015951798,0.041193716,0.0000021525416,0.00007145838,0.30295527,0.5440558,0.10625893],"study_design_scores_gemma":[0.00021982295,0.0002628258,0.00010536911,0.0013630665,0.00042344746,0.000020181344,0.003052789,0.000371997,0.000025036392,0.00027708462,0.9933138,0.00056457525],"about_ca_topic_score_codex":0.00015372735,"about_ca_topic_score_gemma":0.00012256128,"teacher_disagreement_score":0.6742073,"about_ca_system_score_codex":0.000117964926,"about_ca_system_score_gemma":0.00018363165,"threshold_uncertainty_score":0.9999638},"labels":[],"label_agreement":null},{"id":"W4404906741","doi":"10.3138/ctr.200.018","title":"Hourglasses and Hammers: A Reflection on Forty Years of Interculturalism in <i>Canadian Theatre Review</i>","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interculturalism; Hammer; Reflection (computer programming); Art; Visual arts; Sociology; Engineering; Computer science; Pedagogy; Multiculturalism","score_opus":0.03676566261312148,"score_gpt":0.2767483494258083,"score_spread":0.2399826868126868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404906741","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033071155,0.7791305,3.8928274e-8,0.009526676,0.00047454477,0.0005651825,0.00018863996,0.000029317878,0.20677795],"genre_scores_gemma":[0.35168064,0.64097893,0.000003208045,0.006177639,0.00023965981,0.000048519378,0.00003568304,0.000024152318,0.0008115784],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988272,0.00006750875,0.00034780407,0.0002547558,0.00010347216,0.00039926317],"domain_scores_gemma":[0.99937296,0.000053026284,0.000043351505,0.00022011039,0.000040503055,0.0002700664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035424368,0.0002007828,0.000470023,0.00029585022,0.00012679816,0.00006964276,0.0001233933,0.000045043624,0.00071670284],"category_scores_gemma":[0.000015392778,0.00015151294,0.00013932091,0.00018822416,0.0001252561,0.00020154062,0.000012781795,0.00021103761,0.000093199116],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000046332434,0.0000096721415,0.00029166465,0.014335396,0.0001065995,0.000074691576,0.00589502,2.724221e-7,0.0000020585978,0.009132005,0.1774454,0.79270256],"study_design_scores_gemma":[0.00004997019,0.00006913333,0.000118456584,0.03793853,0.00010361319,0.000019766698,0.00041167217,0.000002247801,0.0000024414899,0.00017887812,0.9609362,0.00016910139],"about_ca_topic_score_codex":0.6250788,"about_ca_topic_score_gemma":0.98461086,"teacher_disagreement_score":0.79253346,"about_ca_system_score_codex":0.00023843248,"about_ca_system_score_gemma":0.0003410235,"threshold_uncertainty_score":0.7847394},"labels":[],"label_agreement":null},{"id":"W4404906780","doi":"10.3138/ctr.200.014","title":"On This Path Together: Intergenerational Indigenous Performance Writing in <i>Canadian Theatre Review</i>","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Performance studies; Path (computing); Theatre studies; Performance art; Visual arts; Sociology; Art; Drama; Art history; Computer science; Anthropology","score_opus":0.01953037657356066,"score_gpt":0.2383968419859297,"score_spread":0.21886646541236904,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404906780","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028548667,0.6011216,1.3601488e-7,0.006510783,0.00068532635,0.0006674085,0.00029692033,0.00005452561,0.38780844],"genre_scores_gemma":[0.34669873,0.6237846,0.000008874159,0.024753097,0.0010115702,0.00019133632,0.00017591553,0.00006490349,0.0033109915],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977754,0.000110392815,0.0005980104,0.0004179092,0.00022044792,0.00087789225],"domain_scores_gemma":[0.9989518,0.00008204346,0.000052876007,0.00038401093,0.00007052222,0.00045877483],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00081871107,0.00037387948,0.00056424283,0.0003911284,0.00061792554,0.00017540116,0.00032307173,0.00006929263,0.0087628625],"category_scores_gemma":[0.0000148621575,0.000292305,0.00021654837,0.00025041585,0.00011151773,0.0002943806,0.000021375814,0.00045841504,0.0017005651],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004117656,0.00002035556,0.0009967203,0.015163567,0.00011068971,0.00015480682,0.008616885,0.000004638309,9.0593085e-7,0.019853963,0.28823563,0.6668377],"study_design_scores_gemma":[0.00005759885,0.0000829409,0.000031497177,0.04198123,0.0000728348,0.000027764403,0.00015477593,0.00003883693,0.0000022081156,0.00015225972,0.95705193,0.000346093],"about_ca_topic_score_codex":0.3835345,"about_ca_topic_score_gemma":0.9579073,"teacher_disagreement_score":0.6688163,"about_ca_system_score_codex":0.0006392063,"about_ca_system_score_gemma":0.001378714,"threshold_uncertainty_score":0.9999529},"labels":[],"label_agreement":null},{"id":"W4404906805","doi":"10.3138/ctr.200.006","title":"Continue without Disabling: Fifty Years of Disability Arts in <i>Canadian Theatre Review</i>","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Visual arts; Aesthetics; Sociology; History; Art; Art history","score_opus":0.029347826599252082,"score_gpt":0.2678658324295393,"score_spread":0.23851800583028723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404906805","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026577674,0.73558486,1.0224963e-7,0.012554053,0.000596457,0.0009624347,0.00062075764,0.000045256955,0.24697828],"genre_scores_gemma":[0.6388925,0.3548268,0.000008072192,0.0042025233,0.00059970585,0.00009846304,0.000089289446,0.00005091865,0.0012317359],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979497,0.00011285185,0.00065206067,0.00039682898,0.0001784656,0.00071007933],"domain_scores_gemma":[0.9986838,0.0001054914,0.00006786489,0.0005782556,0.000058299385,0.00050624885],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008332439,0.000296839,0.0008756625,0.00016659866,0.0001664175,0.00008175934,0.00031004334,0.000062329666,0.0029381567],"category_scores_gemma":[0.000040045034,0.00024379636,0.000298754,0.00026674272,0.00047157297,0.00023665115,0.000027020036,0.00030010907,0.00031768848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000064839132,0.000043822,0.01069113,0.038189176,0.00017484155,0.00008642047,0.0067873355,0.0000012261393,0.0000011228025,0.017779274,0.212828,0.71341115],"study_design_scores_gemma":[0.00007207812,0.00003068731,0.0002973798,0.03212666,0.00015718349,0.000008877342,0.000290945,0.0000067015862,0.0000013838295,0.0003204856,0.96641916,0.00026847294],"about_ca_topic_score_codex":0.7252158,"about_ca_topic_score_gemma":0.9889866,"teacher_disagreement_score":0.7535911,"about_ca_system_score_codex":0.00038354108,"about_ca_system_score_gemma":0.00075978495,"threshold_uncertainty_score":0.99797326},"labels":[],"label_agreement":null},{"id":"W4404906807","doi":"10.3138/ctr.200.013","title":"Canadian Theatre Crossroads: Reaffirming Who We Are","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Visual arts; Art; History; Aesthetics; Media studies; Art history; Sociology","score_opus":0.029368624134668946,"score_gpt":0.2496776141570658,"score_spread":0.22030899002239684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404906807","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002744241,0.523778,1.9084676e-7,0.028153932,0.0010591856,0.00037527466,0.0005255741,0.00011301257,0.44572034],"genre_scores_gemma":[0.37613463,0.54749733,0.000014435366,0.015417359,0.004738515,0.00020065898,0.00013552225,0.00019317713,0.055668365],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979524,0.00006480036,0.0003939079,0.00044952476,0.00017513668,0.0009642414],"domain_scores_gemma":[0.9984528,0.000063007814,0.00004986766,0.00051664904,0.00008196383,0.00083575066],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032556115,0.00039655674,0.0005978966,0.00038347652,0.0010604333,0.0004904238,0.0003617847,0.00008373221,0.007099156],"category_scores_gemma":[0.000009635976,0.00030780482,0.00029444517,0.00021671288,0.00020186143,0.00033888363,0.00002760636,0.00035364187,0.0022128718],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000015274834,0.00000447951,0.00027731902,0.004092178,0.00015716394,0.00027228054,0.0074949274,7.806909e-7,2.8752999e-7,0.020494984,0.5120666,0.45513746],"study_design_scores_gemma":[0.00004828553,0.000026652362,0.000027202868,0.013983589,0.00016344573,0.000038909555,0.0016491177,0.000015264151,0.0000015068491,0.0005016781,0.98314387,0.00040050002],"about_ca_topic_score_codex":0.8154577,"about_ca_topic_score_gemma":0.99713975,"teacher_disagreement_score":0.47107726,"about_ca_system_score_codex":0.0006432723,"about_ca_system_score_gemma":0.0014125517,"threshold_uncertainty_score":0.9999374},"labels":[],"label_agreement":null},{"id":"W4404906842","doi":"10.3138/ctr.200.005","title":"A Hoarding of Memories: Conversations about Feminist Theatre and Its Documentation in Canada","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; Visual arts; Art; Art history; Media studies; History; Sociology","score_opus":0.019787736377357486,"score_gpt":0.24360147689685102,"score_spread":0.22381374051949354,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404906842","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013668539,0.6684852,2.281212e-7,0.004580945,0.00072228914,0.00051732466,0.00051509053,0.000020419955,0.3114899],"genre_scores_gemma":[0.9253507,0.07312517,0.0000022046208,0.0008238078,0.00012508722,0.000029896193,0.000021606962,0.000011492435,0.0005100019],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992833,0.000029272165,0.00025792402,0.00014147298,0.00009057858,0.00019746774],"domain_scores_gemma":[0.9996695,0.00007042817,0.000032769225,0.00009735442,0.00002972541,0.00010022212],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013759629,0.00011952612,0.0002669833,0.00010739954,0.00014485324,0.00005625562,0.000069056645,0.000014469685,0.0011270498],"category_scores_gemma":[0.0000051280826,0.00009715735,0.000042560565,0.00009854187,0.000060627754,0.00016122464,0.00001072158,0.000084327185,0.000017604314],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011867355,0.000015276233,0.00802003,0.034002203,0.000494542,0.00016300942,0.094554275,0.000009036761,0.000010472535,0.19770192,0.099456765,0.5655606],"study_design_scores_gemma":[0.0000689624,0.000015119691,0.000115273775,0.0047521777,0.000088313165,0.0000070268284,0.006941789,0.000038191796,0.000010953115,0.00016094312,0.9876699,0.0001313812],"about_ca_topic_score_codex":0.95652103,"about_ca_topic_score_gemma":0.99904704,"teacher_disagreement_score":0.9116822,"about_ca_system_score_codex":0.00030632073,"about_ca_system_score_gemma":0.0012610919,"threshold_uncertainty_score":0.9997861},"labels":[],"label_agreement":null},{"id":"W4404906855","doi":"10.3138/ctr.200.012","title":"“From ‘What Is to What If’”: Thinking and Questioning about <i>Canadian Theatre Review</i>’s Next 200 Issues","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reflection (computer programming); Visual arts; Performance art; Sociology; Media studies; Art; Aesthetics; Art history; Computer science","score_opus":0.025197320363103203,"score_gpt":0.2655504435187455,"score_spread":0.2403531231556423,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404906855","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00040921112,0.8722514,5.8070157e-7,0.08300673,0.0016046959,0.00078992685,0.0002221476,0.00010163404,0.041613687],"genre_scores_gemma":[0.010316853,0.9160822,0.000041519485,0.06897646,0.0016534495,0.00009191106,0.00010073944,0.00006817992,0.00266866],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99768996,0.00011631996,0.00051926804,0.0006168683,0.00025011555,0.0008074436],"domain_scores_gemma":[0.9982727,0.00009151448,0.000057500594,0.0005588782,0.00010895014,0.0009104467],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005628327,0.00048023867,0.00079529395,0.00029765867,0.0010291509,0.0031955673,0.00037479764,0.00008502705,0.0064764717],"category_scores_gemma":[0.000013442104,0.00038390185,0.00022360454,0.00022956087,0.00016251724,0.0026935278,0.000055231212,0.00034465126,0.0012163719],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000011293035,0.0000029478606,0.00004558365,0.0048470767,0.00012523076,0.000061247054,0.02768334,2.9457928e-7,4.497076e-7,0.0028870727,0.2075478,0.75679785],"study_design_scores_gemma":[0.00003622098,0.000036031033,0.000015744698,0.13378777,0.00029228593,0.000019391935,0.006175841,0.00000710063,0.0000016211461,0.000641889,0.8585709,0.00041524478],"about_ca_topic_score_codex":0.6090362,"about_ca_topic_score_gemma":0.9309723,"teacher_disagreement_score":0.7563826,"about_ca_system_score_codex":0.00030003462,"about_ca_system_score_gemma":0.00056533766,"threshold_uncertainty_score":0.9998613},"labels":[],"label_agreement":null},{"id":"W4404906858","doi":"10.3138/ctr.200.010","title":"Looking for Dance in <i>Canadian Theatre Review</i>","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentation; Hoarding (animal behavior); Visual arts; Sociology; Media studies; History; Aesthetics; Art; Computer science; Geology","score_opus":0.025342971721599893,"score_gpt":0.25780369511086954,"score_spread":0.23246072338926965,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404906858","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000026643787,0.67001295,6.526017e-7,0.016091676,0.00067154004,0.00094356586,0.00037171046,0.00004484979,0.31183642],"genre_scores_gemma":[0.050691716,0.91140574,0.000023341652,0.03040707,0.001381423,0.00048520428,0.00013508707,0.00008540981,0.005385018],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99803144,0.0000568743,0.00047200956,0.00039795192,0.00012069456,0.00092103845],"domain_scores_gemma":[0.99891365,0.000094942705,0.00004169575,0.00040102538,0.000063480176,0.00048523696],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007004641,0.00031622668,0.0006312511,0.00029375838,0.00040471755,0.00014450123,0.0003145359,0.00005346373,0.0021908153],"category_scores_gemma":[0.000020286068,0.00025102697,0.0002781078,0.00022244536,0.00011984991,0.00026817288,0.000016217915,0.00024645828,0.000521248],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000016715703,0.0000053909052,0.00017483046,0.02784721,0.0000695421,0.0000641991,0.0017202424,5.013138e-7,3.836797e-7,0.034047425,0.43448877,0.5015798],"study_design_scores_gemma":[0.000064361106,0.000029460694,0.000009046206,0.050586417,0.00014204897,0.000014612732,0.00014626373,0.0000149649195,0.0000010321695,0.0005952545,0.94809246,0.0003040561],"about_ca_topic_score_codex":0.5582423,"about_ca_topic_score_gemma":0.9930246,"teacher_disagreement_score":0.5136037,"about_ca_system_score_codex":0.00044057315,"about_ca_system_score_gemma":0.0011470402,"threshold_uncertainty_score":0.9999942},"labels":[],"label_agreement":null},{"id":"W4404938932","doi":"10.3138/ctr.200.011","title":"Montreal in Carte Blanche, 1974","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Visual arts; Performance art; History; Art; Art history","score_opus":0.021553364456333164,"score_gpt":0.23479701749543325,"score_spread":0.2132436530391001,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404938932","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00061230885,0.47651297,7.752447e-8,0.0044071316,0.0004278727,0.00017235024,0.0000828814,0.000041022842,0.5177434],"genre_scores_gemma":[0.6355901,0.33865613,0.000005395453,0.005030029,0.001861405,0.0001077491,0.000057668818,0.00004850287,0.018643085],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919844,0.000027856146,0.0001978154,0.00017674491,0.00006955688,0.00032959555],"domain_scores_gemma":[0.99962586,0.000027779204,0.000012051752,0.00017750326,0.000017566312,0.00013926656],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015827458,0.00014322782,0.00027148004,0.00014668,0.00012063546,0.00008365838,0.00011192829,0.000023903067,0.0027530813],"category_scores_gemma":[0.0000031774064,0.00010701072,0.00010163378,0.00009135999,0.00007217859,0.00012371485,0.000010317734,0.00013839005,0.0009838186],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000014693095,0.000006722797,0.00029228927,0.003334173,0.00006358907,0.00019036964,0.01017612,7.019838e-7,3.544201e-7,0.03104661,0.26886094,0.68602663],"study_design_scores_gemma":[0.000038882445,0.00001554962,0.00011388387,0.0036058458,0.00004469991,0.000008147505,0.00025904755,0.000011920743,5.062348e-7,0.000408329,0.995357,0.00013622496],"about_ca_topic_score_codex":0.19517666,"about_ca_topic_score_gemma":0.94553864,"teacher_disagreement_score":0.7503619,"about_ca_system_score_codex":0.00012357143,"about_ca_system_score_gemma":0.00020619981,"threshold_uncertainty_score":0.999794},"labels":[],"label_agreement":null},{"id":"W4405000787","doi":"10.3138/9781487548308-009","title":"Chapter 4 The Firehall Years in Toronto’s Expanding Theatre Ecology (1972–present)","year":2024,"lang":"en","type":"book-chapter","venue":"University of Toronto Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ecology; Geography; History; Biology","score_opus":0.02706697442738348,"score_gpt":0.21657932058116677,"score_spread":0.1895123461537833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405000787","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029489616,0.010102206,2.057412e-7,0.00006614382,0.00069687475,0.0002901842,0.00013194817,0.00005167293,0.9883659],"genre_scores_gemma":[0.06080025,0.00257799,0.0000044471117,0.000029124101,0.00049995544,0.0000011356594,0.00000857028,0.000031779018,0.9360467],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990859,0.0000157251,0.00018794197,0.00029379083,0.00017415146,0.00024247447],"domain_scores_gemma":[0.9993891,0.000073452495,0.000118532385,0.00033452318,0.000044109504,0.00004024893],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009094834,0.00026747628,0.0003938566,0.000027118993,0.00022050686,0.000041075025,0.00042160242,0.00015341106,0.0056069074],"category_scores_gemma":[5.9223606e-7,0.0002265984,0.00022043832,3.3675178e-7,0.00048084368,0.00016984243,0.00036839762,0.0002254613,0.00003965694],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010342234,0.000012583837,0.000010178792,0.00010968312,0.0003549382,0.00006557906,0.1406104,0.000002283627,0.0000021599938,0.83977383,0.0059465184,0.013008437],"study_design_scores_gemma":[0.00024827634,0.000100516074,0.000040710678,0.00021029466,0.00015905155,0.0000016536571,0.0044318642,0.000011409714,0.0000030164667,0.0014696942,0.9930836,0.00023990475],"about_ca_topic_score_codex":0.2204611,"about_ca_topic_score_gemma":0.8261059,"teacher_disagreement_score":0.9871371,"about_ca_system_score_codex":0.00032119147,"about_ca_system_score_gemma":0.000024134788,"threshold_uncertainty_score":0.9953021},"labels":[],"label_agreement":null},{"id":"W4405640142","doi":"10.1080/00131857.2024.2442751","title":"The marionette theatre: Decentering the all too human architect","year":2024,"lang":"en","type":"article","venue":"Educational Philosophy and Theory","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Azrieli Foundation","keywords":"Sociology; Aesthetics; Philosophy","score_opus":0.025166874981223983,"score_gpt":0.25885340073230634,"score_spread":0.23368652575108234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405640142","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.074911274,0.02295441,0.000004039094,0.09719972,0.0026503257,0.00020884302,0.000036561007,0.000079831,0.801955],"genre_scores_gemma":[0.9863979,0.00037648238,0.0000024339015,0.0013838289,0.00404576,0.00004676776,0.000013515546,0.000012425825,0.007720875],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99943775,0.000052680567,0.00012211269,0.00013566027,0.00010292273,0.00014887899],"domain_scores_gemma":[0.99931276,0.00048409723,0.000019597102,0.00014357801,0.000017996668,0.000021953634],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00033944877,0.000110010136,0.000064185995,0.00003428238,0.0016040067,0.00032392106,0.00015016187,0.0000128855245,0.00038291214],"category_scores_gemma":[0.000004755503,0.000053519492,0.00006195547,0.000020613612,0.00052643305,0.000106993124,0.000058499158,0.00016335378,0.00008118479],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001598695,0.000014783905,0.000054041688,0.000021160567,0.000104947685,4.0346882e-7,0.015802275,7.503287e-7,0.0000065844533,0.96560705,0.0073056207,0.011066411],"study_design_scores_gemma":[0.000024731127,0.000021185226,0.00027486036,0.000022985902,0.000016820308,0.000004275502,0.00065476185,0.0000030977321,0.0000030561855,0.5461311,0.45279336,0.000049791783],"about_ca_topic_score_codex":0.00002390487,"about_ca_topic_score_gemma":0.000078677534,"teacher_disagreement_score":0.9114866,"about_ca_system_score_codex":0.000011603163,"about_ca_system_score_gemma":0.00002697118,"threshold_uncertainty_score":0.9996958},"labels":[],"label_agreement":null},{"id":"W4405641612","doi":"10.5038/2157-7129.14.1.1373","title":"Out of the Closet and into the Classroom: Teaching Anne Finch's Plays","year":2024,"lang":"en","type":"article","venue":"ABO Interactive Journal for Women in the Arts 1640-1830","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Closet; Finch; Art; Visual arts; Psychology; History; Biology; Zoology; Archaeology","score_opus":0.023458951364142114,"score_gpt":0.29820468438807674,"score_spread":0.2747457330239346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405641612","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94076276,0.002145996,0.000009816357,0.008817546,0.003608865,0.00035047904,0.000060204206,0.0000149445295,0.044229377],"genre_scores_gemma":[0.99118674,0.0002347429,0.0000074901195,0.0006609415,0.0011854842,0.000060831633,0.0000014973203,0.000018083612,0.0066442043],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987953,0.00017127542,0.00035448925,0.0001447581,0.00020393085,0.0003302845],"domain_scores_gemma":[0.99853504,0.0010019272,0.00015595842,0.00020113416,0.00007286256,0.00003305094],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00141646,0.00017832681,0.00022638265,0.00010403106,0.0011404144,0.00041937878,0.0004001549,0.000027145601,0.0001832393],"category_scores_gemma":[0.000102200356,0.00007507429,0.0001511541,0.00004198757,0.00029714598,0.00051463756,0.00011252987,0.0007881837,0.000015237257],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018232771,0.00006418948,0.00031449558,0.00007216838,0.00030051023,0.0000065578356,0.89939743,0.000010855707,0.00013558172,0.041958418,0.04574834,0.0118091265],"study_design_scores_gemma":[0.00027623159,0.00031051296,0.0005688032,0.00031315075,0.000048480382,0.00005038058,0.17033276,0.00017781793,0.00011831593,0.05659817,0.771082,0.00012337693],"about_ca_topic_score_codex":0.00007724754,"about_ca_topic_score_gemma":0.00096197973,"teacher_disagreement_score":0.72906464,"about_ca_system_score_codex":0.00010519802,"about_ca_system_score_gemma":0.000037730708,"threshold_uncertainty_score":0.8771261},"labels":[],"label_agreement":null},{"id":"W4406242666","doi":"10.3138/md-67-4-rev6","title":"Tina Post. <i>Deadpan: The Aesthetics of Black Inexpression</i>","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subjectivity; Aesthetics; Narrative; Gesture; Everyday life; Art; Visual arts; Literature; Philosophy; Epistemology; Linguistics","score_opus":0.01947013045270905,"score_gpt":0.23255695436008322,"score_spread":0.21308682390737418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406242666","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7021451,0.0048554586,0.000080152706,0.0066748844,0.00086342124,0.0001879112,0.00009234176,0.00016959239,0.28493115],"genre_scores_gemma":[0.98230696,0.00014674806,0.000011510774,0.00028320492,0.00042880056,0.0000071811023,0.0000049703212,0.000016833146,0.016793773],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943054,0.000016584123,0.0001521627,0.00011460235,0.00013863685,0.00014745888],"domain_scores_gemma":[0.99964225,0.000051345807,0.00002645161,0.00019889534,0.000063327796,0.000017709084],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008554847,0.00010364537,0.00011834359,0.00003378533,0.0001911825,0.00011795323,0.00015105656,0.000022884471,0.00040864016],"category_scores_gemma":[0.0000041388416,0.00005602756,0.00008127872,0.000024520377,0.00031374246,0.000103710576,0.000067748435,0.00012100613,0.00019046328],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054927423,0.00010312218,0.00012978505,0.0003371747,0.00013710115,0.000013314194,0.5167731,0.00011900637,0.0013434611,0.3124502,0.0794528,0.08908599],"study_design_scores_gemma":[0.00009133121,0.000105149986,0.00006348281,0.00015068581,0.00004140824,0.0000034694428,0.004435511,0.0034806044,0.00059467443,0.011490223,0.9794139,0.00012953707],"about_ca_topic_score_codex":0.000070553484,"about_ca_topic_score_gemma":0.00013179138,"teacher_disagreement_score":0.8999611,"about_ca_system_score_codex":0.0000064303736,"about_ca_system_score_gemma":0.000018988101,"threshold_uncertainty_score":0.44743234},"labels":[],"label_agreement":null},{"id":"W4406254908","doi":"10.1007/978-3-031-78034-9","title":"Sound and Sense in Contemporary Theatre","year":2025,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; University of British Columbia","keywords":"Sound (geography); Sense (electronics); Sense of place; Art; Acoustics; Communication; Visual arts; History; Sociology; Engineering; Physics; Social science; Electrical engineering","score_opus":0.04438212496052318,"score_gpt":0.23819044705627765,"score_spread":0.19380832209575447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406254908","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026953497,0.0058249105,2.1418568e-7,0.00028528654,0.00032253235,0.0001490249,0.00007556252,0.0000440854,0.9930288],"genre_scores_gemma":[0.030869868,0.0004449259,0.0000022880158,0.00055327005,0.00051975885,0.0000046743817,0.000037805956,0.000011298333,0.9675561],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994652,0.000011210252,0.00017560832,0.00016673424,0.00006458586,0.00011663062],"domain_scores_gemma":[0.9997221,0.000082937695,0.00003376325,0.00012182638,0.00002223881,0.000017133609],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000064664295,0.0001841409,0.0003016899,0.00013581017,0.000134464,0.00007534085,0.00004051897,0.000074393654,0.000916039],"category_scores_gemma":[0.0000010859222,0.00013354531,0.000048514128,0.0000064626606,0.0002060908,0.0000776394,0.000067512134,0.00018669353,0.000050306546],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025177122,0.000011272727,0.00017157815,0.00022370202,0.000081297825,0.000024769986,0.015491133,7.25486e-8,4.7384376e-8,0.34292585,0.6370591,0.0039860285],"study_design_scores_gemma":[0.0001819429,0.000031063606,0.000010951573,0.00015263823,0.000015225771,0.0000012093598,0.0019703056,0.0000018285767,3.7971918e-7,0.032583766,0.9648932,0.00015743979],"about_ca_topic_score_codex":0.0002862461,"about_ca_topic_score_gemma":0.008237927,"teacher_disagreement_score":0.32783416,"about_ca_system_score_codex":0.00002231974,"about_ca_system_score_gemma":0.00009982855,"threshold_uncertainty_score":0.99999726},"labels":[],"label_agreement":null},{"id":"W4406270674","doi":"10.3138/md-67-4-rev5","title":"Monique Mojica and Brenda Farnell. <i>Chocolate Woman Dreams the Milky Way: Mapping Embodied Indigenous Performance</i>","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Metaphor; Indigenous; Repetition (rhetorical device); Aesthetics; Art; Abstraction; Sociology; Visual arts; Linguistics; Epistemology; Philosophy; Ecology","score_opus":0.021260489343117993,"score_gpt":0.2180128847795125,"score_spread":0.1967523954363945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406270674","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8977406,0.0074410127,0.00007089972,0.0010731247,0.0005873212,0.00045118775,0.000040273593,0.0003164999,0.09227908],"genre_scores_gemma":[0.98270774,0.001709801,0.000019919169,0.00059308007,0.0007756773,0.00010630878,0.000011973169,0.00004453193,0.014030945],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987374,0.00003089679,0.00025690484,0.0003288801,0.0001826955,0.00046321505],"domain_scores_gemma":[0.9995168,0.00006124367,0.00004314438,0.00027401658,0.000043712298,0.00006110487],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00020965077,0.0002752864,0.00024919506,0.00009192712,0.0013067976,0.0006417233,0.00021032651,0.000062752406,0.00017306251],"category_scores_gemma":[0.0000022559957,0.00017656437,0.00009138305,0.00005819712,0.0003131176,0.00036067335,0.00013151631,0.00034222685,0.0001329532],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053525575,0.000054252207,0.0011320013,0.0004471323,0.00033446806,0.000029237244,0.6987937,0.00008463427,0.00014942592,0.011394697,0.005630305,0.2818966],"study_design_scores_gemma":[0.0003932802,0.00022177036,0.0011940326,0.00031277753,0.00009452064,0.000044406253,0.007865738,0.019901052,0.00027152032,0.009272663,0.9598197,0.0006085698],"about_ca_topic_score_codex":0.000451523,"about_ca_topic_score_gemma":0.0006776282,"teacher_disagreement_score":0.95418936,"about_ca_system_score_codex":0.000042261272,"about_ca_system_score_gemma":0.000038778468,"threshold_uncertainty_score":0.9999934},"labels":[],"label_agreement":null},{"id":"W4406394880","doi":"10.7202/1115467ar","title":"Imagining the Feminist Imaginary Through Object-Based Research","year":2024,"lang":"en","type":"article","venue":"International Journal for Talent Development and Creativity","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"The Imaginary; Object (grammar); Sociology; Computer science; Psychology; Psychoanalysis; Artificial intelligence","score_opus":0.13917619536723472,"score_gpt":0.38745046537142974,"score_spread":0.24827427000419502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406394880","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43822202,0.008017557,0.0013089871,0.03933666,0.010525978,0.00062706816,0.00018697321,0.00016444895,0.50161034],"genre_scores_gemma":[0.98799896,0.00018627982,0.00039956582,0.00026284516,0.0013856833,0.000052459047,0.000016718137,0.000011937385,0.009685572],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990025,0.00003655978,0.00019613159,0.00014739913,0.00041033124,0.00020707348],"domain_scores_gemma":[0.9992434,0.00037648057,0.000036732923,0.000050941373,0.0002613535,0.000031109288],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084131426,0.000111906615,0.00009533252,0.00011053605,0.0012811007,0.0009875128,0.000200107,0.000015050821,0.00031076613],"category_scores_gemma":[0.000025949877,0.00006728576,0.000068306996,0.000031892225,0.00034646675,0.00035129723,0.000071973554,0.00027120096,0.000022279166],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048196167,0.00022205526,0.0065544136,0.00016605349,0.0011793071,0.00016794486,0.27246866,0.000008488285,0.000110127155,0.2340535,0.1475529,0.3370346],"study_design_scores_gemma":[0.00021608673,0.000056751516,0.00036075874,0.00020037999,0.000013796077,0.000047603568,0.006895429,0.0002540819,0.00045100113,0.0070122294,0.98438495,0.00010692174],"about_ca_topic_score_codex":0.000034816258,"about_ca_topic_score_gemma":0.0000885244,"teacher_disagreement_score":0.83683205,"about_ca_system_score_codex":0.000085492495,"about_ca_system_score_gemma":0.00017126382,"threshold_uncertainty_score":0.985332},"labels":[],"label_agreement":null},{"id":"W4406729733","doi":"10.3138/ctr.201.025","title":"New in Town: An Interview with Three Creators of a Cabaret for New Canadian Citizens","year":2025,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Performance art; Media studies; Art; Sociology; Art history; History","score_opus":0.035344683396325835,"score_gpt":0.25338051635133685,"score_spread":0.218035832955011,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406729733","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017894313,0.46502292,0.00004106425,0.025841452,0.00055281294,0.0024165434,0.00066051795,0.00004208994,0.50363314],"genre_scores_gemma":[0.6519373,0.2013094,0.0012160031,0.054586183,0.0031191225,0.0006923869,0.0006542838,0.000291034,0.08619431],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988461,0.000032811222,0.00034876462,0.00023235206,0.0000691606,0.0004707957],"domain_scores_gemma":[0.9989226,0.000036680034,0.000056062985,0.00035632573,0.00007965028,0.0005487171],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020767815,0.00022558135,0.0005994113,0.00034638876,0.00018008861,0.00004643512,0.00027825942,0.000044287284,0.0022216158],"category_scores_gemma":[0.000011229327,0.00016946187,0.00012155603,0.00018057837,0.00008253552,0.00013714939,0.000012038642,0.00010915597,0.000012408526],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000129502705,0.000008257362,0.0019175474,0.0025819568,0.00013928657,0.000012670931,0.0046218657,0.0000010983114,1.6445603e-7,0.050017495,0.18480247,0.75588423],"study_design_scores_gemma":[0.00029370128,0.00014195085,0.0002801313,0.0077207945,0.00015416094,0.0000030886383,0.0007667399,0.0000030438066,0.000002369357,0.0015445187,0.9888913,0.00019821798],"about_ca_topic_score_codex":0.9427043,"about_ca_topic_score_gemma":0.9997789,"teacher_disagreement_score":0.80408883,"about_ca_system_score_codex":0.00023520557,"about_ca_system_score_gemma":0.0036568837,"threshold_uncertainty_score":0.9986905},"labels":[],"label_agreement":null},{"id":"W4406729811","doi":"10.3138/ctr.201.021","title":"At the Crossroads: Paths Toward Decolonizing Theatre Teaching and Mentorship","year":2025,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mentorship; Visual arts; Sociology; Art; Aesthetics; Media studies","score_opus":0.030474464816970775,"score_gpt":0.26446046835600034,"score_spread":0.23398600353902957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406729811","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0052684317,0.43470144,5.3189694e-7,0.022720309,0.0004540844,0.0004637545,0.000061873136,0.00003848642,0.53629106],"genre_scores_gemma":[0.819865,0.12118908,0.000018838473,0.025183093,0.0007411497,0.00016547999,0.000034246692,0.000040743187,0.03276236],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987904,0.00016076567,0.00026259077,0.00024414292,0.00009673305,0.00044536352],"domain_scores_gemma":[0.99926984,0.00016335121,0.000053817243,0.00033207115,0.000034468278,0.00014646503],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00069881737,0.00022411795,0.00034580444,0.000084212115,0.0022204192,0.00018946514,0.00023021021,0.00003827703,0.0009820105],"category_scores_gemma":[0.00002472116,0.00013579117,0.00012302476,0.000058562626,0.00027418445,0.00012732328,0.00008855521,0.0002831269,0.000103128565],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006873394,0.000010197756,0.0025192115,0.0020211574,0.00017426399,0.000011378368,0.019938692,3.3473287e-7,0.0000017390288,0.0491495,0.15553758,0.7706291],"study_design_scores_gemma":[0.00009151518,0.0000203456,0.00015674328,0.0019647148,0.0001512758,0.0000065620634,0.0020437206,0.000002483759,0.0000031870375,0.0006539083,0.9947466,0.00015891022],"about_ca_topic_score_codex":0.03796694,"about_ca_topic_score_gemma":0.5416245,"teacher_disagreement_score":0.8392091,"about_ca_system_score_codex":0.00020990598,"about_ca_system_score_gemma":0.00018244797,"threshold_uncertainty_score":0.9999312},"labels":[],"label_agreement":null},{"id":"W4407148561","doi":"10.1177/036063250703700110","title":"Welcome to the Inner Circle","year":2007,"lang":"en","type":"article","venue":"Lighting Design + Application","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geodesy; Geology","score_opus":0.027198206084842604,"score_gpt":0.2421361223787236,"score_spread":0.21493791629388098,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407148561","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14526498,0.0006732712,0.409687,0.020478828,0.0021353287,0.0024786075,0.000013370401,0.00075441785,0.4185142],"genre_scores_gemma":[0.99385023,0.000006032052,0.00043714538,0.00085366133,0.0023600336,0.000083798484,0.0000038064647,0.000011625001,0.0023936492],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939615,0.000014883811,0.00015705008,0.00013576949,0.00010730079,0.00018885855],"domain_scores_gemma":[0.9995562,0.00010423001,0.000049796156,0.00020737646,0.00005311486,0.000029301178],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00056611584,0.000074612246,0.00007194113,0.000045525983,0.0005908015,0.000067418034,0.00015046413,0.000019010822,0.00007134788],"category_scores_gemma":[0.000008359147,0.00005119068,0.000025468193,0.00006821616,0.000041891282,0.00007270186,0.000028145227,0.00006786801,0.00094482163],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010964964,0.00010034438,0.00095276267,0.000038313545,0.00006883271,0.0000012408018,0.13619787,0.00019902791,0.005825835,0.30756894,0.07848268,0.4704545],"study_design_scores_gemma":[0.00006254854,0.000037680544,0.0015007795,0.000008043389,0.000009499162,7.612103e-7,0.0013836216,0.00008710525,0.0031766174,0.0013926338,0.9922369,0.00010381018],"about_ca_topic_score_codex":0.00008710178,"about_ca_topic_score_gemma":0.00030667442,"teacher_disagreement_score":0.9137542,"about_ca_system_score_codex":0.000018196428,"about_ca_system_score_gemma":0.0000054617744,"threshold_uncertainty_score":0.99983305},"labels":[],"label_agreement":null},{"id":"W4407234440","doi":"10.1177/036063250703700708","title":"Montreal Makes Its Mark","year":2007,"lang":"en","type":"article","venue":"Lighting Design + Application","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Geography","score_opus":0.027179365862011452,"score_gpt":0.23532395342564322,"score_spread":0.20814458756363177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407234440","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08301064,0.0013836225,0.058232747,0.00097315735,0.00052548386,0.0009680935,0.000013141298,0.00062069035,0.8542724],"genre_scores_gemma":[0.990421,0.000038385475,0.0005600779,0.00015830703,0.0012948149,0.00005353538,0.000010744593,0.000015210289,0.007447917],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999297,0.000014515107,0.00019161061,0.00016437624,0.00011277453,0.00021970176],"domain_scores_gemma":[0.9995701,0.00010675851,0.00008140444,0.00014192055,0.000067044486,0.000032778724],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038512886,0.00010683511,0.00010224538,0.000057087673,0.00041598798,0.000060202136,0.00009870482,0.000031933934,0.00011600335],"category_scores_gemma":[0.0000070875694,0.00008823929,0.00003398942,0.000040341853,0.00004516065,0.00012530501,0.000016684686,0.00006735478,0.00048441236],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030480695,0.00020826778,0.0014289523,0.0001335344,0.00013402154,0.0000063712446,0.08160476,0.000058687514,0.015042739,0.34185335,0.04441222,0.5148123],"study_design_scores_gemma":[0.00035885285,0.00011413058,0.0035791248,0.000035744193,0.000052479674,0.0000038107794,0.002849749,0.00092447555,0.024293028,0.0053426097,0.96204853,0.00039747122],"about_ca_topic_score_codex":0.00013066949,"about_ca_topic_score_gemma":0.00044482754,"teacher_disagreement_score":0.9176363,"about_ca_system_score_codex":0.000020352252,"about_ca_system_score_gemma":0.0000068493828,"threshold_uncertainty_score":0.62263024},"labels":[],"label_agreement":null},{"id":"W4407407575","doi":"10.70551/nbzi3189","title":"“A Gesture of Hope:” Living Newspaper: A Counter-Narrative at the Royal Court Theatre (an interview with Vicky Featherstone by Jordana Cox)","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Newspaper; Narrative; Gesture; Art; Literature; Media studies; Visual arts; Sociology; Philosophy; Linguistics","score_opus":0.023346619351957643,"score_gpt":0.2210806840217622,"score_spread":0.19773406466980456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407407575","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011033427,0.004055996,0.000004318415,0.0019307451,0.00039235776,0.0005218114,0.0005141743,0.00014580131,0.99133146],"genre_scores_gemma":[0.032438118,0.0018418666,0.000005552714,0.00094964274,0.0006580848,0.00004037407,0.00010171303,0.00014194881,0.9638227],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99830985,0.000054427244,0.00042051217,0.00044142263,0.0004329381,0.0003408455],"domain_scores_gemma":[0.9986585,0.00020309338,0.0003093381,0.00054733135,0.00021179976,0.000069972026],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00028825802,0.00063792185,0.0008114601,0.00007979908,0.00081219355,0.00014031075,0.00042009423,0.0001494883,0.015466777],"category_scores_gemma":[0.0000023626278,0.00032702586,0.00023681212,0.000017970984,0.0009777085,0.00015415673,0.0002519141,0.00047882003,0.00024605903],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019340384,0.000087433014,0.00008265114,0.00038688723,0.001755853,0.000018983734,0.36344385,0.000014883393,0.000005024623,0.073139384,0.55194086,0.008930803],"study_design_scores_gemma":[0.00023643859,0.0008354069,0.000021162215,0.0013699995,0.00032465876,0.0000064159262,0.046977405,0.00001752474,0.0000055728333,0.00031087192,0.949387,0.00050755264],"about_ca_topic_score_codex":0.0011122383,"about_ca_topic_score_gemma":0.10445618,"teacher_disagreement_score":0.39744616,"about_ca_system_score_codex":0.00008279567,"about_ca_system_score_gemma":0.000059934573,"threshold_uncertainty_score":0.99991816},"labels":[],"label_agreement":null},{"id":"W4407565918","doi":"10.24908/encounters.v25i0.18876","title":"Borderline","year":2024,"lang":"en","type":"article","venue":"Encounters in Theory and History of Education","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Medicine; Art; Psychology","score_opus":0.01200500392223138,"score_gpt":0.2512184769505814,"score_spread":0.23921347302835003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407565918","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24430205,0.07542578,0.000014922299,0.00023838744,0.00895894,0.00007065182,0.000005529439,0.000031916174,0.67095184],"genre_scores_gemma":[0.9524229,0.00034543738,0.00000840341,0.00012192344,0.00028274616,0.000008413304,0.0000033959175,0.000004018677,0.046802744],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997466,0.000021119207,0.000088429704,0.00006805196,0.000030915482,0.000044872682],"domain_scores_gemma":[0.9998604,0.00005663106,0.000014776406,0.000045541572,0.000014568972,0.000008093129],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002277645,0.00004253416,0.000058551504,0.00011108781,0.000029681521,0.0000092026485,0.00002772811,0.000010602619,0.0008983829],"category_scores_gemma":[0.0000064253218,0.00003645709,0.000015791547,0.000010931593,0.0002124951,0.0001358937,0.000005203501,0.00004690327,0.000009665138],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025757767,0.00003534752,0.00006729761,0.00011932632,0.0000086960135,2.3223011e-7,0.2305542,3.865448e-7,0.000026555617,0.702157,0.028542096,0.038463093],"study_design_scores_gemma":[0.0000286441,0.000031638356,0.0000838143,0.00011312937,0.000008488087,6.828002e-7,0.016652878,0.000009368957,0.000006003035,0.020557111,0.96246314,0.00004509402],"about_ca_topic_score_codex":0.00009082531,"about_ca_topic_score_gemma":0.00030627262,"teacher_disagreement_score":0.93392104,"about_ca_system_score_codex":0.00007797568,"about_ca_system_score_gemma":0.00009879151,"threshold_uncertainty_score":0.98366624},"labels":[],"label_agreement":null},{"id":"W4407856573","doi":"10.1016/j.aip.2025.102261","title":"Conceptualizing a Public and Collective Therapeutic Theatre (PACTT): An analysis of Everything is Not Going to Be Ok performance festival","year":2025,"lang":"en","type":"article","venue":"The Arts in Psychotherapy","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"Wilfrid Laurier University","keywords":"Media studies; Sociology; Aesthetics; Political science; Art; History; Advertising; Business","score_opus":0.06351582097072259,"score_gpt":0.31752677598873275,"score_spread":0.2540109550180102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407856573","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.950359,0.00095115067,0.00008408372,0.0061102225,0.00024635045,0.00032111208,0.000026298167,0.000037160058,0.041864637],"genre_scores_gemma":[0.98742694,0.0007140933,0.0000385723,0.008317747,0.00008765005,0.00004060824,0.0000021498472,0.000015159648,0.0033570763],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988645,0.00010255285,0.00030229383,0.0002795437,0.00016430266,0.00028681927],"domain_scores_gemma":[0.999224,0.0002213431,0.00008935813,0.00035261412,0.00007552934,0.000037157144],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047142542,0.00019468275,0.00038530628,0.00048875465,0.0005529997,0.00014358271,0.0002419327,0.00003537501,0.00032675127],"category_scores_gemma":[0.0000036032493,0.00013162056,0.00008936121,0.0005247897,0.00032956593,0.00033072082,0.000021623384,0.0001504005,0.0000033606689],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006589288,0.00015938438,0.029694475,0.000036609683,0.0016292856,5.7922716e-7,0.83731055,0.00016879993,0.00037890268,0.046301622,0.0015183933,0.082142495],"study_design_scores_gemma":[0.0054952977,0.0021887487,0.12606408,0.0007877108,0.0014253082,0.000005125568,0.19846253,0.021506272,0.0032502532,0.02457591,0.61451334,0.0017254262],"about_ca_topic_score_codex":0.00015378318,"about_ca_topic_score_gemma":0.0030032522,"teacher_disagreement_score":0.638848,"about_ca_system_score_codex":0.000044726836,"about_ca_system_score_gemma":0.000054898923,"threshold_uncertainty_score":0.53673303},"labels":[],"label_agreement":null},{"id":"W4408661038","doi":"10.5325/haropintrevi.8.1.0061","title":"An Interview with Jane Stanton Hitchcock","year":2024,"lang":"en","type":"article","venue":"The Harold Pinter Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Psychoanalysis; Psychology; Management; Sociology; Economics","score_opus":0.049108085033202624,"score_gpt":0.28058729813752964,"score_spread":0.231479213104327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408661038","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022024473,0.8508098,0.000037610745,0.019540105,0.00085738464,0.00059897307,0.00004558303,0.00029058356,0.12561749],"genre_scores_gemma":[0.6233768,0.327831,0.000015719976,0.015919264,0.0016849139,0.00016957281,0.000027233331,0.000072030976,0.030903481],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919444,0.000086930544,0.0002214416,0.00018209612,0.00012706655,0.00018802732],"domain_scores_gemma":[0.9994873,0.000029585108,0.000034798883,0.00037188872,0.000041922383,0.000034519522],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00038466137,0.00017584377,0.00028296313,0.000028239936,0.00016850133,0.0002069118,0.00027950684,0.000010359688,0.0063904137],"category_scores_gemma":[0.0000018625718,0.00007705563,0.00010775358,0.00004901319,0.00014144888,0.0002803312,0.000045290606,0.0001690581,0.0011774072],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003925648,0.00008118268,0.000024516437,0.0160515,0.00052924163,0.000036131296,0.045715794,4.448352e-7,0.000015116294,0.10958929,0.2892429,0.53867465],"study_design_scores_gemma":[0.000044425942,0.00021421192,0.000008817405,0.012056951,0.00017802259,0.000018001761,0.00043112933,0.000019492796,0.000012800735,0.00022931618,0.9866534,0.00013343619],"about_ca_topic_score_codex":0.000043610762,"about_ca_topic_score_gemma":0.00049235305,"teacher_disagreement_score":0.69741046,"about_ca_system_score_codex":0.000014477852,"about_ca_system_score_gemma":0.000015200063,"threshold_uncertainty_score":0.9996003},"labels":[],"label_agreement":null},{"id":"W4408739651","doi":"10.1093/oxfordhb/9780192857385.001.0001","title":"The Oxford Handbook of Scottish Theatre","year":2025,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art; Art history; Media studies; Sociology","score_opus":0.01782341361380763,"score_gpt":0.19168141742244815,"score_spread":0.17385800380864053,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408739651","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000027053664,0.0021469088,0.000008444932,0.000039403873,0.00068808044,0.0003581251,0.00041089373,0.000078483106,0.9962426],"genre_scores_gemma":[0.0002053335,0.0054952665,0.000011641772,0.000048188424,0.00040278703,0.0000021158135,0.000032694374,0.000021612761,0.9937804],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998916,0.000043206193,0.00023710026,0.00026250305,0.00023106112,0.00031017812],"domain_scores_gemma":[0.9988528,0.00019926153,0.00023134743,0.0004963661,0.00017406644,0.00004616036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010088543,0.0003196389,0.00044151838,0.000118673255,0.0012048138,0.000099235,0.0006892883,0.0001540953,0.00009196016],"category_scores_gemma":[0.000002643387,0.00024461412,0.0003060412,0.000006413674,0.0009682433,0.00009460528,0.00040918266,0.0003692751,0.0000010713518],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001682873,0.000012421089,0.0000071106388,0.00025790322,0.0004862337,0.000010162442,0.005346299,0.0000011210344,5.762707e-7,0.73470324,0.22663338,0.03237323],"study_design_scores_gemma":[0.00033856017,0.000085844535,0.0000015159559,0.0006339746,0.00030156906,7.271822e-7,0.0010561354,0.0000038361372,0.00004151416,0.0014707758,0.9958172,0.00024838376],"about_ca_topic_score_codex":0.00015110029,"about_ca_topic_score_gemma":0.0016362943,"teacher_disagreement_score":0.76918375,"about_ca_system_score_codex":0.000094028524,"about_ca_system_score_gemma":0.00027905396,"threshold_uncertainty_score":0.9975074},"labels":[],"label_agreement":null},{"id":"W4409432872","doi":"10.3138/md-68-1-1336","title":"Utpal Dutt’s Political Jatra and Modern Indian Drama: Marxist Reinventions of Theatrical Tradition","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Marxist philosophy; Politics; Literature; History; Art; Aesthetics; Political science; Law","score_opus":0.02471323015130564,"score_gpt":0.24250991283501766,"score_spread":0.21779668268371202,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409432872","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7337664,0.0008355908,0.0008515891,0.005284996,0.0004097341,0.00024919165,0.0002009406,0.00009737444,0.2583042],"genre_scores_gemma":[0.995841,0.000043787393,0.000045866793,0.00024415614,0.00031271885,0.000021116917,0.000027123295,0.000012783922,0.0034514356],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99902016,0.00003645489,0.00028011433,0.00021642649,0.00014513244,0.00030168996],"domain_scores_gemma":[0.9995664,0.00006787023,0.00004279901,0.00018610887,0.00006339037,0.000073449424],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008912024,0.00015660204,0.00025492886,0.0001618721,0.00043083372,0.000103615785,0.00010548169,0.00007094161,0.00016348371],"category_scores_gemma":[0.000011024412,0.00013436354,0.000112423135,0.000047605816,0.00045623697,0.00017241716,0.000052960248,0.00017422778,0.000012433634],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059244707,0.00017862816,0.0014438712,0.00017466991,0.000110572764,0.00000628613,0.0181292,0.000008264351,0.000055012813,0.95622665,0.0015444885,0.022063114],"study_design_scores_gemma":[0.0014175974,0.00029359138,0.0069719255,0.00021304232,0.00025060071,0.000013976413,0.006330277,0.007455431,0.00032513498,0.9501094,0.026173204,0.00044577837],"about_ca_topic_score_codex":0.00032354874,"about_ca_topic_score_gemma":0.00052983506,"teacher_disagreement_score":0.26207465,"about_ca_system_score_codex":0.000035907746,"about_ca_system_score_gemma":0.00004840591,"threshold_uncertainty_score":0.5479186},"labels":[],"label_agreement":null},{"id":"W4409433159","doi":"10.3138/md-68-1-rev1","title":"Arnold Aronson. <i>Fifty Key Theatre Designers</i>","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Key (lock); Visual arts; Art; Computer science; Computer security","score_opus":0.01971226278678162,"score_gpt":0.22353228349620838,"score_spread":0.20382002070942676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409433159","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05106013,0.0025412657,0.00069964625,0.0024200948,0.00079326896,0.00017764921,0.00003202504,0.0002255001,0.9420504],"genre_scores_gemma":[0.93647873,0.000108913075,0.00005924171,0.001325234,0.00041615465,0.000029160676,0.000007325008,0.000015082013,0.06156015],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916,0.000026543103,0.00017388011,0.00021722363,0.00011991325,0.00030243097],"domain_scores_gemma":[0.9995526,0.000053755284,0.000033290893,0.0002762206,0.000049880542,0.00003424858],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000092755006,0.00017762059,0.00020635455,0.00008641975,0.0005689516,0.00016576351,0.00018701924,0.000043730994,0.0005117226],"category_scores_gemma":[0.0000043221035,0.00013811268,0.00010234284,0.00003913981,0.00018551211,0.00017195402,0.000072102484,0.00014450523,0.00021872213],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016349157,0.00024230138,0.0026953998,0.00017703026,0.00038713007,0.000015272255,0.107478514,0.00016026814,0.00039213194,0.39987218,0.27822796,0.21018831],"study_design_scores_gemma":[0.00037258494,0.00005022068,0.00016390371,0.000062420106,0.000055350374,8.7883484e-7,0.0024428684,0.00065880624,0.0005340299,0.026403718,0.96904165,0.00021355483],"about_ca_topic_score_codex":0.00022926604,"about_ca_topic_score_gemma":0.0009688214,"teacher_disagreement_score":0.8854186,"about_ca_system_score_codex":0.000028573448,"about_ca_system_score_gemma":0.00003724258,"threshold_uncertainty_score":0.56320715},"labels":[],"label_agreement":null},{"id":"W4409433194","doi":"10.3138/md-68-1-rev2","title":"Adrian Curtin, Nicholas Johnson, Naomi Paxton, and Claire Warden, eds. <i>The Edinburgh Companion to Modernism in Contemporary Theatre</i>","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernism (music); Art; Art history","score_opus":0.02821703822491711,"score_gpt":0.25286745030273877,"score_spread":0.22465041207782166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409433194","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.454919,0.017701924,0.0003990899,0.029430559,0.0018237927,0.0012175513,0.00008203637,0.00025582133,0.49417022],"genre_scores_gemma":[0.98254246,0.00039958104,0.00001752175,0.003612202,0.00052362273,0.000083827224,0.000012118582,0.000023954026,0.0127847195],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998527,0.000070628776,0.00041749718,0.00038688237,0.00020473792,0.00039325687],"domain_scores_gemma":[0.9992816,0.00010498671,0.00006977516,0.0003768802,0.00009023488,0.000076565244],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003149732,0.0002908913,0.00038522718,0.00016366839,0.0007101707,0.00029485437,0.0002905213,0.00007870195,0.00011356539],"category_scores_gemma":[0.000013033096,0.0002056172,0.000087836444,0.00007692695,0.0002549458,0.00028771174,0.00021804207,0.00033322052,0.00003092866],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005960432,0.00037236765,0.027570672,0.0002003786,0.00031395504,0.00002730367,0.25031203,0.00048202017,0.0002877805,0.032877654,0.55106044,0.1358994],"study_design_scores_gemma":[0.0010301591,0.00009689013,0.0020731168,0.00024534034,0.000034640023,0.0000028552884,0.0041428674,0.003525871,0.00010760396,0.019241057,0.9691617,0.00033788988],"about_ca_topic_score_codex":0.00097084045,"about_ca_topic_score_gemma":0.004865705,"teacher_disagreement_score":0.5276235,"about_ca_system_score_codex":0.000044085853,"about_ca_system_score_gemma":0.00007031807,"threshold_uncertainty_score":0.83848256},"labels":[],"label_agreement":null},{"id":"W4409433271","doi":"10.3138/md-68-1-1289","title":"Contested Memories: Neoliberal Hegemony and British Postdramatic Theatre in the Late Twentieth Century","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hegemony; History; Political science; Politics; Law","score_opus":0.011475889012932035,"score_gpt":0.21796081642195422,"score_spread":0.2064849274090222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409433271","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85232127,0.005234139,0.000009289947,0.0023269595,0.00044145595,0.00028181134,0.00003093021,0.00006116133,0.13929302],"genre_scores_gemma":[0.98314047,0.0004296252,0.0000073749966,0.001998177,0.00013926519,0.00002781264,0.0000116531155,0.000010914863,0.014234712],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991836,0.000058205882,0.0002208598,0.00015534552,0.00011904128,0.00026295404],"domain_scores_gemma":[0.99962157,0.000100067904,0.00003567822,0.00018355402,0.000038750786,0.000020378751],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014466456,0.00014373705,0.00021844813,0.00006154567,0.00038801992,0.00046679322,0.0001680821,0.00003668519,0.00010728545],"category_scores_gemma":[0.000007050173,0.00010732405,0.000052799973,0.00005433182,0.00024038243,0.00020896434,0.00007194759,0.00017781048,0.000011463416],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000137052,0.00026269644,0.013868597,0.00046980625,0.00025186516,0.00006936228,0.7165569,0.000044020406,0.000023589713,0.04157167,0.01848973,0.20825471],"study_design_scores_gemma":[0.005309712,0.0003937052,0.035759296,0.0016533504,0.00031942452,0.000062837375,0.14103165,0.00921675,0.000051895913,0.22217906,0.5827403,0.0012819988],"about_ca_topic_score_codex":0.0015494023,"about_ca_topic_score_gemma":0.007969907,"teacher_disagreement_score":0.5755252,"about_ca_system_score_codex":0.00001509494,"about_ca_system_score_gemma":0.000020543406,"threshold_uncertainty_score":0.45012978},"labels":[],"label_agreement":null},{"id":"W4409489436","doi":"10.1017/9781108938099.001","title":"Introduction: Analysing Wagner","year":2025,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"History","score_opus":0.020477102791197795,"score_gpt":0.1838226046189618,"score_spread":0.163345501827764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409489436","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00001961104,0.00033822155,0.0000142519375,0.00017067557,0.0010427717,0.00013084112,0.00019761253,0.0001264654,0.99795955],"genre_scores_gemma":[0.00037523042,0.00019671624,0.000010171758,0.000082932005,0.003233633,3.6583617e-7,0.000071500624,0.00001805872,0.9960114],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991701,0.00001331878,0.00014478416,0.0003419744,0.00014188148,0.0001879045],"domain_scores_gemma":[0.9992757,0.000032219312,0.00011023952,0.00036143034,0.00017476127,0.000045689198],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000049159797,0.0002754901,0.00035292847,0.0002257582,0.0006344113,0.000086319305,0.0002211118,0.00011090607,0.00022614078],"category_scores_gemma":[0.0000030194506,0.00028279258,0.00022350728,0.0000033996898,0.00037796667,0.00010889957,0.00020088135,0.00030989686,0.000045229204],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002506396,0.0000024324358,2.3553207e-7,0.00004245457,0.00021851587,0.000016714514,0.00042688503,6.5774043e-7,6.788087e-7,0.6094519,0.38772562,0.0020888664],"study_design_scores_gemma":[0.00016324886,0.000026182632,7.6721017e-7,0.00011026091,0.00049154845,0.0000017310723,0.00034291172,0.000008231936,0.000021938307,0.000016126269,0.998526,0.00029104803],"about_ca_topic_score_codex":0.00019826552,"about_ca_topic_score_gemma":0.000053399886,"teacher_disagreement_score":0.6108004,"about_ca_system_score_codex":0.00009591744,"about_ca_system_score_gemma":0.00004944901,"threshold_uncertainty_score":0.99996245},"labels":[],"label_agreement":null},{"id":"W4409919324","doi":"10.1080/2040610x.2025.2497019","title":"A labour of love: cancel culture as an accountability practice in the comedy industry","year":2025,"lang":"en","type":"article","venue":"Comedy Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University; Community Based Research Centre","funders":"","keywords":"Comedy; Accountability; Art; Sociology; Political science; Literature; Law","score_opus":0.04878275041107437,"score_gpt":0.3713925107621408,"score_spread":0.3226097603510664,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409919324","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7767848,0.014761255,2.5004493e-7,0.0074326773,0.000711207,0.00032001044,0.00006609084,0.000027321496,0.19989643],"genre_scores_gemma":[0.98764515,0.0020286741,0.000010986134,0.0027426102,0.00024150054,0.00004192988,0.0000035103512,0.000005397771,0.007280227],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989776,0.00012963953,0.00029257638,0.0001868575,0.00019970682,0.00021364403],"domain_scores_gemma":[0.99878234,0.00044547484,0.00010474096,0.00031920848,0.00033240477,0.000015815833],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005363131,0.00016806791,0.0003494623,0.00007283921,0.00031970468,0.000056715635,0.00029709478,0.000067272944,0.00011338456],"category_scores_gemma":[0.00025149228,0.00009898317,0.000049147315,0.00016072216,0.00065287953,0.0003697874,0.00012634645,0.00046137517,0.000020398817],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015139337,0.00049503235,0.03620615,0.00036386686,0.0004895739,0.0000063806124,0.8015409,0.0000063652005,0.0000053917,0.12154461,0.036292907,0.0028974295],"study_design_scores_gemma":[0.00029574768,0.000114969975,0.013622029,0.000080614824,0.000058493795,0.0000010351689,0.4694778,9.832602e-7,0.000017563041,0.0033208143,0.51291895,0.00009103173],"about_ca_topic_score_codex":0.0016419151,"about_ca_topic_score_gemma":0.016202627,"teacher_disagreement_score":0.476626,"about_ca_system_score_codex":0.000048037484,"about_ca_system_score_gemma":0.00006384601,"threshold_uncertainty_score":0.90414464},"labels":[],"label_agreement":null},{"id":"W4409948107","doi":"10.1515/jcde-2025-2007","title":"Digital Spoken Word Theatre in the UK: Navigating the Theatre Screen with Rose Condo’s <i>The Geography of Me</i>","year":2025,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rose (mathematics); Art; Spoken word; Word (group theory); Visual arts; History; Literature; Linguistics; Philosophy; Poetry","score_opus":0.011246399921894393,"score_gpt":0.2225817337749668,"score_spread":0.2113353338530724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409948107","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6695902,0.005772465,0.000002449014,0.0038556084,0.00046427234,0.00035983918,0.000042884447,0.000012324603,0.3199],"genre_scores_gemma":[0.9982148,0.00013728856,0.0000068509144,0.00078524154,0.0006187773,0.00001222242,0.0000048561205,0.0000128358015,0.00020714867],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.998328,0.00017403692,0.0007644212,0.00012395308,0.00037483987,0.00023479924],"domain_scores_gemma":[0.9981591,0.0008144108,0.000427541,0.00031393018,0.00026063935,0.000024380228],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011639828,0.00021475452,0.0004364126,0.00014374871,0.00030241866,0.00034284263,0.00070725806,0.00004499031,0.000029005447],"category_scores_gemma":[0.00003996384,0.00008803414,0.00021876108,0.00027522317,0.0006458848,0.0006633777,0.000073601375,0.0009085317,7.0771375e-7],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011916135,0.0003031032,0.72967046,0.000093086994,0.000535152,0.000096868665,0.20300676,0.00015544218,0.000005990999,0.009017568,0.018484022,0.037439905],"study_design_scores_gemma":[0.003937604,0.00077310647,0.025573269,0.0026152844,0.00013419731,0.000031693027,0.36081073,0.000029298537,0.000090517424,0.005158478,0.60046715,0.0003786825],"about_ca_topic_score_codex":0.00033706793,"about_ca_topic_score_gemma":0.001023834,"teacher_disagreement_score":0.7040972,"about_ca_system_score_codex":0.000016314825,"about_ca_system_score_gemma":0.00014537599,"threshold_uncertainty_score":0.3947169},"labels":[],"label_agreement":null},{"id":"W4410002056","doi":"10.4324/9780429446191","title":"Practicing Archetype","year":2025,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Victoria Park","funders":"","keywords":"Archetype; Philosophy; Theology","score_opus":0.041839664871145606,"score_gpt":0.254030314271338,"score_spread":0.2121906494001924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410002056","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000016774111,0.00071761,0.0000023121427,0.00044630663,0.0009010765,0.00008103509,0.000021118194,0.00008517328,0.99774367],"genre_scores_gemma":[0.00015197364,0.00030282568,0.000016998809,0.0005818063,0.0017919149,0.0000056098484,0.000034842684,0.000011393441,0.9971026],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995426,0.000005496154,0.00012303246,0.0001216113,0.000084451494,0.00012281937],"domain_scores_gemma":[0.9996454,0.0000899025,0.00005007985,0.00014138797,0.00005953374,0.0000136648105],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000051104715,0.00013919028,0.00019132864,0.000079443744,0.00022893558,0.00006989564,0.00008402826,0.000049005987,0.009427258],"category_scores_gemma":[0.000006504611,0.00010186643,0.00007482707,0.000004449778,0.00009848865,0.00007241229,0.000059813232,0.00022070133,0.0008382174],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000032518083,0.0000030432468,7.091578e-7,0.00006327317,0.000061420666,0.0000010665951,0.0035917985,7.506256e-8,3.7189757e-8,0.41539058,0.57600904,0.0048757307],"study_design_scores_gemma":[0.000040559076,0.000024360112,5.510164e-7,0.00012147349,0.00006086668,3.73256e-7,0.0004972599,0.0000012358115,0.0000021856824,0.009607826,0.98951906,0.00012425767],"about_ca_topic_score_codex":0.00007905025,"about_ca_topic_score_gemma":0.001520181,"teacher_disagreement_score":0.41351002,"about_ca_system_score_codex":0.000033632172,"about_ca_system_score_gemma":0.0001654392,"threshold_uncertainty_score":0.99993974},"labels":[],"label_agreement":null},{"id":"W4410087751","doi":"10.33137/rr.v47i4.45382","title":"De Marco, Rosa, and Agnès Guiderdoni, eds. Eliciting Wonder: The Emblem on the Stage","year":2025,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Wonder; Emblem; Stage (stratigraphy); Art; Art history; Humanities; Philosophy; Literature; Biology; Epistemology","score_opus":0.021290860432006363,"score_gpt":0.2440083589126345,"score_spread":0.22271749848062813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410087751","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5645631,0.0057214135,0.000041457297,0.015364506,0.00023008391,0.00027506007,0.00001929109,0.000059412872,0.41372564],"genre_scores_gemma":[0.9893523,0.0022931483,0.000007222061,0.0022341418,0.00021239549,0.000023949291,0.000004816997,0.0000047027406,0.00586735],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994876,0.000032389344,0.00015565699,0.00008255156,0.000081918515,0.00015992939],"domain_scores_gemma":[0.9996766,0.000084170206,0.00006322807,0.00012831614,0.00003373658,0.000013946962],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00030855258,0.00009541801,0.00008976471,0.000039317234,0.0013436495,0.00019894003,0.000073560645,0.000024439512,0.000055687982],"category_scores_gemma":[0.00001461213,0.00004254483,0.000024090778,0.000035464003,0.0001912337,0.00022584332,0.000046017438,0.00012192245,0.000008660971],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006190759,0.00002186773,0.0011873107,0.0002634202,0.00009182727,9.2112595e-7,0.06721932,0.000038242117,0.00010527668,0.65743333,0.08061889,0.19295767],"study_design_scores_gemma":[0.00019592467,0.00004837277,0.0025218339,0.00020246202,0.000019456742,0.000002161857,0.015252574,0.00065201585,0.0004892815,0.004256119,0.97625744,0.00010238038],"about_ca_topic_score_codex":0.00014112292,"about_ca_topic_score_gemma":0.00030114705,"teacher_disagreement_score":0.8956385,"about_ca_system_score_codex":0.000017010236,"about_ca_system_score_gemma":0.000013886731,"threshold_uncertainty_score":0.9999565},"labels":[],"label_agreement":null},{"id":"W4410142922","doi":"10.5070/ln43265255","title":"Imelda’s Dreaming: Applied Theatre in Mobilizing Political Discourse in Filipino Canadian Diasporic Communities","year":2025,"lang":"en","type":"article","venue":"Alon Journal for Filipinx American and Diasporic Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Sociology; Gender studies; Media studies; Political science; Anthropology; Law","score_opus":0.034573968167853915,"score_gpt":0.3209664505932284,"score_spread":0.2863924824253745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410142922","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9284727,0.025326066,0.000005026633,0.0030756923,0.0016425127,0.00051317416,0.00009984571,0.00003940539,0.040825576],"genre_scores_gemma":[0.9899744,0.00739798,0.00004806841,0.00094439584,0.0004887617,0.000111884576,0.000014545124,0.000023042207,0.0009969628],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99800533,0.00006952199,0.000601596,0.00024684824,0.00014866734,0.0009280448],"domain_scores_gemma":[0.99868757,0.0006654541,0.0001371435,0.00020723211,0.00011370975,0.0001888909],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00042775803,0.0003552246,0.00082276034,0.0008789575,0.0008539866,0.00008833123,0.00022566406,0.000043832675,0.000051491766],"category_scores_gemma":[0.000054036314,0.00028218195,0.00012862873,0.0002657192,0.0013030334,0.0002103113,0.00009630541,0.00044664668,0.000004033263],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003679711,0.0003544635,0.12486793,0.00038392365,0.0007729705,0.000055650115,0.37324762,0.000044930548,0.0000071423096,0.22985548,0.011335683,0.2587062],"study_design_scores_gemma":[0.0011049975,0.00024154483,0.05264546,0.00029326195,0.00009187976,0.00001137644,0.91101485,0.00004281296,0.000009516248,0.0067344243,0.027397245,0.0004126306],"about_ca_topic_score_codex":0.09810114,"about_ca_topic_score_gemma":0.47557467,"teacher_disagreement_score":0.53776723,"about_ca_system_score_codex":0.00029158397,"about_ca_system_score_gemma":0.00021920286,"threshold_uncertainty_score":0.99996305},"labels":[],"label_agreement":null},{"id":"W4410399416","doi":"10.1007/978-981-96-0045-8_189","title":"Majumdar, Anita (1980–)","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Computer science; Psychology","score_opus":0.028789489906380788,"score_gpt":0.21522888260782752,"score_spread":0.18643939270144674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410399416","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000027819556,0.0015452103,0.0000014307719,0.00046280818,0.0011894611,0.000108057095,0.00013306775,0.00013035048,0.9964268],"genre_scores_gemma":[0.00070814876,0.00071402144,0.000013476467,0.00093172514,0.0014816459,0.000005442056,0.000041999985,0.00002258957,0.99608094],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993557,0.0000021860217,0.00018484474,0.00018624844,0.000116253184,0.00015481257],"domain_scores_gemma":[0.9995883,0.000031600637,0.00004942228,0.00022840782,0.00007880121,0.000023469009],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003727961,0.00024362745,0.00028170543,0.00011409841,0.00029712357,0.00008613433,0.00013740512,0.00008380746,0.03352158],"category_scores_gemma":[0.0000015238046,0.00018359815,0.00014067854,0.0000028685254,0.00017623295,0.000067927234,0.000091710506,0.00019342819,0.0019936587],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004170598,0.0000026186767,9.580932e-7,0.000038272574,0.000079272846,0.0000022012591,0.0015041712,1.3988966e-8,5.323492e-8,0.6540049,0.3361577,0.008205666],"study_design_scores_gemma":[0.000070296875,0.000041025272,0.0000011066843,0.00011015709,0.000069845926,4.93377e-7,0.00029373218,8.462863e-7,0.0000016981139,0.032548573,0.9666397,0.00022251531],"about_ca_topic_score_codex":0.00010264711,"about_ca_topic_score_gemma":0.002763616,"teacher_disagreement_score":0.63048196,"about_ca_system_score_codex":0.000021499472,"about_ca_system_score_gemma":0.00004044464,"threshold_uncertainty_score":0.9987834},"labels":[],"label_agreement":null},{"id":"W4410588673","doi":"10.5429/2079-3871(2025)v15i1.18en","title":"Obituary: Remembering Jonathan Sterne (1970-2025)","year":2025,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Obituary; Psychoanalysis; Psychology; History; Philosophy; Theology","score_opus":0.03091809320426334,"score_gpt":0.25802878140106533,"score_spread":0.227110688196802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410588673","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3390853,0.0034975125,0.00005154859,0.0015037972,0.0037361912,0.0000670645,0.0000067011324,0.00006656312,0.6519853],"genre_scores_gemma":[0.9288957,0.0004576537,0.000046490222,0.00063423824,0.0018904541,0.0000034579634,0.0000013056688,0.000009980365,0.0680607],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923563,0.000022980697,0.00023895774,0.00010370054,0.00014351237,0.00025524688],"domain_scores_gemma":[0.9996505,0.000032386382,0.00006662403,0.00011567486,0.000088227585,0.000046591635],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019688324,0.00012412472,0.00017120384,0.00014200438,0.00072659017,0.0002551732,0.00016629267,0.000025064475,0.0022457633],"category_scores_gemma":[0.000010202694,0.0000951888,0.00010473093,0.000039186016,0.0000968679,0.00026865298,0.00006811302,0.00029040067,0.0001527062],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024024567,0.00021491345,0.01728169,0.00021858324,0.0010198553,0.00018070356,0.13464418,0.00007772974,0.00045601136,0.18193991,0.474101,0.18962516],"study_design_scores_gemma":[0.00038868183,0.00006100989,0.001823638,0.00017053942,0.000042647698,0.000028434648,0.005869909,0.000026651003,0.00018603724,0.003679554,0.987585,0.00013790255],"about_ca_topic_score_codex":0.000058513073,"about_ca_topic_score_gemma":0.00066982105,"teacher_disagreement_score":0.5898104,"about_ca_system_score_codex":0.000038849474,"about_ca_system_score_gemma":0.000049301907,"threshold_uncertainty_score":0.99866635},"labels":[],"label_agreement":null},{"id":"W4410588674","doi":"10.1080/14753820.2025.2457214","title":"Victor F. Dixon (1932–2024) Scholar and Man of the Theatre A Personal Memoir","year":2025,"lang":"en","type":"article","venue":"Bulletin of Spanish Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Memoir; Art; Art history","score_opus":0.0185205028887828,"score_gpt":0.23786583669779876,"score_spread":0.21934533380901597,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410588674","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66104484,0.028796945,2.8746248e-7,0.015117274,0.0012550291,0.00031314112,0.00009455626,0.00003608056,0.29334188],"genre_scores_gemma":[0.961734,0.0026113119,0.000034649274,0.00048040095,0.00021006286,0.000019400106,7.4101445e-7,0.0000093175495,0.034900118],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919075,0.000037075897,0.00025970617,0.00017252189,0.00016899678,0.00017093777],"domain_scores_gemma":[0.99943244,0.00012681248,0.000104316416,0.00016059449,0.00016076126,0.0000150701835],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019221286,0.00016779435,0.00037175982,0.000054659056,0.0006550233,0.000029803577,0.00015290073,0.000028548011,0.0005372511],"category_scores_gemma":[0.000042021173,0.00010112823,0.00011443686,0.000044707154,0.0008701092,0.000031313542,0.00029461595,0.0001529214,0.000010103153],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019366562,0.00020343758,0.017427677,0.0017382422,0.0020377329,0.0000025521713,0.17221068,0.0000014197799,0.0002907271,0.03932838,0.75526446,0.011301051],"study_design_scores_gemma":[0.00032310534,0.00009058549,0.0051374645,0.00035658196,0.00013862716,8.2066816e-7,0.059775382,0.0000011697426,0.0004770958,0.00054672494,0.9330457,0.00010677321],"about_ca_topic_score_codex":0.00016373032,"about_ca_topic_score_gemma":0.00039566192,"teacher_disagreement_score":0.3006892,"about_ca_system_score_codex":0.000014707682,"about_ca_system_score_gemma":0.000019218312,"threshold_uncertainty_score":0.5882523},"labels":[],"label_agreement":null},{"id":"W4410596707","doi":"10.34079/2226-2830-2024-14-27-15-23","title":"THE CULTURE OF OVERCOMING THE STAGE BARRIER","year":2024,"lang":"en","type":"article","venue":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Political science; Geology","score_opus":0.022003092038710606,"score_gpt":0.23065473717884807,"score_spread":0.20865164514013745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410596707","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03586559,0.084913105,0.000007980044,0.06821152,0.004025091,0.0010193298,0.0019861609,0.0002948524,0.80367637],"genre_scores_gemma":[0.84978294,0.025368987,0.000037677328,0.00037196273,0.00067824876,0.0000044328153,0.00001591419,0.000019877149,0.12371997],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988515,0.0001818674,0.00026815344,0.00023422932,0.00016848097,0.0002958189],"domain_scores_gemma":[0.9988905,0.0003730268,0.00016261476,0.00023457714,0.00031084366,0.00002842822],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.00027433093,0.000247959,0.00040754318,0.00004119017,0.0018047199,0.000033251315,0.00038966662,0.00007713715,0.0003248144],"category_scores_gemma":[0.000054925356,0.00012912763,0.0002531851,0.000053130043,0.0054820785,0.0000915493,0.00037740052,0.000361914,0.00002388984],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021360037,0.000014658832,0.000043688102,0.00024445332,0.0011659932,0.000011237418,0.40587738,0.0000056243066,0.000026583299,0.48816305,0.10378157,0.00045215237],"study_design_scores_gemma":[0.00014517843,0.00022244899,0.000027322778,0.000050204144,0.00009349932,0.0000018704596,0.23890506,6.37161e-7,0.000026275247,0.016930982,0.7434796,0.00011691798],"about_ca_topic_score_codex":0.00020815221,"about_ca_topic_score_gemma":0.0003372308,"teacher_disagreement_score":0.81391734,"about_ca_system_score_codex":0.000058746456,"about_ca_system_score_gemma":0.000037010992,"threshold_uncertainty_score":0.9994948},"labels":[],"label_agreement":null},{"id":"W4410744931","doi":"10.24908/mqup.34587","title":"Political Adaptation in Canadian Theatre","year":2020,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Adaptation (eye); Political theatre; Political science; History; Media studies; Sociology; Psychology; Law","score_opus":0.023804308239531335,"score_gpt":0.1955007488776341,"score_spread":0.17169644063810277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410744931","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000057553607,0.0000034175853,5.993483e-7,0.000721275,0.0002780867,0.00028312582,0.0013904357,0.000091492366,0.9972258],"genre_scores_gemma":[0.031227311,0.000035864425,0.0000094166835,0.0004842176,0.00050202094,0.0000019199729,0.00014595009,0.000039235638,0.9675541],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859643,0.000058278718,0.0001848944,0.00035400374,0.00019464231,0.0006117732],"domain_scores_gemma":[0.99924105,0.000055533874,0.00007354974,0.0002178265,0.00008337608,0.00032863082],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00005071792,0.00032639832,0.0003958156,0.00031113037,0.0005774254,0.000054247426,0.0002850939,0.00019776773,0.0001618717],"category_scores_gemma":[0.0000036641857,0.00034480318,0.00014488016,0.000009029596,0.00026373347,0.00013550754,0.00012570308,0.00049648783,0.0000527228],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041517596,0.0000065918252,0.000006134865,0.000085291606,0.00008181851,0.0001617821,0.004540693,0.000003862744,4.3110187e-8,0.97078025,0.023502676,0.00078934914],"study_design_scores_gemma":[0.00032518938,0.00006922399,0.0000070555784,0.00012967091,0.00010401244,6.069079e-7,0.002523905,0.000026494436,0.000003688645,0.001333045,0.99510425,0.00037287013],"about_ca_topic_score_codex":0.4477022,"about_ca_topic_score_gemma":0.055487398,"teacher_disagreement_score":0.97160155,"about_ca_system_score_codex":0.0007618303,"about_ca_system_score_gemma":0.00037980644,"threshold_uncertainty_score":0.9999004},"labels":[],"label_agreement":null},{"id":"W4410776584","doi":"10.3366/iur.2025.0709","title":"Interventions on the Blaskets: The Photographic Documentation of Françoise Sullivan’s Irish Performances","year":2025,"lang":"en","type":"article","venue":"Irish University Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentation; Irish; Psychological intervention; Art; History; Psychology; Computer science; Linguistics; Philosophy; Programming language","score_opus":0.04067396029197438,"score_gpt":0.27541275047690533,"score_spread":0.23473879018493096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410776584","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1539394,0.10913639,0.000020350542,0.020846102,0.000816155,0.0013414407,0.000101640035,0.00007797039,0.71372056],"genre_scores_gemma":[0.7673647,0.21476431,0.0000034690343,0.0016778513,0.00006617065,0.0000061252044,0.00001065348,0.0000043979517,0.016102366],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994207,0.0000947404,0.00017560061,0.00009975625,0.00010857808,0.000100617624],"domain_scores_gemma":[0.9994327,0.00012626116,0.0001155032,0.00021936322,0.000095029696,0.000011153993],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027166036,0.00009442468,0.00017667234,0.000074888085,0.00069497986,0.00003508146,0.00028790015,0.000014146006,0.001845829],"category_scores_gemma":[0.000012754384,0.000053117794,0.00025970902,0.00016059229,0.0003542055,0.00019583048,0.000061586084,0.00012523847,0.00005300992],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045945428,0.000121337616,0.0016508776,0.0038132071,0.00029325168,0.000001257705,0.007598732,0.0000031131385,0.0000021080823,0.02859106,0.9439149,0.013964206],"study_design_scores_gemma":[0.00017514739,0.00007148759,0.0012629494,0.004439315,0.00028081186,2.488299e-7,0.008286013,0.0000042686497,0.000017920042,0.00015745773,0.9852326,0.00007179737],"about_ca_topic_score_codex":0.00016403559,"about_ca_topic_score_gemma":0.00051906775,"teacher_disagreement_score":0.6976182,"about_ca_system_score_codex":0.000017884611,"about_ca_system_score_gemma":0.000020081061,"threshold_uncertainty_score":0.9990666},"labels":[],"label_agreement":null},{"id":"W4411209424","doi":"10.12745/et.28.1.6114","title":"Domenico Lovascio, ed. The False One by John Fletcher and Philip Massinger. Manchester: Manchester University Press, The Revels Plays, 2022.","year":2025,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Revels; Art; Performance art; Art history; Media studies; Sociology","score_opus":0.012832714793245858,"score_gpt":0.19482226736459704,"score_spread":0.1819895525713512,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411209424","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53984064,0.02682804,0.00002174729,0.03680953,0.0011284314,0.0010073351,0.00033386608,0.00018406718,0.39384633],"genre_scores_gemma":[0.8576661,0.0030787794,0.000012745675,0.001260329,0.0007718323,0.000015970527,0.000011155857,0.000025916064,0.1371572],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988352,0.00012711808,0.00019067441,0.0003103962,0.00019265537,0.00034393065],"domain_scores_gemma":[0.9991377,0.00018833452,0.00007582574,0.0005065405,0.00005026109,0.000041323026],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003119306,0.00024400021,0.00025931318,0.00004429184,0.001218446,0.00030171708,0.00039497265,0.00007058459,0.0006494206],"category_scores_gemma":[0.0000041455037,0.0001439502,0.000107823325,0.00006734132,0.0006659134,0.0003316425,0.00025909216,0.0003350096,0.00007687509],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003443918,0.00018511926,0.0063718627,0.00020587411,0.0009871558,0.000011751833,0.09149093,0.0000026980774,0.00024986133,0.03790465,0.8266237,0.03562202],"study_design_scores_gemma":[0.0004714989,0.000048999256,0.0031336558,0.00010294207,0.00016993398,0.0000018885095,0.006261238,0.0000053062317,0.00014625472,0.0007034279,0.9887583,0.00019652871],"about_ca_topic_score_codex":0.0003460486,"about_ca_topic_score_gemma":0.00030591857,"teacher_disagreement_score":0.3178254,"about_ca_system_score_codex":0.00003929882,"about_ca_system_score_gemma":0.000029787909,"threshold_uncertainty_score":0.93714243},"labels":[],"label_agreement":null},{"id":"W4411210005","doi":"10.12745/et.28.1.6699","title":"Editorial","year":2025,"lang":"en","type":"editorial","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria; McMaster University","funders":"","keywords":"Art","score_opus":0.00766813295105531,"score_gpt":0.22464687116515977,"score_spread":0.21697873821410446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411210005","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000011430465,0.0005595592,1.5465474e-7,0.000088088644,0.60796547,0.00009954504,0.0005757493,0.00012351602,0.3905765],"genre_scores_gemma":[0.00010331331,0.0002821218,0.0000031317852,0.000025407306,0.84171325,0.00003474477,0.0002116387,0.000034711356,0.15759169],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982508,0.00004225563,0.0002928356,0.00036402597,0.00066091726,0.00038915806],"domain_scores_gemma":[0.9987589,0.00039088243,0.00010387949,0.00041680018,0.00028057632,0.000048936152],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017223642,0.00039360952,0.0005031804,0.00014967666,0.0005653231,0.0003637818,0.00042268843,0.00048482566,0.0014644709],"category_scores_gemma":[0.00004360108,0.00031023772,0.00024395216,0.000037505528,0.00021919711,0.00018526085,0.0001441677,0.00096899277,0.0007889037],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005683487,0.000023254426,0.000004225092,0.00008969875,0.00015410855,0.000001657839,0.007993145,1.4565056e-7,1.6728411e-7,0.0015668157,0.98674583,0.0033641052],"study_design_scores_gemma":[0.0003186629,0.00013795546,7.4221526e-7,0.00018333511,0.00012731424,3.6609453e-8,0.00039800358,1.6780761e-7,0.000001595672,0.00094704836,0.9975543,0.00033082266],"about_ca_topic_score_codex":0.0014435237,"about_ca_topic_score_gemma":0.001511812,"teacher_disagreement_score":0.2337478,"about_ca_system_score_codex":0.000053702424,"about_ca_system_score_gemma":0.00026680983,"threshold_uncertainty_score":0.9999891},"labels":[],"label_agreement":null},{"id":"W4411218633","doi":"10.54254/2753-7080/2025.23847","title":"Cross-cultural dialogue and identity formation in performing arts: engaging diverse audiences in small theatres and live venues","year":2025,"lang":"en","type":"article","venue":"Advances in Humanities Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Identity (music); Visual arts; Art; Media studies; Sociology; Advertising; Aesthetics; Business","score_opus":0.11926881645189788,"score_gpt":0.4065558352064947,"score_spread":0.28728701875459683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411218633","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9288996,0.01957144,6.339838e-7,0.00006945234,0.00019050899,0.00020127463,0.000013579634,0.000013456787,0.051040094],"genre_scores_gemma":[0.97897214,0.020083895,0.000013224308,0.000031533687,0.00013213149,0.00007596399,0.000006790274,0.0000047140325,0.0006796315],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988684,0.000113501395,0.0002614796,0.00021110423,0.00016261163,0.000382873],"domain_scores_gemma":[0.9993472,0.00040579194,0.00003603369,0.000085177155,0.00010971757,0.000016075046],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000760941,0.0001225718,0.00019489246,0.0005475328,0.00091565854,0.00047472195,0.00015491564,0.000030484878,0.000051593408],"category_scores_gemma":[0.00012074594,0.00010389296,0.00001810533,0.00011816067,0.0013313568,0.0037942405,0.00025577898,0.00039809305,0.0000045215875],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011998322,0.000053541746,0.23777494,0.0007345034,0.000011587641,0.000027522448,0.54855895,0.00007027541,0.000023452954,0.14223997,0.00003228006,0.070353016],"study_design_scores_gemma":[0.0013033355,0.00022485701,0.08607316,0.0016019511,0.000008330375,0.000004122869,0.77307206,0.00053046405,0.00016649225,0.063605785,0.07302342,0.00038598588],"about_ca_topic_score_codex":0.0029564558,"about_ca_topic_score_gemma":0.29573295,"teacher_disagreement_score":0.2927765,"about_ca_system_score_codex":0.00009126856,"about_ca_system_score_gemma":0.00001637695,"threshold_uncertainty_score":0.7171181},"labels":[],"label_agreement":null},{"id":"W4411275985","doi":"10.70446/ephemera.v8i14.8008","title":"Group theater as a collective experience in the face of neoliberal challenges in the urban context — a brief reflection","year":2025,"lang":"en","type":"article","venue":"Ephemera.","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Reflection (computer programming); Face (sociological concept); Group (periodic table); Sociology; Face-to-face; Political science; Epistemology; Computer science; Geography; Social science; Physics; Philosophy","score_opus":0.0695129634262771,"score_gpt":0.2969978786648562,"score_spread":0.2274849152385791,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411275985","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.71868354,0.0036108403,0.0000014215528,0.0048976843,0.00019405392,0.00031013295,0.0000036297952,0.000011159937,0.27228752],"genre_scores_gemma":[0.99314713,0.0003862536,0.0000016369117,0.0017600596,0.000120681216,0.0001740605,0.0000012381715,0.000004078037,0.0044048815],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999265,0.00013093173,0.00017777071,0.00013919428,0.0001261487,0.00016095008],"domain_scores_gemma":[0.9996248,0.00013704847,0.000037758244,0.00016585883,0.000029042632,0.0000055200094],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002465801,0.00010378681,0.0001514384,0.00007519227,0.00023685125,0.000047449183,0.00021144605,0.000024159068,0.00012324593],"category_scores_gemma":[0.000010988763,0.000055807865,0.000044633663,0.00011558563,0.00019344936,0.00012761563,0.000029086752,0.00014389612,0.000006589877],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000101313664,0.000082781036,0.00081330485,0.000016643742,0.00001865683,0.0000018706216,0.88782924,9.314894e-7,0.000023920298,0.102945015,0.004307985,0.0038583279],"study_design_scores_gemma":[0.0006632128,0.00028937458,0.009405744,0.000094203424,0.00001087614,0.0000030093925,0.567827,0.000013440247,0.0002215836,0.013459728,0.40788758,0.00012427644],"about_ca_topic_score_codex":0.0021996365,"about_ca_topic_score_gemma":0.020324776,"teacher_disagreement_score":0.4035796,"about_ca_system_score_codex":0.000027109323,"about_ca_system_score_gemma":0.00002246527,"threshold_uncertainty_score":0.99755174},"labels":[],"label_agreement":null},{"id":"W4411985741","doi":"10.15353/cjds.v13i2.1111","title":"Testimonial of Krista Carr","year":2024,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Testimonial; Carr; Psychoanalysis; Psychology; Sociology; Advertising; Biology","score_opus":0.052573456953586846,"score_gpt":0.28778035760477155,"score_spread":0.2352069006511847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411985741","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91553026,0.052759603,0.000001228747,0.00556908,0.0034041177,0.00008863159,0.00019948756,0.000014772434,0.022432836],"genre_scores_gemma":[0.99798,0.0001850694,0.000017090377,0.00003887541,0.0009911085,0.0000016888451,6.171208e-7,0.000008010349,0.0007775447],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991996,0.000025076628,0.00038230617,0.00008749258,0.00011601425,0.00018945806],"domain_scores_gemma":[0.9992457,0.00018218043,0.00006878912,0.000107429674,0.00027608068,0.00011981467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028300626,0.000109940585,0.00032166782,0.000087764485,0.0002477106,0.00006524622,0.00012303502,0.000018004732,0.00032508714],"category_scores_gemma":[0.00015406286,0.000076609154,0.00015916604,0.000051286937,0.0016563466,0.00018789657,0.000014813545,0.00014237077,0.0000113062115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053942993,0.00007621079,0.17655717,0.00162785,0.0023176447,0.000115503804,0.48820087,0.000032735406,0.00002044061,0.080534846,0.21000275,0.04046002],"study_design_scores_gemma":[0.0002525553,0.0006131232,0.012661964,0.00066056475,0.0003279211,0.000029197832,0.11454451,0.000011845713,0.00009131675,0.013219648,0.8573045,0.0002828309],"about_ca_topic_score_codex":0.0059840046,"about_ca_topic_score_gemma":0.27210724,"teacher_disagreement_score":0.6473018,"about_ca_system_score_codex":0.00015766919,"about_ca_system_score_gemma":0.0003044657,"threshold_uncertainty_score":0.90460646},"labels":[],"label_agreement":null},{"id":"W4411993325","doi":"10.15353/cjds.v13i2.1123","title":"Testimonial of Sean Krausert","year":2024,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Canadian Association for Suicide Prevention","funders":"","keywords":"Testimonial; Psychology; Psychoanalysis; Sociology; Advertising; Business","score_opus":0.0672108150823021,"score_gpt":0.2925419951414619,"score_spread":0.2253311800591598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411993325","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9373106,0.032437723,9.453993e-7,0.0056280373,0.0029364747,0.00008330801,0.00010780634,0.000015352372,0.021479785],"genre_scores_gemma":[0.9979269,0.00018483469,0.0000189331,0.000051547664,0.0009904539,0.0000016266316,5.7194626e-7,0.000008502555,0.0008166574],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991983,0.000025587726,0.0003748025,0.000088181245,0.00011834239,0.00019478198],"domain_scores_gemma":[0.99925613,0.0001834046,0.00006520966,0.00010612792,0.00026191806,0.00012720018],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002950825,0.00011232353,0.00031489384,0.00009240683,0.00024865603,0.000064425796,0.00012594758,0.000017874387,0.00039767666],"category_scores_gemma":[0.00014386239,0.00007761177,0.00015566686,0.00005278858,0.0015244528,0.00022075172,0.000015221118,0.00014277299,0.000016371954],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000062681516,0.00010257405,0.15422639,0.0016903835,0.0027728947,0.00012321174,0.52627677,0.000048194674,0.000027260612,0.08273591,0.18229145,0.049642257],"study_design_scores_gemma":[0.00030434257,0.00077664474,0.012619142,0.00083381496,0.00036105743,0.00003094815,0.10822265,0.000021582517,0.00015028466,0.017119879,0.8592301,0.00032953877],"about_ca_topic_score_codex":0.0045582573,"about_ca_topic_score_gemma":0.2465748,"teacher_disagreement_score":0.67693865,"about_ca_system_score_codex":0.00014328668,"about_ca_system_score_gemma":0.00031271856,"threshold_uncertainty_score":0.76717323},"labels":[],"label_agreement":null},{"id":"W4411993656","doi":"10.15353/cjds.v13i3.1177","title":"Review of Devon Healey, Dramatizing Blindness: Disability Studies as Critical Creative Narrative (2021)","year":2024,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Institute for Christian Studies","funders":"","keywords":"Blindness; Narrative; Disability studies; Sociology; Media studies; Art; Gender studies; Optometry; Literature; Medicine","score_opus":0.0887651201344526,"score_gpt":0.37994907668249084,"score_spread":0.29118395654803825,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411993656","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22113414,0.7418319,0.0000017107097,0.026301663,0.0027382239,0.00038511996,0.0002711393,0.000019495317,0.0073165945],"genre_scores_gemma":[0.95393497,0.044176295,0.000041110132,0.00046812493,0.0010765791,0.000028558105,0.0000039637057,0.000020072155,0.00025032947],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9973682,0.00029925577,0.0012370552,0.00031709357,0.00032243566,0.00045595696],"domain_scores_gemma":[0.9958917,0.0016820775,0.00022493205,0.00029210976,0.0016168208,0.00029235813],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014999319,0.00035118946,0.0013140488,0.00010725309,0.0008757326,0.000109009045,0.00024392764,0.000047253656,0.0014243693],"category_scores_gemma":[0.004106528,0.00024202128,0.00043205536,0.00020147182,0.0077017234,0.000665623,0.0000720597,0.00041926393,0.000022950917],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000082135426,0.00022888593,0.00961824,0.038888678,0.003638279,0.0000627805,0.8199594,0.000003226685,0.0000027894664,0.046665426,0.063482754,0.017367428],"study_design_scores_gemma":[0.00023931247,0.0010590996,0.000914755,0.031938113,0.00074259983,0.00003703687,0.8036862,0.000003714702,0.00005055864,0.02515065,0.13574666,0.00043130826],"about_ca_topic_score_codex":0.0041543036,"about_ca_topic_score_gemma":0.13217312,"teacher_disagreement_score":0.73280084,"about_ca_system_score_codex":0.0008622665,"about_ca_system_score_gemma":0.00061379647,"threshold_uncertainty_score":0.9994885},"labels":[],"label_agreement":null},{"id":"W4412361273","doi":"10.56975/ijrar.v12i3.316744","title":"Indian Playwriters and Indo-Canadian Playwriters: A Kaleidoscopic View","year":2025,"lang":"en","type":"article","venue":"INTERNATIONAL JOURNAL OF RESEARCH AND ANALYTICAL REVIEWS","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Ancient history","score_opus":0.09631854057419544,"score_gpt":0.40959596907112156,"score_spread":0.31327742849692614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412361273","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4782246,0.27193686,0.00004050785,0.06650386,0.0022200071,0.0008117037,0.000119453485,0.000018520652,0.18012446],"genre_scores_gemma":[0.89671004,0.09664651,0.00005833439,0.0013845197,0.00080805196,0.0000064774817,0.000003936935,0.000006158292,0.004375947],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879336,0.00008928617,0.0004207405,0.00011766936,0.00033411186,0.00024482087],"domain_scores_gemma":[0.9990056,0.00020988246,0.0000718414,0.00007118552,0.00041896506,0.00022251374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011449015,0.000098232755,0.0002987077,0.00076074566,0.0002217171,0.00035513635,0.0002557519,0.000031425883,0.00043014562],"category_scores_gemma":[0.00026610703,0.000066396475,0.00007785147,0.00009423599,0.0004516025,0.00026515152,0.0000779583,0.0003931033,0.000028375589],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021198516,0.00013444817,0.019829337,0.0005808713,0.00083479105,0.00033192104,0.010423301,3.1767837e-7,0.000016768547,0.203408,0.09112137,0.6731069],"study_design_scores_gemma":[0.00034202778,0.00017133744,0.00087203755,0.001355165,0.000020411895,0.000029026201,0.0012045671,0.00002450772,0.000005123903,0.003692132,0.99221927,0.00006441515],"about_ca_topic_score_codex":0.0009634438,"about_ca_topic_score_gemma":0.011049747,"teacher_disagreement_score":0.9010979,"about_ca_system_score_codex":0.00005798217,"about_ca_system_score_gemma":0.00014592144,"threshold_uncertainty_score":0.6166018},"labels":[],"label_agreement":null},{"id":"W4412470528","doi":"10.21083/csieci.v16i1.8503","title":"Call for Papers","year":2025,"lang":"en","type":"paratext","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.07351514083703597,"score_gpt":0.38494993712495673,"score_spread":0.31143479628792076,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412470528","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012818788,0.022458658,0.0010624875,0.02050829,0.031730905,0.0062807268,0.0036522136,0.0006228222,0.91240203],"genre_scores_gemma":[0.642156,0.023202136,0.0015098641,0.007868831,0.013942534,0.0077292514,0.0026504374,0.00028645986,0.30065447],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99571097,0.0002539045,0.0013912319,0.0010440235,0.00046223006,0.0011376422],"domain_scores_gemma":[0.9950909,0.0028870695,0.00022646962,0.00046089018,0.0012103678,0.0001242898],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010037436,0.00086908374,0.001284229,0.00059255725,0.00097491604,0.00039011549,0.00043340196,0.0005085853,0.001054169],"category_scores_gemma":[0.002625454,0.000806456,0.0003819479,0.00013934166,0.0014807098,0.00069867255,0.00027549194,0.0007411785,0.00022802364],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031607324,0.00036423292,0.000021744398,0.015557087,0.00061755313,0.0000058254986,0.06263257,0.000023294737,0.0001435755,0.36132526,0.50028807,0.05870472],"study_design_scores_gemma":[0.0009106017,0.00065965386,0.000022002641,0.001153343,0.00031845178,0.0000016987364,0.021810668,0.00018895346,0.00027709888,0.004465813,0.9692142,0.0009775377],"about_ca_topic_score_codex":0.00052407687,"about_ca_topic_score_gemma":0.0031127585,"teacher_disagreement_score":0.64087415,"about_ca_system_score_codex":0.0011319254,"about_ca_system_score_gemma":0.000426797,"threshold_uncertainty_score":0.999859},"labels":[],"label_agreement":null},{"id":"W4412470639","doi":"10.21083/csieci.v16i1.7226","title":"The Secret of Improvisation","year":2025,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Computer science; Psychology; Art; Visual arts","score_opus":0.05341518788490642,"score_gpt":0.376888893681628,"score_spread":0.3234737057967216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412470639","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6705412,0.016277816,0.0038773203,0.08852847,0.01705116,0.006060286,0.00034776132,0.0012624786,0.19605349],"genre_scores_gemma":[0.99521244,0.0017578634,0.00022282622,0.0008687822,0.0005839268,0.0003903668,0.000029293562,0.00002689784,0.0009075909],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99699706,0.0002935175,0.0011500232,0.00045549113,0.00040311614,0.0007007849],"domain_scores_gemma":[0.99590445,0.0024850303,0.00018296245,0.00040320077,0.00096083287,0.000063529165],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0017629021,0.00035682146,0.0005119893,0.0003070147,0.0010554296,0.0002235515,0.00034173374,0.00013515547,0.000055312546],"category_scores_gemma":[0.0032018626,0.0002689703,0.00015699142,0.00022797467,0.0020705082,0.00084609294,0.00021951277,0.00036151896,0.00000968013],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013059058,0.00012472086,0.0007935185,0.0007769077,0.00013098623,0.0000013546622,0.032026373,0.000007443676,0.00079847756,0.899526,0.0020285924,0.063655056],"study_design_scores_gemma":[0.0035092633,0.0020106093,0.011362923,0.0015543193,0.0006231819,0.000007227059,0.33452204,0.0046640057,0.016900143,0.30134916,0.32170227,0.0017948422],"about_ca_topic_score_codex":0.0005322485,"about_ca_topic_score_gemma":0.0040305573,"teacher_disagreement_score":0.5981768,"about_ca_system_score_codex":0.00047358376,"about_ca_system_score_gemma":0.00021187936,"threshold_uncertainty_score":0.9999763},"labels":[],"label_agreement":null},{"id":"W4412507215","doi":"10.1007/978-3-031-83947-4_9","title":"A Ladder in the Dark: Writing, Method and the Captive Poem","year":2025,"lang":"en","type":"book-chapter","venue":"Palgrave studies in education research methods","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Poetry; Literature; Art","score_opus":0.24665054063247835,"score_gpt":0.5457345833118858,"score_spread":0.29908404267940747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412507215","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000024854358,0.06473752,0.00006717181,0.008062561,0.0010333493,0.0011970283,0.000028126944,0.000013372276,0.92483604],"genre_scores_gemma":[0.015394082,0.09880967,0.013556403,0.0023353442,0.003663319,0.0029493214,0.000034257973,0.000079400255,0.8631782],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9948735,0.0030508356,0.00057984394,0.00049342675,0.00051348406,0.00048887765],"domain_scores_gemma":[0.98612034,0.01247388,0.00014353094,0.00051099586,0.0007203762,0.000030875228],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.018100314,0.00034478676,0.00070258183,0.0006993214,0.0011621016,0.000193263,0.00049801404,0.000112914575,0.0002038313],"category_scores_gemma":[0.0013554377,0.00018594712,0.00013064234,0.00013812009,0.0034117976,0.00004434844,0.00048025235,0.0016134046,0.000012168501],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049854578,0.0000151159165,0.000025153227,0.00016387829,0.00019587738,0.0000016836516,0.19727524,2.685534e-7,1.2021135e-7,0.65867215,0.018404534,0.12519613],"study_design_scores_gemma":[0.00025873765,0.000035053097,0.00007968059,0.00040894432,0.00004539275,0.0000020374848,0.16902897,0.0000066513685,0.0000011048556,0.41918597,0.4108158,0.00013164288],"about_ca_topic_score_codex":0.0010416136,"about_ca_topic_score_gemma":0.0050757225,"teacher_disagreement_score":0.3924113,"about_ca_system_score_codex":0.00015423335,"about_ca_system_score_gemma":0.00034160656,"threshold_uncertainty_score":0.99930036},"labels":[],"label_agreement":null},{"id":"W4412574600","doi":"10.5040/9781350406452","title":"Rhythm in Postdramatic Performance Process","year":2025,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rhythm; Process (computing); Computer science; Art; Operating system; Aesthetics","score_opus":0.021014962809907882,"score_gpt":0.2226468301731795,"score_spread":0.2016318673632716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412574600","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0078154635,0.0016089365,4.166664e-7,0.00031240136,0.0014962531,0.0006320359,0.00013494644,0.00029557577,0.987704],"genre_scores_gemma":[0.029950667,0.00013798254,0.0000126605355,0.000959091,0.0020029144,0.00016868474,0.00019792396,0.000081461134,0.9664886],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972251,0.000044841458,0.0008226204,0.0006161822,0.00056346855,0.0007277608],"domain_scores_gemma":[0.9985105,0.00017675957,0.00033556644,0.0005874583,0.00029959803,0.000090145426],"candidate_categories":["metaepi_narrow","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.00054495694,0.0006596302,0.0008694573,0.0008138073,0.00059382076,0.0023487746,0.0008035067,0.00025899947,0.0005940374],"category_scores_gemma":[0.000072928204,0.00059272116,0.00019866785,0.000049697184,0.0003877767,0.0016198787,0.00027236142,0.0015161678,0.000116999894],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015660173,0.00015707845,0.00067695684,0.009596788,0.00056192937,0.00017259478,0.076094605,0.000028427501,7.9164926e-7,0.18458131,0.63808674,0.0898862],"study_design_scores_gemma":[0.00052933244,0.00010005802,0.000045052242,0.0030769354,0.000116577874,0.000016406007,0.00097402884,0.000055266457,0.00001250923,0.008197863,0.9861584,0.00071757304],"about_ca_topic_score_codex":0.00015067954,"about_ca_topic_score_gemma":0.0017663584,"teacher_disagreement_score":0.3480717,"about_ca_system_score_codex":0.00021082943,"about_ca_system_score_gemma":0.00079676934,"threshold_uncertainty_score":0.99965245},"labels":[],"label_agreement":null},{"id":"W4412606239","doi":"10.33682/t5j6-teu6","title":"Editorial: E Pluribus Unum","year":2024,"lang":"en","type":"editorial","venue":"ArtsPraxis","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University; U.S. Department of State","keywords":"Political science; Humanities; Philosophy","score_opus":0.01119217642683108,"score_gpt":0.24078051638762843,"score_spread":0.22958833996079736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412606239","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000004806723,0.0024157031,1.9258188e-7,0.00025660585,0.73849326,0.000111429894,0.0007525309,0.00029182495,0.25767365],"genre_scores_gemma":[0.00016970116,0.0006521435,0.0000035102432,0.000042206862,0.87699544,0.000060061724,0.0003729368,0.00008836092,0.12161564],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99795294,0.000027133985,0.00034971072,0.00046568472,0.00076162856,0.00044288853],"domain_scores_gemma":[0.9987531,0.00036191987,0.00009593787,0.0004116144,0.00030514252,0.00007230041],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024344394,0.00043061268,0.00047582434,0.00016092509,0.00044504675,0.00054586754,0.00032033582,0.00040758817,0.0025319876],"category_scores_gemma":[0.00012112579,0.0003389248,0.00025055662,0.0000423552,0.0002801567,0.0002255671,0.0001779313,0.0010222755,0.0073898043],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020859876,0.000020812962,5.0031616e-7,0.00020534621,0.00014460468,0.00000823227,0.013555915,1.8748264e-7,6.566403e-7,0.004878728,0.9805519,0.00061225845],"study_design_scores_gemma":[0.00014456957,0.00014489127,1.5042701e-7,0.00017835581,0.00014963292,3.118877e-7,0.00070599606,5.728062e-7,0.0000025719432,0.0020624355,0.9961933,0.00041722704],"about_ca_topic_score_codex":0.00067676586,"about_ca_topic_score_gemma":0.0043124314,"teacher_disagreement_score":0.1385022,"about_ca_system_score_codex":0.00008311004,"about_ca_system_score_gemma":0.00018702463,"threshold_uncertainty_score":0.9999063},"labels":[],"label_agreement":null},{"id":"W4413042890","doi":"10.5539/ach.v17n2p15","title":"Kunqu Opera Training be Beneficial to Contemporary Actor","year":2025,"lang":"en","type":"article","venue":"Asian Culture and History","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stanislavski's system; Aesthetics; Opera; Feeling; Sociology; Visual arts; Convention; Art; Psychology; Social science; Social psychology","score_opus":0.0538880835167049,"score_gpt":0.2394093013474632,"score_spread":0.18552121783075828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413042890","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008794751,0.009124202,0.0000026180087,0.0026715538,0.001160496,0.00012159504,0.000030450487,0.00006441038,0.9780299],"genre_scores_gemma":[0.8106376,0.00006815501,0.000027435726,0.00522268,0.00077363773,0.000018410405,0.000014262847,0.000008476738,0.18322933],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947876,0.000011883383,0.00012889937,0.00016720398,0.00006722033,0.00014601747],"domain_scores_gemma":[0.9997846,0.000008331031,0.000023031898,0.000093422925,0.000039116967,0.00005148822],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000049179787,0.0001284369,0.00018797338,0.00007702384,0.00039735757,0.00004304859,0.00008001371,0.000042833697,0.00047773396],"category_scores_gemma":[0.000005322301,0.000100601654,0.00004995742,0.000019924895,0.00013649673,0.00014828025,0.000032038195,0.00011510301,0.000030882464],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031574058,0.000017085304,0.00006282004,0.00003173108,0.000050092895,0.000003475733,0.4125611,1.0792921e-7,0.00006575945,0.101011746,0.4701614,0.016003113],"study_design_scores_gemma":[0.00017219824,0.00007539594,0.00025105066,0.00004573434,0.000019435349,6.254164e-7,0.036328197,5.1136084e-7,0.000011458911,0.00012266461,0.96284395,0.000128787],"about_ca_topic_score_codex":0.00018615756,"about_ca_topic_score_gemma":0.0022759154,"teacher_disagreement_score":0.80184287,"about_ca_system_score_codex":0.000057153615,"about_ca_system_score_gemma":0.000079145604,"threshold_uncertainty_score":0.5230852},"labels":[],"label_agreement":null},{"id":"W4413077298","doi":"10.3138/md-68-2-1390","title":"All the Vulnerable Boys: Child-Saving Conjured in Henrik Ibsen’s <i>Little Eyolf</i> and Hiro Kanagawa’s <i>Indian Arm</i>","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; History; Subject (documents); Literature; Sociology; Gender studies; Art","score_opus":0.013747627691467819,"score_gpt":0.22492019760032658,"score_spread":0.21117256990885877,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413077298","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45182455,0.006379233,0.000022267672,0.01787336,0.0008014898,0.00047278267,0.00007849057,0.00012956989,0.52241826],"genre_scores_gemma":[0.9772842,0.00032513906,0.000010878445,0.0054301517,0.00030820866,0.000050662857,0.0000128878655,0.000018812185,0.01655904],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988334,0.00008104601,0.00026293658,0.00028542528,0.0001340103,0.00040313872],"domain_scores_gemma":[0.99943846,0.00012866365,0.000053166485,0.0003012109,0.000037325448,0.00004116274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031812384,0.0002171617,0.0002739813,0.00010191369,0.001003488,0.0003044085,0.00020918023,0.000055446617,0.00015375977],"category_scores_gemma":[0.000019812478,0.00015333126,0.00006650912,0.000051823255,0.00024711163,0.00022753079,0.00012919884,0.00042123764,0.00003218396],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027704347,0.000533364,0.013353227,0.0005137855,0.0005303808,0.000063754276,0.59124655,0.00040901446,0.000202422,0.1827914,0.13101454,0.07906451],"study_design_scores_gemma":[0.00094710506,0.000055954555,0.0023408108,0.00016675936,0.0000551828,0.0000051392053,0.010820912,0.0006088725,0.00018197748,0.015746668,0.96874875,0.00032187303],"about_ca_topic_score_codex":0.0016635073,"about_ca_topic_score_gemma":0.021748578,"teacher_disagreement_score":0.8377342,"about_ca_system_score_codex":0.000038101425,"about_ca_system_score_gemma":0.00003189302,"threshold_uncertainty_score":0.996102},"labels":[],"label_agreement":null},{"id":"W4413442413","doi":"10.1080/14682761.2025.2546215","title":"Feeling together: the affective project of co-presence and the limits of the audience community","year":2025,"lang":"en","type":"article","venue":"Studies in Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto; Queen's University","funders":"Social Sciences and Humanities Research Council of Canada; Federation for the Humanities and Social Sciences","keywords":"Feeling; Psychology; Aesthetics; Social psychology; Sociology; Art","score_opus":0.06101984615800165,"score_gpt":0.32406539154797787,"score_spread":0.2630455453899762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413442413","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91805273,0.013966208,4.9241083e-7,0.0009004896,0.00031260017,0.00044639173,0.00001494079,0.000008086935,0.066298075],"genre_scores_gemma":[0.9840992,0.0150482515,0.0000036855326,0.00017262381,0.000063527805,0.00005831932,2.7315107e-7,0.0000043735167,0.00054971396],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99900544,0.0003002429,0.0002678627,0.0001157455,0.00013000933,0.0001806977],"domain_scores_gemma":[0.99800074,0.0014258479,0.00012396928,0.00034157623,0.00010167015,0.0000062082595],"candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.0011112277,0.00015373719,0.00033888995,0.000052802887,0.0015578363,0.000021249849,0.00034709362,0.000023949551,0.0000037596903],"category_scores_gemma":[0.00007835557,0.00006175961,0.000058490343,0.00014928059,0.004865288,0.00012755198,0.00033419303,0.00034452387,3.8346326e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000530851,0.0000615631,0.10229993,0.0009510748,0.00036928614,2.0222717e-7,0.82925487,0.000040219344,0.000026877457,0.02674165,0.0011473221,0.03857618],"study_design_scores_gemma":[0.0032026717,0.0007178239,0.07856074,0.0032541614,0.00033694567,0.000009389534,0.86694705,0.0009560475,0.003705736,0.01058512,0.03127224,0.00045209468],"about_ca_topic_score_codex":0.0008090678,"about_ca_topic_score_gemma":0.0039923703,"teacher_disagreement_score":0.06604652,"about_ca_system_score_codex":0.000012533337,"about_ca_system_score_gemma":0.000031466883,"threshold_uncertainty_score":0.999742},"labels":[],"label_agreement":null},{"id":"W4413566318","doi":"10.64628/aaj.jeg4jwjks","title":"How theatre can help young Nigerians who are living with HIV","year":2020,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Nigerians; Human immunodeficiency virus (HIV); Business; Medicine; Virology; Political science","score_opus":0.025348025503730817,"score_gpt":0.2017691968049866,"score_spread":0.17642117130125579,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413566318","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0372921,0.001239428,0.00010497217,0.03419748,0.0014616842,0.00053282455,0.00060659874,0.0005855611,0.92397934],"genre_scores_gemma":[0.8983446,0.00044766782,0.000049286973,0.0006114208,0.0032152727,0.00006402981,0.00004093623,0.000057707246,0.09716909],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987498,0.000032748307,0.00017491014,0.000455563,0.00023469582,0.00035227343],"domain_scores_gemma":[0.9992432,0.00004052345,0.00014787726,0.00037969503,0.000104155144,0.00008454618],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005830727,0.00043013928,0.00058948225,0.00007143122,0.00055754755,0.00089243386,0.00028984694,0.00009030306,0.0011198783],"category_scores_gemma":[0.0000051362003,0.00028185203,0.00014674045,0.000022862483,0.0002034657,0.00013406179,0.00044051238,0.0005079339,0.0000474221],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007826331,0.000112852504,0.063467555,0.002163014,0.0015936769,0.00008856929,0.6627784,0.000076144766,0.000008658999,0.031670444,0.23182672,0.0061357035],"study_design_scores_gemma":[0.00031262933,0.00024309108,0.003199924,0.002828139,0.00030156263,0.00001047982,0.3088275,0.00013923786,0.000054933174,0.0010730168,0.68148017,0.0015293114],"about_ca_topic_score_codex":0.001355508,"about_ca_topic_score_gemma":0.078699924,"teacher_disagreement_score":0.8610525,"about_ca_system_score_codex":0.00004157295,"about_ca_system_score_gemma":0.00008835932,"threshold_uncertainty_score":0.99996334},"labels":[],"label_agreement":null},{"id":"W4413609277","doi":"10.64628/aam.5ua3u7utu","title":"In the post-truth era, documentary theatre searches for common ground","year":2019,"lang":"en","type":"preprint","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Post truth; Common ground; Ground truth; Art; Art history; History; Political science; Artificial intelligence; Sociology; Computer science; Law; Communication","score_opus":0.04786437254783595,"score_gpt":0.28657162356316757,"score_spread":0.2387072510153316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413609277","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36679256,0.0013613894,0.0000032935034,0.014297759,0.0025387465,0.0016841661,0.00049089396,0.000057837722,0.61277336],"genre_scores_gemma":[0.9791,0.0002931144,0.00003129026,0.0030707738,0.0015953011,0.00021909564,0.0002671317,0.00002444211,0.015398854],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988933,0.00007263175,0.00025395825,0.0002728391,0.00019276974,0.0003144851],"domain_scores_gemma":[0.99896526,0.00045743503,0.000063144274,0.00043792956,0.000057880454,0.000018343835],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040778882,0.0002638205,0.00034604935,0.00009889593,0.00033102583,0.00035066772,0.00047473243,0.00007774047,0.0015746276],"category_scores_gemma":[0.0000028173222,0.00014538952,0.00019482426,0.000013897927,0.00017382843,0.00020527613,0.00033805514,0.000512238,0.0001234545],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004283808,0.00032720825,0.0044158525,0.0015571082,0.0005581175,0.000008708518,0.4262012,0.00008083228,0.000003253187,0.3826572,0.1659463,0.017815858],"study_design_scores_gemma":[0.0006022754,0.00035006547,0.0020574462,0.00015731255,0.00009602964,0.0000027132699,0.08737855,0.000079645404,0.000021974121,0.05150377,0.8572638,0.0004863983],"about_ca_topic_score_codex":0.010008913,"about_ca_topic_score_gemma":0.025778586,"teacher_disagreement_score":0.6913175,"about_ca_system_score_codex":0.000042311673,"about_ca_system_score_gemma":0.000052649004,"threshold_uncertainty_score":0.9993381},"labels":[],"label_agreement":null},{"id":"W4413762232","doi":"10.1017/9781108917872.004","title":"Problem Plays, Discussion Plays, and Plays of Ideas","year":2025,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Computer science; Epistemology; Philosophy","score_opus":0.018398119791925082,"score_gpt":0.1876791026331446,"score_spread":0.16928098284121953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413762232","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00036895293,0.0005941906,0.000008119248,0.000050428403,0.00020937805,0.00034867466,0.0011642812,0.000067710316,0.99718827],"genre_scores_gemma":[0.0068161744,0.00053904083,0.000020161753,0.000033770484,0.00022099623,0.0000010390602,0.000067595174,0.000023560162,0.9922777],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900776,0.000017729482,0.0002274786,0.00034826866,0.00017964128,0.00021911212],"domain_scores_gemma":[0.99925333,0.00005512555,0.00020832883,0.0002892489,0.00012059714,0.00007334424],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00006311118,0.00035002118,0.00050868286,0.00020345792,0.00046201944,0.000046849156,0.00024804432,0.0001718216,0.00003240914],"category_scores_gemma":[0.0000022142306,0.00027361343,0.00015513365,0.0000032626706,0.00058586104,0.000121740464,0.0004203664,0.00031345917,0.000005336665],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014683222,0.000009264413,0.00000782481,0.00048235996,0.00020962427,0.000024472813,0.0022557303,6.52379e-7,0.0000069609823,0.9229361,0.072328985,0.0015912061],"study_design_scores_gemma":[0.00046898107,0.00009760967,0.000010348134,0.0007694317,0.0003082405,0.0000026013427,0.00064267346,0.0000093685785,0.000076622775,0.00011386728,0.99715906,0.0003411703],"about_ca_topic_score_codex":0.000291311,"about_ca_topic_score_gemma":0.00009777388,"teacher_disagreement_score":0.9248301,"about_ca_system_score_codex":0.000049398437,"about_ca_system_score_gemma":0.00006872809,"threshold_uncertainty_score":0.9999716},"labels":[],"label_agreement":null},{"id":"W4413802743","doi":"10.24908/iqurcp19069","title":"From Catharsis to Critical Discourse: Theatre’s Role in Modern Western Democracy","year":2025,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Democracy; Politics; Political theatre; Aesthetics; Lament; Sociology; Democratic ideals; Media studies; Storytelling; Political science; Law; Literature; Art; Narrative","score_opus":0.08405181365242288,"score_gpt":0.3889383492626381,"score_spread":0.3048865356102152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413802743","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6927904,0.00045400814,0.00036512854,0.18954654,0.00060585135,0.0007775292,0.00008144565,0.0001862502,0.11519287],"genre_scores_gemma":[0.9918994,0.000341251,0.000090843605,0.00040104307,0.000810657,0.00022678991,0.000012281888,0.000032252952,0.0061854897],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99693745,0.00007877203,0.0004689204,0.0007452498,0.00065961026,0.0011099742],"domain_scores_gemma":[0.9981621,0.0004318133,0.000041462165,0.00027015776,0.0008725254,0.00022193983],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0007324079,0.00033106343,0.00047398786,0.0007590826,0.0008024502,0.0010172006,0.00073001924,0.000105443425,0.00018151273],"category_scores_gemma":[0.00020105788,0.00028470662,0.00008928705,0.00036509795,0.0012486534,0.000943582,0.00055461883,0.00079900917,0.00026174926],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039920982,0.00040502567,0.034654155,0.00025925465,0.00016870118,0.000017757633,0.35539076,0.0000046938817,0.0011532938,0.52151,0.022738451,0.06329868],"study_design_scores_gemma":[0.0006180684,0.00026779968,0.0021796355,0.0011055479,0.00004213161,0.0000012450672,0.1456577,0.0007356605,0.0006619635,0.7807231,0.067450635,0.0005564938],"about_ca_topic_score_codex":0.006678503,"about_ca_topic_score_gemma":0.0036200355,"teacher_disagreement_score":0.299109,"about_ca_system_score_codex":0.00020111655,"about_ca_system_score_gemma":0.00031095883,"threshold_uncertainty_score":0.9999605},"labels":[],"label_agreement":null},{"id":"W4413809696","doi":"10.1007/978-3-031-86809-2_6","title":"Feminist Theater Practices","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Art; Aesthetics; Sociology","score_opus":0.053737550080187005,"score_gpt":0.26457810034159035,"score_spread":0.21084055026140336,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413809696","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000024834949,0.0010334661,1.9071949e-7,0.00094163255,0.0009353941,0.00010516656,0.00007738051,0.000095217525,0.99680907],"genre_scores_gemma":[0.0020545765,0.0007196913,0.000011202738,0.0013058911,0.0015358479,0.000007291922,0.000022931601,0.000018554678,0.994324],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939823,0.000003309899,0.00017499513,0.00018317421,0.00010944959,0.00013086139],"domain_scores_gemma":[0.9994674,0.000074914395,0.00018005073,0.00021122108,0.00004752295,0.000018892235],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000057383273,0.00022024245,0.0002432458,0.00005721425,0.00033153707,0.00016079162,0.00012808989,0.00007506254,0.03581724],"category_scores_gemma":[0.0000040615428,0.00014658809,0.000111053574,0.0000019572947,0.00019227482,0.00007242098,0.00007819394,0.00019376173,0.0014253802],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000091867905,0.0000037187738,0.000004054435,0.000047289766,0.00011343122,0.0000025224767,0.0028670514,8.462844e-9,6.130978e-8,0.7168635,0.2759166,0.004172547],"study_design_scores_gemma":[0.000053634285,0.00004211016,5.687655e-7,0.00010444996,0.00010140962,0.0000010516801,0.0006912876,4.9308727e-7,0.000003427398,0.01164115,0.9871683,0.00019213125],"about_ca_topic_score_codex":0.00009789872,"about_ca_topic_score_gemma":0.0016879013,"teacher_disagreement_score":0.7112517,"about_ca_system_score_codex":0.000012551616,"about_ca_system_score_gemma":0.00003577816,"threshold_uncertainty_score":0.9993521},"labels":[],"label_agreement":null},{"id":"W4413810141","doi":"10.29173/inton88","title":"On Shimmers","year":2025,"lang":"en","type":"article","venue":"Intonations","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Embodied cognition; Aesthetics; Temporality; Eroticism; Sociology; Dismissal; Illusion; Epistemology; Phenomenon; Identity (music); Impulse (physics); Art; Philosophy; Psychology; Gender studies; Law; Human sexuality","score_opus":0.020541776475492508,"score_gpt":0.2625026144773886,"score_spread":0.24196083800189608,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413810141","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018692235,0.00006084694,0.000017064702,0.0042161862,0.00054647843,0.000033480905,0.000009651214,0.000037400452,0.97638667],"genre_scores_gemma":[0.9277846,0.000011807481,0.000008149839,0.0011250664,0.00009321799,0.000013350193,0.0000041647054,0.0000016774262,0.070957966],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981636,0.00000359372,0.000048297625,0.000044417655,0.00003587068,0.000051438496],"domain_scores_gemma":[0.9998532,0.000047432502,0.000007101269,0.000054393997,0.000032218988,0.0000056746785],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00002156014,0.000032023043,0.00003323987,0.000072089024,0.00027641837,0.000028696124,0.00003957366,0.000006735462,0.0013854739],"category_scores_gemma":[0.000009694712,0.000025554416,0.000020627189,0.000022439497,0.000057926536,0.00004553081,0.00000909816,0.000035595232,0.00025389076],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000018302082,0.000013573232,0.000038748192,0.00000174242,0.000015076769,8.611676e-8,0.005126948,0.0000054803527,0.0000018119708,0.92571944,0.059346884,0.009728388],"study_design_scores_gemma":[0.0000580035,0.000013422577,0.00038475898,0.000010998613,0.0000057892257,2.7844996e-8,0.0013848437,0.000016690889,0.000038915696,0.031919237,0.9661363,0.00003106412],"about_ca_topic_score_codex":0.00005143502,"about_ca_topic_score_gemma":0.00081927737,"teacher_disagreement_score":0.90909237,"about_ca_system_score_codex":0.000011653555,"about_ca_system_score_gemma":0.0000106878015,"threshold_uncertainty_score":0.9995274},"labels":[],"label_agreement":null},{"id":"W4413830121","doi":"10.5040/9781350436558","title":"Applied Theatre: Participation","year":2025,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.030017127506960152,"score_gpt":0.22918416279698658,"score_spread":0.19916703529002644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413830121","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000083227365,0.0009952992,0.000004493106,0.0004346429,0.0021769535,0.00048635644,0.00020830118,0.00046405176,0.9951467],"genre_scores_gemma":[0.007737508,0.000054748554,0.000021940434,0.001394,0.0044393395,0.00019155294,0.00043624835,0.000071503324,0.98565316],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978256,0.000036630947,0.0005785821,0.000540576,0.0004671308,0.00055146846],"domain_scores_gemma":[0.99861836,0.00020464223,0.00027817627,0.00061223673,0.0001883312,0.0000982554],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00039828566,0.00053402915,0.0006310328,0.0003682854,0.0008592007,0.0027160777,0.00058798364,0.00022492117,0.0010929548],"category_scores_gemma":[0.00002708429,0.00046457918,0.00024076233,0.000021197257,0.00036481352,0.000604125,0.0002751776,0.00088451424,0.00019203887],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025343408,0.000020944899,0.0000050562726,0.0001989754,0.00021532996,0.0000051192237,0.0072575966,0.000001439309,0.0000010508945,0.38803867,0.5508511,0.053379342],"study_design_scores_gemma":[0.00035541106,0.000042603406,0.00000619404,0.0002910057,0.00029676675,0.0000010690426,0.00043810694,0.000004468585,0.000021457294,0.029027516,0.9690332,0.00048223275],"about_ca_topic_score_codex":0.00011117765,"about_ca_topic_score_gemma":0.0012063773,"teacher_disagreement_score":0.41818205,"about_ca_system_score_codex":0.00013668036,"about_ca_system_score_gemma":0.00047628145,"threshold_uncertainty_score":0.9998202},"labels":[],"label_agreement":null},{"id":"W4413930899","doi":"10.1080/10705422.2025.2554884","title":"“We Do Not Choose This Life”: Advocating for and Empowering Those Living with Poverty Through Applied Theatre","year":2025,"lang":"en","type":"article","venue":"Journal of Community Practice","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Nutreco (Canada); Wilfrid Laurier University","funders":"Ontario Arts Council; Catherine Donnelly Foundation","keywords":"Poverty; Economic growth; Sociology; Political science; Environmental ethics; Environmental planning; Environmental science; Economics","score_opus":0.044569854146710976,"score_gpt":0.31829360469928564,"score_spread":0.27372375055257464,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413930899","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20909418,0.0052867117,0.0006534561,0.015514482,0.00055223075,0.00034189614,0.00001308829,0.000045554094,0.7684984],"genre_scores_gemma":[0.99106795,0.001960875,0.0019499293,0.0038339936,0.00036335393,0.000008544516,6.727157e-7,0.000016116806,0.0007985587],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904794,0.00020466234,0.000348527,0.000060816194,0.00016176609,0.00017628702],"domain_scores_gemma":[0.9950933,0.0038789627,0.00046135977,0.00024638898,0.00027878082,0.000041244362],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0013051839,0.00015606997,0.00031244347,0.00008045527,0.0015918958,0.00029865358,0.00023546809,0.00003587353,0.000063867825],"category_scores_gemma":[0.0004397324,0.000106247586,0.0000655595,0.00005288327,0.00012634619,0.0012623749,0.00015358733,0.00085000024,0.0000018424116],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018487757,0.0005641941,0.0005019377,0.0006530547,0.0011674818,0.0000034191469,0.82964,0.000037732727,0.0001767657,0.056695797,0.016979547,0.09173131],"study_design_scores_gemma":[0.0007664621,0.0003834654,0.00028684008,0.0007523494,0.00032290575,0.000028817592,0.3063629,0.000015231293,0.00009887344,0.0011611884,0.6896649,0.0001560903],"about_ca_topic_score_codex":0.00022297872,"about_ca_topic_score_gemma":0.00023036716,"teacher_disagreement_score":0.7819738,"about_ca_system_score_codex":0.00003041898,"about_ca_system_score_gemma":0.00010763633,"threshold_uncertainty_score":0.9997079},"labels":[],"label_agreement":null},{"id":"W4414012110","doi":"10.5354/0719-6490.2025.80538","title":"Raíces y Rutas: El Congreso de Teatro Aplicado International Drama in Education Research Institute 2025","year":2025,"lang":"es","type":"article","venue":"Teatro","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Humanities; Sociology; Art; Literature","score_opus":0.03506693591398666,"score_gpt":0.3792981273915223,"score_spread":0.34423119147753567,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414012110","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44891605,0.007134901,0.000007091683,0.010590529,0.00339484,0.0004376218,0.00008560554,0.00006514157,0.5293682],"genre_scores_gemma":[0.9412157,0.0032534385,0.00005941181,0.0005895179,0.0021163279,0.00015781056,0.00006477093,0.000017972217,0.052525047],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980497,0.00015223358,0.00044516282,0.0004059703,0.000357573,0.0005894132],"domain_scores_gemma":[0.9989926,0.00020352131,0.00007616758,0.0003465888,0.0003138532,0.00006727685],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007768506,0.00025564266,0.00032300528,0.0008611489,0.0009005097,0.0007614682,0.0005502361,0.00013205889,0.0009329991],"category_scores_gemma":[0.000109453234,0.0002372972,0.000118191165,0.00020824058,0.0007284172,0.0005135882,0.0002888987,0.00067342387,0.00033521687],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024801132,0.00052278605,0.11494146,0.00027824845,0.0002625822,0.000009274164,0.018952908,0.000019193716,0.00006757094,0.67699295,0.1077355,0.07996954],"study_design_scores_gemma":[0.0005888932,0.000087389344,0.018149005,0.00063770043,0.000046120454,0.0000017402893,0.012657672,0.000096599266,0.000102918006,0.008512733,0.9589026,0.000216653],"about_ca_topic_score_codex":0.0037831697,"about_ca_topic_score_gemma":0.0033274728,"teacher_disagreement_score":0.8511671,"about_ca_system_score_codex":0.00041085036,"about_ca_system_score_gemma":0.0007527064,"threshold_uncertainty_score":0.9999803},"labels":[],"label_agreement":null},{"id":"W4414324514","doi":"10.7202/1119915ar","title":"“Wanting Justice . . . Wanting Answers . . . Wanting Change”: Staging Multiple and Diverse Identities in Canadian Theatre for Young Audiences","year":2024,"lang":"en","type":"article","venue":"Studies in Canadian Literature","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University; MacEwan University","funders":"","keywords":"Economic Justice; Drama; Identity (music); Criminal justice; Social justice","score_opus":0.04914338235961553,"score_gpt":0.29250071331186156,"score_spread":0.24335733095224604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414324514","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7766557,0.15071698,8.038409e-7,0.00463515,0.009516232,0.0011887229,0.00219735,0.00013562651,0.05495346],"genre_scores_gemma":[0.99328554,0.003046514,0.00006533319,0.00047623768,0.0016786924,0.00010871854,0.000042765892,0.000035163506,0.0012610571],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9976682,0.000041872754,0.00035566778,0.00048327586,0.000148107,0.0013028842],"domain_scores_gemma":[0.9991735,0.00029359278,0.00005209502,0.00013375211,0.0001311119,0.00021592288],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00068009255,0.0003358838,0.00039749645,0.0010227874,0.0016954441,0.0007995791,0.00017321511,0.00008450874,0.000028462036],"category_scores_gemma":[0.0001598132,0.00029503438,0.00007824196,0.00031993064,0.0004011698,0.00105172,0.00007973302,0.00040770337,0.0000042862066],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012845609,0.0000051658335,0.13210653,0.0022185156,0.00016649434,0.00038450898,0.8332082,0.000012164456,0.0000042839133,0.016103057,0.0055287187,0.010249513],"study_design_scores_gemma":[0.00041435708,0.000059846087,0.003885575,0.004610207,0.00012519349,0.000016763213,0.5084402,0.0018642615,0.0000056026975,0.000753178,0.47914785,0.00067697867],"about_ca_topic_score_codex":0.82769185,"about_ca_topic_score_gemma":0.99900043,"teacher_disagreement_score":0.47361913,"about_ca_system_score_codex":0.00038823488,"about_ca_system_score_gemma":0.0002782463,"threshold_uncertainty_score":0.9999502},"labels":[],"label_agreement":null},{"id":"W4414324518","doi":"10.7202/1119912ar","title":"Rethinking Liveness through the Digital Real: The Virtual as a Performance Venue in Empirical Theatre Research","year":2024,"lang":"en","type":"article","venue":"Studies in Canadian Literature","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Liveness; Drama; Empirical research; Embarrassment; Virtual reality","score_opus":0.11580837519851733,"score_gpt":0.3767918567528119,"score_spread":0.26098348155429457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414324518","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62793154,0.07066124,1.7527888e-8,0.021731239,0.0021769695,0.000402147,0.00021244827,0.00004568135,0.27683875],"genre_scores_gemma":[0.9882388,0.0056405813,8.366447e-7,0.00076677406,0.0016662063,0.00010505922,0.000015347488,0.00002417733,0.0035421932],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983083,0.00015259563,0.00023472746,0.00030537523,0.00030457083,0.00069440505],"domain_scores_gemma":[0.998902,0.000614248,0.000017872735,0.00031206518,0.00010298206,0.000050782222],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084702024,0.00020008949,0.00021527513,0.00022424087,0.0012891273,0.0008438889,0.0003905126,0.00008233349,0.00004241294],"category_scores_gemma":[0.00006116815,0.000103734485,0.000068287874,0.00052374584,0.0011212736,0.00048263956,0.00014159037,0.0013372803,0.000073430616],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027670832,0.000008391795,0.0029493247,0.00012694593,0.00007373493,0.00020647093,0.9121011,0.000015033539,1.939602e-7,0.041282672,0.031897176,0.011311311],"study_design_scores_gemma":[0.00008368398,0.00010654002,0.00077303976,0.0012994745,0.000007258313,0.000017228078,0.07053218,0.00003968869,0.0000012214809,0.011303062,0.9156977,0.00013895708],"about_ca_topic_score_codex":0.039357796,"about_ca_topic_score_gemma":0.68374187,"teacher_disagreement_score":0.8838005,"about_ca_system_score_codex":0.00034615217,"about_ca_system_score_gemma":0.0003440985,"threshold_uncertainty_score":0.99150556},"labels":[],"label_agreement":null},{"id":"W4414486421","doi":"10.29173/css291","title":"Living Citizenship through Popular Theatre, Process Drama and Playbuilding","year":2001,"lang":"en","type":"article","venue":"Canadian Social Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Citizenship; Citizenship education; Democracy; Process (computing); Social studies","score_opus":0.06422471285225968,"score_gpt":0.28647697272274525,"score_spread":0.22225225987048558,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414486421","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6376664,0.012364351,7.381081e-7,0.0023193143,0.00049495767,0.00014825295,0.00004340934,0.00007691046,0.34688565],"genre_scores_gemma":[0.9937629,0.0014234254,0.0000064584406,0.00093871454,0.0019656876,0.000028966551,0.00000272145,0.000020830734,0.0018502787],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902576,0.000026603873,0.00015835157,0.00019920379,0.000114480536,0.00047562685],"domain_scores_gemma":[0.9996385,0.00006182809,0.0000439577,0.00006497618,0.000104180195,0.00008653345],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001167663,0.00018679259,0.00028537042,0.000069278496,0.0031424465,0.00013986402,0.00009178431,0.000043760137,0.0001713946],"category_scores_gemma":[0.000026339636,0.00016245559,0.000053817213,0.00006322707,0.00050766196,0.00018092722,0.0000404934,0.00012440752,0.00001953171],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011506668,0.000009910467,0.040969804,0.00013168059,0.0005366344,0.000044717675,0.8153239,0.0000010154015,0.0000014292856,0.09208705,0.036672015,0.014210319],"study_design_scores_gemma":[0.00019794803,0.000057731337,0.0028881656,0.0001409893,0.00009638863,0.000008738336,0.39127523,0.0000025476215,0.0000030145861,0.020053739,0.5848301,0.00044541238],"about_ca_topic_score_codex":0.018786486,"about_ca_topic_score_gemma":0.42164788,"teacher_disagreement_score":0.5481581,"about_ca_system_score_codex":0.0001022511,"about_ca_system_score_gemma":0.000049025068,"threshold_uncertainty_score":0.99815536},"labels":[],"label_agreement":null},{"id":"W4414807089","doi":"10.1016/b978-0-443-22392-1.00008-0","title":"Hype, disillusionment, and reset","year":2025,"lang":"en","type":"book-chapter","venue":"Elsevier eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario Neurotrauma Foundation","funders":"","keywords":"Software deployment; Reset (finance); Focus (optics); Public transport; Automation; Outcome (game theory); Key (lock)","score_opus":0.020067850857603656,"score_gpt":0.2231553495512398,"score_spread":0.20308749869363615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414807089","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000026881706,0.00450225,6.7499144e-8,0.0001649252,0.00058107986,0.0001549995,0.00019370994,0.00004844959,0.99432766],"genre_scores_gemma":[0.0006216172,0.0014243628,0.000009173447,0.00048483376,0.00085298123,0.00001686256,0.000026504054,0.000027458262,0.9965362],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991787,0.000007170925,0.00022780639,0.00025781678,0.0001504055,0.00017810258],"domain_scores_gemma":[0.9995245,0.0000444527,0.00008118003,0.0002639284,0.000042326814,0.00004362326],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000078786645,0.00027761355,0.0003554203,0.00010661162,0.00046308117,0.00008745542,0.0001167554,0.00008736413,0.0015642153],"category_scores_gemma":[0.0000029804944,0.00021453455,0.000100006444,0.0000017113956,0.00035711218,0.00003903501,0.00023514961,0.00023875956,0.00014113066],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009702157,0.0000021673698,0.000004002061,0.000091421614,0.00009128368,0.000004757129,0.003290941,7.835871e-9,2.9161205e-7,0.20314173,0.009385946,0.78397775],"study_design_scores_gemma":[0.00011921059,0.00004480777,0.00000517147,0.00037054496,0.0001029314,0.0000014632852,0.00011055291,4.5606532e-7,0.0000011723313,0.019625302,0.9793796,0.00023876905],"about_ca_topic_score_codex":0.000002235185,"about_ca_topic_score_gemma":0.00046045758,"teacher_disagreement_score":0.96999365,"about_ca_system_score_codex":0.000020901145,"about_ca_system_score_gemma":0.000027210071,"threshold_uncertainty_score":0.99934846},"labels":[],"label_agreement":null},{"id":"W4415381345","doi":"10.1007/978-3-319-99378-2_325-1","title":"Piccolo Teatro, Milan, Italy","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Encyclopedia; Government (linguistics); Table (database); Subject (documents); Period (music)","score_opus":0.022401080602033274,"score_gpt":0.20889885931743865,"score_spread":0.18649777871540538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415381345","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000059429212,0.0016132189,0.0000011022665,0.0005496602,0.0010658276,0.00014200032,0.00014344235,0.00014014913,0.99633867],"genre_scores_gemma":[0.001187931,0.00059929857,0.000014657803,0.0009837241,0.0016677316,0.000009434154,0.00004290575,0.000022469441,0.99547184],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992813,0.00000241699,0.00020835281,0.00020850323,0.00012244377,0.00017699687],"domain_scores_gemma":[0.9995761,0.000039210714,0.000054197328,0.00022642747,0.0000771783,0.000026919846],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000037404952,0.00027129948,0.0003322204,0.00012496549,0.00031043802,0.00008422975,0.0001452203,0.00009948756,0.039726116],"category_scores_gemma":[0.000001696756,0.00019885722,0.00018518858,0.0000031520735,0.0001837969,0.00006873741,0.00009098935,0.00020775068,0.0016563197],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005448938,0.0000033817591,0.00000354624,0.000044894325,0.00011328144,0.000002579289,0.0013339521,3.486612e-8,8.322075e-8,0.60162914,0.3912656,0.0055980734],"study_design_scores_gemma":[0.00008896416,0.000063041865,0.000002678162,0.00009568568,0.00008508721,6.120014e-7,0.00031114335,7.32232e-7,0.0000023647015,0.01588653,0.9832199,0.00024321457],"about_ca_topic_score_codex":0.000093720446,"about_ca_topic_score_gemma":0.0035593228,"teacher_disagreement_score":0.59195435,"about_ca_system_score_codex":0.000024662275,"about_ca_system_score_gemma":0.000039794562,"threshold_uncertainty_score":0.999121},"labels":[],"label_agreement":null},{"id":"W4415582570","doi":"10.18432/ari29849","title":"Process and Performance:","year":2025,"lang":"en","type":"article","venue":"Art/Research International A Transdisciplinary Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta; University of British Columbia","funders":"","keywords":"Dialogic; Process (computing); Power (physics); Chose; Key (lock); Value (mathematics)","score_opus":0.05483968340607632,"score_gpt":0.37416388524428384,"score_spread":0.31932420183820753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415582570","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6426669,0.00036902397,0.00001760197,0.0114081055,0.0008478594,0.00008899786,0.0000117296695,0.000020674337,0.34456915],"genre_scores_gemma":[0.96603584,0.0009881262,0.000019939112,0.00012448334,0.0008927534,0.000023947545,0.0000060007947,0.000008205986,0.03190067],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871254,0.000049988448,0.00025015665,0.00016712093,0.0004911069,0.00032910178],"domain_scores_gemma":[0.99923265,0.000093085764,0.00003165667,0.00007956535,0.00048367644,0.000079385274],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008062862,0.00011381664,0.00012875453,0.0004505821,0.0016542246,0.000351844,0.00032633447,0.000027173981,0.0017549564],"category_scores_gemma":[0.000015642807,0.0000856562,0.000057507394,0.00008484631,0.0005406183,0.0006939047,0.00009047875,0.0005833847,0.000106305255],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0019406857,0.00079260924,0.0330498,0.00048263365,0.0011532394,0.0001185923,0.485844,0.00012421694,0.00017439119,0.23137908,0.13751347,0.107427284],"study_design_scores_gemma":[0.0021877424,0.0009779837,0.023972087,0.00072880375,0.000047117308,0.00025481533,0.07239535,0.0023510996,0.00032193967,0.08052115,0.8158262,0.00041572272],"about_ca_topic_score_codex":0.0000028948807,"about_ca_topic_score_gemma":0.00010692986,"teacher_disagreement_score":0.6783127,"about_ca_system_score_codex":0.000045516193,"about_ca_system_score_gemma":0.00010505403,"threshold_uncertainty_score":0.9996455},"labels":[],"label_agreement":null},{"id":"W4415820358","doi":"10.33682/97cs-z57g","title":"Editorial: I Can't Breathe","year":2020,"lang":"en","type":"article","venue":"ArtsPraxis","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"General partnership; Distance education; Equity (law); The Internet; Professional development; Politics; Work (physics); Scope (computer science)","score_opus":0.027515261100666273,"score_gpt":0.21656524124413565,"score_spread":0.18904998014346938,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415820358","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026030136,0.0004747974,0.0000051641405,0.026804108,0.07915604,0.00018499292,0.00010754055,0.0004037196,0.8668335],"genre_scores_gemma":[0.8247869,0.000037679532,0.000010726838,0.0023220584,0.169647,0.0000104469,0.000006700391,0.0000132667765,0.0031652155],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994777,0.000011055433,0.0001025401,0.00012482662,0.00012414204,0.00015974118],"domain_scores_gemma":[0.99973637,0.000027333985,0.000024206007,0.00009901601,0.000049360104,0.000063690146],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000041549672,0.00009227776,0.00011375719,0.000014474432,0.0002677779,0.00006855782,0.0000952841,0.000019036686,0.0021697683],"category_scores_gemma":[0.000013657526,0.000070212634,0.000053387415,0.00002042342,0.00009940245,0.00011762458,0.00003701682,0.00008443357,0.000764332],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001257634,0.000009144159,0.00023188928,0.000008801527,0.000017801178,0.0000011253923,0.057123024,6.821284e-7,0.000029396508,0.016796617,0.9239598,0.0018091582],"study_design_scores_gemma":[0.00013371858,0.00010342694,0.000055571527,0.000004018873,0.000011778065,4.1183014e-7,0.002367133,0.000004348175,0.000061646875,0.0003938034,0.9967646,0.000099558565],"about_ca_topic_score_codex":0.0002891628,"about_ca_topic_score_gemma":0.0010624891,"teacher_disagreement_score":0.86366826,"about_ca_system_score_codex":0.000007622989,"about_ca_system_score_gemma":0.000014725261,"threshold_uncertainty_score":0.9987424},"labels":[],"label_agreement":null},{"id":"W4415820525","doi":"10.33682/w8sr-fenz","title":"Participatory aesthetics: Youth performance as encounter","year":2017,"lang":"en","type":"article","venue":"ArtsPraxis","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Citizen journalism; Power (physics); Relation (database); Participatory action research; Rendering (computer graphics); Work (physics); Process (computing)","score_opus":0.07376165737653985,"score_gpt":0.2740057357465488,"score_spread":0.20024407837000896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415820525","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61835855,0.00013078793,3.1642955e-7,0.0004208128,0.0006505366,0.00005599329,0.000012425907,0.00004766096,0.38032293],"genre_scores_gemma":[0.9865457,0.00013968296,0.0000060443476,0.0005063811,0.0007871065,0.000021807495,0.0000040751193,0.000017340597,0.011971889],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916923,0.000013338082,0.00016608978,0.00017919803,0.00015884482,0.00031328318],"domain_scores_gemma":[0.9991652,0.0000131015,0.000101135854,0.00059024506,0.00006945263,0.00006088196],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016074849,0.00015026086,0.0001585033,0.00003650935,0.0018852433,0.00032423824,0.0002985071,0.00002747424,0.002168441],"category_scores_gemma":[0.000017307877,0.000117238254,0.00007187914,0.0000054471025,0.0005444708,0.0005977146,0.000096706506,0.00010851848,0.0025947539],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019785434,0.00027391224,0.13821608,0.00013090053,0.00018831903,0.000029630683,0.658506,0.000008173581,0.00006413763,0.09753639,0.040279854,0.06456877],"study_design_scores_gemma":[0.00036597202,0.00031311932,0.013134593,0.00006576355,0.00005244606,0.0000043784657,0.009952502,0.000035884495,0.00048804953,0.0007142516,0.9745498,0.00032326544],"about_ca_topic_score_codex":0.00034865367,"about_ca_topic_score_gemma":0.0012311058,"teacher_disagreement_score":0.9342699,"about_ca_system_score_codex":0.000015407068,"about_ca_system_score_gemma":0.000022395352,"threshold_uncertainty_score":0.99941415},"labels":[],"label_agreement":null},{"id":"W4415820699","doi":"10.33682/rtbx-q6d0","title":"Editorial: Into the Traumaverse","year":2021,"lang":"en","type":"article","venue":"ArtsPraxis","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Politics; Narrative; Identity (music); Embodied cognition; Inclusion (mineral); Storytelling; Process (computing)","score_opus":0.01948053015906888,"score_gpt":0.23103972605344544,"score_spread":0.21155919589437655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415820699","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.062365927,0.0010677197,0.0000028256559,0.00726113,0.13633236,0.000092782975,0.000011448984,0.000118431795,0.7927474],"genre_scores_gemma":[0.8580206,0.00016790254,0.000020622241,0.00085505686,0.121586464,0.000017205086,0.000007903322,0.00001127796,0.019312972],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949497,0.000026732392,0.00009788928,0.000108390384,0.0001340611,0.00013798378],"domain_scores_gemma":[0.9995893,0.000066123386,0.000020647536,0.00020402462,0.00009758681,0.00002226987],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010574404,0.00007618178,0.00008424145,0.000013542636,0.000620479,0.000105640254,0.00008710991,0.000017942195,0.0030196018],"category_scores_gemma":[0.000020983998,0.000046811987,0.000065475535,0.000025549149,0.00016895813,0.00014093188,0.00004503973,0.00009412343,0.00067837036],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006968196,0.000018427258,0.00007366743,0.0000054423012,0.000025131258,0.0000025673858,0.09905358,7.41317e-7,0.00003791733,0.053073045,0.8401381,0.0075644623],"study_design_scores_gemma":[0.000107987405,0.000024909783,0.00014308598,0.000005514208,0.000014162768,9.2561856e-7,0.014854887,0.0000014814989,0.00012676051,0.0023314818,0.982317,0.00007180442],"about_ca_topic_score_codex":0.00030616162,"about_ca_topic_score_gemma":0.010724997,"teacher_disagreement_score":0.79565465,"about_ca_system_score_codex":0.000010832683,"about_ca_system_score_gemma":0.000026622833,"threshold_uncertainty_score":0.9978918},"labels":[],"label_agreement":null},{"id":"W4415820700","doi":"10.33682/b9tc-et95","title":"Reflections on Teaching Process Drama: A Critical Inquiry into Our Practice with/as Educators","year":2021,"lang":"en","type":"article","venue":"ArtsPraxis","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina; Vancouver Island University","funders":"Vancouver Island University","keywords":"Drama; Process (computing); Bachelor; Embodied cognition; Narrative; Reflexivity; Teaching method","score_opus":0.0585526649434765,"score_gpt":0.4099652403645794,"score_spread":0.3514125754211029,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415820700","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14900044,0.00032117314,0.000019402194,0.033940963,0.0015601044,0.000105487496,0.00000396247,0.00014686078,0.8149016],"genre_scores_gemma":[0.98904157,0.000024374873,0.00029295552,0.0033590915,0.0019571045,0.00005899762,0.0000069482903,0.000024365836,0.0052345926],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898356,0.00008935697,0.00016674485,0.0002862311,0.00020718192,0.00026694068],"domain_scores_gemma":[0.9991417,0.00022948565,0.000043521097,0.00023914118,0.00026630913,0.00007986321],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001709606,0.00016438078,0.00016441265,0.00007705166,0.001435311,0.00025158224,0.00008484709,0.000034572953,0.00043880267],"category_scores_gemma":[0.00054537767,0.00012818979,0.00005208709,0.00006369929,0.00016362309,0.0006629893,0.000038004553,0.00038772874,0.000537987],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012853125,0.0005962356,0.00013068813,0.00009022329,0.00011516089,0.00006962298,0.5976478,0.0000075091193,0.000042626074,0.37536404,0.021978313,0.0038292354],"study_design_scores_gemma":[0.00014471725,0.00040062968,0.00003529579,0.00009047384,0.0000655568,0.00007514184,0.39042988,0.000001346626,0.00028699194,0.0033365723,0.60494214,0.00019124751],"about_ca_topic_score_codex":0.0002836914,"about_ca_topic_score_gemma":0.0016751264,"teacher_disagreement_score":0.84004116,"about_ca_system_score_codex":0.000042717355,"about_ca_system_score_gemma":0.0001678001,"threshold_uncertainty_score":0.9998647},"labels":[],"label_agreement":null},{"id":"W4415820720","doi":"10.33682/9tvh-7vwg","title":"A Plenary Conversation","year":2019,"lang":"en","type":"article","venue":"ArtsPraxis","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Conversation; Plenary session; Scholarship; Session (web analytics)","score_opus":0.014914728197515919,"score_gpt":0.198316173712871,"score_spread":0.1834014455153551,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415820720","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49642947,0.000120424935,9.552205e-7,0.00063810736,0.0006158933,0.000077295015,0.0000061997453,0.00005422042,0.50205743],"genre_scores_gemma":[0.9755505,0.00001909061,0.000009730609,0.00044866285,0.0003199663,0.000006226021,0.000008279246,0.0000059469094,0.02363161],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965787,0.000007652146,0.00007323993,0.000085934844,0.00006776724,0.000107526415],"domain_scores_gemma":[0.9998002,0.000024218323,0.000021491096,0.000111559326,0.000026859985,0.000015671938],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000047679732,0.000057327477,0.000072369236,0.00003052624,0.00010361053,0.000032494307,0.000044893502,0.000011106109,0.011559172],"category_scores_gemma":[0.0000016342782,0.000045615056,0.00003396192,0.000011017051,0.00005265512,0.00020867585,0.000018257866,0.000039858664,0.0053386786],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008841111,0.00008819443,0.03807075,0.0000945398,0.000106104606,0.0000044155154,0.35985246,0.000009076678,0.00046891795,0.39300367,0.18985434,0.018359104],"study_design_scores_gemma":[0.00018853144,0.00009355801,0.0018829063,0.0000089471005,0.0000062950467,0.0000010236265,0.008339364,0.000029148861,0.000084610445,0.00082468794,0.98845196,0.000088983325],"about_ca_topic_score_codex":0.00014494087,"about_ca_topic_score_gemma":0.000442342,"teacher_disagreement_score":0.7985976,"about_ca_system_score_codex":0.0000089994,"about_ca_system_score_gemma":0.000007355137,"threshold_uncertainty_score":0.9954358},"labels":[],"label_agreement":null},{"id":"W4415820748","doi":"10.33682/jcd7-rs9r","title":"Performer and Audience Responses to Ethnotheatre: Exploring Conflict and Social Justice","year":2010,"lang":"en","type":"article","venue":"ArtsPraxis","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"University of British Columbia","keywords":"Social justice; Performing arts; Economic Justice; Audience response; Audience participation; Visual methods","score_opus":0.09030939356147662,"score_gpt":0.28565757520601365,"score_spread":0.19534818164453704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415820748","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.941133,0.00020898206,0.0000017665366,0.0033728941,0.0006492888,0.00009297549,0.000016671998,0.000040561652,0.05448386],"genre_scores_gemma":[0.9923584,0.00014841328,0.0000945323,0.0008270373,0.0009300224,0.000038572638,8.6728807e-7,0.00001146366,0.0055907066],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999344,0.000015225418,0.00011808609,0.00019381222,0.00009732629,0.00023156611],"domain_scores_gemma":[0.99965364,0.00011173783,0.000024540725,0.00010210802,0.00004791393,0.00006008637],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018656114,0.00012533949,0.00013970457,0.000069649475,0.0011079978,0.00012240064,0.00006279633,0.000026245583,0.0005158405],"category_scores_gemma":[0.0000344289,0.00010193736,0.000022471368,0.000022470416,0.00035719213,0.00033421762,0.00007997518,0.00016241896,0.000089202105],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003111605,0.000045635043,0.0108021945,0.00016017315,0.000056263103,0.000009152429,0.77257997,2.716352e-7,0.005669955,0.1039996,0.025371302,0.08099433],"study_design_scores_gemma":[0.00018635739,0.00016286506,0.0145185245,0.0000120912955,0.00003546419,0.0000098053215,0.018133631,0.000004918577,0.00026794078,0.00011395279,0.966362,0.00019245852],"about_ca_topic_score_codex":0.00011309088,"about_ca_topic_score_gemma":0.0018562265,"teacher_disagreement_score":0.9409907,"about_ca_system_score_codex":0.0000046252235,"about_ca_system_score_gemma":0.000011332593,"threshold_uncertainty_score":0.8521936},"labels":[],"label_agreement":null},{"id":"W4415880685","doi":"10.64628/aam.t5wxfpyew","title":"Taylor Swift and the performative ambiguity of ‘The Life of a Showgirl’","year":2025,"lang":"","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Performative utterance; Swift; Ambiguity; Context (archaeology); Performativity; Everyday life","score_opus":0.01429427719723268,"score_gpt":0.22479829551663855,"score_spread":0.21050401831940588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415880685","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43445784,0.0065723527,0.000013202587,0.0063585,0.00088655663,0.000605472,0.00010468071,0.000010666461,0.5509907],"genre_scores_gemma":[0.97694755,0.0014334668,0.000005249861,0.0008715287,0.00014197262,0.000016689208,5.822798e-7,0.000005611627,0.020577345],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99861646,0.0001749608,0.00063196593,0.00014651458,0.00020801731,0.00022210207],"domain_scores_gemma":[0.998687,0.00040132186,0.00026438784,0.00038302725,0.0002362013,0.000028062657],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006476516,0.0002177104,0.0005612519,0.0000690034,0.0012581086,0.000068594534,0.00031593817,0.000053611147,0.0012830596],"category_scores_gemma":[0.00009572477,0.00009634426,0.00024361243,0.000114618975,0.0037941341,0.00018260577,0.00045484828,0.0002812791,0.000005818725],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005944367,0.00011344232,0.0036353422,0.000840656,0.0008640951,6.9900345e-8,0.24699442,0.0000064760366,0.0000123238015,0.7307395,0.0065934947,0.009605801],"study_design_scores_gemma":[0.00966693,0.0006973665,0.046829794,0.0012995852,0.0023887362,0.0000024266333,0.5711617,0.0043837046,0.005894682,0.018706255,0.33825928,0.00070956687],"about_ca_topic_score_codex":0.001768777,"about_ca_topic_score_gemma":0.0028444221,"teacher_disagreement_score":0.7120332,"about_ca_system_score_codex":0.000009288579,"about_ca_system_score_gemma":0.000117997966,"threshold_uncertainty_score":0.9996299},"labels":[],"label_agreement":null},{"id":"W4416107999","doi":"10.1017/s0040557425100653","title":"LeAnn Fields and University of Michigan Press","year":2025,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Field (mathematics); Performance studies; TRACE (psycholinguistics); Work (physics); Chart","score_opus":0.027063960885553188,"score_gpt":0.21648655636816563,"score_spread":0.18942259548261245,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416107999","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5762642,0.0010071296,0.000010784252,0.00019905581,0.00018711096,0.00005040759,0.000080228405,0.000022634349,0.42217842],"genre_scores_gemma":[0.98187155,0.00024120117,0.0000044292174,0.00003701666,0.000036038462,1.2711317e-7,0.000006630129,0.0000022137162,0.017800806],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997109,0.000047615802,0.000057613823,0.0000742333,0.00003256841,0.00007706456],"domain_scores_gemma":[0.99976254,0.00007489174,0.000018191427,0.00009679991,0.000035947804,0.000011637575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001409895,0.00005484103,0.00011524451,0.00002745501,0.00015871247,0.000011354293,0.00006823133,0.000019255382,0.00017825098],"category_scores_gemma":[0.00000288461,0.000046988254,0.000028415787,0.000016687593,0.00016871611,0.000051587005,0.000050611656,0.000047973557,0.000004504383],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011263012,0.00029058298,0.23408175,0.00069396896,0.0012152302,0.000008100116,0.37121832,0.00002836049,0.000066360226,0.15814884,0.09503229,0.13808993],"study_design_scores_gemma":[0.00077965966,0.00015106628,0.12971964,0.00010455421,0.00010354634,5.100078e-7,0.018384594,0.000041809475,0.0002562848,0.00201386,0.8481985,0.0002459972],"about_ca_topic_score_codex":0.006368666,"about_ca_topic_score_gemma":0.079998,"teacher_disagreement_score":0.7531662,"about_ca_system_score_codex":0.0000018704797,"about_ca_system_score_gemma":0.000010608737,"threshold_uncertainty_score":0.962756},"labels":[],"label_agreement":null},{"id":"W4416262915","doi":"10.1017/9781009443074","title":"Performing Urban Ecologies","year":2025,"lang":"","type":"book","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cognitive reframing; Element (criminal law); Indigenous; Urbanization; Population; Anthropocene; Climate justice; Futures contract; Planetary boundaries; Environmental justice","score_opus":0.023745324236462806,"score_gpt":0.19700892931503472,"score_spread":0.17326360507857191,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416262915","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015129035,0.0016112513,0.000013206647,0.000051397008,0.0027324904,0.00080993946,0.0012941717,0.00029026446,0.9916844],"genre_scores_gemma":[0.010397927,0.002452604,0.000016355418,0.00016792366,0.0016403707,0.0000045164998,0.00012231375,0.000049202674,0.9851488],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970674,0.00013741621,0.00050500926,0.00093601475,0.00036646856,0.0009876981],"domain_scores_gemma":[0.99779475,0.000330676,0.00041551318,0.0008577317,0.0004258532,0.00017549249],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00020558851,0.0010058323,0.0011817408,0.0005443737,0.0037803426,0.00037088263,0.0011684956,0.0005405805,0.00009521213],"category_scores_gemma":[0.000019234694,0.0010883397,0.00068572315,0.000019395602,0.0018110088,0.00040744114,0.0015126368,0.0011788165,0.00007036094],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001927931,0.00003187231,0.000032541127,0.00076130684,0.000662508,0.00011189398,0.0032001259,0.0000025630222,0.0000014528044,0.5876247,0.40435562,0.003022607],"study_design_scores_gemma":[0.00092133554,0.00027334533,0.000047159425,0.0008768077,0.0011995517,0.000005072342,0.006713472,0.00006679559,0.000101631704,0.000005069172,0.9887007,0.0010890611],"about_ca_topic_score_codex":0.00064147875,"about_ca_topic_score_gemma":0.000068032976,"teacher_disagreement_score":0.58761966,"about_ca_system_score_codex":0.00066821184,"about_ca_system_score_gemma":0.0008104839,"threshold_uncertainty_score":0.99915665},"labels":[],"label_agreement":null},{"id":"W4416323317","doi":"10.32396/hand9x37","title":"A Jury of Her Audience","year":2025,"lang":"","type":"article","venue":"USURJ University of Saskatchewan Undergraduate Research Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jury; Gesture; Identification (biology); Jury trial; Audience response; Jury instructions","score_opus":0.03841999107800502,"score_gpt":0.2866266852629274,"score_spread":0.24820669418492236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416323317","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58371514,0.012807333,0.00069960044,0.030470869,0.0017836634,0.0007055643,0.00025231153,0.000040370585,0.36952513],"genre_scores_gemma":[0.89983416,0.01593667,0.00014438058,0.00002290819,0.00019828948,1.4573877e-7,0.0000019877873,0.000013499204,0.08384798],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99622893,0.00063576194,0.0006256416,0.00036244522,0.0012069194,0.0009402737],"domain_scores_gemma":[0.99617594,0.0005402099,0.0004303935,0.00042442948,0.0021971213,0.00023190494],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0025061087,0.0002982367,0.0007671721,0.0012798026,0.0029569645,0.00015189743,0.0010458677,0.00015097074,0.0010494884],"category_scores_gemma":[0.0000679477,0.00030072723,0.00047680954,0.00068245875,0.004787762,0.00061318505,0.0006407173,0.001544193,0.000049483446],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004279762,0.0024801334,0.01254855,0.0038730777,0.006072162,0.00048354483,0.57888746,0.00021684381,0.002225598,0.12298403,0.11965031,0.14629851],"study_design_scores_gemma":[0.0024621405,0.0012041895,0.002231055,0.0027602601,0.00031103732,0.000025944111,0.6361259,0.00011660204,0.0009264261,0.035986546,0.31742865,0.0004212217],"about_ca_topic_score_codex":0.0037222314,"about_ca_topic_score_gemma":0.009296007,"teacher_disagreement_score":0.316119,"about_ca_system_score_codex":0.00028821555,"about_ca_system_score_gemma":0.0023811874,"threshold_uncertainty_score":0.9999445},"labels":[],"label_agreement":null},{"id":"W4416457921","doi":"10.1353/shb.2025.a974940","title":"Shakespeare's \"Dramatic Style\" at the Curtain: A Collaborative Model for Site-Responsive Practice-as-Research","year":2025,"lang":"en","type":"article","venue":"Shakespeare bulletin","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Conversation; Reciprocal; Negotiation; Exploit; Diversity (politics); Personalization","score_opus":0.044934225494511856,"score_gpt":0.34768644997739917,"score_spread":0.3027522244828873,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416457921","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038172502,0.0075427666,0.00019786692,0.24039191,0.000941602,0.0045237048,0.0015687288,0.0002655062,0.7063954],"genre_scores_gemma":[0.4379683,0.0002934939,0.00032827412,0.007107051,0.0007796467,0.0011747627,0.00011026359,0.000069505135,0.55216867],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971911,0.0004568413,0.00045108466,0.0005380189,0.0005855705,0.0007773932],"domain_scores_gemma":[0.9938747,0.0033019222,0.00015753334,0.00062040973,0.0019594731,0.00008590405],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0017697073,0.00034319007,0.00040354178,0.00023841344,0.0031862,0.00060355983,0.0004892069,0.00010352348,0.004821796],"category_scores_gemma":[0.0017525662,0.00023576096,0.00018608077,0.0002713142,0.000935857,0.00018792113,0.000399625,0.0005182212,0.002419212],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013563961,0.00011828172,0.000015667412,0.00014162585,0.00023169753,0.00000970227,0.15983275,0.0002916388,0.00002819896,0.13720572,0.6989396,0.0018287301],"study_design_scores_gemma":[0.00075467804,0.00026980217,0.000011570816,0.00015504842,0.00009301983,0.0000031570696,0.097336076,0.0025031131,0.000068487534,0.0029262337,0.89562476,0.00025405738],"about_ca_topic_score_codex":0.0004014947,"about_ca_topic_score_gemma":0.0043495325,"teacher_disagreement_score":0.3997958,"about_ca_system_score_codex":0.00021537929,"about_ca_system_score_gemma":0.00042452727,"threshold_uncertainty_score":0.99835753},"labels":[],"label_agreement":null},{"id":"W4416544705","doi":"10.37514/alr-j.2022.6.1.06","title":"Zoom ‘n Gloom: Performativity and Inclusivity during the Pandemic and Beyond","year":2022,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Performativity; Zoom; Pandemic; Face (sociological concept); Subjectivity","score_opus":0.013659134358236446,"score_gpt":0.20563960950395843,"score_spread":0.19198047514572197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416544705","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9100253,0.00062466814,5.99412e-7,0.0007661173,0.0001674687,0.000089670226,0.000027343436,0.000043444456,0.08825536],"genre_scores_gemma":[0.9900006,0.00027549829,0.0000035458277,0.00043984252,0.00015730073,0.000023345405,0.0000016834257,0.0000050936187,0.009093058],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950874,0.000040637304,0.00009200309,0.00010266593,0.000113084636,0.00014286661],"domain_scores_gemma":[0.99978155,0.000059952978,0.00002974972,0.00009480982,0.00001208701,0.000021838405],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002449732,0.00008699336,0.000103459664,0.000027523707,0.0034751908,0.00007817107,0.000067867055,0.000007795942,0.0015144704],"category_scores_gemma":[0.000003042811,0.000052315867,0.000019789668,0.000018270744,0.00022585758,0.000214069,0.000555831,0.00016865108,0.000005232729],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014764589,0.00010476414,0.29128736,0.00021277327,0.0001748458,0.0000050142776,0.5726134,0.000014021084,0.00020473162,0.08303723,0.008010941,0.04418724],"study_design_scores_gemma":[0.000820133,0.00021888336,0.092456885,0.0000065027157,0.000050126557,0.00007064805,0.09933459,0.0005249516,0.000053036387,0.0033882542,0.8027085,0.00036748277],"about_ca_topic_score_codex":0.00024304516,"about_ca_topic_score_gemma":0.002196681,"teacher_disagreement_score":0.7946976,"about_ca_system_score_codex":0.000017650318,"about_ca_system_score_gemma":0.0000075531343,"threshold_uncertainty_score":0.9993983},"labels":[],"label_agreement":null},{"id":"W4416562560","doi":"10.1080/14682761.2025.2594256","title":"The theatre of Louise Lowe","year":2025,"lang":"en","type":"article","venue":"Studies in Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Performance art; Volume (thermodynamics); Theatre studies; Term (time)","score_opus":0.02731846339080316,"score_gpt":0.27840632313775526,"score_spread":0.2510878597469521,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416562560","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46827832,0.04456657,4.4534715e-7,0.001219131,0.0010653926,0.00018203183,0.000011215821,0.000026572328,0.4846503],"genre_scores_gemma":[0.9486615,0.04541566,0.000006270755,0.00014078335,0.000204919,0.000037400678,9.825209e-7,0.000007085924,0.005525418],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999067,0.00003150937,0.00033553253,0.00017155497,0.000110431116,0.00028396328],"domain_scores_gemma":[0.99931234,0.0002804863,0.00006376153,0.00024636966,0.00008143632,0.000015625952],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032336914,0.00018030727,0.00031550232,0.00010227729,0.0008428353,0.00003320346,0.00018412268,0.000028843993,0.000027663198],"category_scores_gemma":[0.000008863532,0.000101221376,0.000058044887,0.00010941137,0.0013259919,0.0001491632,0.00016263689,0.00015337259,0.000008703717],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00065356086,0.00011755412,0.075904705,0.0011136725,0.000607118,0.00000388729,0.106169775,0.000023833521,0.000009838027,0.09791699,0.016478155,0.7010009],"study_design_scores_gemma":[0.0008035498,0.00047552338,0.0035428603,0.0007820999,0.00008454318,0.000002326155,0.058180925,0.0001499451,0.0002913345,0.008601784,0.92679155,0.0002935334],"about_ca_topic_score_codex":0.00008792822,"about_ca_topic_score_gemma":0.0019062156,"teacher_disagreement_score":0.9103134,"about_ca_system_score_codex":0.000020595737,"about_ca_system_score_gemma":0.000026292524,"threshold_uncertainty_score":0.64824927},"labels":[],"label_agreement":null},{"id":"W4416625492","doi":"10.4324/9781003046691-1","title":"Introduction","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geopolitics; Context (archaeology); Ideology; Relation (database); Quarter (Canadian coin); Period (music)","score_opus":0.018556898813825582,"score_gpt":0.20096259600782393,"score_spread":0.18240569719399835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416625492","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[5.1563774e-7,0.00049346214,0.0000016717585,0.0022232141,0.0019403168,0.00005281791,0.000019580275,0.000080331134,0.9951881],"genre_scores_gemma":[0.00009598122,0.0004117672,0.0000066041353,0.00025889048,0.009634724,0.0000024282842,0.000030102361,0.000008416509,0.98955107],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966455,9.2534844e-7,0.00009731469,0.00011672321,0.00005553726,0.00006497079],"domain_scores_gemma":[0.99978524,0.000008126613,0.000026629035,0.00012318138,0.000048704318,0.000008095919],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000021971435,0.00011460492,0.00013521305,0.00006958518,0.00016323884,0.00003808048,0.00004482072,0.00003963208,0.06483869],"category_scores_gemma":[9.473268e-7,0.000085323285,0.00006406469,0.0000012789925,0.00009034108,0.000045280955,0.00002826047,0.000104867795,0.0013373476],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017860286,7.847349e-7,8.0698406e-8,0.0000134872735,0.000030391006,1.563702e-7,0.0005345312,2.5756583e-8,3.3455446e-8,0.5304579,0.45842496,0.010535871],"study_design_scores_gemma":[0.000025426965,0.00001877899,1.8441747e-7,0.000021959206,0.00003629668,2.4683268e-7,0.00011180603,4.2020653e-7,0.000002283626,0.022196742,0.97748756,0.00009829895],"about_ca_topic_score_codex":0.000023462495,"about_ca_topic_score_gemma":0.00066339044,"teacher_disagreement_score":0.5190626,"about_ca_system_score_codex":0.000012595838,"about_ca_system_score_gemma":0.000012650982,"threshold_uncertainty_score":0.99944025},"labels":[],"label_agreement":null},{"id":"W4416754007","doi":"10.12745/et.28.2.6959","title":"Editorial","year":2025,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Editorial board; Performance art; Advisory committee","score_opus":0.009218304720430892,"score_gpt":0.2184534558976789,"score_spread":0.209235151177248,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416754007","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034710538,0.00028414078,0.0000018331676,0.0007219648,0.10035962,0.00005919407,0.00001209284,0.000093380724,0.86375725],"genre_scores_gemma":[0.80483097,0.000026029858,0.0000065504746,0.00020943297,0.13796367,0.000011092588,0.0000027445703,0.0000064343762,0.056943063],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995861,0.0000105945865,0.0000862848,0.00009234911,0.000084655534,0.00013999124],"domain_scores_gemma":[0.99978155,0.000027985683,0.000013182756,0.00012433284,0.000038275233,0.000014687817],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000055334232,0.00007723634,0.00009535311,0.000050026938,0.0003101168,0.00009063896,0.00009470586,0.000025287074,0.00081517105],"category_scores_gemma":[0.0000023774326,0.000057247118,0.000052283078,0.000025298026,0.00009785327,0.00011681811,0.00003299999,0.00008887559,0.00035832773],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024190698,0.000016131133,0.0009200707,0.0000089812465,0.00003994659,3.3521258e-7,0.011399235,3.539993e-7,0.000008233331,0.092113905,0.8831529,0.012315698],"study_design_scores_gemma":[0.00017161216,0.000038838105,0.00027042566,0.000018191775,0.000014943653,5.8804268e-8,0.001020075,8.768248e-7,0.00003511724,0.0048705447,0.9934942,0.000065080414],"about_ca_topic_score_codex":0.0003149745,"about_ca_topic_score_gemma":0.0003962664,"teacher_disagreement_score":0.8068142,"about_ca_system_score_codex":0.000009138853,"about_ca_system_score_gemma":0.000019022138,"threshold_uncertainty_score":0.8925551},"labels":[],"label_agreement":null},{"id":"W4416927466","doi":"10.33011/tf.v23i1.4703","title":"The Mark of the Brief Night: Immanent Loss and Responsibility","year":2024,"lang":"en","type":"article","venue":"Transformations","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Ideal (ethics); Identity (music); Process (computing); Raising (metalworking)","score_opus":0.013808037942192819,"score_gpt":0.22876541746313403,"score_spread":0.2149573795209412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416927466","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7250839,0.0054770815,0.000056938396,0.019061223,0.0008957816,0.0004234037,0.00026000585,0.00008131853,0.24866039],"genre_scores_gemma":[0.9956581,0.0005486988,0.0000025759423,0.000054133227,0.00007207317,0.000012389716,0.0000017322462,0.0000032896141,0.0036470264],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995989,0.000026521211,0.00015648814,0.00004892186,0.00008380701,0.00008536969],"domain_scores_gemma":[0.9997012,0.000121660436,0.0000124970575,0.00012582124,0.000028031232,0.000010805583],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020163845,0.000052714106,0.00005570976,0.00001879526,0.0007654293,0.00008901738,0.00007569883,0.000010397598,0.000122098],"category_scores_gemma":[0.0000040312193,0.000023806853,0.00005611736,0.000034556368,0.00038012984,0.00017061424,0.000011765766,0.000076476805,0.000011672577],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000334636,0.000015096183,0.00012882418,0.0001551572,0.00006711989,2.6362292e-7,0.16659066,0.0000052207492,0.000025249765,0.8099217,0.0062420242,0.016815245],"study_design_scores_gemma":[0.00007057542,0.000022227809,0.0033629078,0.000044757933,0.00003346639,0.0000027374647,0.00391289,0.00020864971,0.00016374538,0.006224334,0.985905,0.0000487419],"about_ca_topic_score_codex":0.00006836221,"about_ca_topic_score_gemma":0.0021908898,"teacher_disagreement_score":0.97966295,"about_ca_system_score_codex":0.0000070851715,"about_ca_system_score_gemma":0.000022604694,"threshold_uncertainty_score":0.58871406},"labels":[],"label_agreement":null},{"id":"W4417188909","doi":"10.1108/978-1-61735-522-620251013","title":"Dramatic Encounters","year":2011,"lang":"en","type":"book-chapter","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"","score_opus":0.04357498581991763,"score_gpt":0.19905333331305403,"score_spread":0.15547834749313638,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417188909","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000008411634,0.00034767867,0.0000018331807,0.000058002843,0.0008084981,0.00007936308,0.000023283641,0.00008581232,0.99858713],"genre_scores_gemma":[0.006444162,0.0003558783,0.000007515284,0.00038222194,0.00089638605,0.000004294411,0.000011246958,0.00002832166,0.99187],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995152,0.0000013199444,0.00015520863,0.00011711115,0.00009166524,0.000119503056],"domain_scores_gemma":[0.99970144,0.000013447497,0.00005924112,0.00016274978,0.000040314404,0.000022821136],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000030552543,0.00019012981,0.00021398369,0.000065553744,0.00016418532,0.00004972106,0.00010690444,0.000052672654,0.103498034],"category_scores_gemma":[5.3158215e-7,0.00013258489,0.00010781839,9.4863924e-7,0.00020520765,0.00007834536,0.00003672951,0.00012043216,0.005418928],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002575358,0.000002672132,7.726161e-7,0.00003747694,0.00008133628,0.0000012633993,0.016281277,8.65595e-9,3.7932708e-8,0.9081526,0.07177521,0.0036648035],"study_design_scores_gemma":[0.000038946102,0.00004657159,5.5433355e-7,0.00007924134,0.000050181716,8.4006086e-7,0.00037547696,3.4656347e-7,0.0000011639081,0.05143256,0.94779,0.00018407447],"about_ca_topic_score_codex":0.00009990112,"about_ca_topic_score_gemma":0.0014018285,"teacher_disagreement_score":0.8760148,"about_ca_system_score_codex":0.000012105568,"about_ca_system_score_gemma":0.0000120114955,"threshold_uncertainty_score":0.9953555},"labels":[],"label_agreement":null},{"id":"W561437513","doi":"10.1017/cbo9781107281103","title":"Reading Class through Shakespeare, Donne, and Milton","year":2014,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"HAMLET (protein complex); Reading (process); Criticism; Literature; Poetry; Art; The Renaissance; Argument (complex analysis); Renaissance literature; Class (philosophy); Philosophy; Art history; Epistemology; Linguistics","score_opus":0.026626913764050193,"score_gpt":0.19282973870675754,"score_spread":0.16620282494270736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W561437513","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00028732224,0.00041405382,0.000013704417,0.000032640295,0.0005235293,0.00022674777,0.0002957686,0.0001452695,0.99806094],"genre_scores_gemma":[0.0012290343,0.0004127173,0.000015572241,0.00018965926,0.0012298278,9.611115e-7,0.00007401991,0.00004167803,0.9968065],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890673,0.00004178309,0.00015937572,0.0004037307,0.00017254014,0.00031586838],"domain_scores_gemma":[0.9992415,0.00008459462,0.0001512809,0.00033608123,0.000109732515,0.00007683177],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000077767465,0.0003615886,0.00046603716,0.00010187094,0.00072741386,0.00012788709,0.00027003454,0.00017953452,0.000021334024],"category_scores_gemma":[0.000003350212,0.00036374296,0.00013832486,0.000003564214,0.00064034364,0.0001855412,0.00029149227,0.00038596144,0.000029828512],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003480178,0.0000034480408,0.0000018469902,0.00016301236,0.000105275685,0.0000222932,0.0029806746,1.6005764e-7,9.124506e-7,0.5979274,0.39818966,0.00057055027],"study_design_scores_gemma":[0.00038871675,0.00008055326,0.0000053005874,0.0002761515,0.00023329636,0.0000055301753,0.00068134785,0.000011077426,0.000021093098,0.000039351162,0.9978233,0.00043425843],"about_ca_topic_score_codex":0.0003363845,"about_ca_topic_score_gemma":0.000091399466,"teacher_disagreement_score":0.59963363,"about_ca_system_score_codex":0.00010883904,"about_ca_system_score_gemma":0.00005893427,"threshold_uncertainty_score":0.99988145},"labels":[],"label_agreement":null},{"id":"W570887090","doi":"","title":"Rethinking the Virtues and Values","year":2015,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance studies; Performance art; Media studies; Sociology; Art history; History; Anthropology","score_opus":0.050469917364067786,"score_gpt":0.22441190504516678,"score_spread":0.173941987681099,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W570887090","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13980564,0.000019620284,0.000009021782,0.00055681897,0.00028964898,0.00015055462,0.000011314231,0.00012043667,0.8590369],"genre_scores_gemma":[0.96174985,0.0365352,0.000068277026,0.00026850525,0.00051613,0.0000011957577,0.0000041098706,0.000013701816,0.00084301556],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993872,0.000064912434,0.00007333059,0.00015935944,0.00013403973,0.0001811684],"domain_scores_gemma":[0.9995959,0.000063236694,0.000045515375,0.00016504948,0.000092195776,0.000038139322],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018336825,0.00012537593,0.0001262242,0.0012978931,0.00060785323,0.00011620887,0.00018298454,0.00002918937,0.00003253079],"category_scores_gemma":[0.000016781902,0.00008566609,0.000044448745,0.00040744917,0.00033311127,0.00040483612,0.00016294292,0.00013630875,0.000024931996],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000106426625,0.000041855583,0.0007932335,0.00002925217,0.00013017893,0.000029705698,0.847451,0.0000030764108,6.397039e-7,0.118758515,0.0039901515,0.028666005],"study_design_scores_gemma":[0.00030286514,0.000107252505,0.000030568346,0.000021475935,0.000052780393,0.0000032186476,0.02868553,0.000035120807,0.000020855674,0.0001422589,0.9704684,0.00012969656],"about_ca_topic_score_codex":0.026165923,"about_ca_topic_score_gemma":0.030420732,"teacher_disagreement_score":0.9664782,"about_ca_system_score_codex":0.000037642254,"about_ca_system_score_gemma":0.00007739682,"threshold_uncertainty_score":0.98727155},"labels":[],"label_agreement":null},{"id":"W571062349","doi":"10.1057/9781137402455","title":"Performing Objects and Theatrical Things","year":2014,"lang":"en","type":"book","venue":"Palgrave Macmillan UK eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":67,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"Social Sciences and Humanities Research Council of Canada; York University","keywords":"Aesthetics; Visual arts; History; Art; Sociology","score_opus":0.016641019789849432,"score_gpt":0.2077696269511015,"score_spread":0.19112860716125205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W571062349","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00057202287,0.0026328464,0.0000026677142,0.00004975056,0.00069941406,0.00030997285,0.00005087195,0.00014831622,0.9955341],"genre_scores_gemma":[0.8298093,0.0002089619,0.000025256812,0.0005268386,0.0031214126,0.000023949511,0.000035817666,0.00007667909,0.16617174],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99829614,0.000034493838,0.00038444973,0.00046426823,0.0003181877,0.00050248543],"domain_scores_gemma":[0.99904215,0.00018134537,0.0001818005,0.00037224955,0.00009217355,0.0001302804],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00022893815,0.0005643085,0.0006989776,0.00021912929,0.00078742724,0.00020714483,0.00023990677,0.000211096,0.0006406311],"category_scores_gemma":[0.000010849376,0.00042936322,0.00020892716,0.0000068369086,0.00055423356,0.0000020773516,0.0002192072,0.0005043331,0.00022963525],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033003213,3.3651463e-7,0.0000669371,0.00030091841,0.00017768626,0.000014351321,0.043047544,8.663818e-8,0.0000030280275,0.9205091,0.0018360009,0.03401098],"study_design_scores_gemma":[0.00039241582,0.00025715778,0.000033072116,0.00029878,0.00021780156,0.000029716957,0.0011390181,0.000029996558,0.00001846326,0.585587,0.41121417,0.0007824073],"about_ca_topic_score_codex":0.00009177027,"about_ca_topic_score_gemma":0.00054186286,"teacher_disagreement_score":0.8293624,"about_ca_system_score_codex":0.0000594274,"about_ca_system_score_gemma":0.000089244786,"threshold_uncertainty_score":0.9998158},"labels":[],"label_agreement":null},{"id":"W571438677","doi":"","title":"Chocolate Woman Visions an Organic Dramaturgy: Blocking-Notation for the Indigenous Soul","year":2008,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Vision; Soul; Indigenous; Blocking (statistics); Art; Aesthetics; Sociology; Philosophy; Theology; Anthropology; Computer science; Ecology; Biology","score_opus":0.03238511149818714,"score_gpt":0.2465664174364645,"score_spread":0.2141813059382774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W571438677","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9930176,0.0015069467,0.0000021286357,0.0006426599,0.00083893456,0.0006601811,0.00010360481,0.000082856954,0.0031450586],"genre_scores_gemma":[0.9898808,0.0005313178,0.000011736749,0.0017116709,0.0009882094,0.00044864477,0.0000149862135,0.00003440799,0.006378232],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99874157,0.000019248231,0.0002139951,0.00022624499,0.00012767615,0.0006712768],"domain_scores_gemma":[0.9991182,0.00014563304,0.00007344063,0.00025224805,0.0002323831,0.00017811584],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00016050074,0.00021915001,0.0002713187,0.00016228313,0.005981186,0.00010622023,0.00021488458,0.000037707003,0.00034129166],"category_scores_gemma":[0.000037241425,0.00014992316,0.0000672318,0.00007234373,0.0004285831,0.00022475496,0.000035031604,0.0001322129,0.000068681904],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025557556,0.000027888558,0.00081860705,0.000041593572,0.00051890983,0.000013205877,0.98560977,0.000018761884,0.000011094401,0.005215607,0.005756732,0.0019422545],"study_design_scores_gemma":[0.00055659394,0.00045898024,0.002039831,0.000030672298,0.000083405655,0.000012455845,0.4412537,0.00004594786,0.000023282319,0.0038057691,0.5512449,0.00044447527],"about_ca_topic_score_codex":0.0017363142,"about_ca_topic_score_gemma":0.27738947,"teacher_disagreement_score":0.5454882,"about_ca_system_score_codex":0.00029984163,"about_ca_system_score_gemma":0.00024248243,"threshold_uncertainty_score":0.99531287},"labels":[],"label_agreement":null},{"id":"W572110930","doi":"10.1353/mdr.2003.0059","title":"Stage Fright: Modernism, Anti-Theatricality, and Drama by Martin Puchner (review)","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.02423929707317188,"score_gpt":0.24289635537830845,"score_spread":0.21865705830513657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W572110930","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4368576,0.115310594,0.0009527815,0.0038848487,0.000642836,0.0009118147,0.00035826006,0.0003677618,0.4407135],"genre_scores_gemma":[0.9408353,0.0069361473,0.000062255145,0.0016454203,0.00018843757,0.000039023806,0.000021911226,0.000040770712,0.050230738],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985006,0.0000880045,0.00034396502,0.00036768592,0.00025858125,0.00044118514],"domain_scores_gemma":[0.99935734,0.000043456865,0.00008713311,0.0003305334,0.00007137095,0.00011014507],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025980105,0.00028746997,0.00042861767,0.000042709697,0.0005502904,0.00015926175,0.0001485384,0.00006259627,0.002161528],"category_scores_gemma":[0.000016669532,0.0002156786,0.00010500318,0.000037121175,0.00026414858,0.00026361243,0.00007205168,0.00020150894,0.00016641134],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009402003,0.0011486625,0.013924246,0.0032019268,0.00063882454,0.000060744685,0.08684226,0.00004982931,0.00085806113,0.25971413,0.5511817,0.082285605],"study_design_scores_gemma":[0.00041740455,0.00006763332,0.00009481552,0.0001067614,0.00006841412,0.0000049069586,0.0004038985,0.0007011259,0.00023847817,0.0062050414,0.9913122,0.00037931357],"about_ca_topic_score_codex":0.0001322747,"about_ca_topic_score_gemma":0.00014500135,"teacher_disagreement_score":0.50397766,"about_ca_system_score_codex":0.000022360147,"about_ca_system_score_gemma":0.00002151769,"threshold_uncertainty_score":0.9987506},"labels":[],"label_agreement":null},{"id":"W580076194","doi":"","title":"Czech and Slovak theatre abroad : in the USA, Canada, Australia and England","year":2006,"lang":"en","type":"book","venue":"East European Monographs , Distributed by Columbia University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Czech; Slovak; Drama; World War II; History; Immigration; Media studies; Classics; Literature; Art; Sociology; Archaeology; Linguistics","score_opus":0.016471354011910876,"score_gpt":0.1796007222824084,"score_spread":0.1631293682704975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W580076194","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065170676,0.00035979916,0.0000016714371,0.000039236555,0.00015951536,0.00047790454,0.012152886,0.000039303188,0.92159903],"genre_scores_gemma":[0.20608206,0.00010565804,0.0000023893958,0.000053326956,0.0002171768,0.0000018502083,0.0009938795,0.000029835832,0.7925138],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99830884,0.0002588365,0.00026155647,0.00046859347,0.00027055896,0.00043160206],"domain_scores_gemma":[0.99923575,0.00006809223,0.00017723897,0.00033836198,0.00007429477,0.00010623563],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0002006676,0.00039365276,0.0004058581,0.00009103456,0.0008974735,0.00045555813,0.00045319105,0.00009808303,0.00006524672],"category_scores_gemma":[0.000001915455,0.00040380776,0.00009471575,0.000024034458,0.0007541856,0.000114124814,0.00023215814,0.0005801597,0.000003306316],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006373418,0.000037990758,0.004845825,0.00011676707,0.00019090381,0.00025883297,0.0049910946,0.0000012531751,8.235904e-7,0.005314969,0.98220605,0.001971732],"study_design_scores_gemma":[0.00085329334,0.000085350344,0.008324484,0.00011610392,0.00019183429,0.0000098190385,0.0011567394,0.0000029900018,3.2783345e-7,0.00003651039,0.98877084,0.00045168927],"about_ca_topic_score_codex":0.59891266,"about_ca_topic_score_gemma":0.9544582,"teacher_disagreement_score":0.35554555,"about_ca_system_score_codex":0.00008665811,"about_ca_system_score_gemma":0.00008317885,"threshold_uncertainty_score":0.9998414},"labels":[],"label_agreement":null},{"id":"W5901475","doi":"10.1152/ajplegacy.1966.210.2.365","title":"The Oregon Multicultural Archives and the Miracle Theatre Group","year":2013,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Session (web analytics); Presentation (obstetrics); Miracle; Multiculturalism; Library science; Engineering; Visual arts; History; Media studies; Political science; World Wide Web; Sociology; Art; Law; Computer science","score_opus":0.009885161229262054,"score_gpt":0.18517202241029349,"score_spread":0.17528686118103143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W5901475","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37513715,0.0018220219,0.000001097456,0.0104985805,0.00022640533,0.0003587676,0.000003882215,0.000058496204,0.6118936],"genre_scores_gemma":[0.97535783,0.00051585364,0.000019333218,0.00041057367,0.00037430297,0.00005590243,0.0000015910989,0.000004608867,0.023260025],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959,0.000033341494,0.000091854425,0.00007446855,0.00005762956,0.00015273665],"domain_scores_gemma":[0.99953383,0.00030414775,0.00002136014,0.00010750811,0.000014924231,0.000018254643],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0000621457,0.00008469871,0.000081161,0.000007784113,0.0013254713,0.00030390293,0.00010231766,0.000007726091,0.00048147168],"category_scores_gemma":[0.0000027246995,0.000025722607,0.00004534111,0.000007468923,0.0010056067,0.00015062338,0.000058692513,0.00006995065,0.000113359805],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007310473,0.00002135014,0.00041868864,0.000011900466,0.00009890505,2.2666389e-7,0.24383461,4.595896e-7,0.000041973122,0.57784843,0.019693308,0.15795703],"study_design_scores_gemma":[0.0007605474,0.000052111965,0.0050573647,0.000010513356,0.000023232604,0.0000028113388,0.1182103,0.0004890862,0.00003131854,0.009667122,0.86557037,0.00012522547],"about_ca_topic_score_codex":0.00096178247,"about_ca_topic_score_gemma":0.0042153127,"teacher_disagreement_score":0.84587705,"about_ca_system_score_codex":0.0000014490482,"about_ca_system_score_gemma":0.0000015224139,"threshold_uncertainty_score":0.99997467},"labels":[],"label_agreement":null},{"id":"W5917033","doi":"10.3138/jcs.35.3.150","title":"The Scholar and the Theatre","year":2000,"lang":"en","type":"article","venue":"Journal of Canadian Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Ideology; Subject (documents); Politics; Sociology; Empirical research; Media studies; Social science; History; Political science; Law; Epistemology; Library science","score_opus":0.024733195570876044,"score_gpt":0.22508456978520722,"score_spread":0.20035137421433116,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W5917033","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28325424,0.18448985,2.5442086e-8,0.059330937,0.0008597678,0.00011017462,0.000012000647,0.0000057815682,0.4719372],"genre_scores_gemma":[0.9210006,0.06599215,0.0000046981995,0.0011686243,0.001267641,0.0000029217306,6.50619e-8,0.0000060874163,0.010557202],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994353,0.000049771224,0.00019455915,0.000037695834,0.00011277009,0.00016989994],"domain_scores_gemma":[0.99946,0.00020638549,0.00006331957,0.00007768489,0.00013245293,0.00006014769],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0006117059,0.00007671226,0.0001739993,0.00008534215,0.0023278403,0.00015777785,0.00012663106,0.000009635857,0.00018840097],"category_scores_gemma":[0.000028724771,0.000029369226,0.000068772286,0.000040388324,0.0008266494,0.00015164046,0.000010813374,0.00019939008,0.00001755735],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022802548,0.0000064078617,0.00052027777,0.000015457746,0.0013174482,0.000025628093,0.19422488,0.000005532091,4.247171e-7,0.09933236,0.3188028,0.38552076],"study_design_scores_gemma":[0.00034288876,0.00004331032,0.00037881263,0.000022725024,0.00005390895,0.000024147765,0.041723054,8.9953033e-7,0.0000010978817,0.0031884192,0.9541794,0.00004131722],"about_ca_topic_score_codex":0.007837421,"about_ca_topic_score_gemma":0.4415459,"teacher_disagreement_score":0.6377464,"about_ca_system_score_codex":0.000022035034,"about_ca_system_score_gemma":0.000057096717,"threshold_uncertainty_score":0.998971},"labels":[],"label_agreement":null},{"id":"W593072601","doi":"","title":"Bertolt Brecht et la nouvelle communication by Alain-Michel Rocheleau (review)","year":2002,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Philosophy; Art; Humanities","score_opus":0.011781331860696536,"score_gpt":0.2033475430366683,"score_spread":0.19156621117597175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W593072601","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011458815,0.060412183,0.000028876002,0.0028924167,0.000097278535,0.00018634497,0.000102820246,0.000077722776,0.92474353],"genre_scores_gemma":[0.8500922,0.048109956,0.00018112283,0.0007626327,0.00005935096,7.920796e-7,0.00006100006,0.000014353153,0.100718625],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949956,0.00007914103,0.00010269093,0.00010406657,0.000098664605,0.00011585985],"domain_scores_gemma":[0.99952257,0.0000548762,0.00008464813,0.00023456768,0.00007123507,0.00003212688],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010298552,0.000098399294,0.00018055632,0.000011924547,0.00027077174,0.000013298732,0.00023855586,0.00003266899,0.007832514],"category_scores_gemma":[0.0000016315703,0.00010202126,0.00008103419,0.0000081481185,0.00016571421,0.00037980743,0.000025706016,0.00007362922,0.0001134274],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012208005,0.00012826388,0.00003829613,0.000113357666,0.00007307421,0.0000012441541,0.17306504,1.3942336e-7,0.00003325252,0.0034761794,0.7719517,0.051107246],"study_design_scores_gemma":[0.0002838275,0.0001857506,0.00010674705,0.00013930672,0.000051283147,0.0000011264144,0.03022097,0.000038377977,0.0000056569406,0.000029081399,0.96881175,0.00012613073],"about_ca_topic_score_codex":0.01886704,"about_ca_topic_score_gemma":0.0502072,"teacher_disagreement_score":0.83863336,"about_ca_system_score_codex":0.00004046939,"about_ca_system_score_gemma":0.0000062821737,"threshold_uncertainty_score":0.9930745},"labels":[],"label_agreement":null},{"id":"W595178763","doi":"","title":"Women writing plays : three decades of the Susan Smith Blackburn Prize","year":2006,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Performance art; Conversation; Silence; Politics; Memoir; Art; Art history; The arts; Miller; Aside; Refugee; Humanities; Sociology; History; Literature; Visual arts; Law; Aesthetics","score_opus":0.023002789185156625,"score_gpt":0.20296379717409074,"score_spread":0.1799610079889341,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W595178763","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0056256736,0.0007943655,0.0000016329383,0.0001497405,0.00028074332,0.0002245464,0.00009864522,0.000057236357,0.9927674],"genre_scores_gemma":[0.027488071,0.000114954644,0.000012682329,0.000111789945,0.0018013731,0.000020624955,0.000012976594,0.000038867212,0.97039866],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988041,0.000013482817,0.0003891323,0.0001942541,0.00026174294,0.00033732198],"domain_scores_gemma":[0.9992317,0.000103834565,0.00022587598,0.00031631865,0.00009613465,0.000026127807],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015596961,0.00028532557,0.00042669306,0.00007545369,0.00047143758,0.000086395616,0.00033872155,0.00010162008,0.0031257793],"category_scores_gemma":[0.0000032563823,0.00016361232,0.00018286746,0.000016740922,0.0005518206,0.00009296486,0.00016922079,0.0002976532,0.000051588424],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020386657,0.000031552965,0.0011848113,0.0004378733,0.00026900318,0.0000017614977,0.02044646,0.0000033811996,0.0000021009653,0.32471028,0.6494806,0.0034117654],"study_design_scores_gemma":[0.00016700542,0.0000656231,0.00030050133,0.00029229926,0.00005627718,0.0000010429696,0.0022176027,0.0000034186,0.000025406931,0.012775813,0.9838505,0.00024455192],"about_ca_topic_score_codex":0.0001811998,"about_ca_topic_score_gemma":0.00483801,"teacher_disagreement_score":0.33436984,"about_ca_system_score_codex":0.000085141175,"about_ca_system_score_gemma":0.00014670225,"threshold_uncertainty_score":0.9977855},"labels":[],"label_agreement":null},{"id":"W595499511","doi":"","title":"Dancing at the Edge: Competence, Culture and Organization in the 21st Century","year":2013,"lang":"en","type":"article","venue":"˜The œinnovation journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":23,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Id, ego and super-ego; Psyche; Affection; Lawrence Kohlberg's stages of moral development; Law; Psychoanalysis; Epistemology; Philosophy; Psychology; Political science","score_opus":0.014569174261102012,"score_gpt":0.20961205226563276,"score_spread":0.19504287800453074,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W595499511","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93718916,0.0011719669,0.000030599018,0.011890319,0.00086475594,0.00026860548,0.000005038458,0.000017620549,0.04856192],"genre_scores_gemma":[0.9939013,0.0004345995,0.0000061551004,0.0022218667,0.0010030571,0.0000055736896,0.000008525322,0.0000061019864,0.0024128242],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941885,0.000052168456,0.00020609527,0.000056750538,0.00014699716,0.00011912243],"domain_scores_gemma":[0.99937695,0.0000407015,0.000121413774,0.00008905114,0.0003637092,0.000008181928],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00036041078,0.00007565725,0.00006401762,0.0000491663,0.0016580966,0.00037968668,0.00014167886,0.000017106207,0.00070750405],"category_scores_gemma":[0.000014619257,0.000029665911,0.0000113274455,0.00026219364,0.00014945945,0.00027749714,0.00003711183,0.00024712738,0.000047769106],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000129949585,0.00004759988,0.029404411,0.000023876166,0.00006624048,0.0000019683991,0.4870766,0.000026932808,0.00079257,0.29904354,0.145496,0.038007252],"study_design_scores_gemma":[0.00026914253,0.0000366084,0.03994808,0.000032540236,0.000014643062,0.00009615148,0.115384676,0.000049483493,0.000030054765,0.0027042292,0.8413336,0.00010075433],"about_ca_topic_score_codex":0.000034901088,"about_ca_topic_score_gemma":0.00047838647,"teacher_disagreement_score":0.6958376,"about_ca_system_score_codex":0.000022271694,"about_ca_system_score_gemma":0.00001672161,"threshold_uncertainty_score":0.9996416},"labels":[],"label_agreement":null},{"id":"W604336503","doi":"10.1353/book8880","title":"Writing and Rewriting National Theatre Histories","year":2009,"lang":"en","type":"book","venue":"University of Iowa Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; National identity; History; Ideology; Narrative; Colonialism; Context (archaeology); Gender studies; Political science; Geography; Sociology; Literature; Politics; Law; Art","score_opus":0.0319606157950829,"score_gpt":0.18991398343410215,"score_spread":0.15795336763901924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W604336503","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00012082119,0.0011640858,0.0000013370475,0.00005342357,0.000076178876,0.000087197404,0.000101259946,0.00004831382,0.9983474],"genre_scores_gemma":[0.0072674975,0.00017464855,0.000066281005,0.00006071035,0.0005778588,1.2807813e-7,0.000024579685,0.000011561822,0.99181676],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993652,0.000015104828,0.00012555899,0.00016844441,0.00019728116,0.00012842177],"domain_scores_gemma":[0.9994851,0.00007091313,0.00014948144,0.000087265835,0.00017829819,0.000028976203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008606773,0.00015760651,0.000260487,0.00008837436,0.0005299847,0.00003231434,0.00013148392,0.00008168893,0.000090748224],"category_scores_gemma":[0.0000028774114,0.00017314308,0.00007964521,0.0000016435329,0.00048429694,0.00009116962,0.00009356105,0.00018078739,0.00000221872],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050612678,0.00001161359,0.000009859798,0.00034749604,0.00015623024,0.000015033448,0.0713887,0.0000014111752,0.0000027847989,0.77303046,0.12772796,0.027257824],"study_design_scores_gemma":[0.00019165623,0.000049284205,0.000005168554,0.00025640696,0.00007214862,0.0000020240195,0.0031456358,0.000004239069,0.000006431397,0.0037221364,0.9923672,0.00017764166],"about_ca_topic_score_codex":0.0003201539,"about_ca_topic_score_gemma":0.00077313866,"teacher_disagreement_score":0.8646393,"about_ca_system_score_codex":0.000074091986,"about_ca_system_score_gemma":0.000088911336,"threshold_uncertainty_score":0.706057},"labels":[],"label_agreement":null},{"id":"W612208454","doi":"","title":"\"Implacement\" and belonging: Dramatising white women's stories in Tiger Country","year":2001,"lang":"en","type":"book-chapter","venue":"Murdoch Research Repository (Murdoch University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Metaphor; Poetics; Pluralism (philosophy); Drama; Aesthetics; Sociology; Gender studies; History; Literature; Art; Poetry; Philosophy; Epistemology","score_opus":0.0390636761744394,"score_gpt":0.2511957686595076,"score_spread":0.2121320924850682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W612208454","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032034628,0.0014919814,0.0000024768813,0.00019575491,0.000605021,0.00048026728,0.000050386654,0.00010910423,0.9650304],"genre_scores_gemma":[0.0962934,0.0020128114,0.000011450128,0.00003527604,0.00096295093,0.0000071439663,0.000033850953,0.00007223426,0.90057087],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966098,0.00015065944,0.0004130398,0.0007693841,0.0009728454,0.0010842812],"domain_scores_gemma":[0.99830455,0.00024280207,0.00018044845,0.00053984893,0.0004741276,0.000258243],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006594652,0.00053286896,0.0006773608,0.0017524437,0.0021319538,0.0005819084,0.00046435738,0.0002846005,0.0015221692],"category_scores_gemma":[0.000018155475,0.00055805827,0.00010506832,0.00016420889,0.0015171492,0.0007376002,0.000529462,0.0013744066,0.000090840826],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00065257744,0.00012588946,0.0038617863,0.0008263046,0.0006399181,0.003375001,0.093872674,0.000014889667,0.00005437727,0.8741621,0.01813162,0.00428291],"study_design_scores_gemma":[0.0006351785,0.00028395723,0.00016458462,0.00058148196,0.000042671127,0.000029132083,0.017315518,0.000014734684,0.000009426216,0.0015725715,0.9787724,0.00057835464],"about_ca_topic_score_codex":0.0007432509,"about_ca_topic_score_gemma":0.0023893395,"teacher_disagreement_score":0.9606408,"about_ca_system_score_codex":0.0012225049,"about_ca_system_score_gemma":0.00030321282,"threshold_uncertainty_score":0.9996871},"labels":[],"label_agreement":null},{"id":"W613181688","doi":"","title":"The potentials of spaces: the theory and practice of scenography & performance","year":2006,"lang":"en","type":"book","venue":"Intellect Books","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Trilogy; Scenography; Virtuality (gaming); Art history; Visual arts; Performance art; White (mutation); Art; Space (punctuation); Computer science; Artificial intelligence","score_opus":0.0180154466600801,"score_gpt":0.2270040398690892,"score_spread":0.20898859320900912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W613181688","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008676842,0.016172739,0.000005958435,0.00016982779,0.0003605371,0.00027969907,0.00004298472,0.000018595221,0.98208195],"genre_scores_gemma":[0.09027576,0.0047697863,0.000007017445,0.00014166384,0.0005807687,0.000015537187,0.0000067927986,0.000033038672,0.9041696],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987972,0.00016958437,0.00042453327,0.00015365102,0.0002539809,0.00020107423],"domain_scores_gemma":[0.9959275,0.002946395,0.0004835748,0.00035438396,0.00027236607,0.000015782605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011742812,0.00024240218,0.00035670234,0.000101895486,0.000742921,0.00010341888,0.00030644878,0.000073592164,0.00015129396],"category_scores_gemma":[0.00010195913,0.000120212426,0.0001839439,0.000020654314,0.0024279251,0.000108626744,0.00011602964,0.00031428234,0.000011218364],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009735868,0.00004694905,0.000020830828,0.00047192597,0.0011546016,0.0000020741577,0.06841142,0.0000032318358,0.000014160687,0.57880896,0.31832993,0.031762347],"study_design_scores_gemma":[0.000090167276,0.00024408041,0.000011405767,0.00026805638,0.00027736588,0.000009604032,0.003963346,0.0000028716922,0.0001610601,0.010330679,0.98449737,0.00014397787],"about_ca_topic_score_codex":0.00012251522,"about_ca_topic_score_gemma":0.00031011662,"teacher_disagreement_score":0.66616744,"about_ca_system_score_codex":0.000012335274,"about_ca_system_score_gemma":0.0000886452,"threshold_uncertainty_score":0.8945791},"labels":[],"label_agreement":null},{"id":"W623302521","doi":"10.1057/9780230298941","title":"Avant-garde performance and material exchange : vectors of the radical","year":2011,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Avant garde; Performative utterance; Art; Art history; Nationalism; Ballet; White (mutation); China; History; Literature; Politics; Aesthetics; Political science; Dance; Law","score_opus":0.026453957582565985,"score_gpt":0.19055325949440113,"score_spread":0.16409930191183514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W623302521","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014298809,0.00036489737,5.4242673e-8,0.000041750645,0.0023242976,0.00015675597,0.00011600236,0.000028181972,0.98266923],"genre_scores_gemma":[0.048180036,0.0012507649,0.0000035315577,0.000080888734,0.0015359753,0.00000833869,0.000011720793,0.000022217184,0.94890654],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934137,0.000013475712,0.00020174004,0.00013987938,0.000138731,0.00016482451],"domain_scores_gemma":[0.9996176,0.000017178023,0.00010596215,0.00019805749,0.00003588724,0.000025334835],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000743078,0.00020039202,0.00030094318,0.00004600876,0.00025857656,0.000028651995,0.00017111236,0.00008621779,0.018255176],"category_scores_gemma":[0.0000015829914,0.00010794924,0.00008213929,0.000001914802,0.0007643441,0.00006984138,0.000159842,0.00014740368,0.00007664612],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001573536,0.00004241845,0.00036671796,0.0015417837,0.00030365423,0.0000017098258,0.12988389,7.017604e-8,0.000010345939,0.03832564,0.81297815,0.01638826],"study_design_scores_gemma":[0.0001175374,0.000106250816,0.00032195495,0.00014317548,0.00006692681,0.0000023725986,0.00014023761,0.0000010615579,0.00015004852,0.00042351874,0.9983691,0.00015783124],"about_ca_topic_score_codex":0.00009626431,"about_ca_topic_score_gemma":0.0014143792,"teacher_disagreement_score":0.18539093,"about_ca_system_score_codex":0.0000146895045,"about_ca_system_score_gemma":0.000050318537,"threshold_uncertainty_score":0.9826423},"labels":[],"label_agreement":null},{"id":"W625262986","doi":"","title":"Stages and Playgoers: From Guild Plays to Shakespeare by Janet Hill (review)","year":2003,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Guild; History; Biology; Ecology","score_opus":0.01073986243836126,"score_gpt":0.1892971668788031,"score_spread":0.17855730444044185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W625262986","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40676206,0.113695264,0.00004857855,0.001715566,0.0005345759,0.0006618802,0.0027968362,0.000117131334,0.4736681],"genre_scores_gemma":[0.9700998,0.008301448,0.00027443032,0.0007506248,0.00013158725,7.668266e-7,0.000097263524,0.000017618217,0.020326428],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994446,0.000041572475,0.000099793884,0.00016872794,0.000101322774,0.00014395468],"domain_scores_gemma":[0.9996286,0.000037599213,0.000051902058,0.00015217936,0.000055386954,0.00007434333],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007463531,0.00011507621,0.00022046844,0.000013412598,0.00020587722,0.000017689554,0.00012269303,0.000025443127,0.007138365],"category_scores_gemma":[0.000004205902,0.00011470626,0.000042208336,0.0000075273015,0.00009890008,0.00028193096,0.000015615504,0.000043815646,0.000051566793],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000608944,0.00007035472,0.00078524504,0.00016408628,0.00016650061,0.000010099459,0.22324568,4.0201328e-7,0.00009418495,0.0053566345,0.74654514,0.023500796],"study_design_scores_gemma":[0.00030265166,0.00043089353,0.0008119887,0.0001530041,0.000055575667,4.9911347e-7,0.052723385,0.00000236992,0.000011350437,0.00003672891,0.9453077,0.0001638642],"about_ca_topic_score_codex":0.040787637,"about_ca_topic_score_gemma":0.08481834,"teacher_disagreement_score":0.56333774,"about_ca_system_score_codex":0.000037150145,"about_ca_system_score_gemma":0.000011128983,"threshold_uncertainty_score":0.9937692},"labels":[],"label_agreement":null},{"id":"W632227120","doi":"","title":"Plays two : They came to a city, Summer day's dream, The glass cage","year":2004,"lang":"en","type":"book","venue":"Oberon Books","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dream; Pride; Comedy; Cage; Duty; Art history; History; Art; Visual arts; Law; Psychology; Engineering; Political science","score_opus":0.035366936487201316,"score_gpt":0.24484090693087032,"score_spread":0.209473970443669,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W632227120","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010973162,0.0009093213,0.0000033115914,0.00079885457,0.0012322436,0.0005792851,0.00035829662,0.00012696502,0.9948944],"genre_scores_gemma":[0.04442913,0.000101403035,0.0000059115846,0.001998482,0.0042006965,0.000085779146,0.00007537694,0.00009171093,0.9490115],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99825424,0.000039556715,0.00034844023,0.00042190703,0.0003880201,0.0005478325],"domain_scores_gemma":[0.9988653,0.00011929845,0.00015124519,0.0006615272,0.0000947763,0.00010785925],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024447584,0.0005471124,0.00053417124,0.00011675354,0.0009779161,0.00030015185,0.0005544865,0.0001299407,0.0023358746],"category_scores_gemma":[0.00000645307,0.00035057706,0.00025910494,0.000010747389,0.00038030735,0.00010989931,0.0003153668,0.00059881393,0.0011567307],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050567833,0.000041815594,0.000051393894,0.00010044358,0.00038213425,0.000031194802,0.18907738,0.000023164182,0.0000044577537,0.35051095,0.4549005,0.0048260163],"study_design_scores_gemma":[0.00032233633,0.00014821961,0.000028537832,0.000265014,0.00015101182,0.000004735231,0.00089662086,9.54779e-7,0.000018227756,0.008844484,0.98883605,0.00048378],"about_ca_topic_score_codex":0.0034489713,"about_ca_topic_score_gemma":0.104103,"teacher_disagreement_score":0.5339356,"about_ca_system_score_codex":0.00036020915,"about_ca_system_score_gemma":0.00043410278,"threshold_uncertainty_score":0.9998946},"labels":[],"label_agreement":null},{"id":"W635120189","doi":"10.1353/mdr.2003.0012","title":"Theatre, Society and the Nation: Staging American Identities by S. E. Wilmer (review)","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.015541962814769087,"score_gpt":0.22461997459731292,"score_spread":0.20907801178254384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W635120189","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07147467,0.24214779,0.0005200552,0.010489675,0.0006734209,0.00064075214,0.00008752736,0.00017895183,0.6737872],"genre_scores_gemma":[0.93604404,0.037600476,0.000027346405,0.004561133,0.0002156513,0.000046154677,0.0000071955865,0.000016984013,0.021481005],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993801,0.00004837536,0.00013581799,0.00012620326,0.0001444909,0.00016498349],"domain_scores_gemma":[0.99968845,0.00006090766,0.000058893525,0.00012990244,0.000041812764,0.00002002191],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021459715,0.00011726779,0.00019307296,0.000011132502,0.00059972686,0.0001182821,0.00007689158,0.000009404482,0.00026540383],"category_scores_gemma":[0.000005461181,0.00006988065,0.00008516979,0.000023771374,0.00077815866,0.00017483538,0.000027838629,0.00009135807,0.000020543848],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029808836,0.000059884238,0.0015366599,0.00041965063,0.00040615967,0.0000010651746,0.20983128,0.0000071286163,0.000014602875,0.18999055,0.5195476,0.07815566],"study_design_scores_gemma":[0.00048759714,0.000023396853,0.000030947944,0.000079486774,0.00007095703,0.0000022182198,0.010898516,0.00028854306,0.000021006575,0.008750161,0.9791774,0.0001697599],"about_ca_topic_score_codex":0.00020346268,"about_ca_topic_score_gemma":0.00011942307,"teacher_disagreement_score":0.86456937,"about_ca_system_score_codex":0.000011174795,"about_ca_system_score_gemma":0.000010374379,"threshold_uncertainty_score":0.46126747},"labels":[],"label_agreement":null},{"id":"W637592064","doi":"","title":"In Spite of Myself: A Memoir","year":2008,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Memoir; Reflexive pronoun; History; Art; Art history; Literature","score_opus":0.0255813221401429,"score_gpt":0.21103780068766595,"score_spread":0.18545647854752306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W637592064","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00020667101,0.0011197283,1.3083876e-7,0.000051363477,0.0004146095,0.0001190967,0.000027291146,0.000020216348,0.9980409],"genre_scores_gemma":[0.0017407817,0.0015517577,0.000010683036,0.00016416519,0.00091083255,0.000010707594,0.0000132369805,0.00001548125,0.99558234],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943525,0.00000457089,0.0002262087,0.00010633333,0.00010671442,0.00012094037],"domain_scores_gemma":[0.99972236,0.000024355382,0.00006956244,0.0001301259,0.000040886713,0.000012698565],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000034106473,0.00014486503,0.00032901042,0.00014001472,0.000061796134,0.000008377159,0.00009197645,0.00005818815,0.004791481],"category_scores_gemma":[0.0000011557095,0.000107036074,0.0000921116,0.000007531216,0.00020530666,0.00008293308,0.000036528498,0.00013251182,0.00023272839],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008468626,0.000017042103,0.0000048356574,0.000100125624,0.00004143239,0.000007866643,0.052199982,2.554148e-7,2.620375e-7,0.2746613,0.67244047,0.00051799545],"study_design_scores_gemma":[0.00011828438,0.00005555559,0.000004953978,0.000087935456,0.000012308995,0.0000013413558,0.0010146466,6.2338114e-7,0.000009749109,0.0024221279,0.9961405,0.00013197698],"about_ca_topic_score_codex":0.00014501114,"about_ca_topic_score_gemma":0.002365508,"teacher_disagreement_score":0.32370007,"about_ca_system_score_codex":0.000024616033,"about_ca_system_score_gemma":0.00006992397,"threshold_uncertainty_score":0.99611825},"labels":[],"label_agreement":null},{"id":"W644674946","doi":"","title":"A Foothold in the Margins: Theatre Studies and Education","year":2015,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Argument (complex analysis); Expansive; Sociology; Liberal arts education; Discipline; The arts; Media studies; Performance studies; Cross disciplinary; Performing arts; Visual arts; Aesthetics; Art; Political science; Higher education; Social science; Law; Anthropology","score_opus":0.05715557018574304,"score_gpt":0.2531020208916525,"score_spread":0.19594645070590946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W644674946","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16660257,0.0001425211,9.88712e-7,0.0009118871,0.00026577272,0.00028463514,0.000009311012,0.000039674902,0.83174264],"genre_scores_gemma":[0.9339392,0.064910986,0.000036918864,0.000356848,0.00032362653,0.000007341681,0.0000048596476,0.000008990834,0.00041119658],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939907,0.0000824599,0.00008361141,0.00015751619,0.00011125543,0.00016608255],"domain_scores_gemma":[0.99963826,0.000060262002,0.0000389117,0.00015367327,0.00008560932,0.000023262295],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000182196,0.00012770826,0.0001466251,0.002119078,0.00024135255,0.00006558981,0.00015699315,0.000023382338,0.00000847542],"category_scores_gemma":[0.000011840416,0.00008639735,0.000033790144,0.00063829235,0.00020366111,0.00036659846,0.00008483981,0.00011109402,0.000011776055],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000980431,0.00014784865,0.0020031254,0.000089645604,0.00008896047,0.000021378768,0.87688303,0.0000018434099,2.5392617e-7,0.06020834,0.007826323,0.052631237],"study_design_scores_gemma":[0.00029942585,0.000088498615,0.000086133885,0.000039056307,0.000032575226,0.000003389992,0.22054775,0.000004309772,0.0000027041956,0.00003722878,0.77876484,0.00009409151],"about_ca_topic_score_codex":0.017902585,"about_ca_topic_score_gemma":0.0956876,"teacher_disagreement_score":0.83133143,"about_ca_system_score_codex":0.00006481529,"about_ca_system_score_gemma":0.00015838987,"threshold_uncertainty_score":0.98863727},"labels":[],"label_agreement":null},{"id":"W644835840","doi":"10.1017/cbo9781139524834","title":"Critical Pedagogies and Language Learning","year":2004,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":604,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Social justice; Critical pedagogy; Equity (law); Pedagogy; Multiculturalism; Critical theory; Sociology; Meaning (existential); Multicultural education; Critical literacy; Psychology; Epistemology; Social science; Political science","score_opus":0.027067228446429392,"score_gpt":0.22720197292388433,"score_spread":0.20013474447745494,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W644835840","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006172742,0.0012582015,0.0000071612726,0.000030791474,0.00025272346,0.000108849636,0.00014126934,0.00017331423,0.9974104],"genre_scores_gemma":[0.007331545,0.00020004381,0.000008884924,0.00004354931,0.00064205774,5.2786584e-7,0.000033432538,0.000025835358,0.9917141],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925786,0.000027006867,0.000094510484,0.00025536926,0.00012932348,0.00023591355],"domain_scores_gemma":[0.9995502,0.0000947245,0.00005310523,0.00015054719,0.000084104904,0.00006728783],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000045479977,0.00024027428,0.00028889035,0.000098381934,0.0006248876,0.00012735423,0.0001520532,0.000111530615,0.000024967463],"category_scores_gemma":[0.000012969415,0.0002449877,0.000092869544,0.0000018602489,0.00086120045,0.00013242605,0.00024078581,0.00045048934,0.000014051595],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003115899,0.0000056193203,0.0000019525185,0.00027798858,0.00008074076,0.00014281209,0.020382237,0.0000010272827,0.0000016074675,0.9420138,0.035765912,0.0012951393],"study_design_scores_gemma":[0.00024550784,0.00007607178,0.0000050047884,0.00018954332,0.00016304442,0.000006720499,0.007245746,0.000003475308,0.00001469924,0.000015914955,0.99174213,0.00029213517],"about_ca_topic_score_codex":0.00032290193,"about_ca_topic_score_gemma":0.00005175118,"teacher_disagreement_score":0.95597625,"about_ca_system_score_codex":0.00013660379,"about_ca_system_score_gemma":0.00017238955,"threshold_uncertainty_score":0.9990308},"labels":[],"label_agreement":null},{"id":"W651870658","doi":"","title":"Queer Theatre and the Legacy of Cal Yeomans by Robert A. Schanke (review)","year":2013,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scholarship; Biography; Queer; Art history; Performance art; Art; History; Sociology; Gender studies; Political science; Law","score_opus":0.011064851282770632,"score_gpt":0.2100459071544654,"score_spread":0.19898105587169476,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W651870658","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34480834,0.24549219,0.000112605485,0.022263113,0.00044806945,0.0011927102,0.00007847108,0.00010139436,0.3855031],"genre_scores_gemma":[0.9780742,0.0070082657,0.00000842809,0.0012632061,0.00019744583,0.000059873324,0.0000056512454,0.000012846877,0.013370113],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993986,0.000032762735,0.0001748601,0.00011539065,0.000116489035,0.00016190075],"domain_scores_gemma":[0.9996298,0.000050815936,0.00004863705,0.0001853427,0.000059160346,0.000026275738],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000104219056,0.00012081972,0.00024167886,0.000016903201,0.00022309842,0.00007053247,0.0001164568,0.0000217253,0.0009848806],"category_scores_gemma":[0.000004205496,0.000063551466,0.00006889614,0.000012992052,0.0004172514,0.0002471655,0.00005876031,0.00009273384,0.000076208424],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009174889,0.0001257016,0.0008978019,0.000865846,0.0003377536,0.0000012741601,0.118070185,0.0000052949586,0.00015401845,0.08299775,0.5587377,0.23771493],"study_design_scores_gemma":[0.0011001155,0.00010136887,0.00026677936,0.0003474793,0.000121598256,0.0000043285927,0.0030937197,0.0011170331,0.00012385231,0.009701944,0.9837557,0.00026606864],"about_ca_topic_score_codex":0.0024446321,"about_ca_topic_score_gemma":0.00068886223,"teacher_disagreement_score":0.63326585,"about_ca_system_score_codex":0.000004835412,"about_ca_system_score_gemma":0.000008436222,"threshold_uncertainty_score":0.99992836},"labels":[],"label_agreement":null},{"id":"W652399792","doi":"","title":"Théâtres d’Ailleurs à Québec. Hey Girl! Création de Romeo Castellucci. Italie, au Théâtre du Trident, les 8 et 9 juin 2007 Hey Girl! Création de Romeo Castellucci. Italie, au Théâtre du Trident, les 8 et 9 juin 2007","year":2007,"lang":"fr","type":"article","venue":"Spirale : Arts • Lettres • Sciences humaines","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Art; Humanities; Trident; Biology","score_opus":0.04092973038874604,"score_gpt":0.28732916863039987,"score_spread":0.24639943824165383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W652399792","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80038327,0.022033397,0.00041867542,0.029454727,0.0048449403,0.0013318493,0.0007259281,0.0004455579,0.14036165],"genre_scores_gemma":[0.8555829,0.0057971627,0.0002823231,0.0024662046,0.008483364,0.000114218834,0.0002585421,0.00021237668,0.1268029],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9893384,0.0007121606,0.0024487674,0.0020012446,0.0019738774,0.003525536],"domain_scores_gemma":[0.9946783,0.0013604441,0.0014590664,0.0010259628,0.0007329022,0.0007433099],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.0055556213,0.001843374,0.0015983486,0.0011968026,0.008675478,0.002263384,0.0016591869,0.00062117644,0.004315805],"category_scores_gemma":[0.0006056373,0.0016597792,0.00089596637,0.0010080273,0.0049773827,0.004301962,0.0005943143,0.001056711,0.0005008034],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006711181,0.0017136115,0.3496081,0.0012108708,0.00065888296,0.00073073996,0.077050135,0.008916031,0.00053927104,0.10952499,0.42662883,0.022747423],"study_design_scores_gemma":[0.0020584217,0.0016458997,0.062335115,0.0010881047,0.0005124292,0.00035515256,0.03795147,0.0011296697,0.0008970006,0.0016111191,0.8881755,0.0022401474],"about_ca_topic_score_codex":0.2044978,"about_ca_topic_score_gemma":0.6960369,"teacher_disagreement_score":0.4915391,"about_ca_system_score_codex":0.001427522,"about_ca_system_score_gemma":0.0017819236,"threshold_uncertainty_score":0.9994311},"labels":[],"label_agreement":null},{"id":"W652465405","doi":"","title":"Siting the Other: Re-visions of Marginality in Australian and English-Canadian Drama ed. by Marc Maufort, Franca Bellasari (review)","year":2002,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Vision; Drama; History; Sociology; Media studies; Art; Literature; Anthropology","score_opus":0.01401837517314764,"score_gpt":0.19489637272984214,"score_spread":0.1808779975566945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W652465405","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41411275,0.04674405,0.00000286055,0.006340337,0.000310989,0.0006194812,0.0007975657,0.000039733946,0.53103226],"genre_scores_gemma":[0.98958963,0.0046190848,0.000020984033,0.00013606671,0.000070456364,2.8440067e-7,0.0000056443523,0.0000052298506,0.005552614],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993995,0.000042613996,0.0001471006,0.00012270075,0.00009748748,0.00019061404],"domain_scores_gemma":[0.9995853,0.000039667917,0.00008445704,0.00016652356,0.00006359793,0.000060506616],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015302691,0.00010040376,0.00021254497,0.00002501745,0.0002949471,0.000012421968,0.00016622708,0.000032959106,0.007338727],"category_scores_gemma":[0.0000031198463,0.00008705731,0.00006309242,0.000015397658,0.00027056455,0.0002452012,0.000014876214,0.00008256559,0.000008043759],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037075304,0.00011439211,0.0074307956,0.0005218165,0.00013407986,0.000010159899,0.46630862,0.0000012058515,0.000012852527,0.005711215,0.4451794,0.07453839],"study_design_scores_gemma":[0.00027315988,0.0001983339,0.0034854042,0.00023489015,0.000041155858,4.438688e-7,0.07389324,0.000026344473,0.0000018804122,0.000030303916,0.9216975,0.000117317395],"about_ca_topic_score_codex":0.5022085,"about_ca_topic_score_gemma":0.84440094,"teacher_disagreement_score":0.5754769,"about_ca_system_score_codex":0.000054625456,"about_ca_system_score_gemma":0.000011457695,"threshold_uncertainty_score":0.9935687},"labels":[],"label_agreement":null},{"id":"W653238944","doi":"10.4324/9781315255859","title":"European Theatre Performance Practice, 1750–1900","year":2016,"lang":"en","type":"book","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Oxford; University of Cambridge; McGill University","keywords":"Performance practice; Visual arts; Art","score_opus":0.021115317795144656,"score_gpt":0.2170573444843673,"score_spread":0.19594202668922264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W653238944","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00002269775,0.0011994815,0.000001847378,0.0009900845,0.0013468055,0.00019428525,0.00009801582,0.0002676406,0.9958791],"genre_scores_gemma":[0.0024188678,0.0034119629,0.0000213268,0.0012504885,0.008073442,0.000010082473,0.00004851675,0.000102107886,0.9846632],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985914,0.00005374201,0.0003447242,0.00033986312,0.0002890888,0.00038114766],"domain_scores_gemma":[0.998937,0.00014994449,0.00020628936,0.00046559662,0.0001749264,0.0000662468],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029040614,0.0004296686,0.0003783323,0.00012476687,0.0006032892,0.00017396915,0.0003336715,0.0000775223,0.014688664],"category_scores_gemma":[0.0000072701746,0.00025244037,0.00017099625,0.000009726641,0.0003683793,0.00058280944,0.00016354884,0.00033835103,0.017056666],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036056786,0.000021721688,0.000008453445,0.00010433066,0.00019141941,0.000013266243,0.00658432,1.2332633e-7,3.8002193e-7,0.085879765,0.8002598,0.10690033],"study_design_scores_gemma":[0.00021320854,0.00017076316,0.000008017959,0.00030419033,0.00011745478,0.000010244894,0.00061678066,9.3192887e-7,0.0000034979014,0.0005808837,0.9975229,0.00045112902],"about_ca_topic_score_codex":0.00001906896,"about_ca_topic_score_gemma":0.00016906865,"teacher_disagreement_score":0.19726306,"about_ca_system_score_codex":0.00007152981,"about_ca_system_score_gemma":0.00011638097,"threshold_uncertainty_score":0.9999928},"labels":[],"label_agreement":null},{"id":"W654244681","doi":"10.1353/mdr.2001.0000","title":"Conversations on Art and Performance ed. by Bonnie Marranca and Gautam Dasgupta (review)","year":2001,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.017406811314306252,"score_gpt":0.22044674614553206,"score_spread":0.20303993483122582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W654244681","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7659736,0.0395412,0.000021751768,0.0030091782,0.00024863772,0.00028251356,0.00008190698,0.00008705,0.19075415],"genre_scores_gemma":[0.88598347,0.08921757,0.000008882239,0.0018716176,0.00020351229,0.0000242838,0.000026012667,0.000014065922,0.022650588],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993646,0.000012405822,0.00014110468,0.00018142696,0.000107801694,0.00019262347],"domain_scores_gemma":[0.99970603,0.000027158407,0.000038876708,0.00014515188,0.000032318385,0.00005048281],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007746869,0.00014453186,0.00018278066,0.000032910037,0.00041932322,0.00006389824,0.000055699584,0.000024529087,0.0008941347],"category_scores_gemma":[0.000004104872,0.00011635016,0.000026858086,0.000016132433,0.00019038693,0.00020888294,0.000033495962,0.00009936286,0.00015440531],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010026443,0.00011031856,0.0112526845,0.00056987157,0.00009595455,0.0000052476385,0.01995627,0.0000037909888,0.00006160218,0.0039826133,0.79641134,0.16745003],"study_design_scores_gemma":[0.00037001245,0.00018914217,0.0034996956,0.00026456785,0.00004051171,0.00000967301,0.0004193548,0.0009846141,0.000014928887,0.0002441633,0.99375427,0.00020906227],"about_ca_topic_score_codex":0.00003381354,"about_ca_topic_score_gemma":0.00006940174,"teacher_disagreement_score":0.19734292,"about_ca_system_score_codex":0.000008633489,"about_ca_system_score_gemma":0.0000073693877,"threshold_uncertainty_score":0.9790148},"labels":[],"label_agreement":null},{"id":"W656225958","doi":"","title":"Theatre without Borders by Robert Astle (review)","year":2003,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Art; Art history","score_opus":0.008012993436355214,"score_gpt":0.20102758137394428,"score_spread":0.19301458793758905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W656225958","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009285582,0.032072287,0.000036540056,0.0003403208,0.00023757038,0.00016023262,0.00005624771,0.000048820784,0.9577624],"genre_scores_gemma":[0.9189096,0.008802548,0.0001718208,0.0003532273,0.000100657984,5.951147e-7,0.000024104796,0.000017637294,0.07161978],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995059,0.00003532235,0.000085557396,0.0001211407,0.00010121805,0.00015085487],"domain_scores_gemma":[0.99968266,0.0000136397075,0.00005770997,0.00015231105,0.000054303757,0.000039391885],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000067253706,0.00010496409,0.0001980648,0.000009893472,0.00023392565,0.000008645198,0.0001231011,0.000021405227,0.0072917566],"category_scores_gemma":[0.0000010030474,0.00009931519,0.00008795468,0.000006996548,0.00015114459,0.00029908345,0.00000644058,0.000042230728,0.00007848682],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060388895,0.00020464917,0.0009622426,0.0003692766,0.00026306693,0.000004930906,0.14560874,5.5307464e-7,0.00006656912,0.024239173,0.7412296,0.08699084],"study_design_scores_gemma":[0.00028331374,0.0002760123,0.00004614895,0.000089877016,0.000054391163,8.046969e-7,0.031405002,0.0000023508708,0.000008648293,0.000052205418,0.96765846,0.00012275852],"about_ca_topic_score_codex":0.01554806,"about_ca_topic_score_gemma":0.060303982,"teacher_disagreement_score":0.90962404,"about_ca_system_score_codex":0.000038660524,"about_ca_system_score_gemma":0.000020198519,"threshold_uncertainty_score":0.9936157},"labels":[],"label_agreement":null},{"id":"W6887903316","doi":"10.17613/vxanm-ef410","title":"Book of Abstracts: TaPRA (Theatre & Performance Research Association) Conference 2009","year":2009,"lang":"en","type":"article","venue":"Knowledge Commons (Lakehead University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Miller; Yard; Performance art; Editorial board; Associate editor","score_opus":0.058178213854733526,"score_gpt":0.26623230976364165,"score_spread":0.2080540959089081,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6887903316","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24772435,0.0016228576,0.000001921455,0.0009936958,0.00018278278,0.0001338884,0.00004651485,0.000065439126,0.74922854],"genre_scores_gemma":[0.8578224,0.000095702686,0.0000030342783,0.000016475127,0.0002284503,7.5889096e-7,0.000012198512,0.000007790668,0.14181316],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986718,0.00012955407,0.00025123553,0.0002201582,0.000273733,0.00045350465],"domain_scores_gemma":[0.9984585,0.00022245642,0.0001339543,0.00031495668,0.0007811076,0.000089014415],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040655214,0.00017516132,0.00030960626,0.00046795167,0.0009263055,0.00006639631,0.0004343745,0.000088110675,0.0014587578],"category_scores_gemma":[0.000021736456,0.00017280139,0.000107296444,0.0002777218,0.00033454518,0.00063277635,0.00009615517,0.00043185634,0.0004560752],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033420208,0.0013078639,0.030381849,0.00021993724,0.00028827132,0.000027823457,0.07571217,0.000027199458,0.00020961509,0.23338898,0.604197,0.053905044],"study_design_scores_gemma":[0.00044359572,0.00033798334,0.017283315,0.00012497262,0.00003801344,8.122285e-7,0.0018960964,0.000018256434,0.00027849613,0.00018522746,0.9792027,0.00019055932],"about_ca_topic_score_codex":0.00008165267,"about_ca_topic_score_gemma":0.025381895,"teacher_disagreement_score":0.61009806,"about_ca_system_score_codex":0.00019893226,"about_ca_system_score_gemma":0.00015262963,"threshold_uncertainty_score":0.999454},"labels":[],"label_agreement":null},{"id":"W6893864632","doi":"10.5281/zenodo.4052686","title":"~Regarder~StreaminG~VostfrEv..~ FILM COMPLET Archive streaming VF","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scapegoat; Subject (documents); Limiting; Staring; Feature (linguistics)","score_opus":0.05406136100826848,"score_gpt":0.22787519518674748,"score_spread":0.173813834178479,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893864632","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024599615,0.00020584284,0.0004394527,0.004034548,0.00018651041,0.00039451997,0.0012940858,0.0011486945,0.9676967],"genre_scores_gemma":[0.99264663,0.00013175655,0.00009487576,0.00079678255,0.0010810039,6.651366e-8,0.0017381419,0.00081464485,0.0026961137],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986707,0.00013192126,0.0002322016,0.0003364047,0.00026061205,0.00036813976],"domain_scores_gemma":[0.9992335,0.000034243418,0.000084844105,0.00024111063,0.00024513275,0.00016119456],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001607304,0.00017557402,0.00019524955,0.00010281364,0.0033912864,0.0007714455,0.0005983752,0.000025152065,0.032988645],"category_scores_gemma":[0.00014710726,0.00016612973,0.00007155784,0.00011110301,0.0003609445,0.00025444597,0.00071058946,0.00025181728,0.009048556],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000099446916,0.00010382056,0.0000140595685,0.00015179747,0.00013927162,0.00001955175,0.08814696,0.000049985818,0.0006640071,0.03973123,0.7839649,0.086915],"study_design_scores_gemma":[0.0003594677,0.00030589546,0.0002034999,0.000031636322,0.000020821402,0.000012614352,0.006574358,0.00042949518,0.00008277958,0.00022353121,0.9915581,0.00019784419],"about_ca_topic_score_codex":0.000058823734,"about_ca_topic_score_gemma":0.00001013366,"teacher_disagreement_score":0.968047,"about_ca_system_score_codex":0.00003576964,"about_ca_system_score_gemma":0.00000283521,"threshold_uncertainty_score":0.99790615},"labels":[],"label_agreement":null},{"id":"W68976323","doi":"","title":"Library Research Guide for Early Theatre","year":2010,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Mount Royal University","funders":"","keywords":"Visual arts; History; Art","score_opus":0.07219308823333363,"score_gpt":0.31713487118437683,"score_spread":0.24494178295104319,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W68976323","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17724235,0.000058313715,0.0000011856488,0.0023494982,0.0004865945,0.00015066082,0.000023890381,0.00009295897,0.81959456],"genre_scores_gemma":[0.65762866,0.00002605509,0.0002833544,0.00022760747,0.002564496,0.00004826124,0.0000062413947,0.000015470028,0.3391999],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942124,0.000010436159,0.00010221687,0.00011285387,0.000105119914,0.00024812177],"domain_scores_gemma":[0.999578,0.00014504578,0.000009933761,0.00016674174,0.00006628016,0.000034029115],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019366315,0.000065073255,0.000079445555,0.000069781614,0.0006138511,0.00019115575,0.0001514583,0.000025794834,0.0075660218],"category_scores_gemma":[0.0000064168225,0.000042155407,0.000051977444,0.000020879033,0.00022514602,0.00035080058,0.00005930034,0.0001746542,0.00035177515],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019705814,0.00001722839,0.0011454105,0.000012284535,0.000014346948,3.6832e-7,0.00952873,2.1844427e-8,0.0001091263,0.45915097,0.5168528,0.013149037],"study_design_scores_gemma":[0.00012119975,0.000104428655,0.00035260274,0.0000041773465,0.000003192339,3.3447407e-7,0.002465537,0.000005329662,0.00057294685,0.012926547,0.9833742,0.00006954297],"about_ca_topic_score_codex":0.00026939844,"about_ca_topic_score_gemma":0.0024555416,"teacher_disagreement_score":0.48039466,"about_ca_system_score_codex":0.0000016320183,"about_ca_system_score_gemma":0.000024097219,"threshold_uncertainty_score":0.9933412},"labels":[{"model":"gemma","categories":[],"domain":null,"study_design":"not_applicable","genre":"other","about_ca_system":false,"about_ca_topic":false,"confidence":"high"},{"model":"gpt","categories":[],"domain":null,"study_design":"not_applicable","genre":"other","about_ca_system":false,"about_ca_topic":false,"confidence":"low"}],"label_agreement":"agree"},{"id":"W6899090106","doi":"10.58079/qyk0","title":"« Mettre en scène des histoires : l’essor du théâtre autochtone au Canada » (Drew Hayden Taylor, 1997)","year":2023,"lang":"fr","type":"article","venue":"Industrias Culturais (Universidade de Coimbra)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Context (archaeology)","score_opus":0.03067608123989958,"score_gpt":0.22578557076018177,"score_spread":0.19510948952028218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6899090106","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5086672,0.0059268954,0.000007237683,0.16383429,0.0053680097,0.00076778024,0.0043150224,0.0006370174,0.3104766],"genre_scores_gemma":[0.5419433,0.0010235764,0.000022932938,0.00040798204,0.0036908805,0.00002517116,0.00039699866,0.00007510242,0.45241404],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964379,0.00028466672,0.0004753745,0.0006589468,0.0006333586,0.0015097464],"domain_scores_gemma":[0.9980474,0.00046491,0.00028565427,0.00046188512,0.00030221354,0.00043790144],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00039972484,0.00072020834,0.00077869307,0.00036300308,0.003548222,0.00033880974,0.0007814189,0.0005119879,0.0036525342],"category_scores_gemma":[0.00017539765,0.00069953257,0.00032124456,0.00077351194,0.0013894767,0.0010675895,0.0003219003,0.0009949829,0.00043821422],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010974918,0.00010167685,0.0015238011,0.0002547572,0.00094855245,0.000890344,0.041769117,0.00037537224,0.00014201841,0.06083486,0.8730312,0.020018578],"study_design_scores_gemma":[0.0011902254,0.00016753274,0.02964966,0.000424278,0.00048644535,0.00006875889,0.06633895,0.00026487076,0.00025975198,0.00017258542,0.90014654,0.0008303748],"about_ca_topic_score_codex":0.8666593,"about_ca_topic_score_gemma":0.9142258,"teacher_disagreement_score":0.16342631,"about_ca_system_score_codex":0.0026122963,"about_ca_system_score_gemma":0.0016488985,"threshold_uncertainty_score":0.9995456},"labels":[],"label_agreement":null},{"id":"W6899136136","doi":"10.58079/oul0","title":"Playing with fire (or water)","year":2012,"lang":"en","type":"article","venue":"OpenEdition (OpenEdition)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Perspective (graphical); Work (physics); Set (abstract data type); Fire investigation; Government (linguistics)","score_opus":0.030861940818411544,"score_gpt":0.23050845292498753,"score_spread":0.199646512106576,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6899136136","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42084354,0.0006418184,0.00008706289,0.018083245,0.0044044415,0.00079967076,0.00037949582,0.00039875903,0.55436194],"genre_scores_gemma":[0.973372,0.00009954244,0.00012005791,0.0076859496,0.0035089534,0.00022191802,0.0004624177,0.000033293283,0.014495907],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854684,0.000042926218,0.00028054757,0.00023013359,0.0003250353,0.00057452545],"domain_scores_gemma":[0.99932814,0.000060256905,0.00008526152,0.00024124935,0.0001401247,0.00014497379],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023534165,0.0002651078,0.00026410606,0.00008093065,0.0015439976,0.0002687005,0.00018247183,0.000053771917,0.026440205],"category_scores_gemma":[0.000008512582,0.00015380881,0.000069275855,0.00004954873,0.00023898996,0.01278261,0.00008271865,0.00016367697,0.0034586191],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015238571,0.0010742336,0.0048677386,0.0004075743,0.0006245506,0.00006919945,0.061486073,0.00005715603,0.00044074372,0.7597624,0.14635108,0.023335392],"study_design_scores_gemma":[0.00097201427,0.00040339038,0.0058059986,0.00015805989,0.000099847515,0.000050211493,0.005021143,0.000024436647,0.0021662083,0.00026948185,0.98446536,0.00056387606],"about_ca_topic_score_codex":0.00009349784,"about_ca_topic_score_gemma":0.0022823622,"teacher_disagreement_score":0.83811426,"about_ca_system_score_codex":0.00004863522,"about_ca_system_score_gemma":0.000027287917,"threshold_uncertainty_score":0.99975586},"labels":[],"label_agreement":null},{"id":"W6904620109","doi":"10.14288/1.0356557","title":"Discorder","year":2017,"lang":"en","type":"article","venue":"Open Collections","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Cover (algebra); Mount; Performance art; Quarter (Canadian coin)","score_opus":0.057447343714726325,"score_gpt":0.2923406894547849,"score_spread":0.2348933457400586,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6904620109","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00071823684,0.000014028939,0.000003713823,0.0007265578,0.0008040468,0.00012002642,0.00002468656,0.000016721147,0.997572],"genre_scores_gemma":[0.20471005,0.00002228646,0.00001985511,0.000068995694,0.000351809,0.00004572208,0.0000012334642,0.000004172864,0.79477584],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997526,0.000004451712,0.000051976876,0.00007261149,0.00003329567,0.0000850897],"domain_scores_gemma":[0.9996804,0.000008679111,0.00003259103,0.00023015012,0.00003197931,0.0000161901],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000034624238,0.000044541805,0.00006654934,0.000010823235,0.019973746,0.005011342,0.00028098992,0.000006957905,0.009253215],"category_scores_gemma":[0.000008868877,0.000034238557,0.000024260251,0.000011010051,0.00013761778,0.00043709195,0.00016116751,0.000039736908,0.00010380097],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000071163113,0.000028707145,0.00016973595,0.0000017236321,0.000030254,5.881837e-7,0.0036144415,5.5646757e-7,7.4617765e-7,0.019803412,0.9744312,0.0019114926],"study_design_scores_gemma":[0.00014533238,0.000029515231,0.00039292226,0.0000059858185,0.0000095370015,7.8324774e-7,0.0016269507,0.0000074215636,0.000010865598,0.0034058646,0.9943042,0.000060667993],"about_ca_topic_score_codex":0.013414256,"about_ca_topic_score_gemma":0.082423896,"teacher_disagreement_score":0.20399182,"about_ca_system_score_codex":0.000007554948,"about_ca_system_score_gemma":0.000019052412,"threshold_uncertainty_score":0.99602157},"labels":[],"label_agreement":null},{"id":"W6904757368","doi":"10.14288/cl.v0i236.190472","title":"Canada on Stage","year":2018,"lang":"en","type":"article","venue":"Open Collections","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); MEDLINE; Duration (music); Population","score_opus":0.03538517952402949,"score_gpt":0.2458853557402612,"score_spread":0.21050017621623174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6904757368","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010091204,0.000004795876,7.983177e-7,0.0005247926,0.0008945234,0.00011200761,0.00010624256,0.000013512664,0.9973342],"genre_scores_gemma":[0.18299012,0.00000412705,0.0000059921413,0.0007867667,0.00056960067,0.000023670389,0.0000020114671,0.0000041858343,0.8156135],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970645,0.000007673029,0.00005609717,0.00007469489,0.000056724602,0.000098371944],"domain_scores_gemma":[0.999796,0.000019122483,0.000014742034,0.0000946508,0.00005467016,0.00002082677],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00002800647,0.000047529225,0.000058912476,0.000014026023,0.0048243194,0.0005396671,0.000107564614,0.0000059548324,0.019575862],"category_scores_gemma":[0.000004035289,0.000037874586,0.000011406496,0.000055459244,0.000072944385,0.000082499944,0.000040933228,0.00003912222,0.000070118025],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010420885,0.000012978875,0.0000075815083,9.323588e-7,0.000016519634,5.021322e-7,0.001462725,9.950824e-7,3.9820486e-7,0.013687554,0.9845088,0.00029057398],"study_design_scores_gemma":[0.00010000565,0.00013315374,0.000026276739,0.0000050741987,0.0000041409694,3.1289042e-7,0.0020737394,0.000008545313,0.00007213968,0.00026600066,0.99725246,0.000058130765],"about_ca_topic_score_codex":0.96674216,"about_ca_topic_score_gemma":0.999067,"teacher_disagreement_score":0.181981,"about_ca_system_score_codex":0.00004738348,"about_ca_system_score_gemma":0.00022169497,"threshold_uncertainty_score":0.9964713},"labels":[],"label_agreement":null},{"id":"W6904948175","doi":"10.14288/1.0356480","title":"[Program for Chinese drama plays]","year":2017,"lang":"en","type":"article","venue":"Open Collections","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Chinatown; Drama; China; Narrative; Chinese literature","score_opus":0.04256321619893218,"score_gpt":0.3194101733168932,"score_spread":0.27684695711796103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6904948175","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002673122,0.00002294321,0.000008738827,0.0007243234,0.00095182436,0.00071798416,0.00011497271,0.000051648156,0.99473447],"genre_scores_gemma":[0.21526255,0.000021689026,0.00024409595,0.00007707685,0.00091683393,0.0008217924,0.000009553341,0.000011051996,0.78263533],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999609,0.0000044710105,0.00008725947,0.00011517098,0.000040572286,0.00014353168],"domain_scores_gemma":[0.999552,0.00003224662,0.00005491674,0.0002543152,0.000079626174,0.000026906779],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006603676,0.00007989772,0.00012207995,0.000019444711,0.019321768,0.0051448075,0.0003384913,0.00001693011,0.001820623],"category_scores_gemma":[0.000029065526,0.000059902675,0.00006217357,0.000021538039,0.00013714687,0.0004035309,0.00012452509,0.000047529196,0.000031071428],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044817167,0.00012647785,0.00025572622,0.000011020101,0.000082043596,4.4527945e-7,0.0049803485,0.000001743354,0.0000014009521,0.009452376,0.97443885,0.010604731],"study_design_scores_gemma":[0.00045433047,0.00017771054,0.000423001,0.000008610725,0.000018835122,0.0000011188131,0.0009146197,0.00008884539,0.000007849487,0.004911413,0.9928948,0.00009882173],"about_ca_topic_score_codex":0.0057221428,"about_ca_topic_score_gemma":0.068846546,"teacher_disagreement_score":0.21258943,"about_ca_system_score_codex":0.000012321347,"about_ca_system_score_gemma":0.000029123363,"threshold_uncertainty_score":0.99909186},"labels":[],"label_agreement":null},{"id":"W6917482924","doi":"10.57912/23879019.v1","title":"A case study of Crossroads Theatre: A regional African American theater in New Brunswick, New Jersey","year":2023,"lang":"en","type":"article","venue":"Figshare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"African american; Order (exchange); Debt; Phone; African studies","score_opus":0.1060634313553973,"score_gpt":0.2883951561924712,"score_spread":0.18233172483707388,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6917482924","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.957807,0.00020100313,2.6817471e-8,0.00061552454,0.000114724484,0.00052219984,0.007663044,0.00017738639,0.03289911],"genre_scores_gemma":[0.9889821,0.0000070500855,0.000002706185,0.00013001813,0.00057486596,0.00003140158,0.0011856764,0.00002386439,0.009062339],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990123,0.000034068733,0.00024380232,0.00022238126,0.000182804,0.00030464504],"domain_scores_gemma":[0.9994441,0.00009596185,0.00009124758,0.00024344641,0.00004323731,0.00008195548],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004333199,0.0001738374,0.0002864278,0.00018997974,0.00018586268,0.000071171664,0.0001634193,0.000020810783,0.03633622],"category_scores_gemma":[0.00001834854,0.0001339999,0.0000798469,0.0002479729,0.00004630133,0.00014210449,0.00011020202,0.00013195736,0.00070625194],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000067356916,0.00013430517,0.0035105837,0.000046395086,0.00007472349,0.00061701314,0.3434404,0.0000228278,0.0000013090928,0.00012811249,0.6365878,0.015369142],"study_design_scores_gemma":[0.0012053085,0.0007876592,0.008716407,0.00033324215,0.00002577796,0.00008416792,0.24770221,0.000043239666,0.000009920913,0.00010706309,0.74065155,0.0003334373],"about_ca_topic_score_codex":0.04857317,"about_ca_topic_score_gemma":0.2246786,"teacher_disagreement_score":0.17610544,"about_ca_system_score_codex":0.000021019547,"about_ca_system_score_gemma":0.00025885805,"threshold_uncertainty_score":0.9645447},"labels":[],"label_agreement":null},{"id":"W6927958308","doi":"10.3205/16sgkj12","title":"Elementarbildung und non-kognitive Entwicklung: die Quebec-Studie – ein Lehrstück für Europa?","year":2016,"lang":"de","type":"article","venue":"German Medical Science (German Research Foundation)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Diafiltration; Liquation; Dysgeusia; Fusible alloy; Emperipolesis; Triacetin","score_opus":0.0636839340361311,"score_gpt":0.42086714622008264,"score_spread":0.35718321218395155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6927958308","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76545364,0.0062444857,0.00033425365,0.061658654,0.008939782,0.003017135,0.0002693964,0.00032555545,0.15375711],"genre_scores_gemma":[0.9447558,0.009718669,0.00002717724,0.0012738178,0.007308974,0.00018979087,0.0000906434,0.000073427706,0.03656173],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9857816,0.00072189845,0.0012330684,0.001619597,0.0073937294,0.0032501004],"domain_scores_gemma":[0.99380016,0.0015457222,0.00030873987,0.00097413134,0.0019048229,0.0014664286],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["sts","insufficient_payload"],"category_scores_codex":[0.009659625,0.0006793503,0.0007357067,0.0010630527,0.007894593,0.0015460601,0.0023221541,0.0001931029,0.024273865],"category_scores_gemma":[0.0014879883,0.000453543,0.0002527754,0.001043451,0.018349921,0.0028750258,0.002050352,0.0013183372,0.022552129],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004453703,0.0014070274,0.0044135014,0.0005158052,0.0012101849,0.00074138155,0.062302377,5.652525e-7,0.0018942227,0.15394218,0.081683576,0.6914438],"study_design_scores_gemma":[0.0017741901,0.000662327,0.011067624,0.0010527043,0.0001535468,0.0000066430835,0.0027087333,0.00019356413,0.00084115204,0.0027491178,0.977965,0.0008254221],"about_ca_topic_score_codex":0.003914709,"about_ca_topic_score_gemma":0.018887332,"teacher_disagreement_score":0.8962814,"about_ca_system_score_codex":0.0012118412,"about_ca_system_score_gemma":0.0030697791,"threshold_uncertainty_score":0.9997916},"labels":[],"label_agreement":null},{"id":"W6936374937","doi":"10.57912/23879019","title":"A case study of Crossroads Theatre: A regional African American theater in New Brunswick, New Jersey","year":2023,"lang":"en","type":"dissertation","venue":"American University Research Archive","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"African american; Order (exchange); Debt; Phone; African studies","score_opus":0.0695580123831354,"score_gpt":0.31956867064316824,"score_spread":0.2500106582600328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6936374937","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93351305,0.000047624384,0.0000011449747,0.00021364167,0.0001289005,0.0007499987,0.00009842326,0.00006957153,0.065177634],"genre_scores_gemma":[0.9317109,0.0004180169,0.000042341788,0.000023166998,0.00039845717,0.0000034393586,0.00016988444,0.000060472754,0.067173325],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9968404,0.00054344826,0.0003405749,0.00066358625,0.0007875395,0.0008244379],"domain_scores_gemma":[0.9980193,0.0006589411,0.00029319036,0.0005243889,0.00020340577,0.00030079795],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00033432312,0.0003788596,0.0008323771,0.0017104923,0.0007611004,0.00009044141,0.00066352275,0.000038853017,0.0002203906],"category_scores_gemma":[0.000026653353,0.00035570216,0.00020845528,0.0009881541,0.002077579,0.00017863812,0.0002538879,0.0010353681,0.00009278455],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0026070054,0.00049278577,0.013886292,0.00006160349,0.0005571588,0.0032776713,0.901009,0.000012283953,0.0000135871815,0.00188029,0.024216415,0.051985867],"study_design_scores_gemma":[0.0009832423,0.0027226824,0.0096449675,0.00011218616,0.00007653587,0.00002386765,0.9373494,0.000014225149,0.0000033270132,0.00033046017,0.048380077,0.00035906956],"about_ca_topic_score_codex":0.8759617,"about_ca_topic_score_gemma":0.9514834,"teacher_disagreement_score":0.075521685,"about_ca_system_score_codex":0.0001791005,"about_ca_system_score_gemma":0.0022919124,"threshold_uncertainty_score":0.9998895},"labels":[],"label_agreement":null},{"id":"W6945122604","doi":"10.25365/rezens-2023-2-01","title":"Natalie Alvarez: Theatre and War.","year":2023,"lang":"de","type":"article","venue":"media/rep/","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spanish Civil War; First world war; Period (music); Metropolitan area","score_opus":0.02682756102706665,"score_gpt":0.23254066811003066,"score_spread":0.205713107082964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6945122604","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52510613,0.14425552,0.0000027947442,0.028971009,0.027183989,0.0008801355,0.0018606359,0.0011997672,0.27054],"genre_scores_gemma":[0.92878866,0.040734906,0.0000092895725,0.001005649,0.010286456,0.000044515804,0.00024368118,0.000069951326,0.01881686],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982436,0.00005633136,0.00033877854,0.00040550283,0.00033331252,0.00062249636],"domain_scores_gemma":[0.9990063,0.0003110004,0.00008436943,0.0003673972,0.00009020104,0.00014077153],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033710088,0.00034275177,0.0004230239,0.00018990731,0.0009850224,0.00019061581,0.00019450564,0.00011077138,0.0018102225],"category_scores_gemma":[0.000049139864,0.0002702721,0.00012595941,0.00013947525,0.0006598469,0.00024685496,0.0002663471,0.00029481758,0.0053462316],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000945083,0.00008785822,0.0039399425,0.000512772,0.0006245419,0.00022551492,0.24526352,0.0000035625142,0.000023269413,0.021052584,0.64463747,0.083534464],"study_design_scores_gemma":[0.00048712047,0.00012237835,0.0011233648,0.00014134884,0.00017868468,0.000004857,0.020278864,0.00008422852,0.00007419022,0.0030504053,0.9740849,0.00036966024],"about_ca_topic_score_codex":0.0003102922,"about_ca_topic_score_gemma":0.00092870113,"teacher_disagreement_score":0.40368253,"about_ca_system_score_codex":0.000024670057,"about_ca_system_score_gemma":0.000047018377,"threshold_uncertainty_score":0.99997497},"labels":[],"label_agreement":null},{"id":"W6955555911","doi":"10.58079/uqtn","title":"Hand in Hand with Damien Ajavon: The Material as Part of the Story","year":2020,"lang":"en","type":"article","venue":"Industrias Culturais (Universidade de Coimbra)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Clothing; Photography; Feature (linguistics); Theme (computing)","score_opus":0.035781979398383804,"score_gpt":0.21171272678126185,"score_spread":0.17593074738287806,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6955555911","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9159948,0.00007303074,6.5948507e-7,0.026110949,0.00029836554,0.00024432273,0.00013071595,0.000018835539,0.057128288],"genre_scores_gemma":[0.98999715,0.000012845657,0.0000019058951,0.00061320915,0.0006063245,0.0000059602403,0.000009456495,0.000010587934,0.008742584],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918634,0.00010653817,0.00012628493,0.00016392829,0.00019300365,0.00022388775],"domain_scores_gemma":[0.9995383,0.00005750293,0.00011434861,0.00017282959,0.000066338456,0.000050672454],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011070978,0.00015311725,0.00020097454,0.000036247802,0.0007353719,0.00015389411,0.00034793085,0.00007552746,0.0010276429],"category_scores_gemma":[0.000027246715,0.000079545454,0.000067039364,0.0001439765,0.000830501,0.0002550986,0.000105932035,0.0003448137,0.000025728172],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016675466,0.00014516908,0.006414012,0.00011214739,0.0006613311,0.00008202431,0.6733575,0.00028999435,0.004761127,0.050699767,0.25632837,0.0054810336],"study_design_scores_gemma":[0.0015595651,0.0003112558,0.023149949,0.000114668066,0.00011502875,0.000009684708,0.08196097,0.000018972121,0.0050148703,0.00005574003,0.88744974,0.00023958125],"about_ca_topic_score_codex":0.00081213674,"about_ca_topic_score_gemma":0.0030135433,"teacher_disagreement_score":0.63112134,"about_ca_system_score_codex":0.00004485616,"about_ca_system_score_gemma":0.00008646754,"threshold_uncertainty_score":0.99988556},"labels":[],"label_agreement":null},{"id":"W6976784462","doi":"10.60692/wj74n-xmf83","title":"Tree rings reveal globally coherent signature of cosmogenic radiocarbon events in 774 and 993 CE","year":2018,"lang":"en","type":"article","venue":"Greater South Information System","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University; University of Guelph; Université du Québec à Rimouski","funders":"","keywords":"Radiocarbon dating; Taiga; Boreal; Cosmic ray; Ice core; Cosmogenic nuclide","score_opus":0.02236205517249268,"score_gpt":0.19745547124815713,"score_spread":0.17509341607566445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6976784462","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94535804,0.00003748727,0.000014467562,0.000024835344,0.00037378358,0.00024324076,0.000058243877,0.00004242045,0.053847454],"genre_scores_gemma":[0.99929595,9.895613e-7,0.000014147683,0.00006640652,0.0002054541,0.000016911796,0.000007427625,0.000005214218,0.00038749672],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9990795,0.000025355117,0.00044892926,0.000087406814,0.00018908111,0.00016972075],"domain_scores_gemma":[0.99952596,0.000004178047,0.00020382043,0.00013874183,0.00009418944,0.000033102042],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020124404,0.00013567979,0.00022926055,0.00013426461,0.00012484493,0.0000534868,0.000102830876,0.000053222968,0.000039408347],"category_scores_gemma":[0.000003383543,0.000102065336,0.0000423836,0.00005092624,0.00009228147,0.0005114209,0.0000477135,0.00006670197,0.00007564311],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023081889,0.000005223993,0.22422086,0.00066106615,0.00010152065,8.8489656e-7,0.7696578,0.000003261512,0.000004794952,0.002009041,0.0007329457,0.002371815],"study_design_scores_gemma":[0.007442929,0.001208013,0.6304751,0.0025512679,0.00019283858,0.000052687257,0.32841372,0.0010221193,0.0015913256,0.00010192466,0.02578374,0.0011643115],"about_ca_topic_score_codex":0.00006544257,"about_ca_topic_score_gemma":0.00003912694,"teacher_disagreement_score":0.44124404,"about_ca_system_score_codex":0.0000413887,"about_ca_system_score_gemma":0.000014925799,"threshold_uncertainty_score":0.41621035},"labels":[],"label_agreement":null},{"id":"W6977069461","doi":"10.6084/m9.figshare.25940115.v1","title":"Additional file 1 of Variability of polygenic prediction for body mass index in Africa","year":2024,"lang":"en","type":"dataset","venue":"Figshare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Table (database); Rank (graph theory); Standard error; Interaction; Body mass index","score_opus":0.0331084049849275,"score_gpt":0.22823963352525173,"score_spread":0.19513122854032422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6977069461","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[7.244731e-8,0.00007809994,1.1090619e-8,0.0000052898304,0.000121947196,0.00022525957,0.9936867,0.000012808063,0.0058698077],"genre_scores_gemma":[0.000051892057,0.000004021163,0.00000398246,0.0000065937234,0.0006451864,0.0016805717,0.9963847,0.000009288736,0.0012137966],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925655,0.000019167357,0.0002887765,0.00016784783,0.00013678263,0.00013090289],"domain_scores_gemma":[0.99860525,0.0009499346,0.00014015517,0.00017501079,0.00011452098,0.000015112841],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000041748117,0.0001333756,0.00025081515,0.00013017673,0.000050550694,0.000017062575,0.0001333099,0.000105865656,0.9951426],"category_scores_gemma":[0.0005094488,0.00011525137,0.00012802279,0.000040988696,0.000026234484,0.00006944739,0.000061894796,0.00016332298,0.00097176334],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019118857,0.000039152725,5.0778226e-7,0.0019908615,0.00006106441,4.549947e-7,0.0002338756,7.505761e-7,4.356532e-8,0.0000075647667,0.9975921,0.00005454088],"study_design_scores_gemma":[0.00006201637,0.000077571945,0.00009608875,0.003033482,0.00002472826,2.1475705e-7,0.00012328076,0.000034462242,5.5294146e-7,0.00030408992,0.9961505,0.00009303747],"about_ca_topic_score_codex":0.0000245245,"about_ca_topic_score_gemma":0.00042003323,"teacher_disagreement_score":0.9941708,"about_ca_system_score_codex":0.000027111291,"about_ca_system_score_gemma":0.00011197602,"threshold_uncertainty_score":0.9998061},"labels":[],"label_agreement":null},{"id":"W6977102405","doi":"10.6084/m9.figshare.22259590.v1","title":"Raw capture and radio-tracking data","year":2023,"lang":"en","type":"dataset","venue":"Figshare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Raw data; Raw material; Automatic identification and data capture; Product (mathematics); Production (economics)","score_opus":0.1486830739608951,"score_gpt":0.29083830961740886,"score_spread":0.14215523565651375,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6977102405","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[3.4972345e-7,0.0030805976,1.3631445e-9,0.00008894524,0.0004524548,0.00012317706,0.9941904,0.00008314425,0.0019809227],"genre_scores_gemma":[0.0000098657665,0.00036200756,5.078258e-7,0.00018487795,0.0027590618,0.000039245915,0.9931694,0.00002552722,0.0034494721],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991376,0.000013901051,0.00014549789,0.00033171542,0.00014628083,0.00022502722],"domain_scores_gemma":[0.9990328,0.00010479437,0.000088598215,0.0006858153,0.00004734415,0.000040639363],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003989911,0.00023008541,0.0002614748,0.000076228505,0.0003910625,0.0003198034,0.0005276904,0.0001086061,0.14214928],"category_scores_gemma":[0.00013842956,0.00018447744,0.000035523964,0.000024381581,0.000027315833,0.00025283077,0.00069593854,0.00033563108,0.014679333],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000023004714,0.0000046255354,2.6297008e-7,0.000629783,0.00006240675,0.000025623489,0.0008670533,1.5828091e-7,1.13147856e-8,0.0000060413927,0.9977942,0.00060753897],"study_design_scores_gemma":[0.00007360792,0.000013007929,0.000017689075,0.0014539339,0.000044799413,0.000003965219,0.0005104756,0.0000041899025,1.7186717e-7,0.000010871992,0.9976235,0.0002437957],"about_ca_topic_score_codex":0.000488245,"about_ca_topic_score_gemma":0.009834678,"teacher_disagreement_score":0.12746996,"about_ca_system_score_codex":0.00000879172,"about_ca_system_score_gemma":0.00003176661,"threshold_uncertainty_score":0.98608786},"labels":[],"label_agreement":null},{"id":"W6977229626","doi":"10.6084/m9.figshare.24948680.v1","title":"Rethinking sexual violence labels: exploring the impact of ‘victim’ and ‘survivor’ discourse","year":2024,"lang":"en","type":"article","venue":"Figshare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scrutiny; Sexual violence; Perception; Suicide prevention; Poison control; Human sexuality; Human factors and ergonomics; Qualitative research","score_opus":0.1303705777166358,"score_gpt":0.3073505053253467,"score_spread":0.1769799276087109,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6977229626","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9223758,0.008442201,1.2691505e-7,0.00017019056,0.00032505178,0.00015075019,0.05340747,0.00012946407,0.014998973],"genre_scores_gemma":[0.99820703,0.00010704182,0.0000012043495,0.000015528374,0.00055295555,0.0000501409,0.0007514768,0.000011789035,0.00030285126],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995496,0.000015335101,0.00009758822,0.00011354473,0.00009048416,0.00013340995],"domain_scores_gemma":[0.9996792,0.00013338268,0.000024491874,0.000110886926,0.000033614277,0.000018400495],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000058391724,0.000097318734,0.00009861585,0.000033610264,0.00023779956,0.00014370392,0.00009204832,0.000013147864,0.020936495],"category_scores_gemma":[0.000027285427,0.000052610343,0.000045618686,0.00003236039,0.00004122764,0.00034125705,0.00008300788,0.00012919545,0.00012705733],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026964164,0.00003070578,0.00056844513,0.0011628411,0.0003408528,0.00001841372,0.6383336,0.000054639073,0.000055660556,0.003349887,0.120221205,0.23583676],"study_design_scores_gemma":[0.0008794806,0.0021342125,0.025022676,0.05744457,0.00032890853,0.00006163971,0.24469592,0.006919621,0.0013892435,0.015504032,0.6434073,0.0022123966],"about_ca_topic_score_codex":0.00035087232,"about_ca_topic_score_gemma":0.00046222826,"teacher_disagreement_score":0.5231861,"about_ca_system_score_codex":0.000010431278,"about_ca_system_score_gemma":0.0000213651,"threshold_uncertainty_score":0.9799585},"labels":[],"label_agreement":null},{"id":"W6977373661","doi":"10.6084/m9.figshare.29849056","title":"Additional file 2 of Structural barriers and facilitators to accessing postsurgical rehabilitation in adults who were treated with surgery for low back pain: protocol for a scoping review","year":2025,"lang":"en","type":"article","venue":"Figshare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University; Ontario Tech University; Canadian Memorial Chiropractic College; University of Toronto; Western University","funders":"","keywords":"Rehabilitation; Protocol (science); MEDLINE; Randomized controlled trial","score_opus":0.03155765360582942,"score_gpt":0.3003139633634806,"score_spread":0.2687563097576512,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6977373661","genre_codex":"dataset","genre_gemma":"protocol","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001535602,0.000082631304,1.7652347e-7,0.00012987776,0.0000056052127,0.039340995,0.95976436,0.0000123870705,0.00051039417],"genre_scores_gemma":[0.00080416,0.0000012723312,0.00016302701,0.00032637242,0.00007254557,0.60421425,0.39396238,0.000012188732,0.00044377008],"study_design_codex":"not_applicable","study_design_gemma":"systematic_review","domain_scores_codex":[0.9993405,0.00003390492,0.00025678962,0.00016651681,0.00006466832,0.00013762293],"domain_scores_gemma":[0.9970331,0.0025906942,0.00007910058,0.000063990425,0.00020028908,0.000032793527],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000062636565,0.00011044502,0.00027801984,0.0000827029,0.00016030905,0.00003721401,0.000040691808,0.000024661053,0.6579844],"category_scores_gemma":[0.0017603718,0.00008099998,0.000064221706,0.00006365589,0.000027896165,0.00018827854,0.000018506587,0.00003450762,0.000005459334],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026709485,0.00000414092,0.00013400985,0.036352888,0.000011107456,1.5934708e-7,0.00078745926,0.0000012142884,2.3081222e-8,0.000010258901,0.95816666,0.0042649866],"study_design_scores_gemma":[0.0004293127,0.00022550061,0.00096805085,0.56595767,0.0000034671305,2.0931543e-7,0.0007179066,0.0000894842,0.000002961318,0.000022492697,0.43146035,0.00012257436],"about_ca_topic_score_codex":0.0000074486843,"about_ca_topic_score_gemma":0.0004248815,"teacher_disagreement_score":0.6579789,"about_ca_system_score_codex":0.00002023277,"about_ca_system_score_gemma":0.00011101449,"threshold_uncertainty_score":0.34232828},"labels":[],"label_agreement":null},{"id":"W6979737928","doi":"","title":"7A 11D Festival of Performance Art 2018 Toronto","year":2018,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media arts; Photography; Relation (database)","score_opus":0.01942771486982545,"score_gpt":0.21883260045815023,"score_spread":0.19940488558832478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6979737928","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022456208,0.0049675563,0.000008060058,0.00014879766,0.00470268,0.000533442,0.00036257415,0.00020662787,0.98682463],"genre_scores_gemma":[0.018268732,0.0023690544,0.000053973417,0.00032426446,0.008423296,0.00005539751,0.00023662084,0.00015909027,0.9701096],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99652934,0.00006564156,0.0010096425,0.00077179604,0.00074070913,0.0008828904],"domain_scores_gemma":[0.9975643,0.00013477191,0.0005988716,0.0010844489,0.00042842023,0.00018916384],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00043767336,0.00094163883,0.0012908175,0.00016065272,0.0009148112,0.0001636642,0.0006911893,0.0003532173,0.043149684],"category_scores_gemma":[0.000017669765,0.0008111939,0.0004888575,0.000037819118,0.0015191392,0.0008946263,0.0002615763,0.0005220356,0.01262196],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013166096,0.000106418556,0.00003076392,0.00046815132,0.0003509228,0.000006953619,0.016597971,9.728857e-7,0.0000103850725,0.017916223,0.94679826,0.017581308],"study_design_scores_gemma":[0.00058158697,0.0010081073,0.00024098309,0.00086108403,0.00025550523,0.000012544358,0.00077327393,0.000023475779,0.000059292317,0.0014936404,0.9937556,0.00093490013],"about_ca_topic_score_codex":0.00019216276,"about_ca_topic_score_gemma":0.0064807497,"teacher_disagreement_score":0.046957336,"about_ca_system_score_codex":0.0002941517,"about_ca_system_score_gemma":0.0003570722,"threshold_uncertainty_score":0.9994339},"labels":[],"label_agreement":null},{"id":"W6980380582","doi":"","title":"Canadian Celtic band plays University theatre","year":2001,"lang":"en","type":"article","venue":"The Mathematics Enthusiast","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"","score_opus":0.02205058345522125,"score_gpt":0.1952483353339874,"score_spread":0.17319775187876613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6980380582","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16977833,0.00007964663,0.000008970434,0.0011113791,0.00018737595,0.00012316961,0.000036662943,0.000044070337,0.8286304],"genre_scores_gemma":[0.9788776,0.000119250486,0.000023369614,0.00014938909,0.00028723638,0.0000015536376,0.000004539026,0.000012181457,0.020524891],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994113,0.000017203893,0.00010387302,0.00008960119,0.00011133356,0.00026672173],"domain_scores_gemma":[0.9995472,0.000065116954,0.000038784976,0.00024122106,0.000033456567,0.000074245036],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000114049995,0.00012120537,0.00013138603,0.00007440717,0.00084596884,0.0000744904,0.00023821583,0.000017490127,0.0027843397],"category_scores_gemma":[0.000003289987,0.00007640262,0.000058758367,0.000048550857,0.0001773445,0.00008862342,0.000031242573,0.000096883894,0.00054530497],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000983819,0.000043995875,0.00006412261,0.00003417292,0.00006783601,0.00002416661,0.91758436,0.000013289321,0.000007234128,0.07331677,0.0076181707,0.0012160158],"study_design_scores_gemma":[0.00024628366,0.000041977237,0.00019987594,0.000054657157,0.000090756745,0.00003122404,0.088489085,0.00026445487,0.000030768333,0.0007526186,0.9095772,0.00022113003],"about_ca_topic_score_codex":0.019595843,"about_ca_topic_score_gemma":0.47865704,"teacher_disagreement_score":0.901959,"about_ca_system_score_codex":0.000065107764,"about_ca_system_score_gemma":0.000041276242,"threshold_uncertainty_score":0.9981272},"labels":[],"label_agreement":null},{"id":"W6981064936","doi":"","title":"Development of geology in Spain: a case study of a marginal science","year":2015,"lang":"en","type":"article","venue":"Revistes Científiques de la University of Barcelona (University of Barcelona)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Quarter (Canadian coin); Historical geology; State (computer science); Quality (philosophy)","score_opus":0.03726343897767097,"score_gpt":0.23692564745343436,"score_spread":0.19966220847576338,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981064936","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97590065,0.00019973441,0.0001019413,0.000054994758,0.000030474612,0.0002530281,0.00001658956,0.000017156566,0.023425404],"genre_scores_gemma":[0.9959804,0.0000836865,0.0031048283,0.000005506078,0.000010425769,8.241632e-8,0.000002779039,0.0000061041437,0.00080619665],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9985635,0.00020219942,0.00025460374,0.00028607817,0.00039862478,0.00029499555],"domain_scores_gemma":[0.998696,0.00013363746,0.00035298002,0.00023451938,0.00046245308,0.00012035699],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012640667,0.00015920724,0.0005518371,0.0006509782,0.00033343292,0.00000852349,0.0005435826,0.000058864087,0.00024480434],"category_scores_gemma":[0.000026153783,0.00019226567,0.0001025836,0.00032925952,0.0025335269,0.00033463098,0.0004858934,0.00014774084,0.000003055844],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00060127914,0.001296357,0.06031978,0.00068810687,0.000168932,0.00069575506,0.90784305,0.00011331487,0.00066105876,0.018006759,0.00017238736,0.009433236],"study_design_scores_gemma":[0.0030910233,0.00097380514,0.025139358,0.0003384132,0.00013519906,0.00010118817,0.9389276,0.00046268044,0.00021899093,0.0001760726,0.030086217,0.0003494454],"about_ca_topic_score_codex":0.0053901654,"about_ca_topic_score_gemma":0.009759169,"teacher_disagreement_score":0.035180423,"about_ca_system_score_codex":0.00017771781,"about_ca_system_score_gemma":0.00047251247,"threshold_uncertainty_score":0.93348855},"labels":[],"label_agreement":null},{"id":"W6981552942","doi":"","title":"Environmental Impact Assessment (EIA) of Increased Arctic Shipping","year":2024,"lang":"en","type":"dissertation","venue":"Duo Research Archive (University of Oslo)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Arctic; Environmental impact assessment; The arctic; Baseline (sea); China; Climate change; Impact assessment; Global warming","score_opus":0.03692444926471481,"score_gpt":0.29781997489834755,"score_spread":0.2608955256336327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981552942","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.876655,0.0005891676,0.000006253985,0.00006961878,0.00017725013,0.0003135742,0.00089913706,0.000019906973,0.12127012],"genre_scores_gemma":[0.9881573,0.0009512078,0.000085813124,0.0000026964124,0.00014823966,0.000001497489,0.0011376075,0.00002341024,0.009492235],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99828,0.00019193524,0.00016891236,0.00029499026,0.00070068403,0.0003635043],"domain_scores_gemma":[0.99913645,0.00028684424,0.00012815399,0.0002506651,0.00009790324,0.00010001093],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00047689938,0.00019484077,0.00040138993,0.0007241039,0.0005714774,0.00004147256,0.0003809019,0.000062398685,0.0042475685],"category_scores_gemma":[0.000015445054,0.0001952529,0.0003147892,0.000078102654,0.0007320422,0.00018538459,0.00019010498,0.000719451,0.00012011626],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0024980993,0.001010484,0.010727004,0.008207884,0.004348059,0.0002575774,0.8568975,0.000021830077,0.015750568,0.04454238,0.025332233,0.030406406],"study_design_scores_gemma":[0.0014312222,0.0023287833,0.29538393,0.0029215335,0.0005268506,0.0000042006905,0.6065337,0.00081219256,0.0002715479,0.017517885,0.07140074,0.0008674394],"about_ca_topic_score_codex":0.00889213,"about_ca_topic_score_gemma":0.012908101,"teacher_disagreement_score":0.2846569,"about_ca_system_score_codex":0.00016575822,"about_ca_system_score_gemma":0.00025476195,"threshold_uncertainty_score":0.9977077},"labels":[],"label_agreement":null},{"id":"W6981829020","doi":"","title":"Following the glory cloud: Bethel Church & maintenance of the revival church","year":2013,"lang":"en","type":"article","venue":"UTC Scholar (University of Tennessee at Chattanooga)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blessing; Charisma; Glory; Christian ministry; Hierarchy; Chapel","score_opus":0.01752830190629966,"score_gpt":0.19193633788258455,"score_spread":0.17440803597628488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981829020","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93993884,0.00075388805,0.000008636961,0.0046133175,0.0008684451,0.00034178302,0.000038628772,0.00003550705,0.05340096],"genre_scores_gemma":[0.9724422,0.00027221494,0.000041005176,0.00018237042,0.00025448864,0.0000016707594,0.0000036665722,0.000015429194,0.026786957],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987378,0.00011177857,0.00019019427,0.000233015,0.00039134693,0.00033585363],"domain_scores_gemma":[0.9987749,0.000120980854,0.0002283927,0.0005840511,0.00024392767,0.000047754238],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005211171,0.00018956944,0.00035711995,0.000065762746,0.0018854393,0.000047779606,0.0009092751,0.00006703934,0.0024708998],"category_scores_gemma":[0.00004228977,0.00012296953,0.0004014775,0.00013483263,0.000716977,0.0006649629,0.00053684827,0.00037139218,0.00018280731],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048483876,0.00057240756,0.11229962,0.0010542348,0.0024790321,0.00004370013,0.4087072,0.00004600854,0.037596602,0.13617015,0.27952155,0.02102464],"study_design_scores_gemma":[0.0016949694,0.00017156726,0.12589246,0.0005042275,0.00037870384,0.000011471099,0.13780168,0.00009380862,0.0012997793,0.002198832,0.7293562,0.00059628906],"about_ca_topic_score_codex":0.0010812705,"about_ca_topic_score_gemma":0.00080343045,"teacher_disagreement_score":0.44983467,"about_ca_system_score_codex":0.000059975595,"about_ca_system_score_gemma":0.000034957295,"threshold_uncertainty_score":0.99941397},"labels":[],"label_agreement":null},{"id":"W6982250227","doi":"","title":"How might photovoice be used in a digital era? &#13;\\nCollaborating with rural youth to explore environmental pedagogy","year":2024,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Photovoice; Agency (philosophy); Participatory action research; Photography; Photo elicitation; Digital literacy; Environmental education; Literacy; Theme (computing)","score_opus":0.04217139874454775,"score_gpt":0.2682896646573802,"score_spread":0.22611826591283243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982250227","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84954286,0.00025639395,2.6064828e-7,0.0005361935,0.00071708835,0.00062291115,0.00021295516,0.00008633458,0.14802499],"genre_scores_gemma":[0.7994335,0.00007421984,0.0000014230995,0.000010021449,0.0007915332,0.000015142728,0.0003974525,0.00006541491,0.19921127],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99735296,0.00010978172,0.00023411217,0.0006697958,0.00082247256,0.000810899],"domain_scores_gemma":[0.9990676,0.00013093239,0.00010072482,0.00037280738,0.00010562064,0.00022233509],"candidate_categories":["metaepi_narrow","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.00014832552,0.00044788024,0.00049575744,0.0013842344,0.0009884102,0.0012977781,0.00047164637,0.00015652357,0.00011211808],"category_scores_gemma":[0.000016955806,0.0004077972,0.00015008514,0.00047966023,0.0003545881,0.0009601012,0.00017947788,0.0011747687,0.000076003045],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0033455864,0.00030691532,0.045119744,0.0006361166,0.0007666993,0.002701234,0.93824244,0.000015976713,0.0020227327,0.0022799077,0.0033410112,0.0012216251],"study_design_scores_gemma":[0.0006395366,0.0009352863,0.0028443967,0.0004110174,0.00008906928,0.000006826328,0.88388276,0.000008981924,0.0020683506,0.000050493352,0.1084798,0.00058349816],"about_ca_topic_score_codex":0.010647315,"about_ca_topic_score_gemma":0.31508535,"teacher_disagreement_score":0.30443805,"about_ca_system_score_codex":0.0006952019,"about_ca_system_score_gemma":0.0005573178,"threshold_uncertainty_score":0.9998374},"labels":[],"label_agreement":null},{"id":"W6982310784","doi":"","title":"Identity through Sports: Basketball and Black Masculinities","year":2021,"lang":"en","type":"dissertation","venue":"e-scholar@UOIT (University of Ontario Institute of Technology)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Basketball; Masculinity; Negotiation; Identity (music); Theme (computing); Action (physics); Football; Hegemonic masculinity","score_opus":0.016902684069377016,"score_gpt":0.20942995153087424,"score_spread":0.19252726746149723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982310784","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8559081,0.001675553,0.0000020997027,0.0001453846,0.0010768985,0.00017907108,0.00009840293,0.00007789235,0.1408366],"genre_scores_gemma":[0.5442628,0.017926628,0.06495431,0.00014126582,0.00050644885,0.0000060011103,0.0025823647,0.00011867204,0.36950147],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986746,0.000004086177,0.0003150146,0.0004168727,0.00033547267,0.000253965],"domain_scores_gemma":[0.99868834,0.0000017926379,0.0004297908,0.00043159863,0.00041117388,0.00003732158],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016804041,0.00033235253,0.00078467664,0.00036160002,0.00084940396,0.00006171473,0.0005163495,0.00043881597,0.0025385458],"category_scores_gemma":[0.000021458905,0.00039001575,0.00024691864,0.00014538431,0.00089039764,0.0021477893,0.00023203883,0.0010345825,0.000023283936],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006146255,0.0005874956,0.0028038581,0.0031497772,0.0028228597,0.0006020966,0.64027065,0.0000089700925,0.00016168364,0.2778572,0.010147992,0.060972806],"study_design_scores_gemma":[0.0004931301,0.00010131042,0.0038684588,0.0004819195,0.00038413238,0.000005761802,0.09553838,5.201381e-7,0.00014085748,0.003335974,0.89532673,0.0003228101],"about_ca_topic_score_codex":0.030431079,"about_ca_topic_score_gemma":0.54866946,"teacher_disagreement_score":0.88517874,"about_ca_system_score_codex":0.00016226724,"about_ca_system_score_gemma":0.0004760112,"threshold_uncertainty_score":0.99985516},"labels":[],"label_agreement":null},{"id":"W6982318956","doi":"","title":"Hybrid Distributed Stochastic Gradient Descent for Federated Learning","year":2020,"lang":"en","type":"dissertation","venue":"QSpace (Queen's University Library)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Overhead (engineering); Stochastic gradient descent; Distributed learning; Scheme (mathematics); Federated learning; Data transmission; Gradient descent; Transmission (telecommunications); Information privacy; Artificial neural network","score_opus":0.01149095109996476,"score_gpt":0.18496471783658852,"score_spread":0.17347376673662376,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982318956","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5754063,0.000949297,0.0055027064,0.1243416,0.012035822,0.008121846,0.009966909,0.006457385,0.25721812],"genre_scores_gemma":[0.6542914,0.00020955344,0.00005481572,0.0000885745,0.00050492643,0.0000062466684,0.01235239,0.00007366131,0.3324184],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879616,0.00005217387,0.00016828667,0.00042106071,0.00017339272,0.0003889312],"domain_scores_gemma":[0.9993348,0.00008526843,0.00020903067,0.000121601974,0.00010475962,0.00014451229],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.000019243642,0.00038566763,0.00044511218,0.00017532203,0.0014160255,0.0002635268,0.0002368436,0.00009262866,0.0006844262],"category_scores_gemma":[0.000017943566,0.0004012609,0.00024343787,0.00007761447,0.00009010557,0.00063021394,0.00007406567,0.0004280456,0.00007322452],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0022728776,0.00017569517,0.0002549573,0.0009960647,0.0008677319,0.000109927816,0.040740084,0.00035646925,0.000003064042,0.03928118,0.9134802,0.0014617341],"study_design_scores_gemma":[0.0005874597,0.00033908008,0.0001885475,0.00021098755,0.00026211003,1.17050305e-7,0.027445447,0.0001030705,0.00024882818,0.0001862381,0.96987516,0.00055295095],"about_ca_topic_score_codex":0.0008635974,"about_ca_topic_score_gemma":0.0003821454,"teacher_disagreement_score":0.12425303,"about_ca_system_score_codex":0.000082304054,"about_ca_system_score_gemma":0.00014794698,"threshold_uncertainty_score":0.999884},"labels":[],"label_agreement":null},{"id":"W6982340523","doi":"","title":"„Hún er náttúrlega kannski skrefi á undan þeim sem hún var með í leikskóla sem eru þar ennþá“ : val foreldra á fimm ára deild í sjálfstætt starfandi grunnskóla","year":2016,"lang":"is","type":"dissertation","venue":"Skemman","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Yield (engineering); Work (physics); Limiting","score_opus":0.017676041257638147,"score_gpt":0.24504688422430757,"score_spread":0.22737084296666943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982340523","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52635396,0.012378578,0.00004693649,0.0016554758,0.013101176,0.0023635535,0.003783262,0.000792252,0.4395248],"genre_scores_gemma":[0.6937876,0.0045936233,0.000080567275,0.00057428476,0.0074970894,0.00028440045,0.0030235462,0.00046684462,0.28969207],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99119955,0.00034562175,0.0021410354,0.0020813046,0.0015494752,0.0026830398],"domain_scores_gemma":[0.9951469,0.00045638802,0.0012643506,0.0017401184,0.0008112743,0.0005810101],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0008378094,0.002527038,0.0024494098,0.00091180246,0.0049604797,0.0011408579,0.0014622689,0.0011961368,0.0098864185],"category_scores_gemma":[0.000066091896,0.0020333994,0.0014706228,0.00031751674,0.00097443827,0.001543152,0.00039654248,0.0017857765,0.00387106],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0034390078,0.0017896938,0.009903139,0.0060044904,0.008882002,0.0005118733,0.42138946,0.000043812164,0.00096912833,0.23144878,0.25099,0.06462859],"study_design_scores_gemma":[0.0030166444,0.0014035596,0.004696012,0.002232696,0.0016644537,0.000032209828,0.023254797,0.000038932507,0.0014613497,0.0065697352,0.95221895,0.0034106802],"about_ca_topic_score_codex":0.0033079607,"about_ca_topic_score_gemma":0.022235777,"teacher_disagreement_score":0.7012289,"about_ca_system_score_codex":0.00048851717,"about_ca_system_score_gemma":0.000617545,"threshold_uncertainty_score":0.99989605},"labels":[],"label_agreement":null},{"id":"W6982383692","doi":"","title":"Immunoproteomic analysis of the human antibody response to infection with type A Francisella tularensis","year":2009,"lang":"en","type":"report","venue":"NPARC","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Francisella tularensis; Antibody response; Immune system; Antibody; Antigen; Vaccination","score_opus":0.02423198414205124,"score_gpt":0.28682530289589203,"score_spread":0.2625933187538408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982383692","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8237746,0.00017819111,0.0000028258198,0.000105473344,0.00040758293,0.0002841997,0.00007172313,0.000033264252,0.17514215],"genre_scores_gemma":[0.9828099,0.00028263158,0.000019690602,0.000064706146,0.0003813464,0.000014000307,0.0000547553,0.0000241174,0.016348822],"study_design_codex":"bench_or_experimental","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986566,0.00009341328,0.0003335572,0.0002331017,0.0004900374,0.00019329111],"domain_scores_gemma":[0.9985141,0.000033356682,0.00026359438,0.0005490263,0.0006127216,0.000027197917],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00052728597,0.00023622645,0.0006187683,0.00047900167,0.00047106296,0.000057442398,0.00016156182,0.00008668082,0.0012565764],"category_scores_gemma":[0.00003176192,0.0001401084,0.00028578157,0.0003933814,0.0001589752,0.000046019093,0.000054748838,0.00023439086,0.00002024657],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.008788514,0.001163281,0.13076802,0.0015732356,0.049014367,0.000061520564,0.19821224,0.0008850821,0.39933223,0.0048364843,0.16313407,0.042230975],"study_design_scores_gemma":[0.00025766005,0.0009182391,0.20599782,0.0004556526,0.004406693,0.000005555244,0.00037703296,0.0000066411744,0.0019589793,0.00020598227,0.7849091,0.0005005961],"about_ca_topic_score_codex":0.002048678,"about_ca_topic_score_gemma":0.006680411,"teacher_disagreement_score":0.6217751,"about_ca_system_score_codex":0.00008528134,"about_ca_system_score_gemma":0.0001924508,"threshold_uncertainty_score":0.99965644},"labels":[],"label_agreement":null},{"id":"W6983165587","doi":"","title":"LMDA New &amp; Noteworthy, May 2020","year":2020,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Work (physics); Pandemic; Center (category theory)","score_opus":0.041222276710096734,"score_gpt":0.21507708330950492,"score_spread":0.1738548065994082,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6983165587","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.888844,0.0005850565,0.0008905921,0.007205489,0.0004817702,0.00015468895,0.000109768676,0.00016853081,0.10156009],"genre_scores_gemma":[0.9710234,0.00014874486,0.00030151312,0.0006773563,0.0009946155,1.3969095e-7,0.000039979248,0.00001621717,0.026798073],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990719,0.00002750356,0.00013856418,0.00025980422,0.00022855776,0.0002736753],"domain_scores_gemma":[0.99935526,0.000047484245,0.00011611451,0.0002070886,0.000092761846,0.00018127363],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000071032155,0.00018036563,0.0003092139,0.000058480186,0.000657231,0.000071046205,0.0003216166,0.000056671888,0.0074080224],"category_scores_gemma":[0.00001745662,0.0001961848,0.00019989391,0.000095048614,0.00036652733,0.00042593712,0.00016951704,0.0001843894,0.0012987703],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015192913,0.00004154655,0.004434677,0.00009397194,0.00022651546,0.000014152787,0.16067041,0.000031920394,0.0000056951235,0.6450833,0.18887058,0.00037527826],"study_design_scores_gemma":[0.0004527169,0.00009278641,0.00039810885,0.000013007543,0.000073338546,0.0000013104143,0.020508058,0.00001597278,4.2245608e-7,0.46664995,0.5115885,0.00020583262],"about_ca_topic_score_codex":0.0017005145,"about_ca_topic_score_gemma":0.016079294,"teacher_disagreement_score":0.3227179,"about_ca_system_score_codex":0.000028515207,"about_ca_system_score_gemma":0.00006475665,"threshold_uncertainty_score":0.9994788},"labels":[],"label_agreement":null},{"id":"W6983180076","doi":"","title":"LMDA Review, volume 11, issue 1","year":2000,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Internship; Dramaturgy; Presentation (obstetrics); Performing arts; Project commissioning; Publishing","score_opus":0.015316862663192958,"score_gpt":0.20446614469597724,"score_spread":0.18914928203278428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6983180076","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6672656,0.0057516275,0.000021150217,0.0017641849,0.00033663464,0.0001990908,0.00010242985,0.000111470705,0.3244478],"genre_scores_gemma":[0.6744364,0.0062553748,0.000075541044,0.00065161585,0.00057278585,6.210971e-7,0.00004429065,0.000017152468,0.3179462],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991034,0.000039806524,0.00015135453,0.00021660623,0.00021348812,0.00027533283],"domain_scores_gemma":[0.9994066,0.000027569467,0.000089168025,0.0002897168,0.00011603226,0.00007094997],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015455224,0.00016707205,0.00034595185,0.00007507224,0.0007957176,0.000041535688,0.00029207728,0.000044049353,0.06879932],"category_scores_gemma":[0.000006542832,0.00017659889,0.00019405034,0.000074830525,0.0005174346,0.00046911233,0.000059302492,0.000115224604,0.0027614108],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007216346,0.0001340706,0.003682055,0.0007942273,0.00022477227,0.000019893092,0.04834163,0.000011717721,8.3960487e-7,0.44489944,0.49884123,0.0029779521],"study_design_scores_gemma":[0.00022429059,0.000060058264,0.00033732326,0.00012335757,0.00008894826,0.000002453561,0.006753681,0.000010667942,9.553041e-8,0.2806694,0.7115585,0.00017119096],"about_ca_topic_score_codex":0.0017468808,"about_ca_topic_score_gemma":0.006796755,"teacher_disagreement_score":0.2127173,"about_ca_system_score_codex":0.00003574887,"about_ca_system_score_gemma":0.000026349617,"threshold_uncertainty_score":0.99801505},"labels":[],"label_agreement":null},{"id":"W6983195725","doi":"","title":"À louer / For Rent, UMA, various venues,\\n Montreal","year":2012,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Liquation; Diafiltration; Emperipolesis; Triacetin; Fusible alloy","score_opus":0.011093512529345605,"score_gpt":0.16777758343019342,"score_spread":0.15668407090084782,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6983195725","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67044455,0.06457371,0.00014364359,0.007813759,0.0024277165,0.0006537,0.00048440043,0.00034328306,0.25311524],"genre_scores_gemma":[0.8873874,0.0013763725,0.00011651009,0.00026213363,0.0016917431,0.000018332195,0.000044848905,0.000030469337,0.109072216],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992573,0.000014494774,0.000089080044,0.00012548911,0.000095593714,0.00041799922],"domain_scores_gemma":[0.9995792,0.00004635055,0.00006265218,0.00016755561,0.000048581816,0.000095665826],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009118666,0.00013782068,0.00016632666,0.0000700658,0.00088387734,0.000018948269,0.00012112422,0.00004420708,0.00034438833],"category_scores_gemma":[0.0000050350613,0.00013163585,0.00011980156,0.000026646056,0.000079434074,0.00024478513,0.0000772308,0.00007565067,0.0001882179],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029610906,0.00015511797,0.002504272,0.000060126888,0.00027667402,0.000042505166,0.066267975,0.0000130758635,0.000060846967,0.12951764,0.69713545,0.10367019],"study_design_scores_gemma":[0.0005419923,0.00008372553,0.0012034875,0.0000118442795,0.000104028695,0.000016832559,0.0019787566,0.0000615603,0.00002543032,0.0007878273,0.9950134,0.00017112515],"about_ca_topic_score_codex":0.0043780496,"about_ca_topic_score_gemma":0.0792027,"teacher_disagreement_score":0.2978779,"about_ca_system_score_codex":0.0006623803,"about_ca_system_score_gemma":0.000008964166,"threshold_uncertainty_score":0.9375995},"labels":[],"label_agreement":null},{"id":"W6983789437","doi":"","title":"NOV (NYSE:NOV) Rating Reiterated by Royal Bank of Canada","year":2024,"lang":"en","type":"other","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Royal family; Government (linguistics)","score_opus":0.009804653224050126,"score_gpt":0.194107286269724,"score_spread":0.18430263304567387,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6983789437","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007149685,0.004337324,6.933496e-7,0.0001530324,0.0012280158,0.000086410146,0.0006372599,0.00009558667,0.9933902],"genre_scores_gemma":[0.009514833,0.000049522863,0.0000106913685,0.00021374211,0.0010388823,0.000007127243,0.000069242706,0.00015840662,0.98893756],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992928,0.000009286421,0.00020019378,0.00016395384,0.0001482922,0.0001854658],"domain_scores_gemma":[0.99971753,0.000014583634,0.00007651319,0.00013059229,0.000035563942,0.000025216303],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000040232986,0.00019835233,0.0002844003,0.00006265888,0.00008276998,0.000059720573,0.00009006057,0.000052322383,0.05645568],"category_scores_gemma":[0.00000262437,0.00013948443,0.0000450892,0.00002125763,0.0000733152,0.000018122768,0.000038475333,0.00013359255,0.00011411838],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000026821872,0.000005622109,0.0000049112373,0.000226695,0.0001612565,0.0000036446777,0.0021965755,3.0962042e-7,0.0000046314185,0.0063400255,0.9906524,0.00040129334],"study_design_scores_gemma":[0.000068677946,0.00002639509,3.94074e-7,0.000244872,0.00003478632,2.9780415e-7,0.001256295,0.00001556442,0.00005861767,0.000028671526,0.99808556,0.00017986851],"about_ca_topic_score_codex":0.6759169,"about_ca_topic_score_gemma":0.9569195,"teacher_disagreement_score":0.2810026,"about_ca_system_score_codex":0.000021847796,"about_ca_system_score_gemma":0.00012286053,"threshold_uncertainty_score":0.94440687},"labels":[],"label_agreement":null},{"id":"W6984952975","doi":"","title":"Drama Queer","year":2017,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Drama; Exhibition; The arts; Queer theory","score_opus":0.026513043954153236,"score_gpt":0.23825889881687207,"score_spread":0.21174585486271882,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6984952975","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002297489,0.005730859,0.000004680435,0.0008607145,0.006289271,0.00048358375,0.000311137,0.00031394398,0.98577607],"genre_scores_gemma":[0.006725147,0.0011626421,0.000017781631,0.00086157024,0.012881714,0.00007183487,0.00022462603,0.00018344852,0.97787124],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970095,0.00005132784,0.00064784486,0.00081112736,0.00059778476,0.0008823848],"domain_scores_gemma":[0.9973319,0.00011301977,0.0005265791,0.0015498485,0.00027921496,0.00019942169],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032931857,0.0009292889,0.0011178157,0.00024078992,0.0023829325,0.0009364356,0.0009291196,0.00039769482,0.027309809],"category_scores_gemma":[0.00002574865,0.000794293,0.0005921873,0.000016464128,0.001146807,0.0006444523,0.00028143192,0.0009429714,0.02536848],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033396413,0.00004309175,0.0000082677725,0.00016029291,0.00031024215,0.00004398602,0.028009925,6.3903855e-7,0.000001531337,0.082574196,0.8607313,0.02808313],"study_design_scores_gemma":[0.00050695136,0.00019232614,0.000120938654,0.00048499738,0.00023992645,0.00001140096,0.0006570419,0.00000524385,0.0000054775055,0.017785488,0.9789882,0.0010020254],"about_ca_topic_score_codex":0.00019241778,"about_ca_topic_score_gemma":0.0032910362,"teacher_disagreement_score":0.11825688,"about_ca_system_score_codex":0.00014519208,"about_ca_system_score_gemma":0.00033362772,"threshold_uncertainty_score":0.9994508},"labels":[],"label_agreement":null},{"id":"W6986573429","doi":"","title":"Porch Stories: Conversations About Urban Change&amp;nbsp;| Karen Chapple, June Grant, Carolyn Johnson, Susan Moffat, and David Peters (Lecture, 103 minutes)","year":2021,"lang":"en","type":"other","venue":"eScholarship (California Digital Library)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Porch; Power (physics); Police brutality; Performance art","score_opus":0.03209244993273862,"score_gpt":0.220620816545769,"score_spread":0.1885283666130304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986573429","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031108435,0.040681716,0.000011427322,0.0014177469,0.0023445284,0.0011722834,0.03207257,0.00091715204,0.9182717],"genre_scores_gemma":[0.053572837,0.0050750747,0.00012864186,0.0014649228,0.006514892,0.0002639923,0.016979769,0.0010642197,0.91493565],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99712,0.000091342496,0.0005580733,0.0008966927,0.00051361084,0.0008202433],"domain_scores_gemma":[0.998446,0.000111225454,0.0003444802,0.00066480786,0.00008486312,0.00034861482],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011452457,0.0009336293,0.0009290516,0.00055305305,0.0006036832,0.0022332564,0.00048357135,0.00036493177,0.014463968],"category_scores_gemma":[0.000044762975,0.0008277402,0.00031252296,0.00024283682,0.00055366964,0.0016783169,0.00035525486,0.00077191973,0.00061557273],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008257547,0.00012786037,0.01025745,0.00070367806,0.0005630698,0.00004439539,0.0076866676,1.615136e-7,0.000005056817,0.0034832652,0.97405005,0.0029957846],"study_design_scores_gemma":[0.00062396197,0.00008724369,0.0002451216,0.0006455178,0.00014117631,0.000011754199,0.00062718644,0.000001645599,0.00003467673,0.00044919387,0.9961506,0.0009819134],"about_ca_topic_score_codex":0.00040796556,"about_ca_topic_score_gemma":0.0026897176,"teacher_disagreement_score":0.050461993,"about_ca_system_score_codex":0.00004671525,"about_ca_system_score_gemma":0.00013014778,"threshold_uncertainty_score":0.99941736},"labels":[],"label_agreement":null},{"id":"W6986620501","doi":"","title":"PowerShift: Young and Rising - Friday Keynote - Tickets - Bronson Centre Theatre - Ottawa, ON - February 15th, 2019","year":2019,"lang":"en","type":"other","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Period (music); Exposition (narrative); Feature (linguistics); Object (grammar)","score_opus":0.010415016049712292,"score_gpt":0.2087774396034086,"score_spread":0.19836242355369632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986620501","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00075047475,0.006154027,0.0000019920026,0.0007811247,0.002299019,0.00043740135,0.00035114973,0.00030141705,0.9889234],"genre_scores_gemma":[0.023151197,0.0013768397,0.000027563663,0.0005096322,0.002234047,0.0000041974167,0.00008303441,0.0003682913,0.9722452],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835587,0.000057647718,0.00026608325,0.0005254129,0.00028357917,0.0005113931],"domain_scores_gemma":[0.99916685,0.00007704585,0.0001685611,0.00047790143,0.000023125378,0.00008649629],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00010439031,0.0005740958,0.00058816373,0.00027833926,0.00034233966,0.00025411393,0.00019690728,0.00022315842,0.01654912],"category_scores_gemma":[0.0000032366056,0.0004160066,0.00014786118,0.000027390503,0.00024946287,0.0001651646,0.00009731377,0.00036235814,0.0033783622],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030463272,0.000044745542,0.00029880434,0.00016498298,0.00018432405,0.000009937024,0.008996476,3.1872574e-7,0.000001651049,0.014496917,0.9721747,0.0035966753],"study_design_scores_gemma":[0.0004607129,0.00014040657,0.00019726908,0.00064116257,0.000116334326,0.000005194253,0.0036678037,0.0000053813283,0.000013547179,0.00016735011,0.9939948,0.00059009134],"about_ca_topic_score_codex":0.009236485,"about_ca_topic_score_gemma":0.021497983,"teacher_disagreement_score":0.022400722,"about_ca_system_score_codex":0.000039790597,"about_ca_system_score_gemma":0.000029694187,"threshold_uncertainty_score":0.9998292},"labels":[],"label_agreement":null},{"id":"W6986842679","doi":"","title":"Recours à l’analyse haute-résolution des sédiment lacustres pour reconstituer la dynamique hydroclimatique passée de la Côte-Nord du Québec.","year":2015,"lang":"fr","type":"other","venue":"EspaceINRS (National Institute for Scientific Research (Canada))","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Natural (archaeology); Field (mathematics); Mediterranean climate","score_opus":0.051537043557301085,"score_gpt":0.3138279239551657,"score_spread":0.2622908803978646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986842679","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011736273,0.003329125,0.00047712744,0.069819994,0.003922783,0.0016051878,0.0056714853,0.00009029501,0.90334773],"genre_scores_gemma":[0.25620064,0.00089127355,0.0011694325,0.00018710681,0.002310405,0.00061006285,0.001397439,0.00016775023,0.7370659],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9936629,0.00091820635,0.0007339022,0.00099724,0.0023063147,0.0013814314],"domain_scores_gemma":[0.9941049,0.0015807704,0.0003586361,0.00049637014,0.0029082354,0.0005510693],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.007413589,0.00064161455,0.00067034847,0.0009493811,0.0045229387,0.0013741035,0.0008474832,0.00036452565,0.004143342],"category_scores_gemma":[0.001717573,0.00058630167,0.0002367411,0.0004947178,0.0064950297,0.00068264717,0.00028180613,0.0009841839,0.00011955268],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.000083169696,0.00020489018,0.00074062275,0.0003760937,0.0005211501,0.000043812386,0.0019008142,0.005901858,0.00004001718,0.25884518,0.72912216,0.0022202535],"study_design_scores_gemma":[0.00059709937,0.00008615257,0.00045535582,0.00064767967,0.00010718189,0.000031574633,0.0023454577,0.0063339123,0.000104142775,0.0057223006,0.98293626,0.0006328837],"about_ca_topic_score_codex":0.9254339,"about_ca_topic_score_gemma":0.9998277,"teacher_disagreement_score":0.25381413,"about_ca_system_score_codex":0.0070758387,"about_ca_system_score_gemma":0.05838856,"threshold_uncertainty_score":0.9996626},"labels":[],"label_agreement":null},{"id":"W6987180381","doi":"","title":"Shary Boyle : Outside the Palace of Me","year":2021,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wonder; Exhibition; Identity (music); Painting; Multidisciplinary approach; Interpretation (philosophy)","score_opus":0.021846003888906406,"score_gpt":0.21598615585207467,"score_spread":0.19414015196316828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6987180381","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010978796,0.016624546,0.0000028432894,0.00154694,0.002267377,0.000426956,0.00038916297,0.00011842516,0.9775259],"genre_scores_gemma":[0.021023242,0.0018013356,0.0000113762535,0.0010895543,0.003820232,0.00005510014,0.00023296414,0.00011346393,0.9718527],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99737346,0.00010290294,0.0007656266,0.0005754876,0.0005869694,0.0005955465],"domain_scores_gemma":[0.9978298,0.0002739137,0.00043257585,0.0010584367,0.00030559738,0.000099693454],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003903465,0.00065507094,0.0010074761,0.00013833292,0.00087327504,0.000182543,0.00063569,0.0002267379,0.021949176],"category_scores_gemma":[0.000025095274,0.00045861132,0.0006020895,0.00005636417,0.00079893117,0.0002686458,0.0003289661,0.00079411553,0.0025289555],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041196654,0.00008446971,0.00004735294,0.0003483955,0.00059748994,0.000033054846,0.045630198,0.000002979278,0.000024181902,0.06313042,0.88195664,0.0081036175],"study_design_scores_gemma":[0.00032766646,0.00014118002,0.00027411937,0.000508385,0.00029428254,0.000009612295,0.0042648963,0.000008175606,0.000060017806,0.0052803652,0.9882886,0.0005427426],"about_ca_topic_score_codex":0.0001323528,"about_ca_topic_score_gemma":0.0025586076,"teacher_disagreement_score":0.106331915,"about_ca_system_score_codex":0.000079235295,"about_ca_system_score_gemma":0.00036612267,"threshold_uncertainty_score":0.99978656},"labels":[],"label_agreement":null},{"id":"W6987938982","doi":"","title":"Video Poem: What Remains","year":2025,"lang":"en","type":"article","venue":"Scholars Commons (Wilfrid Laurier University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sculpture; Poetry; Dance; Tribute; Context (archaeology); Performance art","score_opus":0.01712129479435317,"score_gpt":0.21220160813794686,"score_spread":0.1950803133435937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6987938982","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20154814,0.0013062288,0.0000236664,0.004055061,0.0014508744,0.0001731098,0.000046494737,0.00021075156,0.7911857],"genre_scores_gemma":[0.7565257,0.0009109583,0.00005778602,0.0010740046,0.0002489635,0.0000016794654,0.00002359484,0.000017907005,0.24113941],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989626,0.000094671785,0.00015791054,0.00027993481,0.00015256018,0.0003523314],"domain_scores_gemma":[0.99917495,0.000090697504,0.000053693428,0.00045553717,0.00014376592,0.00008132768],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00017233734,0.00020870859,0.0002550941,0.00053480227,0.0015452501,0.00048540183,0.00046671397,0.0000657484,0.00090323173],"category_scores_gemma":[0.000017754634,0.0002086172,0.00015575475,0.0002848578,0.0003851653,0.0021591622,0.0002780119,0.00038893323,0.00020442334],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013559233,0.00012830019,0.009184953,0.000050161256,0.00033327093,0.00007460745,0.010813604,0.0000072232865,0.00005451027,0.8845096,0.08519127,0.009516851],"study_design_scores_gemma":[0.0005113851,0.000044159537,0.0007227081,0.00014801072,0.00010186991,0.0000011335769,0.0163264,0.0000054655834,0.00017731483,0.002114675,0.9796188,0.0002280625],"about_ca_topic_score_codex":0.00013589924,"about_ca_topic_score_gemma":0.006625883,"teacher_disagreement_score":0.89442754,"about_ca_system_score_codex":0.00010006886,"about_ca_system_score_gemma":0.00009201485,"threshold_uncertainty_score":0.9997546},"labels":[],"label_agreement":null},{"id":"W6988128289","doi":"","title":"XV Festival Internacional de Teatre Experimental del Caire","year":2004,"lang":"ca","type":"article","venue":"RACO (Revistes Catalanes amb Accés Obert) (Consorci de Serveis Universitaris de Catalunya)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Center (category theory); Tourism; Quarter (Canadian coin); Ornaments","score_opus":0.013040446724918636,"score_gpt":0.23065242840594102,"score_spread":0.2176119816810224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6988128289","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94591826,0.026027897,0.000054762997,0.0027655826,0.00092767354,0.00073641207,0.001706202,0.00035399795,0.02150918],"genre_scores_gemma":[0.9750577,0.0025308565,0.00030401858,0.0009519307,0.0015471407,0.000032454413,0.0013203068,0.00017316839,0.018082414],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9951119,0.00022660012,0.0008616003,0.001187775,0.0006137884,0.001998351],"domain_scores_gemma":[0.99713784,0.00028424224,0.0004891645,0.0010084851,0.0003115844,0.0007687032],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.00045370543,0.0012893112,0.0011838902,0.00051101204,0.0021223363,0.00059288985,0.0014536293,0.0005149118,0.0022172213],"category_scores_gemma":[0.00006122905,0.0013631274,0.00085607026,0.0002987773,0.0012011584,0.0016084998,0.0009067392,0.0010994183,0.00076017535],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0049226615,0.005530157,0.23453695,0.005344227,0.008492683,0.009300511,0.44342542,0.00440842,0.008594216,0.14130475,0.11851756,0.015622449],"study_design_scores_gemma":[0.011804504,0.0024671515,0.03484719,0.00410704,0.0032735313,0.003451883,0.24563749,0.0010026182,0.016428618,0.0012153941,0.669521,0.006243602],"about_ca_topic_score_codex":0.01945816,"about_ca_topic_score_gemma":0.0059822225,"teacher_disagreement_score":0.5510034,"about_ca_system_score_codex":0.003120805,"about_ca_system_score_gemma":0.0011361944,"threshold_uncertainty_score":0.9999859},"labels":[],"label_agreement":null},{"id":"W6989165740","doi":"","title":"Ambos lados: deconstructing identity, performing memory","year":2015,"lang":"es","type":"article","venue":"RACO (Revistes Catalanes amb Accés Obert) (Consorci de Serveis Universitaris de Catalunya)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Performance studies; Identity (music); Phrase; Memory work; Work (physics)","score_opus":0.02941209600120374,"score_gpt":0.25393110055015033,"score_spread":0.2245190045489466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989165740","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9281652,0.01899745,0.00003272242,0.0010581292,0.0013425152,0.00073715503,0.0007916741,0.00039260273,0.048482582],"genre_scores_gemma":[0.9815247,0.0034157136,0.0003531318,0.0005598674,0.0019116522,0.000021731961,0.00075069873,0.00017650088,0.011286021],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.994712,0.00033517135,0.0010770054,0.0011543989,0.0007956583,0.001925799],"domain_scores_gemma":[0.99584186,0.0004922305,0.00078675273,0.0012474426,0.0007181369,0.0009135907],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013358861,0.0012036891,0.0014124343,0.00075032853,0.0022564009,0.0017080107,0.0016555518,0.0004946741,0.0012622625],"category_scores_gemma":[0.00023474004,0.0012897623,0.0006924831,0.00041029305,0.001189763,0.0044209273,0.0013165979,0.0011168786,0.0009801106],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011173687,0.0008475357,0.6197317,0.0068396726,0.0042852852,0.0018896342,0.19196911,0.00083599583,0.00062124175,0.082343034,0.051628206,0.03789119],"study_design_scores_gemma":[0.006357411,0.0009838026,0.021445945,0.0030942073,0.0041757347,0.0019580557,0.36167678,0.0028711183,0.0017908121,0.0012213138,0.5893821,0.005042681],"about_ca_topic_score_codex":0.011284899,"about_ca_topic_score_gemma":0.0048626317,"teacher_disagreement_score":0.5982858,"about_ca_system_score_codex":0.0013524888,"about_ca_system_score_gemma":0.0009455588,"threshold_uncertainty_score":0.99979776},"labels":[],"label_agreement":null},{"id":"W6989433202","doi":"","title":"Artist in Residence Concert: Ensemble Made in Canada","year":2016,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Residence; Work (physics); Field (mathematics); Population","score_opus":0.08990933060067932,"score_gpt":0.2692948978135981,"score_spread":0.1793855672129188,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989433202","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99297494,0.00014901195,0.000004932501,0.0008393589,0.0003323998,0.00013863512,0.000041222123,0.00003447152,0.005485042],"genre_scores_gemma":[0.97386885,0.00015494759,0.0000016511653,0.0002845228,0.00011574866,0.0000015870999,0.0000025447061,0.000016855443,0.0255533],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99857914,0.00011085231,0.00024557323,0.0003422005,0.0002341261,0.0004881158],"domain_scores_gemma":[0.9993441,0.00013366426,0.000088037756,0.00027671322,0.000058350237,0.00009913923],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015870758,0.00021158771,0.00027809167,0.0002846305,0.00017929425,0.00009140343,0.00039780178,0.000050614562,0.0002236109],"category_scores_gemma":[0.000016510587,0.00017756443,0.000043500604,0.00012720964,0.00017062035,0.0012778399,0.00015631998,0.00024535516,0.00015256391],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008572407,0.000019087469,0.99374384,0.000021789945,0.000012306704,0.0003685695,0.0029602328,0.0000035023925,0.00020560142,0.0009926867,0.000010906367,0.0015757801],"study_design_scores_gemma":[0.0010622388,0.000054827284,0.9641749,0.000492485,0.000012357568,0.000006026654,0.0030122397,7.802192e-8,0.0009557924,0.0002500041,0.029633978,0.00034506817],"about_ca_topic_score_codex":0.09418897,"about_ca_topic_score_gemma":0.9979353,"teacher_disagreement_score":0.90374637,"about_ca_system_score_codex":0.0006880405,"about_ca_system_score_gemma":0.00036520557,"threshold_uncertainty_score":0.9118429},"labels":[],"label_agreement":null},{"id":"W6989476885","doi":"","title":"Að vega og meta. Eru efnahagsleg áhrif Ólympíuleika rétt metin?","year":2013,"lang":"is","type":"dissertation","venue":"Skemman","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"","score_opus":0.039532668965145304,"score_gpt":0.25504176075709317,"score_spread":0.21550909179194788,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989476885","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26941052,0.031962756,0.000002617955,0.00068749476,0.007927272,0.0013302474,0.0006506662,0.00033889702,0.68768954],"genre_scores_gemma":[0.5385786,0.0048166486,0.0000646952,0.0004883323,0.0046807434,0.0005383106,0.002082589,0.00022080787,0.4485292],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99573165,0.00018531861,0.0011346269,0.0010065159,0.0007719257,0.0011699512],"domain_scores_gemma":[0.99739623,0.00020867033,0.0006686233,0.0009473569,0.0005368939,0.00024221653],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.00041482627,0.001354608,0.0019090611,0.0004712263,0.0022450902,0.0008336423,0.0007504572,0.00048967183,0.03448558],"category_scores_gemma":[0.00003736404,0.0010724316,0.0012682497,0.00016017973,0.00041224476,0.0007205404,0.00016219106,0.0008890196,0.010231639],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00051266904,0.0009895774,0.0008377235,0.0043487,0.0293277,0.00010279377,0.3232537,0.000023892902,0.00026595668,0.24558325,0.34579647,0.04895759],"study_design_scores_gemma":[0.00072985503,0.00047931354,0.0016350567,0.00033111055,0.006884543,0.000006213926,0.026682952,0.00003348519,0.00074022554,0.0019865413,0.9589573,0.0015333918],"about_ca_topic_score_codex":0.004882327,"about_ca_topic_score_gemma":0.009548195,"teacher_disagreement_score":0.61316085,"about_ca_system_score_codex":0.0000982253,"about_ca_system_score_gemma":0.00016436777,"threshold_uncertainty_score":0.9999205},"labels":[],"label_agreement":null},{"id":"W6989772269","doi":"","title":"Calgary Classical Club","year":2018,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; Arrow; Field (mathematics); Classical antiquity","score_opus":0.028037935533952375,"score_gpt":0.21934411004775606,"score_spread":0.1913061745138037,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989772269","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04337135,0.0000019428417,0.000037390066,0.0002842827,0.0006072614,0.00016453578,0.000023294595,0.00020971913,0.9553002],"genre_scores_gemma":[0.9742631,0.018191287,0.00014746221,0.00048433247,0.0026637907,0.0000021860653,0.000017536744,0.000031664844,0.0041986955],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999122,0.000043999647,0.000107095744,0.00025386992,0.00014237565,0.00033065904],"domain_scores_gemma":[0.9994989,0.000038540813,0.000048303093,0.00022854844,0.000130389,0.0000552965],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006388858,0.00017442224,0.00018307815,0.0028664432,0.0006874,0.0000676634,0.00024438114,0.00005379667,0.00088101585],"category_scores_gemma":[0.000008022646,0.00015463925,0.000106041334,0.000760659,0.0005768869,0.0003894029,0.00015984221,0.00015870278,0.00048337807],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00070086063,0.0005157305,0.0013910253,0.00010925415,0.00047703274,0.00022051504,0.2986181,5.8903197e-7,0.000009923634,0.4612107,0.054185223,0.18256103],"study_design_scores_gemma":[0.00043711285,0.00029373894,0.000061031144,0.000021187367,0.000054082204,0.0000029599557,0.0030738737,0.00005962078,0.0000883987,0.0000048444863,0.99568087,0.00022230242],"about_ca_topic_score_codex":0.020456169,"about_ca_topic_score_gemma":0.089822784,"teacher_disagreement_score":0.95110154,"about_ca_system_score_codex":0.00006940219,"about_ca_system_score_gemma":0.000114753115,"threshold_uncertainty_score":0.9860667},"labels":[],"label_agreement":null},{"id":"W6990542491","doi":"","title":"A Diluted Manifesto","year":2013,"lang":"en","type":"article","venue":"View","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Reading (process); Order (exchange); Declaration; Position (finance); Conjunction (astronomy); Performance art","score_opus":0.027983552337747016,"score_gpt":0.21408959446396317,"score_spread":0.18610604212621615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6990542491","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.124493405,0.0030878766,0.0000021229037,0.0018076033,0.00049601984,0.00017393783,0.0000055776113,0.00011641873,0.869817],"genre_scores_gemma":[0.96663344,0.0003780022,0.000018860805,0.0008859456,0.00058571214,0.000045044137,0.0000028948582,0.00000750868,0.0314426],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997031,0.0000063871535,0.00007345768,0.000060227245,0.00004599016,0.00011080392],"domain_scores_gemma":[0.9998393,0.0000096731355,0.000014727974,0.00008654375,0.00002990637,0.000019838428],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00002379841,0.00005735475,0.00008036454,0.000018620296,0.00015997892,0.0000598464,0.000053963446,0.000007837315,0.014235405],"category_scores_gemma":[0.0000016621813,0.00003866461,0.000030261457,0.000011622706,0.000051574614,0.00014615587,0.000020160387,0.000033720713,0.0063395365],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000039532238,0.0000697832,0.0008071986,0.00017267953,0.00008649164,0.000004060875,0.042737033,3.5691903e-7,0.000048270147,0.32532597,0.3937346,0.23700958],"study_design_scores_gemma":[0.000053721535,0.000025262787,0.00095754914,0.00002232234,0.000007095712,0.0000010406343,0.0007361512,0.0000049819337,0.000009373636,0.0014419664,0.996674,0.000066558976],"about_ca_topic_score_codex":0.00038173946,"about_ca_topic_score_gemma":0.00036699377,"teacher_disagreement_score":0.84214,"about_ca_system_score_codex":0.000004216923,"about_ca_system_score_gemma":0.0000037160155,"threshold_uncertainty_score":0.9944341},"labels":[],"label_agreement":null},{"id":"W6990818240","doi":"","title":"Episode 78 ' Live Show at the Tarragon Theatre in Toronto","year":2019,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lawsuit; Launched; Social media; Performance art","score_opus":0.007105211347698963,"score_gpt":0.1836799425032335,"score_spread":0.17657473115553454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6990818240","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008813255,0.0031056243,8.435964e-9,0.00031339866,0.0007287306,0.0005211163,0.0002528613,0.00008204979,0.9949081],"genre_scores_gemma":[0.0028268849,0.0013519786,0.000012146921,0.0003570786,0.00056776416,0.000028250526,0.00010534103,0.00009119718,0.99465936],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987182,0.00005551954,0.00045762918,0.00017086191,0.00028830307,0.00030948533],"domain_scores_gemma":[0.9990691,0.00010684875,0.0003248191,0.00039780274,0.00006243237,0.000039011113],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016582212,0.0003370484,0.0004246423,0.000036876932,0.00015745232,0.00006567979,0.0003165773,0.00018301106,0.7312243],"category_scores_gemma":[0.000010720368,0.00023077703,0.00016227405,0.000001933428,0.00024734778,5.4737916e-7,0.00013766259,0.00021185451,0.027431002],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007168564,0.000022950358,0.000010361053,0.00029181817,0.00007079621,0.000003074026,0.00922088,0.000038287668,2.741919e-8,0.00027732863,0.9878255,0.0021672908],"study_design_scores_gemma":[0.0003329789,0.00011512756,0.000005663755,0.0002526878,0.000040468465,0.000008307551,0.005543429,0.00000515771,0.0000013000534,0.000008617683,0.99340403,0.00028225232],"about_ca_topic_score_codex":0.12616202,"about_ca_topic_score_gemma":0.6299551,"teacher_disagreement_score":0.7037933,"about_ca_system_score_codex":0.00015969425,"about_ca_system_score_gemma":0.00001704831,"threshold_uncertainty_score":0.97332627},"labels":[],"label_agreement":null},{"id":"W6991675049","doi":"","title":"Hot Thespian Action! 10 Premiere Plays from Walterdale Playhouse","year":2008,"lang":"en","type":"book","venue":"Directory of Open access Books (OAPEN Foundation)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Watson; Performance art; Theatre director; Political theatre; Chose","score_opus":0.17062380756762555,"score_gpt":0.364981536031196,"score_spread":0.19435772846357044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6991675049","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004525442,0.00036628568,0.000002556945,0.000100275065,0.0016257149,0.0010316658,0.00020199742,0.00014695061,0.9919991],"genre_scores_gemma":[0.00988804,0.0009258403,0.00004355574,0.00029916532,0.0022101765,0.0001738397,0.0019610666,0.00014613893,0.9843522],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99746037,0.000086309854,0.00082774844,0.0007111144,0.00053869974,0.0003757369],"domain_scores_gemma":[0.99724674,0.0002991025,0.0009136769,0.001075535,0.0003495826,0.000115348885],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018888066,0.00063960307,0.0010388027,0.00031931617,0.0012459778,0.0020035806,0.0033551913,0.00013726266,0.088907845],"category_scores_gemma":[0.0000357966,0.00058618415,0.00027446655,0.000039238417,0.0006893989,0.0038386302,0.0014616114,0.00045209052,0.0041891863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011832762,0.00032308916,0.00086649874,0.0005042559,0.0022935916,0.00003345425,0.023992855,0.000017399616,0.00004471569,0.12554409,0.6947062,0.15049058],"study_design_scores_gemma":[0.0005598142,0.00007792755,0.00078657264,0.00036949967,0.00016499661,0.0000023506598,0.00026683667,0.0000056541144,0.00025442644,0.0044437516,0.9923754,0.00069281517],"about_ca_topic_score_codex":0.0027619656,"about_ca_topic_score_gemma":0.010819187,"teacher_disagreement_score":0.29766917,"about_ca_system_score_codex":0.00026662584,"about_ca_system_score_gemma":0.0007047327,"threshold_uncertainty_score":0.99965894},"labels":[],"label_agreement":null},{"id":"W6992453475","doi":"","title":"LIVE at the End of the Century: Aspects of Performance Art in Vancouver Order Form","year":2001,"lang":"en","type":"article","venue":"Arca (British Columbia Electronic Library Network)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Order (exchange); Build to order; Field (mathematics); Process (computing); Quality (philosophy)","score_opus":0.004997540270062984,"score_gpt":0.16029609527832403,"score_spread":0.15529855500826104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6992453475","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33620882,0.0043911855,4.8558984e-8,0.00026784668,0.00059263664,0.0003981227,0.000024010751,0.000034230987,0.6580831],"genre_scores_gemma":[0.94228375,0.009386362,0.0000039694355,0.000435247,0.00059663045,0.00004579065,0.000018530955,0.000032976455,0.047196727],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982747,0.00007066829,0.00041268818,0.00023426375,0.000258226,0.00074945675],"domain_scores_gemma":[0.9992481,0.00011653361,0.00019474862,0.00036093369,0.000047388792,0.000032303185],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015715025,0.0001485889,0.00032149671,0.000022118464,0.0005644179,0.0001286117,0.00044298422,0.000053056996,0.096808866],"category_scores_gemma":[0.000005736346,0.00014091414,0.00013641085,0.00026054558,0.00057413685,0.0006827275,0.0002862558,0.00034518845,0.00002690009],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023286928,0.00036536975,0.1638622,0.00016369371,0.00031504896,0.000017115579,0.009721566,0.00040273904,0.0000012495066,0.190443,0.58868104,0.045794122],"study_design_scores_gemma":[0.00061696727,0.0003209301,0.0056214524,0.00027170958,0.000036035093,0.00002378504,0.00062231364,0.00016359334,0.000021692511,0.05578307,0.93629634,0.00022209786],"about_ca_topic_score_codex":0.0022333032,"about_ca_topic_score_gemma":0.6853093,"teacher_disagreement_score":0.68307596,"about_ca_system_score_codex":0.00006228932,"about_ca_system_score_gemma":0.00020075389,"threshold_uncertainty_score":0.9040168},"labels":[],"label_agreement":null},{"id":"W6992727517","doi":"","title":"Matt Rogalsky : Discipline // Kyla Mallett : How to See and Read the Aura","year":2013,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Ontario Arts Council; Canada Council for the Arts; Toronto Arts Council; Government of Ontario","keywords":"Aura; Malleability; Mistake; Minutiae","score_opus":0.018806805933538537,"score_gpt":0.21343001871548856,"score_spread":0.19462321278195002,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6992727517","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032921894,0.005901239,0.0000116343135,0.02690111,0.0021435441,0.0014226149,0.00045170545,0.0002605998,0.95961535],"genre_scores_gemma":[0.010096737,0.001159703,0.000043517193,0.0022605937,0.005632957,0.00023024277,0.00014250532,0.00015698037,0.98027676],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970979,0.00008240868,0.00055468775,0.0008288075,0.00055650505,0.0008796957],"domain_scores_gemma":[0.99791396,0.00024549357,0.00029459796,0.0010608278,0.00023484383,0.00025025825],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003907251,0.0009220787,0.00096342777,0.0002145903,0.0017347627,0.0010461219,0.0006606637,0.0002518107,0.015956722],"category_scores_gemma":[0.000021115953,0.0005967244,0.0002975501,0.000056763278,0.0008118086,0.00049658166,0.0005686589,0.0007904363,0.00809085],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003690909,0.00003592417,0.000012668066,0.00016867206,0.00024314376,0.000013868016,0.028134832,0.0000013897009,0.0000066446137,0.037209116,0.90728706,0.026849758],"study_design_scores_gemma":[0.0003668651,0.00024005842,0.00053938775,0.00037366405,0.00020764067,0.000018630286,0.0025124638,0.000016167785,0.0000033583444,0.006476502,0.9884239,0.00082137954],"about_ca_topic_score_codex":0.00017603819,"about_ca_topic_score_gemma":0.0045009996,"teacher_disagreement_score":0.08113681,"about_ca_system_score_codex":0.00009625158,"about_ca_system_score_gemma":0.00012045759,"threshold_uncertainty_score":0.9999909},"labels":[],"label_agreement":null},{"id":"W6993127158","doi":"","title":"Nightwood Theatre A Womanâs Work Is Always Done","year":2010,"lang":"en","type":"book","venue":"Directory of Open access Books (OAPEN Foundation)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Canadian Association for Theatre Research","funders":"Ontario Arts Council; Toronto Arts Council","keywords":"Work (physics); Context (archaeology); Relevance (law); Theatre studies; Political theatre; Theatre director","score_opus":0.08468804701910976,"score_gpt":0.34145827166798637,"score_spread":0.2567702246488766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6993127158","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00099637,0.00048215888,0.000002456837,0.00038219654,0.0030451454,0.0011961844,0.000046282446,0.00012577095,0.99372345],"genre_scores_gemma":[0.009227016,0.00048737173,0.000049296894,0.0008399672,0.0027072835,0.00021385874,0.000579548,0.00014596796,0.98574966],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99721634,0.00006718152,0.00089760445,0.0007444849,0.0006001044,0.00047426278],"domain_scores_gemma":[0.9973391,0.00022112434,0.0008748246,0.0010109892,0.00042437826,0.00012954517],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004081557,0.0007190909,0.0011972022,0.00038402146,0.001158226,0.0031758426,0.0032573116,0.00018903079,0.08979491],"category_scores_gemma":[0.0000109415305,0.0006196432,0.00034758297,0.00007162834,0.00090519275,0.0029577971,0.0015950665,0.0007843263,0.00393504],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003832996,0.000243642,0.0008845396,0.0005252937,0.0014804299,0.000014689649,0.020288317,6.843629e-7,0.000018106988,0.20807566,0.41918778,0.34889755],"study_design_scores_gemma":[0.0005015263,0.00006276564,0.0003310419,0.00047706717,0.00021082372,0.0000016924697,0.0001797654,9.159581e-7,0.00012361976,0.011796022,0.9855569,0.0007578554],"about_ca_topic_score_codex":0.0008560848,"about_ca_topic_score_gemma":0.0059841597,"teacher_disagreement_score":0.5663691,"about_ca_system_score_codex":0.00013730965,"about_ca_system_score_gemma":0.0006122874,"threshold_uncertainty_score":0.9996255},"labels":[],"label_agreement":null},{"id":"W6993246753","doi":"","title":"\\n Photographie Memory: The Experience of Performance, Performance and Photography: POINT &amp; SHOOT, March 4-May 22, 2004, Dazibao, Montréal","year":2004,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Liquation; Diafiltration; Emperipolesis; Triacetin; Durvalumab","score_opus":0.008839357776520373,"score_gpt":0.16759361834245304,"score_spread":0.15875426056593267,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6993246753","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9601434,0.012261069,0.0000142712715,0.0015820476,0.00023004464,0.00036311348,0.000047791204,0.0000887989,0.025269456],"genre_scores_gemma":[0.97228813,0.019824274,0.000098093384,0.0001968887,0.0001628338,0.00003239095,0.000015037989,0.000029467383,0.0073528867],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998397,0.000034628163,0.0002835565,0.00035918172,0.00036667057,0.0005589718],"domain_scores_gemma":[0.99901265,0.000054669337,0.00017526574,0.00049930933,0.00012892754,0.00012917587],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00022318306,0.00034419884,0.00038404908,0.00031619292,0.0018703976,0.00004626365,0.0004106774,0.000076714525,0.00041703123],"category_scores_gemma":[0.0000050819604,0.00026269775,0.00019487501,0.0002698413,0.0010676156,0.000519493,0.00027210024,0.00027373707,0.00003977407],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0044331,0.0011734015,0.10657344,0.0015334503,0.0018322102,0.00033507607,0.60143626,0.0029374107,0.0037686634,0.05757577,0.106346376,0.112054825],"study_design_scores_gemma":[0.0016353849,0.00037449136,0.005980121,0.0001384432,0.00014392339,0.000121073674,0.02430534,0.00011933824,0.00144755,0.00022099502,0.96501994,0.0004934246],"about_ca_topic_score_codex":0.015846321,"about_ca_topic_score_gemma":0.086195074,"teacher_disagreement_score":0.8586735,"about_ca_system_score_codex":0.00034932818,"about_ca_system_score_gemma":0.00003393204,"threshold_uncertainty_score":0.99998254},"labels":[],"label_agreement":null},{"id":"W6993532140","doi":"","title":"Ric Knowles","year":2011,"lang":"en","type":"other","venue":"The Atrium (University of Guelph)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Class (philosophy); Natural (archaeology); Perspective (graphical); Period (music); Identification (biology)","score_opus":0.028433927427711045,"score_gpt":0.19483516849922464,"score_spread":0.1664012410715136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6993532140","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00036313318,0.002899458,0.0000050875587,0.00020619582,0.00046435907,0.0001034586,0.000094482835,0.00009667002,0.9957672],"genre_scores_gemma":[0.10769625,0.0013173344,0.000021819527,0.000022944014,0.00062055135,1.037711e-7,0.00000980314,0.000057453177,0.8902537],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995652,0.000025394642,0.000055851655,0.00011672806,0.00009467912,0.00014218914],"domain_scores_gemma":[0.99950284,0.00002105518,0.00014038567,0.00027845698,0.000035596095,0.000021668542],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006454169,0.00013907404,0.00023379498,0.00012958622,0.00028809655,0.000008802305,0.0004120505,0.000064209635,0.037558213],"category_scores_gemma":[0.0000013556294,0.000106755084,0.00013899642,0.000031864267,0.0005835853,0.000050682884,0.00013820812,0.000117406955,0.0015869329],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002029198,0.000020599547,0.000028073684,0.00007420272,0.00018286,0.000002690853,0.027470494,5.618174e-8,0.000009339137,0.02187156,0.94851273,0.0018071214],"study_design_scores_gemma":[0.00013653706,0.000044977547,0.0005046428,0.000057014848,0.00015726905,5.965849e-7,0.010977603,8.7476303e-7,0.0000010197936,0.00033751287,0.9876467,0.00013524135],"about_ca_topic_score_codex":0.0061394754,"about_ca_topic_score_gemma":0.015089222,"teacher_disagreement_score":0.107333116,"about_ca_system_score_codex":0.000009008024,"about_ca_system_score_gemma":0.00001974206,"threshold_uncertainty_score":0.99919045},"labels":[],"label_agreement":null},{"id":"W6994593590","doi":"","title":"If We Were Birds","year":2017,"lang":"en","type":"article","venue":"Journals @ The Mount (Mount Saint Vincent University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Natural (archaeology); Key (lock); Ectotherm; Work (physics)","score_opus":0.0363217327666786,"score_gpt":0.23766135631343913,"score_spread":0.20133962354676052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6994593590","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8069611,0.0018233239,0.000090155925,0.03372304,0.003481915,0.00042626483,0.00013075047,0.00017136811,0.15319206],"genre_scores_gemma":[0.97851014,0.005253903,0.000011831867,0.0003511135,0.0019042809,8.586827e-7,0.0000023702846,0.000022272281,0.013943223],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985335,0.0000821841,0.00025446733,0.00024683378,0.00039511774,0.00048792307],"domain_scores_gemma":[0.9984556,0.00007360611,0.00043133838,0.00072744687,0.00019058704,0.000121451194],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00041924787,0.00027510925,0.00032319545,0.00021364892,0.005881956,0.00082697114,0.0012014848,0.000062468476,0.0023103633],"category_scores_gemma":[0.000022727632,0.0001833524,0.00026862542,0.00004325316,0.0006504403,0.0009248954,0.00043320312,0.00044445743,0.0004244291],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000113087095,0.000082923034,0.0015433849,0.000024889716,0.00023521113,0.00010204954,0.008841588,0.000037320922,0.000078706114,0.97655666,0.0054752682,0.0069089253],"study_design_scores_gemma":[0.0005136425,0.000083096435,0.0022740765,0.0001609022,0.000111771275,0.000012852317,0.009758421,0.00007142915,0.000060206003,0.0018026117,0.9848771,0.00027389012],"about_ca_topic_score_codex":0.0045490647,"about_ca_topic_score_gemma":0.003659385,"teacher_disagreement_score":0.9794018,"about_ca_system_score_codex":0.0030877984,"about_ca_system_score_gemma":0.0000744491,"threshold_uncertainty_score":0.9986017},"labels":[],"label_agreement":null},{"id":"W6995323308","doi":"","title":"Birds Left","year":2016,"lang":"en","type":"article","venue":"SOURCE Sheridan's Institutional Repository (Sheridan College)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sample (material); Singing; Control sample; Large sample; Class (philosophy)","score_opus":0.0127080178735331,"score_gpt":0.20034629577819482,"score_spread":0.18763827790466173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6995323308","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44681558,0.0004800738,0.0002718388,0.0011633361,0.004132574,0.0003009663,0.00013398135,0.00047387823,0.54622775],"genre_scores_gemma":[0.837865,0.000045033667,0.0000888734,0.00032576057,0.0033417179,0.000047809783,0.0000059262547,0.000046486377,0.15823339],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976173,0.000083210645,0.0005584533,0.0005497873,0.00059927016,0.0005919512],"domain_scores_gemma":[0.9987587,0.00012961251,0.00016322386,0.00049020664,0.00026233424,0.00019594663],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022236552,0.00042983593,0.00039872836,0.0001554819,0.00278502,0.0001877067,0.00042151162,0.000115739225,0.0020719839],"category_scores_gemma":[0.000042244006,0.00029218325,0.00028084934,0.00008502875,0.0017170447,0.00076010637,0.00016060032,0.00020714256,0.00063319475],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010919599,0.0007352066,0.024551436,0.00029427366,0.0011836122,0.00061251776,0.028296279,0.00029009764,0.021453613,0.77153736,0.11879957,0.031154096],"study_design_scores_gemma":[0.0007824959,0.00017340264,0.0013847797,0.00017099838,0.000047677622,0.00016969365,0.0019088429,0.000025503929,0.0025083942,0.0006281929,0.99166554,0.00053448684],"about_ca_topic_score_codex":0.00021443519,"about_ca_topic_score_gemma":0.00039889402,"teacher_disagreement_score":0.872866,"about_ca_system_score_codex":0.000286635,"about_ca_system_score_gemma":0.00036543063,"threshold_uncertainty_score":0.99995303},"labels":[],"label_agreement":null},{"id":"W6995898689","doi":"","title":"Practising Theatre History","year":2006,"lang":"en","type":"article","venue":"Bristol Research (University of Bristol)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Field (mathematics); Agency (philosophy); Government (linguistics); Ethnography","score_opus":0.08094015044313628,"score_gpt":0.25509393389256985,"score_spread":0.17415378344943355,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6995898689","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15795724,0.0032378966,0.000058726593,0.0012369517,0.0002967513,0.00018997856,0.000039379396,0.00008408672,0.836899],"genre_scores_gemma":[0.92234844,0.00017805415,0.00014592712,0.00001916522,0.00035186706,4.477854e-7,0.000017275395,0.000015382286,0.07692342],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985384,0.00013724023,0.00013698888,0.00025328822,0.0005361873,0.00039792634],"domain_scores_gemma":[0.99901044,0.00014309282,0.0001071568,0.00029195202,0.00038157037,0.00006575914],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00053981564,0.00011830919,0.00024195002,0.00032928062,0.00096586073,0.00003370879,0.00036161178,0.000051122388,0.0023623398],"category_scores_gemma":[0.000016080618,0.00013630714,0.00012499042,0.00009090477,0.0014644379,0.0004903987,0.00016247526,0.00032713666,0.0003113428],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019835464,0.00025572238,0.0012252087,0.00013235115,0.00006706145,0.00011142547,0.023011765,0.0000068477475,0.0004091116,0.04735348,0.9035689,0.023659758],"study_design_scores_gemma":[0.0003156027,0.00011360086,0.0012801018,0.0000424123,0.000019879355,0.000005310577,0.021178132,0.000040974377,0.00002163377,0.0009826387,0.97585225,0.00014743369],"about_ca_topic_score_codex":0.0306981,"about_ca_topic_score_gemma":0.02058476,"teacher_disagreement_score":0.76439124,"about_ca_system_score_codex":0.00042283896,"about_ca_system_score_gemma":0.00018175469,"threshold_uncertainty_score":0.99854964},"labels":[],"label_agreement":null},{"id":"W6995946863","doi":"","title":"Postmarginality: Ethical Relationality of Theatre Rehearsal Practice","year":2022,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Intersubjectivity; Agency (philosophy); Negotiation; Politics; Empathy; Improvisation; Representation (politics); Attunement; Critical practice","score_opus":0.04072241110063652,"score_gpt":0.31298433075377863,"score_spread":0.2722619196531421,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6995946863","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2577723,0.0004678181,3.090739e-7,0.0025158192,0.0011905957,0.00031857443,0.000097175995,0.000060213777,0.7375772],"genre_scores_gemma":[0.8160721,0.00035034106,0.000005415235,0.000034100864,0.00080063276,0.000005617991,0.00029907355,0.000037481037,0.18239522],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9956827,0.0014045419,0.0004015077,0.00055867917,0.0014223984,0.000530129],"domain_scores_gemma":[0.99708086,0.0011731678,0.00034125912,0.0005591232,0.0007099957,0.00013560556],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014608252,0.00027593618,0.0004909003,0.0007847203,0.0022354813,0.000121779296,0.0006160639,0.0003244576,0.0023652301],"category_scores_gemma":[0.00014181077,0.0002914169,0.00030265364,0.00037917207,0.0009122888,0.000436672,0.00023041254,0.0034288168,0.000041620948],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0058742138,0.0004846446,0.006619969,0.0008525841,0.0012661264,0.0007589171,0.058042727,0.000011967452,0.00034824383,0.9038811,0.020520005,0.0013395256],"study_design_scores_gemma":[0.00035619905,0.0005971169,0.006062401,0.000089170084,0.00018066121,0.00001305831,0.068907715,0.0000043767686,0.0005172088,0.002499235,0.9204693,0.00030357757],"about_ca_topic_score_codex":0.041918978,"about_ca_topic_score_gemma":0.04025317,"teacher_disagreement_score":0.90138185,"about_ca_system_score_codex":0.00049526844,"about_ca_system_score_gemma":0.001165059,"threshold_uncertainty_score":0.9999538},"labels":[],"label_agreement":null},{"id":"W6995984992","doi":"","title":"Program, Uncle Bends, 2011","year":2011,"lang":"en","type":"article","venue":"Digital Commons - University of South Florida (University of South Florida)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Quarter (Canadian coin); Performance art; Period (music); George (robot)","score_opus":0.041119131690253136,"score_gpt":0.17837223369510757,"score_spread":0.13725310200485444,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6995984992","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.680481,0.00008821832,0.00009644617,0.00008575495,0.00044385556,0.00028481393,0.0012465767,0.00022295931,0.31705037],"genre_scores_gemma":[0.9900345,0.000026936517,0.00031425137,0.000011757824,0.00016242026,1.3961913e-7,0.000081574006,0.000024013949,0.0093444055],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984621,0.000030709038,0.00021846047,0.0004066063,0.0003964301,0.00048574118],"domain_scores_gemma":[0.9985078,0.00004271503,0.00032976017,0.0005288288,0.00034692747,0.00024396558],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000117099844,0.00033478468,0.000590956,0.0003585155,0.0010057691,0.000049939765,0.00086656556,0.00012496822,0.0034092586],"category_scores_gemma":[0.000008676175,0.00040795509,0.00043077534,0.00016971336,0.0017445649,0.0012681236,0.0005312378,0.00028795432,0.00056159537],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018734244,0.0006626378,0.1272252,0.0003348398,0.0011668579,0.00014218607,0.8105451,0.000013540434,0.000010428137,0.03936821,0.008286762,0.010370842],"study_design_scores_gemma":[0.0030845432,0.001324682,0.03838508,0.00018169342,0.0005540939,0.000004458818,0.68845206,0.000087042565,0.00006514196,0.00075463444,0.26596206,0.0011444909],"about_ca_topic_score_codex":0.0016094568,"about_ca_topic_score_gemma":0.0016251365,"teacher_disagreement_score":0.3095535,"about_ca_system_score_codex":0.00005584507,"about_ca_system_score_gemma":0.00009665548,"threshold_uncertainty_score":0.9998372},"labels":[],"label_agreement":null},{"id":"W6996302967","doi":"","title":"Review: The Newsletter and Journal of Dramaturgy, volume 18, issue 1","year":2008,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Parliament; Conversation; Volume (thermodynamics); Dramaturgy","score_opus":0.024082354304959152,"score_gpt":0.20881045950365493,"score_spread":0.18472810519869579,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996302967","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92826104,0.034819033,0.00006844006,0.008199879,0.0005196259,0.00014616207,0.000026806832,0.000019412064,0.027939592],"genre_scores_gemma":[0.9505251,0.02314211,0.00007243984,0.0022549443,0.00085151,1.5976609e-7,0.0000050134395,0.000011214839,0.023137482],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993652,0.00004940202,0.0001613417,0.00009335264,0.00017689777,0.00015378885],"domain_scores_gemma":[0.9993197,0.00005177382,0.0002191078,0.00016383146,0.00020121399,0.000044395187],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021654632,0.00011000108,0.00028951056,0.000070110545,0.0008541843,0.000030443953,0.00023611767,0.000030073561,0.002132766],"category_scores_gemma":[0.000015084584,0.00008354379,0.00014590574,0.000047314265,0.00094035687,0.000384086,0.00008644531,0.00017583533,0.000071598675],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044643937,0.000033509725,0.00278487,0.00025101134,0.00017805811,0.000019812418,0.0544156,0.0000018744589,0.0000012661964,0.043170907,0.8988382,0.0002602495],"study_design_scores_gemma":[0.00028176606,0.000093704395,0.0009003156,0.00013334386,0.00011154145,0.000059598937,0.011055396,0.0000041948374,1.4214098e-7,0.16333888,0.82392025,0.00010086651],"about_ca_topic_score_codex":0.00035180297,"about_ca_topic_score_gemma":0.0005842226,"teacher_disagreement_score":0.12016797,"about_ca_system_score_codex":0.00001703536,"about_ca_system_score_gemma":0.000027305183,"threshold_uncertainty_score":0.9987794},"labels":[],"label_agreement":null},{"id":"W6996439832","doi":"","title":"Review: The Journal of Dramaturgy, volume 25, issue 1","year":2019,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Volume (thermodynamics); Battle; Indigenous; Comedy","score_opus":0.012775941947090074,"score_gpt":0.20475135293774915,"score_spread":0.19197541099065907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996439832","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87833965,0.028995167,0.00005237966,0.0032008998,0.001288036,0.00025392752,0.000043867007,0.000027015312,0.08779907],"genre_scores_gemma":[0.9448447,0.009248009,0.000029427516,0.00065379136,0.00048141598,8.7345676e-8,0.000006944724,0.000010745381,0.04472487],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924624,0.00006793815,0.00018444256,0.000090639835,0.00022975789,0.0001809668],"domain_scores_gemma":[0.9990232,0.000072954615,0.00030825558,0.00025351383,0.0003005376,0.00004155443],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042997333,0.00011977354,0.0003350171,0.000079824364,0.00044923145,0.000035124,0.0004205595,0.000035160097,0.006387264],"category_scores_gemma":[0.000015296808,0.000091280315,0.00020682673,0.000064085056,0.00042064182,0.0004325613,0.000102576356,0.00019978636,0.00060688035],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000106586944,0.000073878145,0.0035739793,0.00086618523,0.0003732966,0.00000514991,0.07645107,0.000013278755,0.000003882628,0.3065447,0.61157143,0.0004165609],"study_design_scores_gemma":[0.0002735071,0.00014011929,0.00033476923,0.00023128474,0.00014489645,0.000009013205,0.029724238,0.00000789545,1.7123334e-7,0.22642629,0.74260604,0.00010180355],"about_ca_topic_score_codex":0.0004522838,"about_ca_topic_score_gemma":0.0010457148,"teacher_disagreement_score":0.13103458,"about_ca_system_score_codex":0.000030131208,"about_ca_system_score_gemma":0.00003952087,"threshold_uncertainty_score":0.994521},"labels":[],"label_agreement":null},{"id":"W6996542619","doi":"","title":"Scenography Expanded: An Introduction to Contemporary Performance Design","year":2017,"lang":"en","type":"book","venue":"White Rose Research Online (University of Leeds, The University of Sheffield, University of York)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scenography; Performative utterance; Performance studies; Scope (computer science); Transformative learning; Mainstream; Politics; Performing arts","score_opus":0.11641962310492925,"score_gpt":0.2627768947686542,"score_spread":0.14635727166372492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996542619","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18688217,0.0022531112,0.002085533,0.022812594,0.0013257532,0.0043019904,0.0033478588,0.00035365162,0.7766373],"genre_scores_gemma":[0.30633956,0.004759844,0.0013446553,0.000027090702,0.00082081516,3.982867e-8,0.00037894704,0.000046758636,0.6862823],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972006,0.00039004392,0.00023371833,0.0006641575,0.0009598693,0.0005515744],"domain_scores_gemma":[0.996222,0.0002439252,0.0006160715,0.0012960586,0.0013583642,0.000263589],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0012933991,0.000402544,0.000965125,0.0012999485,0.003433293,0.000041957177,0.0027713687,0.00039138817,0.0017725712],"category_scores_gemma":[0.00002326854,0.0004662929,0.0004707703,0.00024036186,0.0049153916,0.0009826985,0.001101592,0.0012232644,0.00005418202],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.008083367,0.0011674075,0.0010184171,0.0015857503,0.0019684657,0.00014359714,0.29709867,0.00078980776,0.00018206968,0.007572866,0.6508338,0.02955583],"study_design_scores_gemma":[0.0014079548,0.0018389366,0.00082480995,0.0005993622,0.00028732858,0.0000037029815,0.15167727,0.00026459046,0.000021108597,0.00017275084,0.84240586,0.0004963281],"about_ca_topic_score_codex":0.0057440205,"about_ca_topic_score_gemma":0.0121209,"teacher_disagreement_score":0.1915721,"about_ca_system_score_codex":0.00020989055,"about_ca_system_score_gemma":0.00084582757,"threshold_uncertainty_score":0.99977887},"labels":[],"label_agreement":null},{"id":"W6996668497","doi":"","title":"Stage &amp; Screen at TIFF: Discussion with Matthew Jocelyn and Atom Egoyan","year":2015,"lang":"en","type":"article","venue":"SOURCE Sheridan's Institutional Repository (Sheridan College)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Diafiltration; Dysgeusia; Liquation; Emperipolesis; Demotion; Durvalumab","score_opus":0.02562298187314491,"score_gpt":0.21745766284230725,"score_spread":0.19183468096916234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996668497","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7058063,0.00064307085,0.0001543529,0.0008432095,0.0009038548,0.00041838214,0.0002132529,0.0002417075,0.29077584],"genre_scores_gemma":[0.7807981,0.000018731636,0.00031612418,0.00020873755,0.001159515,0.000054047396,0.000057561057,0.000049847436,0.21733733],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99763906,0.000097270924,0.00045148048,0.0005793513,0.0007290655,0.0005037704],"domain_scores_gemma":[0.99869627,0.00004296315,0.0001904985,0.000454265,0.00024551476,0.00037051635],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00026564978,0.00047418475,0.00045173996,0.00010119978,0.0027809418,0.00029070987,0.00026912492,0.00010880826,0.0005158581],"category_scores_gemma":[0.000014002683,0.00030040697,0.00011804547,0.0001140113,0.0016492192,0.0006177067,0.00029407244,0.00028505595,0.00016878279],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.009423086,0.0013361198,0.12817785,0.0010888134,0.002114091,0.0012413383,0.17612065,0.0038411333,0.00293002,0.5228694,0.14365469,0.007202785],"study_design_scores_gemma":[0.0011908229,0.00027527064,0.0012197898,0.00016350287,0.00007429735,0.000221599,0.008005177,0.0000715436,0.00025519883,0.00016669666,0.9877988,0.00055726967],"about_ca_topic_score_codex":0.0005694422,"about_ca_topic_score_gemma":0.0028820282,"teacher_disagreement_score":0.84414417,"about_ca_system_score_codex":0.00032966954,"about_ca_system_score_gemma":0.0003474817,"threshold_uncertainty_score":0.9999448},"labels":[],"label_agreement":null},{"id":"W6996854912","doi":"","title":"Tea Leaf Green Live at Sherman Theater on 2008-11-14","year":2008,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ballad; Las vegas; Nova scotia; Guitar","score_opus":0.010117438203663674,"score_gpt":0.17713157755292724,"score_spread":0.16701413934926357,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996854912","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00028937522,0.0005201016,5.540125e-9,0.0002846633,0.0006041121,0.000366993,0.00037601124,0.00020813037,0.99735063],"genre_scores_gemma":[0.0011971595,0.00099276,0.000019942263,0.0007289678,0.0011141807,0.000021755868,0.00021169915,0.00014609986,0.99556744],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998442,0.000044695713,0.0005161042,0.00021620865,0.00040580152,0.00037519634],"domain_scores_gemma":[0.99897903,0.000063220265,0.00037917335,0.00038230253,0.0001133672,0.00008289692],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008712862,0.00045903452,0.00050706026,0.00010247072,0.0003309458,0.00005280731,0.00028759128,0.00024208617,0.7696608],"category_scores_gemma":[0.000009723457,0.00036970034,0.00021681818,0.000002428668,0.0003873142,4.4352964e-7,0.00011277499,0.00024703934,0.09439373],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010661921,0.000043465767,0.0000069431735,0.00028770094,0.000120071294,0.000018512,0.0072384314,0.000018589104,3.180967e-8,0.00010175046,0.99100494,0.0010529546],"study_design_scores_gemma":[0.0004468291,0.0002500683,0.0000076144165,0.00027149907,0.00005675454,0.00003585368,0.00051884167,0.0000022598929,0.000003623769,0.0000048710344,0.9979683,0.00043347786],"about_ca_topic_score_codex":0.013535345,"about_ca_topic_score_gemma":0.031985663,"teacher_disagreement_score":0.67526704,"about_ca_system_score_codex":0.000057465015,"about_ca_system_score_gemma":0.000016188056,"threshold_uncertainty_score":0.9998755},"labels":[],"label_agreement":null},{"id":"W6996898234","doi":"","title":"Theatres of Contact: The Kwakwaka’wakw Meet Colonialism in British Columbia and at the Chicago World’s Fair","year":2016,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Diafiltration; Liquation; Emperipolesis; Triacetin; Durvalumab","score_opus":0.01475566604434932,"score_gpt":0.19524443407575834,"score_spread":0.180488768031409,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996898234","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63366413,0.00002933102,4.7194422e-7,0.0013166077,0.00015702067,0.00037208293,0.00017392311,0.000034604345,0.36425182],"genre_scores_gemma":[0.96382004,0.03257811,0.0000028943396,0.00015722652,0.00015140667,0.0000057671505,0.0000025884726,0.000013841861,0.0032681103],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904555,0.00012354011,0.0001698744,0.00023049927,0.00015127932,0.0002792798],"domain_scores_gemma":[0.999241,0.0002972156,0.00010687255,0.0002563388,0.00007037212,0.00002820149],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018530598,0.0001301747,0.00024901403,0.0007474533,0.0007079767,0.00013908558,0.00030557282,0.000039771516,0.00046253102],"category_scores_gemma":[0.000014915041,0.00009275711,0.00008746556,0.00060514006,0.0007067511,0.0002716809,0.00027557326,0.000107889646,0.000007805842],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010530119,0.00060010527,0.20429282,0.00032053894,0.0010929676,0.00030573347,0.42383295,0.0000028770023,0.00012538701,0.08191041,0.07815988,0.2083033],"study_design_scores_gemma":[0.00095856626,0.000112337766,0.008444601,0.00012718608,0.000059009497,0.0000063508755,0.0046239453,0.0000023523237,0.000037119717,0.000017726563,0.9854568,0.00015396359],"about_ca_topic_score_codex":0.44736037,"about_ca_topic_score_gemma":0.9904795,"teacher_disagreement_score":0.90729696,"about_ca_system_score_codex":0.000084127205,"about_ca_system_score_gemma":0.00008280241,"threshold_uncertainty_score":0.5563197},"labels":[],"label_agreement":null},{"id":"W6996957616","doi":"","title":"From There to Here: <i>Canadian Stage’s Production of</i> London Road","year":2015,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Production (economics); Work (physics); Productivity","score_opus":0.03241265858366922,"score_gpt":0.21423834996932561,"score_spread":0.1818256913856564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996957616","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3881467,0.000008301524,0.0000035677594,0.00045180347,0.0006918699,0.00026526625,0.0001308663,0.00006156371,0.61024004],"genre_scores_gemma":[0.9908617,0.0054181847,0.0000808362,0.00013689068,0.0007865119,0.000002218482,0.00002894907,0.000020475076,0.0026642364],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991694,0.000048638645,0.00011665381,0.00025120386,0.00015508306,0.00025898602],"domain_scores_gemma":[0.99932075,0.000012123482,0.00006343562,0.00026810495,0.00019969232,0.00013587884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0000936084,0.00015673728,0.00019761671,0.002960606,0.00022004514,0.000043687985,0.00021717248,0.000042774107,0.00019414835],"category_scores_gemma":[0.000017458036,0.00014676516,0.00006613235,0.00085403334,0.00010163957,0.00040213586,0.00007146893,0.00010659264,0.00012488161],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008749589,0.00034331428,0.0062578,0.0001316037,0.0005865452,0.00014022923,0.7991012,0.00012710712,0.0000295026,0.019458983,0.04008956,0.13285923],"study_design_scores_gemma":[0.0003327928,0.00016351622,0.000080844686,0.000035442405,0.000042269286,5.1837526e-7,0.028118297,0.0000045725515,0.00031804212,0.0000030908718,0.97071844,0.00018219881],"about_ca_topic_score_codex":0.89960486,"about_ca_topic_score_gemma":0.9200017,"teacher_disagreement_score":0.93062884,"about_ca_system_score_codex":0.00016054025,"about_ca_system_score_gemma":0.00036679802,"threshold_uncertainty_score":0.5984909},"labels":[],"label_agreement":null},{"id":"W6997061724","doi":"","title":"Toronto School’s Influence on the Paradigm Shift From Theater Studies to Performance Studies","year":2016,"lang":"it","type":"article","venue":"UniTERAMO Research Catalog (University of Teramo)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Paradigm shift; Context (archaeology); Persona; Democratization","score_opus":0.10831065552281932,"score_gpt":0.3182492985915965,"score_spread":0.2099386430687772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6997061724","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9552602,0.00686424,0.000002795046,0.028672002,0.0005202776,0.00077819976,0.0008660022,0.000060355636,0.006975905],"genre_scores_gemma":[0.9685208,0.014528462,0.000015068078,0.00065284193,0.0005178531,0.00001116775,0.000022362083,0.000033246135,0.015698196],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99608916,0.00056708656,0.000403712,0.00074586965,0.001087623,0.0011065399],"domain_scores_gemma":[0.9950858,0.0023501106,0.00017333524,0.0012226625,0.0008849307,0.0002831956],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts","insufficient_payload"],"category_scores_codex":[0.0013425956,0.0005151309,0.0007819686,0.0004014985,0.0033070396,0.00022065722,0.0015416696,0.00012553534,0.0022059984],"category_scores_gemma":[0.0002884075,0.00030881297,0.0002174464,0.00028615602,0.003339568,0.0016201211,0.0014295633,0.0005978186,0.0020587493],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0033801699,0.00055488764,0.018132018,0.0007022757,0.0053982693,0.0001544163,0.7762334,0.000037809135,0.000509252,0.051891718,0.11202041,0.030985372],"study_design_scores_gemma":[0.0018505029,0.0035916972,0.068495184,0.0060529937,0.00023355597,0.000002674776,0.22275425,0.000016352635,0.000587801,0.0072778626,0.6880573,0.0010797984],"about_ca_topic_score_codex":0.0073672184,"about_ca_topic_score_gemma":0.014789225,"teacher_disagreement_score":0.57603693,"about_ca_system_score_codex":0.0007209777,"about_ca_system_score_gemma":0.00014746842,"threshold_uncertainty_score":0.9999364},"labels":[],"label_agreement":null},{"id":"W6997204422","doi":"","title":"Un allestimento teatrale – Theatrical Staging","year":2020,"lang":"it","type":"article","venue":"Virtual Community of Pathological Anatomy (University of Castilla La Mancha)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"German; Context (archaeology); First world war","score_opus":0.039529761257950054,"score_gpt":0.2261143713639406,"score_spread":0.18658461010599056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6997204422","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9480906,0.000949121,0.00045693773,0.0037770895,0.00010705108,0.0002488358,0.00043116466,0.0001003557,0.045838833],"genre_scores_gemma":[0.9972488,0.0012249703,0.00037711547,0.00023194711,0.00012130291,3.6109498e-7,0.000029975987,0.000019512381,0.00074599084],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99735874,0.0010381968,0.00039532428,0.00032000907,0.0004455944,0.00044210843],"domain_scores_gemma":[0.9980855,0.00063734443,0.0003587941,0.00044098063,0.00022312916,0.0002542674],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00057907746,0.00039972807,0.00097377534,0.0001593601,0.0014776043,0.00004625042,0.00097217946,0.00024017619,0.002091478],"category_scores_gemma":[0.00006499812,0.0003947576,0.00042192388,0.00023173612,0.0025044791,0.0002906031,0.001219734,0.0011983117,0.00007245708],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0030118239,0.0033880002,0.016457204,0.0016113196,0.001510712,0.0011964599,0.6175993,0.0005953142,0.0013043694,0.2661662,0.0065894476,0.0805698],"study_design_scores_gemma":[0.005606406,0.0113941785,0.03819038,0.000640394,0.0011679273,0.00005351807,0.572132,0.0038067298,0.00031670887,0.0027034248,0.36218432,0.0018040203],"about_ca_topic_score_codex":0.00094564614,"about_ca_topic_score_gemma":0.00017374234,"teacher_disagreement_score":0.35559487,"about_ca_system_score_codex":0.000036447633,"about_ca_system_score_gemma":0.000055852513,"threshold_uncertainty_score":0.99985045},"labels":[],"label_agreement":null},{"id":"W6997319938","doi":"","title":"Villains, Victims &amp; Vixens: Camp and Late 20th Century Canadian Queer Drama","year":2023,"lang":"en","type":"dissertation","venue":"Scholarship at UWindsor (University of Windsor)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Drama; Taboo; Flourishing; Theme (computing); Queer theory","score_opus":0.01918845756114071,"score_gpt":0.21184092135959567,"score_spread":0.19265246379845496,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6997319938","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9221839,0.0013469454,1.198041e-7,0.00039751778,0.0014214271,0.00031790553,0.00069681054,0.0001304976,0.0735049],"genre_scores_gemma":[0.74152577,0.002238735,0.000024295487,0.00013676686,0.00040431213,0.0000016315604,0.0018060075,0.000090819936,0.25377163],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979605,0.00009045644,0.00026657333,0.000583094,0.0004317395,0.0006676584],"domain_scores_gemma":[0.9985471,0.000075869015,0.00028193838,0.00042994707,0.00032411367,0.00034104523],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033888122,0.00047997292,0.0006364045,0.0007701606,0.002195206,0.00016687083,0.0004548289,0.0004394637,0.0031077738],"category_scores_gemma":[0.000032321987,0.00054860703,0.00025664683,0.00017570244,0.0003356428,0.00062001916,0.00012571123,0.00075960596,0.0012181572],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010284202,0.00011698099,0.06086651,0.0016921299,0.0020403776,0.00023566146,0.8867148,0.000013914892,0.0004952735,0.0048552924,0.02958155,0.012359072],"study_design_scores_gemma":[0.00078586,0.00011790328,0.14826211,0.00050470064,0.0003585334,0.0000040469663,0.07448307,0.0000041414946,0.000025807614,0.00046948387,0.7741229,0.0008614374],"about_ca_topic_score_codex":0.08347217,"about_ca_topic_score_gemma":0.93462586,"teacher_disagreement_score":0.8511537,"about_ca_system_score_codex":0.00022882376,"about_ca_system_score_gemma":0.00028078555,"threshold_uncertainty_score":0.99969655},"labels":[],"label_agreement":null},{"id":"W6997462403","doi":"","title":"Writing the History of Alternative Theatre Companies: Mythology and the Last Years of Joint Stock","year":2006,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Illinois Wesleyan University","keywords":"Nucleofection; Gestational period; TSG101; Hyporeflexia; Diafiltration; Liquation; Dysgeusia; Pretext; Hemopericardium","score_opus":0.024048341543505714,"score_gpt":0.1964835880911141,"score_spread":0.1724352465476084,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6997462403","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9461288,0.0016856586,0.00006883196,0.00031118403,0.00023722464,0.0001254114,0.000049378472,0.000012397925,0.051381137],"genre_scores_gemma":[0.9968461,0.00009859859,0.00003148501,0.000035665013,0.00013311085,3.417684e-7,0.000005343942,0.0000060177395,0.0028433662],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999368,0.000089332694,0.00016228606,0.00010954633,0.00014202943,0.00012880542],"domain_scores_gemma":[0.99924654,0.00021947552,0.00024607102,0.00016614635,0.000108916545,0.000012842746],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00026494742,0.00009214408,0.00029464078,0.00007223556,0.00028624144,0.000010286447,0.00018808467,0.000026293854,0.00021756667],"category_scores_gemma":[0.0000063255607,0.00006823264,0.00011998875,0.000028407252,0.0030766572,0.00012623379,0.00012111561,0.00011213917,0.0000064191154],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008946601,0.000032153956,0.0016457646,0.000052277293,0.00012235709,0.0000016740331,0.1276269,0.000036658148,0.000004894253,0.86667645,0.0035643254,0.00014710966],"study_design_scores_gemma":[0.0010523907,0.0001076923,0.0054524606,0.000038918042,0.00011622916,0.000004149122,0.13652001,0.00008738201,8.219798e-7,0.83237064,0.024147235,0.0001020613],"about_ca_topic_score_codex":0.0053301854,"about_ca_topic_score_gemma":0.008783575,"teacher_disagreement_score":0.050717298,"about_ca_system_score_codex":0.000044779226,"about_ca_system_score_gemma":0.000029160665,"threshold_uncertainty_score":0.9996364},"labels":[],"label_agreement":null},{"id":"W6997474245","doi":"","title":"What is the problem of inequality, and can we solve it? Participatory theatre and SDG10","year":2023,"lang":"en","type":"article","venue":"Open Access Journals at Oslo Metropolitan University (Oslo Metropolitan University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Citizen journalism; Scholarship; Equity (law); Inequality; Drama; Social equality; Social inequality","score_opus":0.13815611124694008,"score_gpt":0.34472012231403304,"score_spread":0.20656401106709296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6997474245","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7404344,0.003636858,0.000021429472,0.025313208,0.00050254917,0.0009418838,0.0007194555,0.00012014858,0.22831005],"genre_scores_gemma":[0.93294054,0.029982358,0.000073944524,0.0004930327,0.00021417873,0.0000010266492,0.00001519204,0.00004286452,0.036236845],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99689424,0.00051559083,0.00047930825,0.00064008666,0.00057048415,0.00090028386],"domain_scores_gemma":[0.9975699,0.00044343807,0.0005381658,0.00060653547,0.00039781738,0.00044411328],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010461585,0.00048080526,0.0008649824,0.0013793077,0.003120866,0.0013788695,0.0021433306,0.0001300679,0.0014902323],"category_scores_gemma":[0.00002098217,0.0003957189,0.00025606187,0.0011462768,0.0020794226,0.0047324784,0.0041367626,0.00046028467,0.000027318822],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00089777133,0.00026827675,0.0581479,0.0005370225,0.0019910347,0.00032844176,0.07231226,0.000007103498,0.00018361835,0.7992227,0.057107516,0.008996357],"study_design_scores_gemma":[0.0014025604,0.00026666056,0.0019120664,0.000327637,0.0005696621,0.000015019013,0.5659975,0.000032845517,0.0003654566,0.006914145,0.42162627,0.00057018985],"about_ca_topic_score_codex":0.0112054385,"about_ca_topic_score_gemma":0.020353988,"teacher_disagreement_score":0.79230857,"about_ca_system_score_codex":0.0012949824,"about_ca_system_score_gemma":0.00018154328,"threshold_uncertainty_score":0.9998495},"labels":[],"label_agreement":null},{"id":"W6998439872","doi":"","title":"African-Canadian Theatre. Critical Perspectives on Canadian Theatre in English Volume 2 (review)","year":2007,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Volume (thermodynamics); Field (mathematics); Work (physics); Key (lock)","score_opus":0.018131016694342732,"score_gpt":0.21971707123389378,"score_spread":0.20158605453955106,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6998439872","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0058678673,0.00019991121,0.0000014827976,0.0016605499,0.00045501796,0.00047198145,0.00019351608,0.0001056444,0.99104404],"genre_scores_gemma":[0.9012609,0.09685497,0.00001933348,0.00079129066,0.0006483323,0.0000034652935,0.000016857173,0.000030643616,0.0003742038],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99806964,0.000090145506,0.00021079055,0.00045020747,0.00020669945,0.00097250985],"domain_scores_gemma":[0.99889356,0.0001414116,0.00004023699,0.00034368888,0.00021816847,0.00036294115],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003341406,0.00031735632,0.0003611837,0.009650475,0.00066981395,0.000070499074,0.0003838855,0.00009743122,0.0013518132],"category_scores_gemma":[0.000057435824,0.00030357466,0.00016265392,0.0016152528,0.0003817393,0.00041918163,0.00005000682,0.00042193767,0.00016999281],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024890128,0.00036608736,0.004288972,0.00035565923,0.00021656268,0.0012671788,0.7436779,0.0000047362596,2.6677967e-7,0.15619756,0.018471843,0.07490433],"study_design_scores_gemma":[0.00029686338,0.00018186096,0.00031382122,0.00025326974,0.00005590249,0.0000025723139,0.10577955,0.0000065688164,0.0000026547048,0.0000033529075,0.8927618,0.00034173217],"about_ca_topic_score_codex":0.9718979,"about_ca_topic_score_gemma":0.99899554,"teacher_disagreement_score":0.99066985,"about_ca_system_score_codex":0.0009744644,"about_ca_system_score_gemma":0.00085086474,"threshold_uncertainty_score":0.99994165},"labels":[],"label_agreement":null},{"id":"W6998520954","doi":"","title":"Amplifying presence, connecting the present","year":2024,"lang":"fr","type":"article","venue":"Canadian acoustics","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Sound (geography); Mediation; Weaving; Space (punctuation); Field (mathematics); Physical space","score_opus":0.033734926502772856,"score_gpt":0.250314348191839,"score_spread":0.21657942168906616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6998520954","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03044731,0.31415856,0.0004563003,0.052502777,0.031087054,0.0005459542,0.0018486001,0.00018236144,0.56877106],"genre_scores_gemma":[0.8561368,0.00312712,0.00002825559,0.000583621,0.008986455,0.000014100097,0.00001266264,0.000043507836,0.1310675],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99867564,0.00003938688,0.00021574915,0.00022551177,0.00015026529,0.0006934195],"domain_scores_gemma":[0.9989552,0.00044246504,0.000026906011,0.00024779228,0.000086753964,0.00024089504],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022334102,0.00020753221,0.00015394705,0.00012855597,0.0019937954,0.0010850545,0.00024328135,0.000083741426,0.0025801896],"category_scores_gemma":[0.000055064243,0.00015510751,0.00009671494,0.00010469814,0.00051411,0.00019718627,0.000057335452,0.00045597408,0.0006982933],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000002663188,0.00000861341,0.00008636526,0.00065043475,0.0002574787,0.00019655167,0.051558726,0.001722313,0.000016748509,0.3182695,0.5268341,0.100396566],"study_design_scores_gemma":[0.000036882466,0.000033448254,0.00019543651,0.00042083857,0.00017334272,0.000030299989,0.016902504,0.014807679,0.0000030711485,0.0015034378,0.96568197,0.00021110848],"about_ca_topic_score_codex":0.18544489,"about_ca_topic_score_gemma":0.25447482,"teacher_disagreement_score":0.8256895,"about_ca_system_score_codex":0.00021299504,"about_ca_system_score_gemma":0.00048100785,"threshold_uncertainty_score":0.9999519},"labels":[],"label_agreement":null},{"id":"W6998717190","doi":"","title":"Artist In Residence: Ensemble Made in Canada","year":2017,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"","score_opus":0.10633036706606824,"score_gpt":0.2893869911355834,"score_spread":0.18305662406951517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6998717190","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98361164,0.00010879221,9.617955e-7,0.000607928,0.00045851784,0.00013854643,0.000026856982,0.000024474835,0.01502229],"genre_scores_gemma":[0.97541106,0.00010635046,0.0000019403553,0.00018678927,0.00015068315,0.0000012767308,0.0000045361753,0.000016772196,0.02412058],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9986666,0.00007602524,0.00022049819,0.00032755575,0.00023995922,0.00046937633],"domain_scores_gemma":[0.99912345,0.00005107817,0.00014711531,0.00052853284,0.000054556578,0.00009524651],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019421522,0.00021028967,0.0002905324,0.00026367468,0.0006801718,0.0003911773,0.000730952,0.000055244887,0.00012305811],"category_scores_gemma":[0.000022994796,0.00022336726,0.000047808415,0.00005427834,0.0001911429,0.0017672385,0.00027864278,0.00042145222,0.00010191052],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000064506494,0.00002236632,0.9940875,0.000030136478,0.000012822067,0.0005487025,0.0036957746,0.000008151758,0.00003166197,0.00074073276,0.0000083871,0.0007492632],"study_design_scores_gemma":[0.00068472896,0.000033527926,0.9790603,0.0002460619,0.000012762535,0.000004216223,0.0035004744,2.2595452e-7,0.0002611022,0.00021998031,0.015696513,0.00028013522],"about_ca_topic_score_codex":0.24354316,"about_ca_topic_score_gemma":0.999212,"teacher_disagreement_score":0.7556689,"about_ca_system_score_codex":0.00046899338,"about_ca_system_score_gemma":0.00033988338,"threshold_uncertainty_score":0.9108652},"labels":[],"label_agreement":null},{"id":"W6998798206","doi":"","title":"Artifacting an Intercultural Nation: Theatre Replacement's &lt;em&gt;BIOBOXES&lt;/em&gt;","year":2010,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Work (physics); Key (lock); Interculturalism; Intercultural communication","score_opus":0.07895744476883884,"score_gpt":0.2850259161087268,"score_spread":0.20606847133988795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6998798206","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98286015,0.0000753194,0.000012222126,0.00033363487,0.0018292976,0.00031572548,0.00006640457,0.00036818843,0.01413906],"genre_scores_gemma":[0.9745993,0.000041086132,0.000025351064,0.00034574157,0.0013353579,0.0000034676689,0.000091058595,0.00005355335,0.023505062],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.997553,0.00016805799,0.00040069138,0.000697822,0.0005029006,0.000677555],"domain_scores_gemma":[0.99834365,0.00008265668,0.0002715041,0.00069458125,0.00034773757,0.0002598777],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048009187,0.0005053951,0.00042661073,0.0004221714,0.0014771817,0.0011645918,0.00079238205,0.00019385519,0.00096941175],"category_scores_gemma":[0.000024258165,0.00046425872,0.00021898617,0.00017418704,0.00030044324,0.004507115,0.00037307118,0.00093097513,0.0006037204],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00087760435,0.000537101,0.80354977,0.00020502026,0.00060297217,0.00022613209,0.1558699,0.000015537069,0.009700096,0.008162962,0.00007810966,0.020174786],"study_design_scores_gemma":[0.0036344752,0.0013252702,0.23776786,0.00046751671,0.0005211561,0.00013097114,0.07046968,0.00000644321,0.005274083,0.0005919947,0.6773075,0.002503088],"about_ca_topic_score_codex":0.000017569637,"about_ca_topic_score_gemma":0.0766902,"teacher_disagreement_score":0.67722934,"about_ca_system_score_codex":0.00012585342,"about_ca_system_score_gemma":0.00005943447,"threshold_uncertainty_score":0.99994385},"labels":[],"label_agreement":null},{"id":"W6999872870","doi":"","title":"From Dissertation to the Stage: Reflections on the use of Theater as Cultural Work for Social Justice","year":2019,"lang":"en","type":"article","venue":"PDXScholar  (Portland State University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Discipline; Diversity (politics); Field (mathematics); Economic Justice; Narrative; Social justice; Criminal justice","score_opus":0.08810887496395048,"score_gpt":0.2862093588549826,"score_spread":0.19810048389103213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999872870","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9747052,0.0000057250913,0.000027963531,0.0019039634,0.0003746854,0.0003150918,0.00023337663,0.00001827876,0.02241568],"genre_scores_gemma":[0.911908,0.00002449309,0.000026164387,0.0003963896,0.00022096375,0.000002443315,0.000044680186,0.0000073953224,0.087369494],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952227,0.00004270911,0.00008622446,0.00011706691,0.000106503496,0.00012524931],"domain_scores_gemma":[0.99950016,0.0001726462,0.000060101593,0.00012016698,0.00012653321,0.00002038732],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000079998295,0.00008745538,0.00009892619,0.00005239191,0.0009955082,0.00012685913,0.00013379831,0.000017948285,0.00033539254],"category_scores_gemma":[0.000015058661,0.000046716163,0.00006984754,0.00007548569,0.000050828225,0.00031284112,0.000027104035,0.00011416056,0.00007515076],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0034041668,0.00014598818,0.0064587337,0.00006541282,0.00064738805,0.000006466307,0.7382698,0.0013051193,0.00036427015,0.18894689,0.05763916,0.0027466235],"study_design_scores_gemma":[0.00021721437,0.00010720733,0.002854408,0.000014975278,0.00008843333,6.088734e-8,0.048526518,0.000007735866,0.00008775945,0.00018733602,0.9478252,0.00008313559],"about_ca_topic_score_codex":0.0005291831,"about_ca_topic_score_gemma":0.0020295437,"teacher_disagreement_score":0.8901861,"about_ca_system_score_codex":0.000019898529,"about_ca_system_score_gemma":0.000014013768,"threshold_uncertainty_score":0.7656745},"labels":[],"label_agreement":null},{"id":"W6999925253","doi":"","title":"Drama, Revolution and Globalization 1of4","year":2006,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Globalization; Industrial Revolution; Information revolution; Hegemony; Social change","score_opus":0.005866540406725774,"score_gpt":0.1713594934914794,"score_spread":0.16549295308475362,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999925253","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000029491106,0.0014508419,2.3940308e-7,0.00009721853,0.0003797365,0.00023131362,0.0002167567,0.0001492882,0.9974451],"genre_scores_gemma":[0.001248616,0.00069495157,0.00008331613,0.00012579706,0.00059171417,0.000007866734,0.00026279173,0.000059060374,0.9969259],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990968,0.000025210713,0.00036786846,0.00012480712,0.00020496327,0.00018035405],"domain_scores_gemma":[0.9993601,0.00002291379,0.0003245433,0.00015630652,0.00010050588,0.000035622015],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008441779,0.00023053383,0.00027828722,0.00006250867,0.00014848483,0.00007619906,0.00009719026,0.00015383435,0.17447951],"category_scores_gemma":[0.000013620311,0.00020997967,0.000069532354,0.000002419891,0.00023271806,3.3126184e-7,0.000045234752,0.00010172209,0.002595944],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019744695,0.00001585285,0.0000060398806,0.00039329033,0.000038069145,0.000001285214,0.00076206366,0.000017061222,1.7612123e-8,0.0016328127,0.9953971,0.0017166483],"study_design_scores_gemma":[0.0002457896,0.000074026335,0.000011683232,0.00020845816,0.000058415382,0.000008367021,0.00028804524,0.000008933189,5.1269063e-7,0.000045016728,0.99882174,0.00022900738],"about_ca_topic_score_codex":0.01583524,"about_ca_topic_score_gemma":0.0243347,"teacher_disagreement_score":0.17188358,"about_ca_system_score_codex":0.000024887406,"about_ca_system_score_gemma":0.000009976846,"threshold_uncertainty_score":0.9981806},"labels":[],"label_agreement":null},{"id":"W7000272166","doi":"","title":"Evicted in—and from—Toronto: Walker's <i>Beautiful City</i> at Factory Theatre","year":2009,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Factory (object-oriented programming); Work (physics); Production (economics); Quality (philosophy); Welding","score_opus":0.019506742381432712,"score_gpt":0.20696204695090864,"score_spread":0.18745530456947593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000272166","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39124534,0.000049670438,0.0000011105766,0.00014203526,0.00016465996,0.00018985641,0.000075896955,0.000111186135,0.60802025],"genre_scores_gemma":[0.932881,0.06603574,0.000016066026,0.00022262205,0.00025316217,0.0000010476135,0.000033823027,0.0000140510065,0.0005424837],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889404,0.000061157305,0.00016140373,0.0003600222,0.00015556169,0.00036784276],"domain_scores_gemma":[0.99948907,0.00006742004,0.00007050717,0.00025622844,0.00005104785,0.000065706],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006058661,0.0002672047,0.00030676858,0.0013641781,0.00043749047,0.0000657758,0.00021750653,0.000082507904,0.00073571596],"category_scores_gemma":[0.00000401467,0.00024362182,0.00009542489,0.0004069094,0.00016505177,0.0006556279,0.0001322987,0.0001745357,0.00003479551],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013413052,0.0007670822,0.030502703,0.00010499299,0.00047441246,0.00033880785,0.72577184,0.000008583746,0.00006245285,0.014077694,0.005210927,0.2213392],"study_design_scores_gemma":[0.0009153518,0.0001759758,0.0027092674,0.000055418543,0.000050308037,0.0000015104592,0.0072617764,0.000025396983,0.000076237244,0.000008557591,0.98840624,0.00031396231],"about_ca_topic_score_codex":0.15300472,"about_ca_topic_score_gemma":0.5130027,"teacher_disagreement_score":0.9831953,"about_ca_system_score_codex":0.0002699074,"about_ca_system_score_gemma":0.00006760708,"threshold_uncertainty_score":0.99346095},"labels":[],"label_agreement":null},{"id":"W7000639557","doi":"","title":"Failures to Self-Locate: Counterfactual Ontologies in Contemporary Theatre and Physics","year":2020,"lang":"en","type":"other","venue":"York University Digital Library (York University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Counterfactual thinking; Determinism; Metaphysics; Terminology; Philosophy of science; Technological determinism","score_opus":0.025330393819337833,"score_gpt":0.16718561540532825,"score_spread":0.14185522158599043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000639557","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001098744,0.0005534504,0.000008672246,0.0007724765,0.00019514358,0.00035421998,0.0022458688,0.0008616836,0.9939097],"genre_scores_gemma":[0.21480136,0.00045205292,0.000115752344,0.000298698,0.00049856,2.3136452e-7,0.00033197078,0.00016905408,0.78333235],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988029,0.000045659082,0.00012745125,0.0005250049,0.00016248735,0.00033651234],"domain_scores_gemma":[0.99937737,0.00007556161,0.00012205238,0.00023742358,0.000012192438,0.00017540452],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000011331718,0.00045389813,0.00055527955,0.00042426898,0.00025858887,0.00032959812,0.0005790135,0.00017835601,0.00064848165],"category_scores_gemma":[0.0000019107492,0.00048040936,0.00012916436,0.00028793694,0.00041328993,0.0014466988,0.0006106609,0.00030971633,0.00022167392],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036950965,0.00011539221,0.004419401,0.00017691986,0.00034773568,0.00038855613,0.013832882,0.0000033649294,2.856424e-7,0.03550074,0.94230634,0.0025388596],"study_design_scores_gemma":[0.0005899804,0.00018564609,0.000057905792,0.00021131741,0.00004908119,0.0000012972292,0.04202986,0.000003567374,0.0000027649896,0.00007518871,0.95626736,0.0005260605],"about_ca_topic_score_codex":0.00061370543,"about_ca_topic_score_gemma":0.0012987308,"teacher_disagreement_score":0.21370262,"about_ca_system_score_codex":0.00006111899,"about_ca_system_score_gemma":0.00016257279,"threshold_uncertainty_score":0.99976474},"labels":[],"label_agreement":null},{"id":"W7000962992","doi":"","title":"At home in Montreal’s Quartier des spectacles festival district","year":2021,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Clothing; Placemaking; Photography; Ethnography","score_opus":0.02459866376294961,"score_gpt":0.2162136157975379,"score_spread":0.19161495203458828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000962992","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7084136,0.00080304383,2.1697101e-8,0.000054850305,0.00046131056,0.00011151405,0.00050104293,0.00010878136,0.2895458],"genre_scores_gemma":[0.97804594,0.0005132278,0.000053649954,0.00017752845,0.00018408724,0.000040881936,0.0000547165,0.000054996897,0.02087497],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99768704,0.00016958828,0.0005038571,0.0005649922,0.00035763442,0.00071686605],"domain_scores_gemma":[0.9989432,0.00017601177,0.00011341258,0.00041945357,0.00017903489,0.0001688683],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002776686,0.0003984647,0.0004829962,0.00017016585,0.0018524358,0.00013606511,0.00024847535,0.00010189749,0.0027051123],"category_scores_gemma":[0.00011647214,0.00036089442,0.00021564396,0.00021132508,0.0003296127,0.0007991155,0.00028655457,0.00044100365,0.0008412507],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004517892,0.0009858315,0.020059593,0.00036178651,0.00043624267,0.0010599936,0.0023246817,0.000059531736,0.0057669915,0.55926603,0.00033771683,0.4088898],"study_design_scores_gemma":[0.0024365552,0.0003508223,0.101361685,0.00036781546,0.00015542423,0.00010412601,0.0064337696,0.00002207208,0.019124618,0.08679392,0.78122187,0.0016273395],"about_ca_topic_score_codex":0.001776899,"about_ca_topic_score_gemma":0.105908476,"teacher_disagreement_score":0.78088415,"about_ca_system_score_codex":0.0004563779,"about_ca_system_score_gemma":0.000019391417,"threshold_uncertainty_score":0.9999367},"labels":[],"label_agreement":null},{"id":"W7001513821","doi":"","title":"20.08.38 Karáth, Richard Rolle","year":2020,"lang":"en","type":"article","venue":"Indiana Magazine of History (Indiana University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"","score_opus":0.028686962769390444,"score_gpt":0.17033646807829705,"score_spread":0.1416495053089066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7001513821","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11409721,0.0018378306,0.000008994739,0.0019662345,0.0008048546,0.00022815588,0.00019030162,0.00015331357,0.8807131],"genre_scores_gemma":[0.890173,0.00025500514,0.000051818803,0.000674609,0.0007286859,0.0000010548214,0.000033626955,0.000035116056,0.10804708],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988595,0.000043891887,0.00022813761,0.00030718348,0.00022475801,0.00033650972],"domain_scores_gemma":[0.9992159,0.000036551708,0.00018675323,0.00023940945,0.00011928913,0.00020209757],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006678348,0.00023786777,0.00039911372,0.00043638074,0.00032013815,0.000016633787,0.00041587895,0.0000688994,0.0070519494],"category_scores_gemma":[0.00001415572,0.00025619403,0.00020789877,0.00015743263,0.0004985847,0.00044990613,0.0001064608,0.00022256606,0.0012749555],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034119192,0.00016658472,0.0039769,0.00033405697,0.00045709652,0.00044576812,0.15720102,0.000038725033,0.00047141017,0.036486316,0.7973307,0.00275025],"study_design_scores_gemma":[0.0007221437,0.00025288848,0.0005143832,0.00002363299,0.000081127626,0.0000014409959,0.004194214,0.000011834609,0.000060705963,0.000032100383,0.9938184,0.00028714212],"about_ca_topic_score_codex":0.00020295399,"about_ca_topic_score_gemma":0.0021335888,"teacher_disagreement_score":0.7760758,"about_ca_system_score_codex":0.00026871526,"about_ca_system_score_gemma":0.00017924754,"threshold_uncertainty_score":0.99998903},"labels":[],"label_agreement":null},{"id":"W7003488979","doi":"","title":"Tempo","year":2012,"lang":"en","type":"dissertation","venue":"Library and Archives Canada (Government of Canada)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Feminism; Reflection (computer programming); Work (physics); Process (computing)","score_opus":0.005089336957369308,"score_gpt":0.14424277958664675,"score_spread":0.13915344262927745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7003488979","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.058046713,0.0018696813,9.924075e-8,0.00052295596,0.0011787018,0.00009343698,0.0003030002,0.000008970385,0.9379764],"genre_scores_gemma":[0.7154306,0.00031130435,0.000012689984,0.000289668,0.00044025647,0.000007769222,0.00007848423,0.00002080531,0.2834084],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99849606,0.000016999846,0.00022818317,0.00014328171,0.00086271134,0.00025277305],"domain_scores_gemma":[0.99952483,0.00007885659,0.00015526944,0.00012496636,4.5470728e-7,0.000115621966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000004403651,0.00021432585,0.00027393232,0.00002020716,0.00033079615,0.000027770215,0.00013821489,0.00002478214,0.0006303789],"category_scores_gemma":[4.9832227e-7,0.00018373194,0.000033449753,0.000011998065,0.000062548344,0.00030288755,0.00003672756,0.00014383174,9.11956e-9],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008292064,0.000053779004,0.00958554,0.001682465,0.00048627786,0.00002775689,0.014567973,0.0000019195331,0.0012178353,0.9031354,0.027441327,0.04097049],"study_design_scores_gemma":[0.00013685037,0.00004079578,0.016532522,0.00018916234,0.000064301246,8.4608297e-7,0.037198707,0.000009034405,0.0073229056,0.00071205135,0.93745977,0.00033304677],"about_ca_topic_score_codex":0.008458206,"about_ca_topic_score_gemma":0.5513303,"teacher_disagreement_score":0.91001844,"about_ca_system_score_codex":0.0000025028987,"about_ca_system_score_gemma":0.0006835248,"threshold_uncertainty_score":0.99814457},"labels":[],"label_agreement":null},{"id":"W7003698660","doi":"","title":"Fuddy Meers","year":2002,"lang":"en","type":"article","venue":"Digital Commons - Otterbein (Otterbein University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nothing; Bedroom; Drama; Hide and seek; Dream; Performance art","score_opus":0.026981694736616022,"score_gpt":0.1739208556770551,"score_spread":0.14693916094043907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7003698660","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15946198,0.0001669844,0.000027231603,0.0019301522,0.00045756335,0.00015201047,0.00018751978,0.00029198953,0.83732456],"genre_scores_gemma":[0.9054211,0.000054745087,0.000014417082,0.0004900933,0.00034564908,0.0000014603588,0.000040575764,0.000031007916,0.09360096],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99861217,0.000038646955,0.0002258076,0.00035648246,0.0002423985,0.0005244947],"domain_scores_gemma":[0.99914604,0.00009705267,0.00009056557,0.0004392377,0.00007892499,0.00014819436],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000049332582,0.00033066625,0.00032363448,0.0003878178,0.0007735019,0.00044604298,0.0005399206,0.00006464457,0.0033197862],"category_scores_gemma":[0.000008877846,0.0003271367,0.00022858888,0.00017768273,0.00053822296,0.0014623634,0.00024905038,0.00024937987,0.0018076416],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019646586,0.0010161054,0.02049433,0.00016106725,0.000995194,0.0007866281,0.06738292,0.00003240527,0.00007479172,0.3732393,0.47991407,0.05570672],"study_design_scores_gemma":[0.00057948247,0.00016454389,0.00021381407,0.000041447536,0.00005466331,0.000008162444,0.0040539363,0.00005870444,0.00003958975,0.00037803446,0.9939537,0.0004539275],"about_ca_topic_score_codex":0.00009335323,"about_ca_topic_score_gemma":0.0007886837,"teacher_disagreement_score":0.7459591,"about_ca_system_score_codex":0.00008778834,"about_ca_system_score_gemma":0.000009699998,"threshold_uncertainty_score":0.99991804},"labels":[],"label_agreement":null},{"id":"W7006569786","doi":"","title":"Varjuteatri esteetika","year":2017,"lang":"et","type":"dissertation","venue":"DSpace repository (University of Tartu)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Action (physics); Work (physics); Apprenticeship; Identification (biology)","score_opus":0.013657054658148171,"score_gpt":0.2054033567568874,"score_spread":0.19174630209873922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7006569786","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3078665,0.0025446338,0.0000030746799,0.0003133198,0.0033511603,0.0002880871,0.00013776748,0.00006587991,0.6854296],"genre_scores_gemma":[0.46121144,0.001576205,0.0000420714,0.000008023696,0.000644195,4.4242563e-7,0.00015643735,0.000027549999,0.5363336],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99842274,0.00007962409,0.00023509159,0.00048005205,0.00040871132,0.00037375963],"domain_scores_gemma":[0.9976957,0.00006733441,0.0009358538,0.00078293646,0.00039381214,0.00012436177],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013781669,0.00042855722,0.0007685118,0.00019015222,0.0039795972,0.00018156737,0.0007164303,0.00031809445,0.0010617087],"category_scores_gemma":[0.000010286523,0.00050185743,0.00050046627,0.000036233454,0.00063877646,0.00059214764,0.00010766218,0.00041754334,0.00024507503],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0025785037,0.0009457099,0.012076915,0.005738316,0.00482613,0.0010749544,0.68342894,0.00006141566,0.0032458694,0.018418163,0.2446355,0.02296959],"study_design_scores_gemma":[0.00075159775,0.00037826796,0.0058864374,0.0008805536,0.0009937261,0.000011588457,0.15578923,0.00003983919,0.0007326066,0.00007207957,0.8337561,0.00070796144],"about_ca_topic_score_codex":0.008693524,"about_ca_topic_score_gemma":0.010104959,"teacher_disagreement_score":0.5891206,"about_ca_system_score_codex":0.000084113366,"about_ca_system_score_gemma":0.00027521042,"threshold_uncertainty_score":0.99985147},"labels":[],"label_agreement":null},{"id":"W7006872040","doi":"","title":"Wright State University Libraries Access Newsletter Winter Quarter 2003","year":2003,"lang":"en","type":"article","venue":"Journal of Bioresource Management","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"National Aeronautics and Space Administration","keywords":"Wright; Quarter (Canadian coin); State (computer science); Federal state","score_opus":0.014905369359244148,"score_gpt":0.19586175541896783,"score_spread":0.1809563860597237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7006872040","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36513123,0.0006648413,0.0009893379,0.0045908,0.0021217035,0.00029719397,0.000021984877,0.00005235882,0.6261305],"genre_scores_gemma":[0.91273975,0.0002746908,0.0005316209,0.0027636804,0.0011218435,0.0000011533972,0.0000023281632,0.000029892995,0.08253504],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914885,0.00006244779,0.00025783942,0.000105491534,0.00020574723,0.00021964217],"domain_scores_gemma":[0.99948156,0.000015284475,0.00019915518,0.00013737782,0.000106783606,0.00005984068],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017494948,0.00014095765,0.0001963148,0.00023189376,0.0002646462,0.00028242698,0.0002787757,0.000016802516,0.0021254674],"category_scores_gemma":[0.0000022279019,0.00010122224,0.00010734177,0.00008191883,0.00016293967,0.0005976591,0.00008106997,0.00013616071,0.00007194412],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023591217,0.00014666683,0.0044422373,0.00009246353,0.00074849086,0.00036785405,0.024582684,0.00005678536,0.0000031639886,0.04358126,0.91738653,0.008355929],"study_design_scores_gemma":[0.000518042,0.00014105457,0.0014914025,0.00004678773,0.000084429186,0.0000076192923,0.0053247544,0.00000387175,0.000058211423,0.000414328,0.9917729,0.00013662665],"about_ca_topic_score_codex":0.000012549954,"about_ca_topic_score_gemma":0.000054647313,"teacher_disagreement_score":0.5476085,"about_ca_system_score_codex":0.000031957596,"about_ca_system_score_gemma":0.000012579796,"threshold_uncertainty_score":0.99878675},"labels":[],"label_agreement":null},{"id":"W7007756207","doi":"","title":"Acting the part photography as theatre ; [publ. on the occasion of the exhibition \"Acting the part ...\" organized by the National Gallery of Canada, and presented in Ottawa 16 June - 1 October 2006]","year":2006,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Photography; Photojournalism; Art gallery; Exposition (narrative)","score_opus":0.015134033761393488,"score_gpt":0.20446204864995418,"score_spread":0.1893280148885607,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7007756207","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7072585,0.0003767648,6.3522833e-7,0.020120164,0.00039896855,0.00060222804,0.000106886124,0.000017801363,0.27111804],"genre_scores_gemma":[0.98942524,0.00006713443,7.318514e-7,0.001055459,0.000373409,0.000040616673,0.000011988309,0.000014655991,0.0090107685],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99837965,0.00023779766,0.00041443983,0.00016833744,0.00054118945,0.00025858375],"domain_scores_gemma":[0.99818295,0.0011066546,0.00027275013,0.00025712283,0.00016571695,0.000014781462],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008515221,0.00018800257,0.00018375124,0.000039162645,0.0014384693,0.000090226866,0.00027707536,0.00003619836,0.0009400767],"category_scores_gemma":[0.00006716229,0.00006361655,0.00009590447,0.0001773824,0.0004475768,0.00013010882,0.000092199676,0.0002888756,0.0000016831165],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013100928,0.0001514364,0.011204862,0.000034612218,0.00018289986,4.1568921e-7,0.016238576,0.00006983168,0.000679112,0.018829979,0.95154864,0.0009286272],"study_design_scores_gemma":[0.0007358366,0.000065491695,0.0077659157,0.00020158272,0.000070399794,0.0000059718573,0.057682183,0.00013622228,0.00906464,0.0020829027,0.9219542,0.00023466902],"about_ca_topic_score_codex":0.25456476,"about_ca_topic_score_gemma":0.81470525,"teacher_disagreement_score":0.5601405,"about_ca_system_score_codex":0.000036705198,"about_ca_system_score_gemma":0.00010158076,"threshold_uncertainty_score":0.9999732},"labels":[],"label_agreement":null},{"id":"W7008037529","doi":"","title":"Art Toronto 2019 : Show Guide","year":2019,"lang":"fr","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Work (physics); Exposition (narrative); Photography","score_opus":0.015288268598590466,"score_gpt":0.23602639803353204,"score_spread":0.22073812943494156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7008037529","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00065166573,0.05052737,0.00003053451,0.002014319,0.014644617,0.0013655474,0.0015129361,0.0003215357,0.9289315],"genre_scores_gemma":[0.0025198995,0.015996302,0.00010457369,0.0020668618,0.013080958,0.00010643366,0.00089781015,0.00034562763,0.96488154],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9931483,0.00023734066,0.0017531586,0.0016537979,0.001120541,0.002086829],"domain_scores_gemma":[0.995704,0.00046128142,0.0007537869,0.0020853523,0.00053791807,0.00045766824],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.000812736,0.0019808959,0.0022630966,0.00022129675,0.0022617509,0.00079690426,0.0011977359,0.0008722087,0.11995528],"category_scores_gemma":[0.000036312333,0.0018516047,0.0012720987,0.000069225534,0.0015901523,0.0016973953,0.000545684,0.0012355086,0.13106161],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009937899,0.00019776674,0.000074997966,0.0005161435,0.00075983064,0.0000411805,0.010193697,0.000012275311,0.000016202906,0.15545432,0.79899794,0.03363629],"study_design_scores_gemma":[0.0012005371,0.00090731634,0.0005831132,0.0013213377,0.0006948586,0.000045646637,0.0025224972,0.00006447396,0.00001595296,0.0018379427,0.9885773,0.0022290235],"about_ca_topic_score_codex":0.0030990818,"about_ca_topic_score_gemma":0.03459398,"teacher_disagreement_score":0.18957938,"about_ca_system_score_codex":0.0010764915,"about_ca_system_score_gemma":0.00077943434,"threshold_uncertainty_score":0.9992934},"labels":[],"label_agreement":null},{"id":"W7008145920","doi":"","title":"Becoming An-Other. An Ecofeminist Critique of Contemporary Canadian Drama","year":2022,"lang":"en","type":"dissertation","venue":"Repositorio institucional da Universidade de Santiago de Compostela (University of Santiago de Compostela)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Indigenous; Narrative; Representation (politics); Ecofeminism; Politics","score_opus":0.028384803070615208,"score_gpt":0.2550584509786417,"score_spread":0.22667364790802652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7008145920","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8265713,0.0010941372,0.00002870332,0.0003128387,0.0017552531,0.0004917665,0.0020047466,0.00013138811,0.1676099],"genre_scores_gemma":[0.9918764,0.00033855136,0.00060696737,0.00013275012,0.0005750943,0.000002047555,0.0031035384,0.00009980849,0.0032648258],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99658245,0.00043297626,0.00065862667,0.00080255,0.0006852271,0.00083817047],"domain_scores_gemma":[0.99684036,0.00024548508,0.0008899019,0.0007601703,0.0006265441,0.00063752587],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00049892446,0.00069331104,0.0011638252,0.00113839,0.0025492194,0.00020498993,0.0015537847,0.00053047563,0.0017905069],"category_scores_gemma":[0.000020000465,0.00095827435,0.0005471436,0.00025927107,0.00069500756,0.0012083257,0.0002192374,0.0011172162,0.000011407799],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.008783851,0.0030600175,0.02001688,0.0046509104,0.0048940126,0.0077178455,0.5980671,0.001705582,0.029902631,0.28726816,0.023804745,0.010128276],"study_design_scores_gemma":[0.0029443025,0.0017128938,0.01251955,0.0015219881,0.0010326873,0.00045731818,0.5195093,0.0009185435,0.0029656428,0.00052029954,0.45382732,0.002070164],"about_ca_topic_score_codex":0.26215774,"about_ca_topic_score_gemma":0.35685533,"teacher_disagreement_score":0.43002257,"about_ca_system_score_codex":0.0011986439,"about_ca_system_score_gemma":0.003554982,"threshold_uncertainty_score":0.9992868},"labels":[],"label_agreement":null},{"id":"W7009607274","doi":"","title":"‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’","year":2024,"lang":"en","type":"article","venue":"Figshare","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Embodied cognition; Repertoire; Bespoke; Chart","score_opus":0.05760479128036767,"score_gpt":0.26363468393089995,"score_spread":0.2060298926505323,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7009607274","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012968528,0.052292917,9.537663e-7,0.0041334988,0.0054275035,0.0014285931,0.14358369,0.0016590898,0.7785052],"genre_scores_gemma":[0.9230175,0.00026727584,0.0000047197286,0.0013801036,0.007403657,0.0004181895,0.006766066,0.000077404235,0.060665067],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986513,0.00004768665,0.00022937274,0.0003190647,0.0002519459,0.00050058775],"domain_scores_gemma":[0.99914944,0.00036880607,0.000049329275,0.00029064014,0.00007765201,0.0000641266],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008921731,0.00027790252,0.00024100703,0.000052512212,0.00083313714,0.0005957858,0.00033417775,0.000058895916,0.32857454],"category_scores_gemma":[0.00006897999,0.00015316314,0.00017215281,0.00013828847,0.00006532697,0.00032390526,0.00012597471,0.00030020077,0.009820552],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006793233,0.00001804611,0.000022582535,0.00033978603,0.00013840587,0.000046040044,0.019553108,0.000029093864,8.989027e-7,0.0012832081,0.96055835,0.017942544],"study_design_scores_gemma":[0.00012824936,0.00010147305,0.00018007073,0.0017398994,0.00004215087,0.000007291885,0.0016418472,0.00021788337,0.000060947466,0.00025330318,0.9953592,0.00026767625],"about_ca_topic_score_codex":0.00011256758,"about_ca_topic_score_gemma":0.0036892216,"teacher_disagreement_score":0.91004896,"about_ca_system_score_codex":0.000038995364,"about_ca_system_score_gemma":0.00009235635,"threshold_uncertainty_score":0.9909504},"labels":[],"label_agreement":null},{"id":"W7009777670","doi":"","title":"Étude sur l’instruction publique en Cochinchine","year":2010,"lang":"fr","type":"article","venue":"Publication Server of Goethe University Frankfurt am Main (Goethe University Frankfurt)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"École Nationale d'Administration Publique","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Diafiltration; Liquation; Emperipolesis; Triacetin; Fusible alloy","score_opus":0.007362829072988282,"score_gpt":0.18354991787067532,"score_spread":0.17618708879768705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7009777670","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7871453,0.00082397944,0.0008050307,0.055050083,0.0053435885,0.0012672,0.0022067293,0.0005154596,0.14684258],"genre_scores_gemma":[0.8586656,0.0030717917,0.0011007003,0.0007283014,0.0016131923,0.0000015800995,0.00045394324,0.00009794018,0.13426696],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9953621,0.00071145565,0.00071015407,0.0010382669,0.0011485373,0.0010294726],"domain_scores_gemma":[0.9937335,0.000656434,0.0008869932,0.001471917,0.002757302,0.00049380196],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.002075672,0.0008132673,0.0010315249,0.0013117926,0.0023321672,0.0002490802,0.0021369483,0.00088172645,0.00873039],"category_scores_gemma":[0.00031758661,0.00094716955,0.0006777245,0.0011597535,0.0027639722,0.0040174145,0.0007911556,0.0019762702,0.00032614215],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009923619,0.0012961669,0.0075431517,0.00068861234,0.0015494272,0.0000605381,0.0505156,0.00009394658,0.0007977977,0.83818436,0.081473745,0.016804283],"study_design_scores_gemma":[0.0036935213,0.00023902171,0.017952122,0.0001347553,0.00063785585,0.00003674546,0.017476164,0.0006006587,0.0002996675,0.0011255466,0.9568542,0.0009497307],"about_ca_topic_score_codex":0.020297613,"about_ca_topic_score_gemma":0.022950318,"teacher_disagreement_score":0.87538046,"about_ca_system_score_codex":0.00069311226,"about_ca_system_score_gemma":0.0008063729,"threshold_uncertainty_score":0.99994993},"labels":[],"label_agreement":null},{"id":"W7009914079","doi":"","title":"Four Names of Beauty:Premiered by the Esprit Orchestra, May 26, 2005, The St. Lawrence Centre for the Arts, Toronto, Canada. 16 minutes","year":2005,"lang":"en","type":"other","venue":"University of Birmingham Research Portal (University of Birmingham)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ridiculous; Exposition (narrative); Period (music); Government (linguistics)","score_opus":0.04003933948495821,"score_gpt":0.24135719928337193,"score_spread":0.2013178597984137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7009914079","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005787116,0.020533608,0.00009686735,0.020921279,0.0008122196,0.0033310186,0.0101788165,0.00017161007,0.93816745],"genre_scores_gemma":[0.07343633,0.0044163465,0.00012707722,0.00003996922,0.00037904165,7.381013e-7,0.00008020431,0.00010121759,0.9214191],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99715537,0.00017152421,0.0002726908,0.00046447123,0.0011136207,0.0008223099],"domain_scores_gemma":[0.99697804,0.0009440312,0.00063097326,0.00079623493,0.0005012745,0.00014946699],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0010153871,0.00037861537,0.000656592,0.0001899739,0.0017495812,0.000041712265,0.0020269535,0.00020756733,0.015297321],"category_scores_gemma":[0.000056687397,0.00028359165,0.0003646035,0.0001525574,0.003539752,0.00024863268,0.0005433387,0.0005388072,0.000010115513],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016595573,0.000096579264,0.00017712858,0.00024761536,0.00067105336,0.000019287148,0.014214719,0.000004276304,0.000022287304,0.0038807718,0.97085935,0.009640976],"study_design_scores_gemma":[0.00050840987,0.00010296162,0.00007638532,0.00028100546,0.00020368096,0.0000028427721,0.1849453,0.00004912551,0.000044977995,0.000026257834,0.8135176,0.0002415046],"about_ca_topic_score_codex":0.73094016,"about_ca_topic_score_gemma":0.9828272,"teacher_disagreement_score":0.25188702,"about_ca_system_score_codex":0.00020496629,"about_ca_system_score_gemma":0.0009828564,"threshold_uncertainty_score":0.9999616},"labels":[],"label_agreement":null},{"id":"W7010657361","doi":"","title":"It's Your Cue:: The Audience Show","year":2008,"lang":"en","type":"book","venue":"Arca (British Columbia Electronic Library Network)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Audience participation","score_opus":0.013392225014309395,"score_gpt":0.18027011114538335,"score_spread":0.16687788613107396,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7010657361","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00005903935,0.03682093,1.6931733e-7,0.0016521772,0.0016352996,0.0007448945,0.0001781742,0.00044716022,0.9584622],"genre_scores_gemma":[0.059276853,0.057187688,0.000010320294,0.0051800264,0.013694792,0.00018257537,0.00040553205,0.00019296295,0.86386925],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99593794,0.000120280885,0.0006583341,0.0008101727,0.00053985853,0.0019334018],"domain_scores_gemma":[0.9984561,0.00024507116,0.00033398578,0.0007504824,0.000074352334,0.00013998798],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001895267,0.0005120674,0.0008195102,0.000045889523,0.0032670195,0.0022873918,0.0012914417,0.00026070283,0.18055329],"category_scores_gemma":[0.000007643662,0.000641378,0.00048335944,0.000121701574,0.0012548903,0.0012331646,0.00050421833,0.0017069199,0.00039110193],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013980686,0.000036270347,0.00009999691,0.000042776555,0.00026347017,0.00007049052,0.0018407409,0.000010576133,4.1214845e-9,0.17319353,0.81049585,0.013932294],"study_design_scores_gemma":[0.00023563269,0.00029770646,0.000015982321,0.00039848208,0.00010058691,0.00014493504,0.00013074785,0.000024690937,1.0362955e-7,0.22939284,0.76862293,0.0006353353],"about_ca_topic_score_codex":0.0015858666,"about_ca_topic_score_gemma":0.20876306,"teacher_disagreement_score":0.2071772,"about_ca_system_score_codex":0.00015903849,"about_ca_system_score_gemma":0.0013937647,"threshold_uncertainty_score":0.99960375},"labels":[],"label_agreement":null},{"id":"W7011020998","doi":"","title":"« La magie de la réunion nécessite de\\n faire entendre plusieurs voix. » Un entretien avec François Cooren sur la\\n ventriloquie, l’interaction et l’École de Montréal","year":2020,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Identity (music); Gender identity; Modernity","score_opus":0.005681132755586233,"score_gpt":0.1753741981470967,"score_spread":0.16969306539151047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7011020998","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77710533,0.06844955,0.00037375008,0.10663025,0.00081013184,0.00039346793,0.00088246976,0.0003093612,0.04504571],"genre_scores_gemma":[0.8775515,0.05041218,0.00016341258,0.0018500893,0.0011921632,0.00001496906,0.00014651666,0.000101650905,0.06856754],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974324,0.0006605032,0.00029836412,0.0004629611,0.00030714142,0.00083862356],"domain_scores_gemma":[0.9985015,0.0004518015,0.00026185825,0.00026698716,0.00013019577,0.0003877002],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00039866654,0.00048523315,0.00048740229,0.00017286863,0.0012327336,0.00020876937,0.000375152,0.0003559209,0.0010148131],"category_scores_gemma":[0.000041588828,0.0005409658,0.00035337562,0.00017326252,0.000446528,0.00073375955,0.00037883362,0.0008244049,0.00016469453],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0019801839,0.0006309042,0.019541174,0.0006347234,0.0013311089,0.006856602,0.33574927,0.0027003053,0.00045063967,0.042468898,0.50512266,0.08253349],"study_design_scores_gemma":[0.0020392993,0.00027307656,0.006087204,0.0002878536,0.00051759765,0.0005156089,0.023759406,0.005259247,0.00018493863,0.00069994695,0.95985293,0.00052290235],"about_ca_topic_score_codex":0.03287237,"about_ca_topic_score_gemma":0.07328108,"teacher_disagreement_score":0.45473024,"about_ca_system_score_codex":0.0027222058,"about_ca_system_score_gemma":0.00017401911,"threshold_uncertainty_score":0.9998984},"labels":[],"label_agreement":null},{"id":"W7011105045","doi":"","title":"[Laughing Down the Aisle ft. Rodney Perry-Jonathan Slocumb-Damon Williams, Chocolate-Lester Barrie]","year":2012,"lang":"en","type":"other","venue":"The Portal to Texas History (University of North Texas)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aisle; Comedy; Event (particle physics); The arts","score_opus":0.019920556718330654,"score_gpt":0.18793372884026455,"score_spread":0.1680131721219339,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7011105045","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018912116,0.0040075392,0.000009916228,0.0006451884,0.002075622,0.000840039,0.00038489155,0.00021477047,0.9729099],"genre_scores_gemma":[0.12446422,0.0003385505,0.000025356636,0.000465147,0.0012308563,0.000002182327,0.00007156581,0.00017912102,0.873223],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982168,0.0000985397,0.00025418185,0.00041613536,0.0004613678,0.0005529941],"domain_scores_gemma":[0.9983598,0.000053461987,0.00044766453,0.0008653644,0.00009252631,0.00018115932],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002831176,0.00050641806,0.0006074447,0.00027375622,0.00085902924,0.000035045014,0.0011425159,0.00015222841,0.037550386],"category_scores_gemma":[0.0000064004134,0.00037190304,0.00034849372,0.000083112835,0.0011008483,0.00031389156,0.0003707169,0.00054371555,0.0017122261],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006784859,0.000079228106,0.009437657,0.00011807642,0.00037645697,0.000020760821,0.028190304,0.0000050019967,5.9492123e-7,0.0028662796,0.9552807,0.0035570802],"study_design_scores_gemma":[0.00025924528,0.00011209771,0.015515274,0.00012777679,0.000337811,0.0000049564387,0.0016236526,0.0000026819525,5.0628427e-7,0.000015824946,0.9815077,0.00049246894],"about_ca_topic_score_codex":0.007347564,"about_ca_topic_score_gemma":0.12080511,"teacher_disagreement_score":0.11345754,"about_ca_system_score_codex":0.00020643036,"about_ca_system_score_gemma":0.000126661,"threshold_uncertainty_score":0.9998733},"labels":[],"label_agreement":null},{"id":"W7011118495","doi":"","title":"\"Listen, Imagine, and Provoke\": An Interview with Kris Nelson","year":2019,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Work (physics); The arts; Performing arts; Northern ireland","score_opus":0.022797458685498817,"score_gpt":0.20650119452902202,"score_spread":0.1837037358435232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7011118495","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25915477,0.000010706835,0.000008052021,0.000240829,0.00013526043,0.0003676043,0.000025833608,0.000121255456,0.7399357],"genre_scores_gemma":[0.9721177,0.024977531,0.000099770325,0.00026467274,0.00021914464,0.000002932033,0.000020219528,0.000030286064,0.00226772],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991945,0.000051138028,0.00009385099,0.0002987741,0.0001119952,0.0002497479],"domain_scores_gemma":[0.99951625,0.000019420115,0.000063113264,0.0002473915,0.00010207445,0.00005177814],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007969538,0.00019990579,0.000232106,0.0019362213,0.00023803758,0.00012199408,0.000180595,0.000029983352,0.00034884372],"category_scores_gemma":[0.0000016605646,0.00015513193,0.000048319525,0.00048490826,0.00018170335,0.0009426636,0.00008923134,0.00013946742,0.00005659781],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001079411,0.0006943633,0.021828182,0.0014644073,0.0007535433,0.00021479915,0.5053475,0.0000085114225,0.000021860888,0.08495458,0.0025431712,0.38108966],"study_design_scores_gemma":[0.00071385724,0.00059616985,0.00022742373,0.00009196778,0.000076685144,0.000007784247,0.012161739,0.00006086551,0.000036684676,0.0000014279499,0.98577064,0.0002547505],"about_ca_topic_score_codex":0.020879772,"about_ca_topic_score_gemma":0.046347167,"teacher_disagreement_score":0.9832275,"about_ca_system_score_codex":0.000039015784,"about_ca_system_score_gemma":0.0000709895,"threshold_uncertainty_score":0.9856403},"labels":[],"label_agreement":null},{"id":"W7011199984","doi":"","title":"L'Estate:Performed by Ensemble Symposium, April 21, 2005, Vancouver East Cultural Centre, Vancouver, Canada. 7 minutes","year":2005,"lang":"en","type":"other","venue":"University of Birmingham Research Portal (University of Birmingham)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Population; Government (linguistics); Work (physics); Period (music)","score_opus":0.020300051546992052,"score_gpt":0.21396036556338646,"score_spread":0.1936603140163944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7011199984","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009945158,0.0011101621,0.000010359829,0.00053093216,0.0014071993,0.00073364325,0.0027126076,0.00017665644,0.9833733],"genre_scores_gemma":[0.030101271,0.004472907,0.00022837687,0.000024072055,0.00042216375,2.3003378e-7,0.00023786305,0.00015781043,0.9643553],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99572265,0.00016076538,0.0003613851,0.0008347441,0.0015947685,0.0013256939],"domain_scores_gemma":[0.9973425,0.00015152626,0.00068351475,0.00065682066,0.0007072584,0.00045834796],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044373955,0.00064068736,0.0011156104,0.00089810195,0.0013393732,0.0000467772,0.0012771023,0.00037709175,0.032101225],"category_scores_gemma":[0.000022994296,0.0007463921,0.00038251764,0.00030587788,0.0023935295,0.0006207653,0.00067036203,0.00083974795,0.00010328825],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002357984,0.00024862212,0.00032458582,0.00045732298,0.00057052297,0.0002543681,0.016654348,0.000007789499,0.00012740942,0.00019749033,0.9766443,0.0042774584],"study_design_scores_gemma":[0.0011886476,0.00014106178,0.00001648848,0.00047834835,0.00016270395,0.0000030422125,0.17229238,0.000051409814,0.00008902783,0.0000060291836,0.82494545,0.0006254107],"about_ca_topic_score_codex":0.69049984,"about_ca_topic_score_gemma":0.9934323,"teacher_disagreement_score":0.30293244,"about_ca_system_score_codex":0.00033032132,"about_ca_system_score_gemma":0.0013277197,"threshold_uncertainty_score":0.9999607},"labels":[],"label_agreement":null},{"id":"W7012290817","doi":"","title":"EDITORIAL","year":2019,"lang":"en","type":"article","venue":"Cineca Institutional Research Information System (Tor Vergata University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Kaleidoscope; Order (exchange); Period (music); Happening; Theme (computing)","score_opus":0.04510923031820259,"score_gpt":0.24644362366883837,"score_spread":0.2013343933506358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7012290817","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.046131533,0.000015312877,0.00004237991,0.00014625398,0.03644892,0.00036557054,0.00018172227,0.00012984354,0.9165385],"genre_scores_gemma":[0.9705561,0.000017475053,0.000010999194,0.00002632386,0.018291341,0.0000029755925,0.00011689518,0.0000043927716,0.010973505],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99844414,0.000061243925,0.00020760795,0.00012415195,0.00086455356,0.0002982931],"domain_scores_gemma":[0.99860185,0.00007664424,0.00006715734,0.00022359658,0.00093503343,0.0000957292],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00052125944,0.00010966683,0.0001460081,0.0006454397,0.001143445,0.00018776029,0.00033622526,0.00006405981,0.0009909663],"category_scores_gemma":[0.000044468794,0.000099459794,0.00006385224,0.00023304789,0.0003056628,0.0034102243,0.00016175503,0.00026058772,0.008104818],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012996381,0.000010047539,0.00025006203,0.00016366558,0.000034566725,0.0000022213856,0.0040287897,0.000075549426,0.000007187884,0.83908355,0.15592656,0.0002878227],"study_design_scores_gemma":[0.0007580643,0.00008644931,0.00016224472,0.00008973006,0.0000054421175,0.0000025043337,0.016324464,0.00016456391,0.0000141227065,0.000023694214,0.98225075,0.000117985044],"about_ca_topic_score_codex":0.00027434205,"about_ca_topic_score_gemma":0.000060403858,"teacher_disagreement_score":0.9244246,"about_ca_system_score_codex":0.00047481325,"about_ca_system_score_gemma":0.00037065038,"threshold_uncertainty_score":0.9999223},"labels":[],"label_agreement":null},{"id":"W7012949302","doi":"","title":"If We Were Birds","year":2017,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"","score_opus":0.325423563110588,"score_gpt":0.5275149847324245,"score_spread":0.20209142162183652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7012949302","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41772488,0.022614595,0.000007954964,0.0015182473,0.0032014272,0.0003436318,0.00013108244,0.00007281456,0.55438536],"genre_scores_gemma":[0.9568178,0.02887353,0.000016855716,0.00024598115,0.0018351657,0.00002448525,0.0000041803564,0.00004610122,0.0121359015],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99818665,0.00006733755,0.0005709805,0.0003039371,0.000461051,0.00041007463],"domain_scores_gemma":[0.99791086,0.00011197944,0.0007958392,0.0007715402,0.00025681406,0.00015295736],"candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006207703,0.00031007043,0.0006888767,0.000359666,0.0024618104,0.004706015,0.0032694147,0.0000625392,0.04178312],"category_scores_gemma":[0.000077336044,0.00023888027,0.0002312038,0.00005600058,0.00054090645,0.0040382585,0.0011937439,0.00034032023,0.00018527477],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023970442,0.00027240557,0.26890016,0.00021965195,0.0006313322,0.000048640697,0.010922944,0.000010975567,0.0021194443,0.0132137695,0.59963524,0.10378571],"study_design_scores_gemma":[0.00043494426,0.00001655513,0.115174755,0.0004407383,0.00008998828,0.0000042229476,0.001022389,0.000007407806,0.0020781613,0.01784396,0.8624549,0.00043201298],"about_ca_topic_score_codex":0.0022517561,"about_ca_topic_score_gemma":0.0013815142,"teacher_disagreement_score":0.54224944,"about_ca_system_score_codex":0.000035709738,"about_ca_system_score_gemma":0.00007013386,"threshold_uncertainty_score":0.9988369},"labels":[],"label_agreement":null},{"id":"W7013207872","doi":"","title":"Bazoocam 4'33\"","year":2012,"lang":"pl","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; The arts; Media arts; Performing arts; Performance art","score_opus":0.03051105087170527,"score_gpt":0.22022734944499686,"score_spread":0.1897162985732916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7013207872","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05727117,0.000085899286,0.000016477117,0.0002495673,0.002238301,0.0004670351,0.00030389553,0.00023172222,0.9391359],"genre_scores_gemma":[0.73793215,0.2550756,0.00005443312,0.00021743006,0.0026497846,0.0000023156638,0.000035368517,0.00005161969,0.00398128],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977425,0.00014895502,0.00026516718,0.00040322813,0.00030856061,0.0011315952],"domain_scores_gemma":[0.99887025,0.000109542736,0.0001757544,0.00049083296,0.00015567557,0.00019792665],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023355684,0.0005118494,0.00049123936,0.0070443666,0.0012929186,0.00017448237,0.00046226266,0.00017542594,0.0020877393],"category_scores_gemma":[0.00001566425,0.0005030476,0.0003222345,0.0018661438,0.0004234662,0.0015607089,0.00038564115,0.00043677908,0.0014920197],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007287523,0.0018576316,0.014968731,0.0007707893,0.0017175667,0.00016537582,0.6194461,0.0000062729564,0.0000040485666,0.21991582,0.03238766,0.108031236],"study_design_scores_gemma":[0.0008660905,0.00023973777,0.00036187712,0.00011375736,0.00041727343,0.000008604481,0.016897457,0.000020392956,0.000063305284,8.647305e-7,0.98035157,0.0006590771],"about_ca_topic_score_codex":0.058391523,"about_ca_topic_score_gemma":0.021751279,"teacher_disagreement_score":0.9479639,"about_ca_system_score_codex":0.00023323853,"about_ca_system_score_gemma":0.00024046491,"threshold_uncertainty_score":0.9997421},"labels":[],"label_agreement":null},{"id":"W7013852561","doi":"","title":"Good Vibes Only","year":2017,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Liquation; Diafiltration; Triacetin; Emperipolesis; Fusible alloy","score_opus":0.02806425005242408,"score_gpt":0.22094432713677556,"score_spread":0.19288007708435148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7013852561","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69558585,0.00015112576,0.000042428182,0.0004464558,0.00041065665,0.000061124134,0.000057542202,0.00004688955,0.30319792],"genre_scores_gemma":[0.9582778,0.00008941509,0.000062983105,0.00004621405,0.0003632794,1.3734858e-7,0.000009457843,0.000009544994,0.041141164],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992973,0.00001762672,0.00009203743,0.00018234215,0.00017419581,0.00023647325],"domain_scores_gemma":[0.99916726,0.000032327644,0.00017833545,0.00044677578,0.00011691922,0.0000583611],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011866481,0.0001358894,0.00023886212,0.00007841371,0.002849323,0.00017572237,0.0005011231,0.00004548411,0.0019258831],"category_scores_gemma":[0.000013777847,0.00014305663,0.00015623693,0.000014370611,0.0009564804,0.0007339657,0.00019975427,0.000113434064,0.00037633878],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034141027,0.000042504947,0.011791424,0.00003610947,0.00011869966,0.0000071759628,0.027381673,0.0000012085532,0.0000014037971,0.95607877,0.0041882326,0.00031865374],"study_design_scores_gemma":[0.00043028066,0.000091327114,0.008595081,0.000022555856,0.00006659882,0.000002273072,0.025580645,0.000008422547,5.9610335e-7,0.8366997,0.12832424,0.00017826338],"about_ca_topic_score_codex":0.0023971468,"about_ca_topic_score_gemma":0.027525932,"teacher_disagreement_score":0.26269194,"about_ca_system_score_codex":0.000027221655,"about_ca_system_score_gemma":0.00003996768,"threshold_uncertainty_score":0.9989865},"labels":[],"label_agreement":null},{"id":"W7014214714","doi":"","title":"Waterglass 2","year":2011,"lang":"en","type":"article","venue":"SOURCE Sheridan's Institutional Repository (Sheridan College)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Liquation; Dysgeusia; Diafiltration; Triacetin; Emperipolesis; Demotion","score_opus":0.025343835729520897,"score_gpt":0.18961802222037333,"score_spread":0.16427418649085243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7014214714","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37779182,0.00025976083,0.00006728421,0.000093951894,0.002981257,0.00021583271,0.000044015094,0.0002809934,0.6182651],"genre_scores_gemma":[0.9116691,0.000020387217,0.00024734263,0.00029784068,0.0022952794,0.0000917482,0.000014660164,0.000043627915,0.08532002],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978721,0.000074354626,0.000536891,0.00049064285,0.0004708593,0.00055516476],"domain_scores_gemma":[0.9989641,0.000038337927,0.00014768232,0.00044169472,0.00022749472,0.00018072316],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019071427,0.0004103501,0.000375465,0.00013727842,0.002784297,0.00015097343,0.00042996727,0.000108395056,0.002066291],"category_scores_gemma":[0.000015387497,0.00034618593,0.0002568047,0.00010133463,0.0013816896,0.00064843235,0.00016379687,0.00030078387,0.00046882397],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001273641,0.0010933408,0.015760086,0.00032805704,0.0011595176,0.0009798582,0.14307,0.0002788491,0.0022059134,0.78003436,0.047058042,0.0067583458],"study_design_scores_gemma":[0.00056778325,0.00022901793,0.002203358,0.000078066085,0.00006915193,0.00015773455,0.0065626735,0.000080928934,0.0029539417,0.00081197213,0.9857065,0.0005788863],"about_ca_topic_score_codex":0.000758662,"about_ca_topic_score_gemma":0.00040228074,"teacher_disagreement_score":0.93864846,"about_ca_system_score_codex":0.00016982891,"about_ca_system_score_gemma":0.00023566624,"threshold_uncertainty_score":0.999899},"labels":[],"label_agreement":null},{"id":"W7014512078","doi":"","title":"Performing Objecthood: the Fetishized Doll and the Aesthetics of Racialized Performance","year":2025,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Race (biology); Narrative; Perception; Clothing; Taste","score_opus":0.01605215585008953,"score_gpt":0.22448967715626744,"score_spread":0.2084375213061779,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7014512078","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6438513,0.0019610627,9.591845e-9,0.00008993769,0.0014267878,0.0006984369,0.00031817143,0.00006830864,0.351586],"genre_scores_gemma":[0.9493513,0.0068346495,0.000027375865,0.00027875448,0.00017155209,0.00020270592,0.0001488858,0.00007296771,0.042911768],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970918,0.000336508,0.0009386161,0.00050657603,0.0005930425,0.0005334509],"domain_scores_gemma":[0.9975794,0.00056305155,0.00066022854,0.0006784729,0.00045042334,0.00006841467],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.001463655,0.0006546327,0.0010099211,0.00021504017,0.0045457487,0.00020739503,0.0007373386,0.00026701868,0.00035365892],"category_scores_gemma":[0.000232404,0.0003842493,0.0004018024,0.00018642533,0.00062833336,0.00048763517,0.00019417392,0.0012277203,0.0000386274],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0022798006,0.00010808101,0.00003852418,0.0013336365,0.0006394536,0.0000038600633,0.004487568,0.000009002834,0.00019681583,0.6256624,0.000057809713,0.3651831],"study_design_scores_gemma":[0.0059290826,0.00034086208,0.0005194296,0.0018578379,0.0016039765,0.00002014962,0.020913908,0.0001135807,0.008494024,0.023066355,0.9358297,0.0013111082],"about_ca_topic_score_codex":0.0005687488,"about_ca_topic_score_gemma":0.005956871,"teacher_disagreement_score":0.9357719,"about_ca_system_score_codex":0.00009049211,"about_ca_system_score_gemma":0.00007326162,"threshold_uncertainty_score":0.99986094},"labels":[],"label_agreement":null},{"id":"W7014994468","doi":"","title":"Review: The Journal of Dramaturgy, volume 21, issue 1","year":2011,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Volume (thermodynamics); Taste; Table of contents","score_opus":0.028755789343210617,"score_gpt":0.20734031137774125,"score_spread":0.17858452203453062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7014994468","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7245452,0.0499636,0.00024391843,0.0023648283,0.0016431393,0.0003159848,0.00007198239,0.00005415639,0.22079723],"genre_scores_gemma":[0.962967,0.013393955,0.000097055614,0.00060597557,0.0005397935,1.4330384e-7,0.000005206017,0.000012570016,0.02237831],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927855,0.00007117786,0.00019221794,0.00008406612,0.00019248568,0.00018148492],"domain_scores_gemma":[0.99905723,0.000044813256,0.00031368277,0.00023054548,0.00030461582,0.00004913359],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042684848,0.00012098542,0.00030165265,0.00008117761,0.0006127788,0.000021959324,0.000439776,0.000034777528,0.0060549146],"category_scores_gemma":[0.000018476974,0.000092021735,0.00019934494,0.000060672737,0.00069000805,0.0004222562,0.00009977291,0.00018483044,0.00022011239],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014066357,0.00010338753,0.0016568004,0.000478431,0.00036402265,0.000010409449,0.19658983,0.0000014446011,0.0000012416303,0.2889085,0.51124275,0.00050252513],"study_design_scores_gemma":[0.00019934413,0.00014301346,0.00043300336,0.00017272847,0.00020564528,0.000011546459,0.036608543,0.0000026196124,3.5798817e-7,0.3935792,0.5685432,0.00010081623],"about_ca_topic_score_codex":0.0009374826,"about_ca_topic_score_gemma":0.0019320654,"teacher_disagreement_score":0.23842181,"about_ca_system_score_codex":0.000023610819,"about_ca_system_score_gemma":0.000035043464,"threshold_uncertainty_score":0.9948537},"labels":[],"label_agreement":null},{"id":"W7015035224","doi":"","title":"Re-Imagining Citizenry: National Identities in Canadian and Australian Multicultural Drama","year":2011,"lang":"en","type":"dissertation","venue":"Queensland's institutional digital repository (The University of Queensland)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; The Imaginary; Drama; Hegemony; Identity (music); Ideology; Narrative; National identity","score_opus":0.018974040572139587,"score_gpt":0.2119809076613378,"score_spread":0.1930068670891982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015035224","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34081686,0.00022306903,3.08106e-7,0.00018033576,0.000728161,0.00018440689,0.00036166876,0.000028560851,0.6574766],"genre_scores_gemma":[0.90754145,0.000079452555,0.00001067286,0.000029982959,0.00028196428,0.0000015955484,0.00061706704,0.000011534014,0.09142626],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871993,0.0000323844,0.0002906328,0.00028690387,0.0003573309,0.00031281903],"domain_scores_gemma":[0.99914896,0.000064938635,0.0001899924,0.00012333268,0.00035340042,0.00011938824],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000097410055,0.00027823573,0.0003248699,0.00030463116,0.0010825972,0.00020456887,0.00025281144,0.00014475045,0.00021233229],"category_scores_gemma":[0.000029513287,0.00023548407,0.00013560476,0.000058052818,0.00086506625,0.0007479185,0.000039865274,0.00033088445,0.000040315575],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014324498,0.00029493356,0.10646026,0.0011615866,0.0015134077,0.0009001172,0.61876756,0.00019000977,0.000036847698,0.22087616,0.044756845,0.0036098587],"study_design_scores_gemma":[0.0017812862,0.00018942832,0.18484035,0.0013693338,0.00025542045,0.00008755143,0.18002899,0.000088092034,0.00006437616,0.0045112837,0.62552655,0.0012573205],"about_ca_topic_score_codex":0.19868934,"about_ca_topic_score_gemma":0.6571894,"teacher_disagreement_score":0.5807697,"about_ca_system_score_codex":0.00019646515,"about_ca_system_score_gemma":0.00054221577,"threshold_uncertainty_score":0.9602761},"labels":[],"label_agreement":null},{"id":"W7015154163","doi":"","title":"Review: A Publication of LMDA, the Literary Managers and Dramaturgs of the Americas, volume 17, issue 2","year":2007,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The arts; Volume (thermodynamics); Architecture; Performing arts; Title page","score_opus":0.01162570277204894,"score_gpt":0.2115502221924665,"score_spread":0.19992451942041756,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015154163","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88567775,0.022572542,0.00011897513,0.005214102,0.00024848938,0.00040142293,0.000093762166,0.00002957215,0.085643366],"genre_scores_gemma":[0.97683007,0.0028376018,0.000054166092,0.000595904,0.00010235974,3.4498933e-7,0.000012529997,0.0000067650285,0.019560242],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999344,0.00004314261,0.00017844638,0.000121311095,0.00017008031,0.00014301582],"domain_scores_gemma":[0.9990869,0.000077336415,0.00030073887,0.0003068499,0.00020090418,0.000027250362],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037204317,0.00009841499,0.00023665669,0.00007650678,0.00043585457,0.000025055071,0.00029713422,0.000028629434,0.0006011517],"category_scores_gemma":[0.0000183841,0.00006934204,0.00012873672,0.00014258824,0.0010939135,0.00031697098,0.0001398594,0.00010662181,0.000012019665],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001068559,0.00011087555,0.00933132,0.0016347994,0.0003554183,0.0000016559321,0.12661235,0.0000017878582,0.000010424263,0.614623,0.24283318,0.004378318],"study_design_scores_gemma":[0.00021823824,0.00006842002,0.01106613,0.00026684083,0.000171104,0.0000027539602,0.032242034,0.000014087756,0.0000013656481,0.28323498,0.6725887,0.00012533415],"about_ca_topic_score_codex":0.0007431983,"about_ca_topic_score_gemma":0.00096238183,"teacher_disagreement_score":0.4297555,"about_ca_system_score_codex":0.00001582677,"about_ca_system_score_gemma":0.00001692103,"threshold_uncertainty_score":0.658219},"labels":[],"label_agreement":null},{"id":"W7015246646","doi":"","title":"Sharing Interiority:Notes on Tino Sehgal’s Guggenheim Solo Show","year":2010,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Order (exchange); KISS (TNC); Reflection (computer programming); Intersection (aeronautics); Principal (computer security); Work (physics)","score_opus":0.03406544951044507,"score_gpt":0.2377391626926676,"score_spread":0.20367371318222252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015246646","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6353732,0.00004550552,3.6786577e-8,0.00010454384,0.001465209,0.00017832089,0.0003284404,0.00028680864,0.362218],"genre_scores_gemma":[0.9905744,0.000064576576,0.00009512575,0.000872426,0.00069064216,0.000058026217,0.000029488368,0.00009580358,0.0075195194],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974379,0.0000632658,0.000533771,0.0007418448,0.00042693983,0.000796305],"domain_scores_gemma":[0.998429,0.00021352057,0.00018177007,0.0007537552,0.00020347399,0.00021847272],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005946213,0.00055867335,0.00051609357,0.00024000951,0.002592097,0.0003085749,0.00067014445,0.00019601753,0.004056259],"category_scores_gemma":[0.00020450038,0.000473278,0.00028842836,0.00009647572,0.0003139539,0.0009421013,0.00042881054,0.001455068,0.0019703193],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013737887,0.0002221856,0.000876596,0.00009917143,0.0002299568,0.00003880166,0.00039426982,0.000004833567,0.015410535,0.83566266,0.00008019733,0.14684342],"study_design_scores_gemma":[0.00084378035,0.00047539733,0.0011220358,0.00018730825,0.00011752211,0.00003244133,0.0017566369,0.000038087182,0.0352892,0.01858477,0.9403986,0.0011542633],"about_ca_topic_score_codex":0.00043190242,"about_ca_topic_score_gemma":0.008693403,"teacher_disagreement_score":0.94031835,"about_ca_system_score_codex":0.000105220905,"about_ca_system_score_gemma":0.000013469375,"threshold_uncertainty_score":0.9997719},"labels":[],"label_agreement":null},{"id":"W7015325445","doi":"","title":"“Sorry I Missed Your Zoom Show”: Digital Theatre in Canada Post-2021","year":2024,"lang":"en","type":"dissertation","venue":"Duo Research Archive (University of Oslo)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Affordance; Zoom; Narrative; Digital media; Phenomenon; Work (physics)","score_opus":0.03268694701061881,"score_gpt":0.24744724396494405,"score_spread":0.21476029695432525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015325445","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5214952,0.0010460855,7.2954373e-7,0.00091808365,0.00046204345,0.00032205542,0.0022808476,0.00001837647,0.47345656],"genre_scores_gemma":[0.9145397,0.00082773546,0.0000152495595,0.000020947276,0.00029838202,0.0000020652178,0.0024406787,0.000037381953,0.08181787],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99805105,0.00010051989,0.00017914354,0.00040393617,0.000718831,0.0005465317],"domain_scores_gemma":[0.9989585,0.00028426573,0.00006717149,0.00027063987,0.00029388524,0.00012552965],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020618747,0.00024068145,0.0004164425,0.000721061,0.0005548482,0.00012389243,0.000546728,0.00006559716,0.0024644164],"category_scores_gemma":[0.000026756295,0.000247382,0.00017283561,0.00015964138,0.00032369865,0.0003028115,0.00019487206,0.0009553471,0.00020816484],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0020641927,0.00026882312,0.0023490987,0.0028528054,0.00080970937,0.0017045543,0.6991997,0.000014199063,0.00039534978,0.014388817,0.16242696,0.11352583],"study_design_scores_gemma":[0.0003585721,0.00020489628,0.004797931,0.0006719125,0.000040835897,0.0000016159586,0.6191445,0.00012669165,0.000014389129,0.0026832966,0.3716152,0.00034017907],"about_ca_topic_score_codex":0.8515022,"about_ca_topic_score_gemma":0.99591535,"teacher_disagreement_score":0.39304447,"about_ca_system_score_codex":0.0002737343,"about_ca_system_score_gemma":0.0021449744,"threshold_uncertainty_score":0.99999785},"labels":[],"label_agreement":null},{"id":"W7015392074","doi":"","title":"Sniffy the Rat, 10 years on","year":2001,"lang":"en","type":"article","venue":"Arca (British Columbia Electronic Library Network)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Listing (finance); Period (music); Work (physics); Ridiculous","score_opus":0.008129161329088514,"score_gpt":0.17370113429269293,"score_spread":0.16557197296360443,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015392074","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05420462,0.005383954,9.480835e-8,0.0014638673,0.00085451093,0.0003494344,0.00001873504,0.0003306407,0.93739414],"genre_scores_gemma":[0.7858348,0.0043628556,0.000004381063,0.0028246318,0.0039813337,0.00006795379,0.000047723977,0.000049931637,0.20282641],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980705,0.00009116677,0.00026186215,0.0003285964,0.00022464395,0.00102325],"domain_scores_gemma":[0.9993455,0.00013639676,0.00007581028,0.00034946538,0.000021637965,0.00007119502],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013964875,0.00015882889,0.0002454848,0.000021705708,0.0011552869,0.0014892861,0.00043441297,0.000054912565,0.34982184],"category_scores_gemma":[0.0000046759556,0.00019574416,0.00015264543,0.00015364948,0.0002927584,0.0006555511,0.000120648096,0.0004457747,0.0004888909],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043809123,0.00006356608,0.001149808,0.000004713805,0.00007880536,0.00003887669,0.0006283591,0.00002844212,5.5967448e-8,0.17136931,0.7761627,0.050431572],"study_design_scores_gemma":[0.0003294728,0.0003905922,0.00050052936,0.000059051472,0.00002326686,0.000035658293,0.00017784741,0.00004240154,6.955086e-7,0.14523049,0.8529744,0.0002355931],"about_ca_topic_score_codex":0.0017400226,"about_ca_topic_score_gemma":0.10682271,"teacher_disagreement_score":0.7345677,"about_ca_system_score_codex":0.000031508833,"about_ca_system_score_gemma":0.00011152392,"threshold_uncertainty_score":0.99954724},"labels":[],"label_agreement":null},{"id":"W7015459661","doi":"","title":"Tampa Natives Show: where have they gone? Part I","year":2014,"lang":"en","type":"article","venue":"Digital Commons - University of South Florida (University of South Florida)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Join (topology); Government (linguistics); Quarter (Canadian coin)","score_opus":0.022746737172402432,"score_gpt":0.17692837017449844,"score_spread":0.154181633002096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015459661","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73552203,0.00009858098,0.00036305276,0.00032819188,0.0005425142,0.00022128003,0.0017491701,0.00015419735,0.261021],"genre_scores_gemma":[0.98573345,0.00004731465,0.00007795263,0.000018570805,0.00033726354,1.0199051e-7,0.00008627667,0.000026131562,0.013672933],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99824697,0.00007070856,0.0002365046,0.00046048503,0.00049292267,0.00049238367],"domain_scores_gemma":[0.99831337,0.00015445356,0.0003862125,0.00055363926,0.00038968452,0.00020266953],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0002000861,0.00039052527,0.00073245313,0.00034150845,0.0013514066,0.00009587442,0.00087516545,0.00013612422,0.00090272893],"category_scores_gemma":[0.000024688019,0.0004581888,0.0004603772,0.00013118912,0.0016434164,0.0013228332,0.0005280368,0.00035082805,0.0002329466],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012389431,0.0002740764,0.09027146,0.00041547863,0.00095407007,0.0000453318,0.84099215,0.00018032937,0.00001737597,0.052503847,0.008440819,0.004666126],"study_design_scores_gemma":[0.0021174827,0.00048631284,0.0063974014,0.00025106047,0.00027991898,0.0000020584478,0.5737607,0.00025029303,0.000025725512,0.00072045723,0.4149358,0.0007728188],"about_ca_topic_score_codex":0.0007589074,"about_ca_topic_score_gemma":0.0046116384,"teacher_disagreement_score":0.40649498,"about_ca_system_score_codex":0.00006578964,"about_ca_system_score_gemma":0.000071308066,"threshold_uncertainty_score":0.9999487},"labels":[],"label_agreement":null},{"id":"W7015889980","doi":"","title":"THTR3160-01.Thtr & Culture: Modern/Postmod.Sp17.Turner,Julius","year":2017,"lang":"en","type":"article","venue":"Digital Commons - Hamline (Hamline University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Object (grammar); Order (exchange); Field (mathematics); Period (music)","score_opus":0.02828136240551134,"score_gpt":0.21730095689776363,"score_spread":0.18901959449225228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015889980","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12444118,0.0005464299,0.00014825251,0.0022402979,0.0008868259,0.00030721354,0.0009987483,0.0003998026,0.87003124],"genre_scores_gemma":[0.8751814,0.00019524326,0.000050708204,0.00019284245,0.0010835126,0.0000016225299,0.00024069416,0.000041653904,0.12301234],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99822533,0.000030237698,0.00031421086,0.000502929,0.00031890182,0.0006084186],"domain_scores_gemma":[0.9980906,0.000073178584,0.00028647474,0.0010756298,0.00025770624,0.00021641437],"candidate_categories":["metaepi_narrow","sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.000093280694,0.00048200114,0.00052953506,0.0002674688,0.0029550812,0.0010969574,0.0011912134,0.00012476725,0.00039410545],"category_scores_gemma":[0.00006159546,0.00042878644,0.0003493761,0.0000849029,0.0009105083,0.0024767204,0.00075252645,0.0004559365,0.00035497113],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018126753,0.002138167,0.02327827,0.0002752814,0.0019400849,0.0011427113,0.058045395,0.00029948444,0.00012258306,0.52881235,0.2720196,0.110113375],"study_design_scores_gemma":[0.0013542605,0.00027843114,0.0005575095,0.00006737506,0.000113678594,0.00001298578,0.0024718402,0.00049208733,0.000058598464,0.0021955722,0.9917575,0.000640127],"about_ca_topic_score_codex":0.00032338762,"about_ca_topic_score_gemma":0.0040182145,"teacher_disagreement_score":0.75074023,"about_ca_system_score_codex":0.000083725114,"about_ca_system_score_gemma":0.00006974807,"threshold_uncertainty_score":0.99994},"labels":[],"label_agreement":null},{"id":"W7015898580","doi":"","title":"The violent woman as a new theatrical character type cases from Canadian drama","year":2007,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Character (mathematics); Narrative; Femininity","score_opus":0.024245181917841103,"score_gpt":0.23955959527413712,"score_spread":0.215314413356296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015898580","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5202309,0.00087393,0.0000011289064,0.00527903,0.0009885667,0.000103765604,0.000016942415,0.000049594997,0.47245613],"genre_scores_gemma":[0.94596714,0.00017096344,0.0000074443756,0.0034793038,0.002446047,0.0000018465217,0.000010786611,0.00001024187,0.04790624],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928933,0.00000958293,0.00013866428,0.00011405503,0.00010277248,0.00034556186],"domain_scores_gemma":[0.999389,0.00016361679,0.000021053049,0.00016157418,0.000044711283,0.00022005657],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00009673775,0.00010988902,0.00009952591,0.000046855283,0.0008054156,0.00017070802,0.00012434907,0.000028156295,0.005625069],"category_scores_gemma":[0.00001899987,0.00005886944,0.000048650778,0.000028287503,0.00009671193,0.000082891806,0.000023755601,0.00010113884,0.0012838793],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027387994,0.000051800525,0.008505495,0.000004782366,0.00025201042,0.00015996124,0.06982158,3.0223356e-7,0.000019670897,0.2205923,0.4920687,0.20824951],"study_design_scores_gemma":[0.00009828168,0.00008853781,0.0042226487,0.000007063886,0.000015923113,0.0000044082635,0.0058255144,0.0000019436645,0.000054952117,0.0010129943,0.9885615,0.00010623413],"about_ca_topic_score_codex":0.5782815,"about_ca_topic_score_gemma":0.9179409,"teacher_disagreement_score":0.4964928,"about_ca_system_score_codex":0.000042593863,"about_ca_system_score_gemma":0.00014249748,"threshold_uncertainty_score":0.9994937},"labels":[],"label_agreement":null},{"id":"W7017717715","doi":"","title":"Canadian Native Theatre: Humour, Magic and Reality","year":2022,"lang":"en","type":"article","venue":"Scientia Insularum Revista de Ciencias Naturales en islas","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"MAGIC (telescope); Drama; Comedy; Feeling; Entertainment; Revelation","score_opus":0.014830921617867192,"score_gpt":0.23160685784878018,"score_spread":0.21677593623091299,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7017717715","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7968985,0.008128467,0.0000026313567,0.004163619,0.0010654969,0.0003943234,0.0006310488,0.00009113756,0.18862478],"genre_scores_gemma":[0.99127513,0.00014141563,0.00003314159,0.0009552173,0.0002579884,0.000024851526,0.000041977684,0.000015629748,0.0072546527],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99812126,0.00019650566,0.00024013741,0.0004158128,0.00041640532,0.00060989644],"domain_scores_gemma":[0.9992598,0.00007412767,0.00009377939,0.0002757825,0.00011995067,0.00017652247],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001102852,0.00020629223,0.00023514914,0.00032333567,0.0028412004,0.00048011506,0.00044350725,0.000033601988,0.0013925573],"category_scores_gemma":[0.00005670825,0.00017501983,0.00009748877,0.00029378862,0.0005958965,0.0003671169,0.000292895,0.00044075225,0.000033848613],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056295114,0.000120264536,0.011491602,0.00017377168,0.00016876624,0.00011515585,0.1830426,0.000053159405,0.00040986633,0.69817483,0.08903309,0.017160622],"study_design_scores_gemma":[0.00020297655,0.00010107143,0.004712349,0.000020901409,0.000041142335,0.00003587279,0.010972097,0.00017085712,0.000044195327,0.0028063385,0.98059154,0.00030067505],"about_ca_topic_score_codex":0.02306581,"about_ca_topic_score_gemma":0.09056199,"teacher_disagreement_score":0.8915584,"about_ca_system_score_codex":0.00046296415,"about_ca_system_score_gemma":0.0003457686,"threshold_uncertainty_score":0.9995203},"labels":[],"label_agreement":null},{"id":"W7018212364","doi":"","title":"Concord Floral, January 12-16, 2022","year":2022,"lang":"en","type":"article","venue":"SOURCE Sheridan's Institutional Repository (Sheridan College)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Liquation; Diafiltration; Triacetin; Fusible alloy; Emperipolesis","score_opus":0.014533560134813914,"score_gpt":0.19983216707061582,"score_spread":0.1852986069358019,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7018212364","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41034225,0.0013268125,0.000042681582,0.0005523059,0.0071607972,0.0005075092,0.00035284448,0.0003517769,0.579363],"genre_scores_gemma":[0.8579103,0.000034741726,0.00004715582,0.0009703644,0.0032486273,0.000423967,0.000097767195,0.00005592884,0.13721116],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966485,0.00022653386,0.0007072019,0.0006924377,0.0010504117,0.0006749004],"domain_scores_gemma":[0.9986933,0.00010888437,0.0002527358,0.0005680264,0.00017571198,0.0002013289],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003839164,0.0005039533,0.0005238491,0.00021525777,0.009195206,0.00024261836,0.0006601033,0.00007792616,0.0056085144],"category_scores_gemma":[0.000021998418,0.00050346414,0.00037810017,0.00020322055,0.0013149242,0.00060047023,0.00058155664,0.00075051317,0.00015361351],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0020689706,0.0012014223,0.010500624,0.0002820606,0.0011913567,0.0012632606,0.03716777,0.00832632,0.002342317,0.29899633,0.6290183,0.007641266],"study_design_scores_gemma":[0.00085405697,0.0004598533,0.0004973975,0.000033342167,0.00007485836,0.00030619028,0.01779437,0.00027444607,0.00027779886,0.0005020425,0.97826886,0.00065677956],"about_ca_topic_score_codex":0.00082325673,"about_ca_topic_score_gemma":0.0005721966,"teacher_disagreement_score":0.44756803,"about_ca_system_score_codex":0.00077973056,"about_ca_system_score_gemma":0.0006478043,"threshold_uncertainty_score":0.9997417},"labels":[],"label_agreement":null},{"id":"W7018500589","doi":"","title":"Drama Pedagogies, Multiliteracies and Embodied Learning: Urban Teachers and Linguistically Diverse Students Make Meaning","year":2012,"lang":"en","type":"dissertation","venue":"Library and Archives Canada (Government of Canada)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Embodied cognition; Literacy; Situated; Kinesthetic learning; Meaning (existential); Ethnography; Experiential learning","score_opus":0.009725740311184606,"score_gpt":0.19797642339984978,"score_spread":0.18825068308866516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7018500589","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52825683,0.0024535935,1.8520524e-7,0.00013543897,0.0004765307,0.00014579992,0.00015801819,0.000016454724,0.46835718],"genre_scores_gemma":[0.8950483,0.00069957663,0.00004486785,0.00013430954,0.000283942,0.0000073732717,0.00006945834,0.000026291398,0.10368586],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981812,0.00004510904,0.00027591316,0.00025732224,0.0009326457,0.00030775912],"domain_scores_gemma":[0.9993433,0.00019287043,0.00018259,0.00010261398,0.0000020054847,0.00017666387],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.000017886634,0.00030205795,0.00036053912,0.000035203713,0.0006610497,0.0001328392,0.00013910633,0.000040012914,0.000078640995],"category_scores_gemma":[0.00000990723,0.00026963686,0.000026489677,0.000011928472,0.00017832013,0.0002340336,0.00014386221,0.0002869805,5.3783706e-9],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010648123,0.00008046498,0.4839075,0.0017809893,0.00081020995,0.00007128424,0.26384476,0.000004687131,0.00029091482,0.1919741,0.0014518066,0.054718487],"study_design_scores_gemma":[0.0006553953,0.00015522502,0.2080585,0.0005299073,0.00026391118,0.0000026616744,0.34820312,0.000098173776,0.00037633433,0.0004926811,0.44045347,0.0007106156],"about_ca_topic_score_codex":0.0049181427,"about_ca_topic_score_gemma":0.1933441,"teacher_disagreement_score":0.43900168,"about_ca_system_score_codex":0.0000053943854,"about_ca_system_score_gemma":0.00023203004,"threshold_uncertainty_score":0.99997556},"labels":[],"label_agreement":null},{"id":"W7018620088","doi":"","title":"Distinguishing Ritual from Theatre","year":2018,"lang":"en","type":"dissertation","venue":"QSpace (Queen's University Library)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Durvalumab; Hyporeflexia; Pretext; Hyperlactatemia","score_opus":0.009672167832271927,"score_gpt":0.18465605721831135,"score_spread":0.17498388938603943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7018620088","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17458707,0.000110655485,0.0000012853121,0.004682575,0.0020726305,0.00017653656,0.00070535426,0.0004331942,0.8172307],"genre_scores_gemma":[0.18943997,0.0003812148,0.00024414717,0.00012656621,0.0028573105,0.0000010018848,0.0032846844,0.00007499998,0.8035901],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875975,0.00005485135,0.0001548009,0.00044868226,0.00023187225,0.00035006838],"domain_scores_gemma":[0.9992085,0.00009456189,0.00019113638,0.00033179225,0.00007251625,0.00010147251],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000021948901,0.0003920193,0.00041788782,0.00020786372,0.0010597706,0.00030833823,0.00048214852,0.00019350136,0.007857368],"category_scores_gemma":[0.000007877902,0.00038424603,0.00021304341,0.00007426255,0.00021253561,0.0012648789,0.00013867849,0.00040396088,0.00045106933],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002842344,0.000056702953,0.0016555266,0.00011201541,0.0002938549,0.00006577994,0.08295065,4.1223595e-7,5.1212845e-7,0.0128354635,0.8996761,0.0020687697],"study_design_scores_gemma":[0.00023099795,0.00008238983,0.0009829684,0.00025886914,0.00016820227,3.078757e-8,0.062957205,8.6099806e-7,0.0001197645,0.0008235806,0.93391603,0.00045908932],"about_ca_topic_score_codex":0.02296562,"about_ca_topic_score_gemma":0.008431962,"teacher_disagreement_score":0.034239966,"about_ca_system_score_codex":0.000042579126,"about_ca_system_score_gemma":0.00011595672,"threshold_uncertainty_score":0.99986094},"labels":[],"label_agreement":null},{"id":"W7018679601","doi":"","title":"A Dramatic Interpretation of Jake's Women Thesis in An Educational Setting","year":2012,"lang":"en","type":"article","venue":"Digital Commons - East Tennessee State University (East Tennessee State University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Interpretation (philosophy); Feeling; Process (computing); Focus (optics); Representation (politics); The Imaginary; Character (mathematics)","score_opus":0.013641612213500394,"score_gpt":0.18886806270027795,"score_spread":0.17522645048677757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7018679601","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94160384,0.000036403915,0.00016989789,0.0003814985,0.00026616664,0.00029540167,0.0011476642,0.00011046592,0.055988666],"genre_scores_gemma":[0.99398345,0.0000250821,0.000034732322,0.000024433364,0.00008016763,0.0000012654805,0.00020880501,0.000035140078,0.005606925],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9979688,0.00016422357,0.00036269907,0.00038274683,0.00029889817,0.00082263286],"domain_scores_gemma":[0.99841523,0.0002002684,0.00032971482,0.00037000774,0.00039348478,0.00029130725],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00024024298,0.00040517253,0.00051848893,0.0011275397,0.00062543986,0.00018782483,0.0006131264,0.00006159431,0.00033345312],"category_scores_gemma":[0.000030484884,0.00044033528,0.00016481301,0.0005626194,0.00063907175,0.0052278438,0.00032162314,0.00028258032,0.000066194436],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0019261589,0.0026446024,0.17023356,0.0006614412,0.00065566826,0.00011084105,0.7394324,0.0005917043,0.00013190313,0.054534025,0.00043837115,0.028639356],"study_design_scores_gemma":[0.0027300434,0.00051536306,0.046371542,0.0005233018,0.00018085506,0.000021613341,0.8989744,0.0015923397,0.00004436964,0.0022383742,0.04523089,0.0015769126],"about_ca_topic_score_codex":0.00037716347,"about_ca_topic_score_gemma":0.00399063,"teacher_disagreement_score":0.15954202,"about_ca_system_score_codex":0.00042112943,"about_ca_system_score_gemma":0.00016844881,"threshold_uncertainty_score":0.99980485},"labels":[],"label_agreement":null},{"id":"W7020548181","doi":"","title":"Mariposa Folk Festival August 10th, 11th &amp; 12th Orillia Ontario Canada","year":2010,"lang":"en","type":"book","venue":"York University Digital Library (York University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Accommodation; Schedule; Oral history","score_opus":0.012974489373237802,"score_gpt":0.13761623681374346,"score_spread":0.12464174744050566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7020548181","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0049479413,0.00012853456,0.000002669247,0.00018790846,0.0019422767,0.00033634497,0.004535666,0.00042583048,0.9874928],"genre_scores_gemma":[0.0053002075,0.00010636108,0.000055979293,0.0001496147,0.0011523941,1.2133931e-7,0.0032720792,0.00009257176,0.98987067],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975288,0.000027601673,0.00027345165,0.00083737326,0.0005331651,0.00079959194],"domain_scores_gemma":[0.99826235,0.00012729932,0.0003436846,0.0007034688,0.00009859417,0.0004646332],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000026672024,0.00086655864,0.00083671464,0.0006441978,0.0015749697,0.0006379361,0.0014469604,0.00046549717,0.013975882],"category_scores_gemma":[0.000003623192,0.0009838488,0.00047357703,0.00021374886,0.0008516331,0.0030542833,0.0010066296,0.0014973661,0.00049233035],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034687846,0.00007533331,0.0023990304,0.000095262236,0.00057733676,0.00075903727,0.0028813449,0.0000043516093,1.7255317e-7,0.0794554,0.91229737,0.0011084612],"study_design_scores_gemma":[0.0006468209,0.00011534262,0.00016647135,0.0001904607,0.0003270636,0.0000118894295,0.003930211,4.1109544e-7,0.0000015828311,0.0004560164,0.99298394,0.0011698073],"about_ca_topic_score_codex":0.35473895,"about_ca_topic_score_gemma":0.97341645,"teacher_disagreement_score":0.61867744,"about_ca_system_score_codex":0.00127959,"about_ca_system_score_gemma":0.0062222765,"threshold_uncertainty_score":0.99972486},"labels":[],"label_agreement":null},{"id":"W7022355784","doi":"","title":"Place Remembers","year":2011,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Work (physics); Memory work; Key (lock); Field (mathematics)","score_opus":0.04382786921056602,"score_gpt":0.20633862194986968,"score_spread":0.16251075273930365,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7022355784","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049870607,0.0000021875774,0.00000789507,0.00004850738,0.00038036716,0.00016225962,0.000022261313,0.00019976847,0.94930613],"genre_scores_gemma":[0.9591958,0.03614128,0.00020928713,0.00019523219,0.00043759268,0.0000021300013,0.0000104391365,0.000029701614,0.0037785696],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926627,0.00003389195,0.00009551949,0.0002135243,0.00010967511,0.00028109358],"domain_scores_gemma":[0.9995868,0.000022989474,0.00005660314,0.00021618104,0.00007419287,0.00004319092],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006718054,0.0001616586,0.00015679127,0.0030949828,0.0004123809,0.000032930366,0.00023739797,0.00003842958,0.0013394037],"category_scores_gemma":[0.0000053353024,0.0001495928,0.0000952314,0.0006599075,0.00020033943,0.0004608479,0.0001075233,0.00012754927,0.00022157963],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004854827,0.00028196693,0.0012008139,0.000092411414,0.0003341355,0.00017897079,0.7641161,0.0000018177104,0.0000018547436,0.19438387,0.012142701,0.026779857],"study_design_scores_gemma":[0.0003823273,0.00012642385,0.00004288318,0.000019544852,0.000059293216,0.0000023280463,0.014202439,0.000010193576,0.00009462026,0.0000031639177,0.98484427,0.00021249104],"about_ca_topic_score_codex":0.07129227,"about_ca_topic_score_gemma":0.09825742,"teacher_disagreement_score":0.9727016,"about_ca_system_score_codex":0.00005660253,"about_ca_system_score_gemma":0.00008186011,"threshold_uncertainty_score":0.9995735},"labels":[],"label_agreement":null},{"id":"W7023455333","doi":"","title":"Painted faces on the prairies Cantonese opera and the Edmonton Chinese community ; 4 July - 26 September 2014","year":2014,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Opera; Chinese community; China; Chinese people; Feature (linguistics)","score_opus":0.01719055552464744,"score_gpt":0.2285780447370915,"score_spread":0.21138748921244407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7023455333","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5482901,0.00023566009,0.0000025667846,0.007735817,0.00017119038,0.00019109219,0.000010378665,0.00007815366,0.44328505],"genre_scores_gemma":[0.96356326,0.00011616734,0.0000025456293,0.0031666758,0.00033977506,0.000039446553,0.000003516475,0.000014288737,0.032754347],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896044,0.00045535286,0.00015958039,0.000100587626,0.00013413717,0.00018989695],"domain_scores_gemma":[0.9984191,0.0010574335,0.0000503976,0.00037416545,0.00007073315,0.00002817576],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0009938084,0.00019063402,0.0002244573,0.000023444962,0.0022660466,0.0002520173,0.00023495236,0.00002463491,0.00085745734],"category_scores_gemma":[0.000075467804,0.000066890934,0.00006149247,0.000021251759,0.0011754935,0.0001579578,0.00012796976,0.00031306563,0.00023416878],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003078286,0.00009915876,0.0045681586,0.000056103996,0.00022493869,3.8435013e-7,0.29739723,0.000010897877,0.000009379711,0.29337776,0.3995864,0.004361772],"study_design_scores_gemma":[0.00074285024,0.00018168877,0.0071644154,0.000033435557,0.000033612694,0.0000019806066,0.038436018,0.00037985397,0.00002559577,0.0036665748,0.9491302,0.00020379758],"about_ca_topic_score_codex":0.009206804,"about_ca_topic_score_gemma":0.107189804,"teacher_disagreement_score":0.5495438,"about_ca_system_score_codex":0.0000067721007,"about_ca_system_score_gemma":0.000008213606,"threshold_uncertainty_score":0.99903286},"labels":[],"label_agreement":null},{"id":"W7024222093","doi":"","title":"Saltbox Contemporary Arts Festival","year":2018,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; Diafiltration; Dysgeusia; Liquation; TSG101; Emperipolesis; Demotion; Fusible alloy","score_opus":0.051273162515517404,"score_gpt":0.2442520092248575,"score_spread":0.19297884670934012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7024222093","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00057014526,0.0068524503,0.0000090869335,0.00075630564,0.0061211525,0.00069394684,0.0005082765,0.0004889336,0.9839997],"genre_scores_gemma":[0.019589776,0.00042403064,0.00003434,0.0014907826,0.015492543,0.00007636769,0.00047445967,0.00022636505,0.96219134],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963582,0.00009345742,0.0009423477,0.0009826466,0.000702174,0.0009211683],"domain_scores_gemma":[0.9975772,0.00022733373,0.0005164964,0.0010389339,0.00036716025,0.00027289757],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004524277,0.0011027469,0.0013049105,0.00032923042,0.0014375966,0.00044268885,0.0006321456,0.0004088715,0.02512084],"category_scores_gemma":[0.000027774471,0.0009525609,0.00056951307,0.00004860801,0.0015722052,0.0006397949,0.0002786202,0.0008989912,0.026644273],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000948805,0.00008130932,0.00001357463,0.00018700701,0.00034845198,0.000066246226,0.015230176,2.2723447e-7,0.0000037771742,0.048336856,0.9268773,0.008760177],"study_design_scores_gemma":[0.0006981958,0.0005491265,0.00007892713,0.0006714634,0.0001602227,0.000020426716,0.00081032794,0.000006203576,0.000016171953,0.015420602,0.9804212,0.0011471569],"about_ca_topic_score_codex":0.000115693045,"about_ca_topic_score_gemma":0.0011764821,"teacher_disagreement_score":0.053543862,"about_ca_system_score_codex":0.00016054811,"about_ca_system_score_gemma":0.0006247512,"threshold_uncertainty_score":0.9998624},"labels":[],"label_agreement":null},{"id":"W7024225184","doi":"","title":"Relaxed Performance: Exploring University-based Training Across Fashion, Theatre, and Choir","year":2022,"lang":"en","type":"report","venue":"The Atrium (University of Guelph)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Choir; Curriculum; Set (abstract data type); Training (meteorology); Inclusion (mineral); Intervention (counseling); Work (physics); Class (philosophy)","score_opus":0.09557403629930392,"score_gpt":0.23849823000145862,"score_spread":0.1429241937021547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7024225184","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81915545,0.0013081243,0.0000098191695,0.0008170022,0.001300383,0.00030768316,0.00048328275,0.00014787161,0.17647037],"genre_scores_gemma":[0.9626732,0.008131058,0.00002156622,0.000028583296,0.00048846955,7.1485397e-7,0.0000922011,0.000032489304,0.028531704],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983761,0.00009796822,0.00018561963,0.00035489158,0.0005662005,0.00041925634],"domain_scores_gemma":[0.998759,0.000167352,0.00034373687,0.00043617687,0.0002235102,0.000070265596],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007550582,0.00031021584,0.00055451825,0.00020750196,0.0038288746,0.000044801473,0.0006115449,0.000099171615,0.0015057657],"category_scores_gemma":[0.000008840451,0.00029152352,0.0002685659,0.0001495257,0.0008848569,0.00044578745,0.0005079369,0.000651243,0.000019509229],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010556586,0.00015663129,0.0069756177,0.0020682036,0.0015264435,0.00016962751,0.81617326,0.00032159567,0.0001368409,0.003058104,0.033721995,0.13463601],"study_design_scores_gemma":[0.0005526841,0.00017726372,0.00906774,0.00010309848,0.0002709108,0.000008690464,0.26319695,0.0000616752,0.0000019064025,0.000011937724,0.7262484,0.00029873455],"about_ca_topic_score_codex":0.0022449244,"about_ca_topic_score_gemma":0.0030577232,"teacher_disagreement_score":0.6925264,"about_ca_system_score_codex":0.00020787866,"about_ca_system_score_gemma":0.00036064608,"threshold_uncertainty_score":0.9999537},"labels":[],"label_agreement":null},{"id":"W7024405567","doi":"","title":"Review: The Journal of Dramaturgy, volume 22, issue 1, part 1","year":2012,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Volume (thermodynamics); Work (physics)","score_opus":0.021551049562141354,"score_gpt":0.2189545594058928,"score_spread":0.19740350984375146,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7024405567","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7594984,0.110459045,0.00014581016,0.0052075256,0.003189334,0.00032369557,0.000094740295,0.000052617695,0.121028796],"genre_scores_gemma":[0.94569486,0.02237234,0.000044365057,0.00094294513,0.0019657544,2.0853248e-7,0.000010426608,0.000014031963,0.02895508],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991499,0.000089199755,0.0001989798,0.00006882481,0.00023058162,0.0002624668],"domain_scores_gemma":[0.99905807,0.00007463439,0.0003154782,0.00022332626,0.0002541971,0.000074304335],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006595345,0.00012709649,0.0003142066,0.00007052365,0.0006974352,0.000029682851,0.0003470969,0.000036777245,0.0056725973],"category_scores_gemma":[0.00002512136,0.00009668856,0.00020251964,0.00006311366,0.0005756183,0.0006720702,0.000099351615,0.00019487269,0.00028425938],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045688783,0.00007521832,0.0026262957,0.00029853772,0.00020280492,0.0000015235454,0.050662618,0.0000019272275,6.227543e-7,0.14133874,0.8044663,0.0002797005],"study_design_scores_gemma":[0.0001927332,0.00007563732,0.00034753134,0.00017966672,0.00022297926,0.000011851571,0.027878152,0.0000018804825,2.2301724e-7,0.12724593,0.8437378,0.00010562304],"about_ca_topic_score_codex":0.0003534541,"about_ca_topic_score_gemma":0.0006984785,"teacher_disagreement_score":0.1861964,"about_ca_system_score_codex":0.00003133315,"about_ca_system_score_gemma":0.000029180588,"threshold_uncertainty_score":0.99523634},"labels":[],"label_agreement":null},{"id":"W7025408634","doi":"","title":"Where Are All the Women? \\n\\tEquity, Post-Feminism, and Canadian Theatre","year":2016,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Narrative; Agency (philosophy); Face (sociological concept)","score_opus":0.020308873246703295,"score_gpt":0.202374755798549,"score_spread":0.1820658825518457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7025408634","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18687855,0.000018118957,8.6697656e-7,0.0052182996,0.00022435126,0.00025695018,0.00026550345,0.000083548024,0.8070538],"genre_scores_gemma":[0.9359354,0.06131711,0.000004053432,0.0007301014,0.00030978443,0.00000420081,0.0000037070502,0.000019660461,0.0016759889],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989482,0.000058265294,0.00009837445,0.00025448407,0.00012430803,0.0005163805],"domain_scores_gemma":[0.9993383,0.00008964406,0.000063772786,0.00027906254,0.00009888589,0.0001302983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001197231,0.0002065824,0.00018764862,0.0019507118,0.000799992,0.0001114299,0.0003171153,0.000055027984,0.00054925773],"category_scores_gemma":[0.00000575106,0.00011876026,0.00006547435,0.00035220874,0.00036939178,0.00039821377,0.00017511167,0.00012380893,0.00007525615],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026925962,0.00012409472,0.008310827,0.00017611886,0.0007092137,0.0002554926,0.72034955,4.5380065e-7,0.000012543052,0.07530155,0.016651612,0.17783928],"study_design_scores_gemma":[0.00042777258,0.00014140688,0.0002839525,0.000062861036,0.000046716203,0.000005822393,0.040347937,0.0000011390601,0.000010100778,0.000008883746,0.95845115,0.00021225502],"about_ca_topic_score_codex":0.46391144,"about_ca_topic_score_gemma":0.95626014,"teacher_disagreement_score":0.9417995,"about_ca_system_score_codex":0.0002104786,"about_ca_system_score_gemma":0.0002392306,"threshold_uncertainty_score":0.61529726},"labels":[],"label_agreement":null},{"id":"W7025424118","doi":"","title":"Women´s expectations and evaluation of a maternal educational\\nprogram","year":2013,"lang":"en","type":"article","venue":"Bioline International (Bioline International)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Observational study; Logistic regression; Childbirth; Odds; Quarter (Canadian coin); Odds ratio; Pregnancy","score_opus":0.036753191789299415,"score_gpt":0.2983390999578264,"score_spread":0.261585908168527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7025424118","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92895126,0.00039594717,0.000019098352,0.009144704,0.0027689384,0.0004128771,0.00026486302,0.000053893076,0.057988428],"genre_scores_gemma":[0.99004346,0.00014506673,0.00037005992,0.0002171109,0.002746497,0.00053186325,0.00039359595,0.000022045026,0.0055302717],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99804074,0.000047111716,0.0006314016,0.00030957203,0.00073748984,0.00023369787],"domain_scores_gemma":[0.997169,0.000120573364,0.00030718817,0.00017071395,0.0021473095,0.000085201995],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032302583,0.00022747542,0.00021862505,0.00035147573,0.00015489134,0.0002121806,0.00039570683,0.00005047141,0.014387835],"category_scores_gemma":[0.00015457424,0.00019334343,0.00009794761,0.000060076036,0.00027558923,0.0006192741,0.00013027819,0.00012294951,0.00028479408],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002719593,0.0016455645,0.05841771,0.00010095547,0.0026483054,0.000002061415,0.059698332,0.000170874,0.0026994701,0.42647013,0.029281141,0.4185935],"study_design_scores_gemma":[0.0068006297,0.0005813002,0.19599944,0.00047913007,0.00028667168,0.00010200704,0.040768195,0.043199785,0.0034914676,0.081561245,0.62499505,0.0017350846],"about_ca_topic_score_codex":0.0009639991,"about_ca_topic_score_gemma":0.00042170557,"teacher_disagreement_score":0.5957139,"about_ca_system_score_codex":0.00017435249,"about_ca_system_score_gemma":0.000099735356,"threshold_uncertainty_score":0.98651314},"labels":[],"label_agreement":null},{"id":"W7026394280","doi":"","title":"7a*11d : 8th International Festival of Performance Art","year":2010,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Culmination; Work (physics); Photography","score_opus":0.014682979954974326,"score_gpt":0.21226424008513503,"score_spread":0.1975812601301607,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7026394280","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0050048,0.0006936507,0.000008498294,0.00056316576,0.006944183,0.00035766303,0.00040656322,0.00015300434,0.98586845],"genre_scores_gemma":[0.053235486,0.0008867148,0.000058603113,0.00035590204,0.0058686533,0.000043076645,0.0003968911,0.00010847889,0.9390462],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972436,0.0000327158,0.00082612556,0.0005886184,0.0007368816,0.00057208724],"domain_scores_gemma":[0.99812824,0.00012539279,0.0005286388,0.000688815,0.00041457894,0.00011432535],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003273806,0.0006931341,0.00087818236,0.00033692262,0.00057189696,0.00017600475,0.0007591997,0.00033268062,0.027119512],"category_scores_gemma":[0.000022560354,0.0006051025,0.00040856143,0.000039425213,0.00096917927,0.0005667116,0.00024626937,0.0011524571,0.006200174],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015722717,0.00017691821,0.00014251447,0.0003655406,0.000555469,0.000016730386,0.015338534,0.000005615832,0.000053805692,0.067549005,0.8586464,0.056992266],"study_design_scores_gemma":[0.0005552688,0.0002774762,0.00046916908,0.00047287394,0.00014162408,0.000017233431,0.00027435715,0.00005174882,0.000072717245,0.0019572394,0.99504393,0.0006663358],"about_ca_topic_score_codex":0.000027831038,"about_ca_topic_score_gemma":0.00087647,"teacher_disagreement_score":0.13639759,"about_ca_system_score_codex":0.000097612254,"about_ca_system_score_gemma":0.00031101578,"threshold_uncertainty_score":0.99964005},"labels":[],"label_agreement":null},{"id":"W7026773359","doi":"","title":"ARCHIVEIT-3213-PATCH-XBKHGJ-20120823194907-00000-crawling202.us.archive.org-6682.warc.gz","year":2012,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Work (physics); Product (mathematics); Identification (biology)","score_opus":0.009791732062198591,"score_gpt":0.18390832101543247,"score_spread":0.1741165889532339,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7026773359","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00016272484,0.0011132743,4.838447e-7,0.0001845028,0.0015535565,0.0006025719,0.0010656287,0.00037966273,0.9949376],"genre_scores_gemma":[0.0027518582,0.0014753137,0.0002669863,0.0004943948,0.0027136847,0.000049971393,0.00058377214,0.0002561539,0.9914079],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99721545,0.000101481026,0.00096080574,0.0003200789,0.00059041224,0.0008117966],"domain_scores_gemma":[0.9980707,0.0001717819,0.000791953,0.0005925272,0.0001527413,0.00022025417],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028619482,0.00073178526,0.0008511603,0.00022764414,0.00041188096,0.00013896915,0.00057926815,0.0002908616,0.7165713],"category_scores_gemma":[0.000039160608,0.0006443152,0.00039969676,0.0000068349273,0.00067880104,0.0000016025358,0.00025923006,0.000602043,0.060836926],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011562406,0.00009510912,0.000058347014,0.0009898209,0.00026448708,0.000008681874,0.0071538906,0.000008703931,3.511735e-7,0.000873605,0.987353,0.0030783291],"study_design_scores_gemma":[0.00057397835,0.00021047512,0.000040168878,0.0004756569,0.00018165613,0.000027952505,0.0009060108,0.0000058352234,0.000007180203,0.000060297814,0.9967719,0.00073893135],"about_ca_topic_score_codex":0.015340249,"about_ca_topic_score_gemma":0.018209597,"teacher_disagreement_score":0.65573436,"about_ca_system_score_codex":0.000045933604,"about_ca_system_score_gemma":0.000051502342,"threshold_uncertainty_score":0.9997055},"labels":[],"label_agreement":null},{"id":"W7026877639","doi":"","title":"Barbara Mary Wilson, 1931â2014","year":2014,"lang":"en","type":"article","venue":"Archivaria (Association of Canadian Archivists)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Irish; World War II; Military history; First world war","score_opus":0.008902366321082994,"score_gpt":0.18278123831354182,"score_spread":0.17387887199245883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7026877639","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025430795,0.000028051782,0.000057336198,0.004516719,0.00060383417,0.00013877456,0.00021321133,0.000050533312,0.96896076],"genre_scores_gemma":[0.98107326,0.000063578605,0.00029377773,0.0015137127,0.0009623837,0.000014879282,0.00008255017,0.000025861946,0.015969997],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99853504,0.0001440844,0.00034632662,0.00020540196,0.00027176633,0.00049737206],"domain_scores_gemma":[0.99887073,0.00035613135,0.00020019153,0.00025676214,0.00008477841,0.0002314101],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049908576,0.00017270423,0.00029099555,0.0006257255,0.00051253603,0.00007728329,0.00024931945,0.000031540767,0.00059962075],"category_scores_gemma":[0.00012870916,0.000168107,0.00012727185,0.00009796281,0.00016112528,0.00015718256,0.000037952635,0.00018630722,0.00028715958],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015096935,0.000021431635,0.0077384417,0.000036861315,0.00011858032,9.1922027e-7,0.021015888,0.000007528975,0.000037380854,0.8752398,0.08430739,0.011460667],"study_design_scores_gemma":[0.00029298174,0.000073759526,0.05146496,0.000028393217,0.000033251617,5.1845547e-7,0.00017036441,0.00017670845,0.000017606539,0.034714207,0.9128281,0.00019916223],"about_ca_topic_score_codex":0.0831937,"about_ca_topic_score_gemma":0.43003646,"teacher_disagreement_score":0.95564246,"about_ca_system_score_codex":0.000110651315,"about_ca_system_score_gemma":0.00019184854,"threshold_uncertainty_score":0.9229114},"labels":[],"label_agreement":null},{"id":"W7027100632","doi":"","title":"ON THE BRINK: THEATRES SEARCH FOR A\\nPOST-PANDEMIC MODEL","year":2024,"lang":"en","type":"dissertation","venue":"University Library (University of Saskatchewan)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relevance (law); Diversity (politics); White paper; Corporate governance; Inclusion (mineral); White (mutation); Competition (biology); Negotiation","score_opus":0.0207375656669277,"score_gpt":0.19359670530068132,"score_spread":0.17285913963375363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7027100632","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73329383,0.00035990778,0.000023223283,0.0019556764,0.000559364,0.00059148646,0.0016584649,0.00025329902,0.26130474],"genre_scores_gemma":[0.55771637,0.0003323774,0.000057289843,0.00007672344,0.00014611917,1.686393e-7,0.0005429466,0.000030546795,0.44109744],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998972,0.00004121648,0.000105871935,0.00036274624,0.00023454397,0.0002836415],"domain_scores_gemma":[0.9992128,0.0002384302,0.00009987835,0.00029737322,0.00008768812,0.00006380776],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000822854,0.00028227118,0.00035556022,0.00032727342,0.0010481806,0.00007112858,0.0007036642,0.00017422745,0.0017715178],"category_scores_gemma":[0.0000014928809,0.0002578959,0.00040521278,0.00010068795,0.00034666655,0.0006702983,0.00014953541,0.00043950405,0.00012922588],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018480595,0.00009995423,0.00012734954,0.00082241284,0.0007209472,0.000027358477,0.80287904,0.00023321727,0.00003039307,0.10199613,0.08823713,0.0029780057],"study_design_scores_gemma":[0.0004432814,0.00020665016,0.000052034542,0.00035246307,0.00036035798,5.2013536e-7,0.8884203,0.0009782736,0.00013801108,0.005595799,0.1030801,0.0003722206],"about_ca_topic_score_codex":0.0011742833,"about_ca_topic_score_gemma":0.013143481,"teacher_disagreement_score":0.17979269,"about_ca_system_score_codex":0.000048726717,"about_ca_system_score_gemma":0.00035672876,"threshold_uncertainty_score":0.9999873},"labels":[],"label_agreement":null},{"id":"W7028491115","doi":"","title":"En ekonometrisk undersökning av svensk verkstadsindustri","year":2012,"lang":"sv","type":"other","venue":"Gothenburg University Publications Electronic Archive (Gothenburg University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; Hyporeflexia; TSG101; Fusible alloy; Demotion; Liquation","score_opus":0.016399830434770845,"score_gpt":0.189333264644149,"score_spread":0.17293343420937818,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7028491115","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019116494,0.0016803226,0.003687382,0.0026151023,0.0006589788,0.0019122779,0.0018677015,0.0007765742,0.98489],"genre_scores_gemma":[0.04975219,0.008305325,0.00024051651,0.00014399676,0.0018419477,0.000005251516,0.0008111359,0.00037889517,0.9385207],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9933495,0.0008165948,0.0005990407,0.0016568737,0.0006423751,0.0029356224],"domain_scores_gemma":[0.99510705,0.000886559,0.0010918202,0.0017861305,0.00038775415,0.00074070494],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.00061828847,0.0014474433,0.0013924026,0.0061873943,0.003907267,0.00035901167,0.0027332734,0.0008314041,0.033750165],"category_scores_gemma":[0.000065894164,0.0017716703,0.0009640855,0.0014837426,0.0019910242,0.0017886272,0.0010577409,0.0025783274,0.0017802847],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033833817,0.0007571842,0.0016677201,0.00013744504,0.0030883271,0.00003146044,0.022140287,0.000050924235,0.000036678342,0.8485757,0.116335094,0.00684081],"study_design_scores_gemma":[0.0021044617,0.00033334267,0.00051695365,0.00025494423,0.0015273163,0.000016198714,0.030166887,0.00007830812,0.000009575546,0.0012404703,0.9619693,0.0017822407],"about_ca_topic_score_codex":0.0018111198,"about_ca_topic_score_gemma":0.0065110186,"teacher_disagreement_score":0.8473353,"about_ca_system_score_codex":0.0031120123,"about_ca_system_score_gemma":0.0018594281,"threshold_uncertainty_score":0.9998275},"labels":[],"label_agreement":null},{"id":"W7029906759","doi":"","title":"Literary Managers and Dramaturgs of the Americas Conference Program, July 16-20, 2009","year":2006,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theme (computing); Mammoth; Key (lock); Narrative; Government (linguistics)","score_opus":0.013295702809924877,"score_gpt":0.19910726058426664,"score_spread":0.18581155777434177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7029906759","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8553866,0.00072317995,0.000035309244,0.00033392277,0.00015058894,0.00017912324,0.00007854926,0.000048329763,0.14306436],"genre_scores_gemma":[0.9822078,0.00007434811,0.00011595827,0.00005175817,0.00009555788,4.9267743e-7,0.000016483096,0.0000071839927,0.017430462],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993117,0.000035050787,0.0001263872,0.00016263223,0.00016888864,0.00019533046],"domain_scores_gemma":[0.999467,0.000039997365,0.00016553693,0.00020483893,0.00009115636,0.00003143851],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000074775875,0.00013432547,0.00023767805,0.00007449842,0.0005468132,0.00007361915,0.00022642805,0.00003840114,0.00023371424],"category_scores_gemma":[0.0000026723314,0.00011342428,0.0001211219,0.00008385662,0.0012955158,0.000321932,0.00012665818,0.00011776026,0.000014962644],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007292137,0.0001345925,0.006123806,0.00016578993,0.00013219072,0.0000047019416,0.03627217,0.000004385295,0.0000059753447,0.9421231,0.013299287,0.0016610797],"study_design_scores_gemma":[0.00032888434,0.00010708797,0.004126553,0.00004762854,0.00008171881,0.000002519674,0.020988267,0.000021914979,0.000001333428,0.84232265,0.13182059,0.00015084309],"about_ca_topic_score_codex":0.0013329606,"about_ca_topic_score_gemma":0.0036842932,"teacher_disagreement_score":0.12682112,"about_ca_system_score_codex":0.000019799654,"about_ca_system_score_gemma":0.000023812307,"threshold_uncertainty_score":0.4773382},"labels":[],"label_agreement":null},{"id":"W7030261371","doi":"","title":"Meeting Trees Halfway: Environmental Encounters in Theatre and Performance","year":2018,"lang":"en","type":"other","venue":"Arizona State University Library Digital Repository (Arizona State University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Arizona State University","keywords":"Variety (cybernetics); Embodied cognition; Drama; Dance; Representation (politics); Reciprocal; GRASP; Inclusion (mineral)","score_opus":0.004581876899688225,"score_gpt":0.13277145678347477,"score_spread":0.12818957988378654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7030261371","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.122847214,0.0002979345,0.0000038253243,0.00005765243,0.00047131666,0.00031620098,0.0013319539,0.00036217537,0.87431175],"genre_scores_gemma":[0.2113478,0.0027625763,0.000033553704,0.000031081105,0.00024620668,3.0883527e-7,0.00022538281,0.00019136607,0.78516173],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978262,0.0000874189,0.00028313257,0.0008325093,0.00032712572,0.0006435949],"domain_scores_gemma":[0.99897957,0.0000776809,0.00031454637,0.00039306056,0.00001760274,0.00021751903],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00003985447,0.00066512806,0.00058260205,0.0011566969,0.0007129758,0.0003899088,0.00059677963,0.00016996941,0.0007581388],"category_scores_gemma":[0.0000014886606,0.0007277747,0.00017636645,0.00018483134,0.0013377399,0.0034646578,0.0007197836,0.00036810763,0.00020162642],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0043489267,0.0015225736,0.22844142,0.0012628756,0.0030505229,0.006939061,0.070840426,0.00008935176,0.00005390215,0.005606564,0.5961537,0.08169072],"study_design_scores_gemma":[0.0009598991,0.00048519298,0.0009067237,0.00041306354,0.000080505975,0.000012401219,0.011215269,0.00005659829,0.000028784518,0.00005130864,0.98496705,0.00082317815],"about_ca_topic_score_codex":0.000757346,"about_ca_topic_score_gemma":0.0023325002,"teacher_disagreement_score":0.38881344,"about_ca_system_score_codex":0.0001968561,"about_ca_system_score_gemma":0.00013442658,"threshold_uncertainty_score":0.9995173},"labels":[],"label_agreement":null},{"id":"W7036120021","doi":"","title":"2-2 Art and History","year":2021,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lens (geology); World history; Graduate students","score_opus":0.11076472117287697,"score_gpt":0.2665227624844752,"score_spread":0.15575804131159823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7036120021","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95418066,0.0014475082,0.000007896532,0.0003440221,0.0006395096,0.00006259095,0.000018864499,0.0001105023,0.04318843],"genre_scores_gemma":[0.7482981,0.00037331416,0.000006863629,0.00066826184,0.000294665,5.221419e-7,0.00001741283,0.000019877436,0.25032094],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905837,0.000075745214,0.00012544033,0.0003138754,0.00015709938,0.00026944507],"domain_scores_gemma":[0.99940217,0.00004303496,0.000060903712,0.00025481833,0.00012764643,0.00011140547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009857245,0.0001849213,0.00021896379,0.00015458254,0.00033116425,0.00015089617,0.00017134096,0.000058256916,0.00076582073],"category_scores_gemma":[0.000008524403,0.00019624729,0.00007711179,0.000045636487,0.00027138018,0.0010587297,0.00021139976,0.0002551596,0.00047484232],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006455455,0.00009349043,0.96946514,0.000105891806,0.00015453079,0.0005109758,0.01724963,8.490593e-7,0.00020045823,0.0101045715,0.00027125166,0.001778645],"study_design_scores_gemma":[0.00041635567,0.000051847113,0.14085719,0.00006211034,0.00006321268,0.000023981407,0.0021430014,3.6967858e-8,0.00021220272,0.00010959523,0.8558102,0.00025026934],"about_ca_topic_score_codex":0.0000037727077,"about_ca_topic_score_gemma":0.0066107213,"teacher_disagreement_score":0.85553896,"about_ca_system_score_codex":0.00012988776,"about_ca_system_score_gemma":0.00007379606,"threshold_uncertainty_score":0.83852},"labels":[],"label_agreement":null},{"id":"W7039387637","doi":"","title":"Making Contemporary Theatre: international rehearsal processes","year":2010,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Focus (optics); Resource (disambiguation); Theatre studies; Making-of","score_opus":0.06212712461802665,"score_gpt":0.2815033524134988,"score_spread":0.2193762277954721,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7039387637","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060269985,0.00010451794,0.000004627206,0.00187723,0.0017902518,0.000053125972,0.000012992681,0.00011230621,0.935775],"genre_scores_gemma":[0.98261416,0.000014713381,0.00007861769,0.0005225445,0.0017729378,0.000009242488,0.000006889641,0.000008363522,0.0149725545],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995859,0.0000037817751,0.00010923067,0.00009876709,0.00010096905,0.000101308986],"domain_scores_gemma":[0.9997531,0.00003304112,0.00002813771,0.000084640094,0.0000853469,0.000015740447],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006166668,0.00007651582,0.00007557881,0.00004272326,0.00021146011,0.00012364407,0.00012573805,0.0000181326,0.005638688],"category_scores_gemma":[0.0000093811805,0.000052460757,0.000027995518,0.000014544511,0.00013521723,0.00029211421,0.00004022873,0.00011954354,0.00018155848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011958247,0.00017594158,0.028487526,0.00012167911,0.00020338934,0.000012397247,0.07274793,7.2804517e-7,0.0004496814,0.6417787,0.21492602,0.04097642],"study_design_scores_gemma":[0.00011840349,0.00002393079,0.00022781911,0.000012660548,0.0000032376392,0.0000029542841,0.0029650251,0.000010310658,0.00015718583,0.0013135922,0.9950761,0.0000887363],"about_ca_topic_score_codex":0.000090795365,"about_ca_topic_score_gemma":0.0028473707,"teacher_disagreement_score":0.92234415,"about_ca_system_score_codex":0.0000029837431,"about_ca_system_score_gemma":0.000039210423,"threshold_uncertainty_score":0.9952703},"labels":[],"label_agreement":null},{"id":"W7041033445","doi":"","title":"SUNSHINE ‘89","year":2018,"lang":"en","type":"article","venue":"UNM’s Digital Repository (University of New Mexico)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bourgeoisie; Order (exchange); Work (physics); Period (music); Set (abstract data type)","score_opus":0.02120914042470443,"score_gpt":0.1908322310838261,"score_spread":0.16962309065912168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7041033445","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22155173,0.00022390175,0.000054094813,0.00030232978,0.0004922369,0.00006631,0.000028868917,0.00009234922,0.7771882],"genre_scores_gemma":[0.81819135,0.000014036416,0.000030538988,0.00004397482,0.00056067813,6.295904e-8,0.0000047191656,0.0000073856468,0.18114728],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938446,0.000008316271,0.000102441074,0.00016909912,0.00016375944,0.00017193545],"domain_scores_gemma":[0.999474,0.000027793745,0.000086925196,0.00020052955,0.00012484728,0.0000859092],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000026286833,0.00012455878,0.00021971556,0.000061011986,0.00051311514,0.00009207061,0.00021450398,0.00003430407,0.0010033346],"category_scores_gemma":[0.0000051184074,0.00011904883,0.00016821944,0.000041421998,0.000585407,0.00080151693,0.000101663456,0.00006673296,0.0001794901],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00085771363,0.0005589492,0.017605742,0.00016091898,0.003689145,0.00016406455,0.2647905,0.000010421592,0.00054485764,0.10809345,0.5650548,0.03846949],"study_design_scores_gemma":[0.00041631615,0.0004418566,0.001866209,0.000027553948,0.00022637685,0.000010726058,0.011899237,0.000014986584,0.000563091,0.0015852428,0.9827274,0.0002210231],"about_ca_topic_score_codex":0.00078040897,"about_ca_topic_score_gemma":0.0010619129,"teacher_disagreement_score":0.5966396,"about_ca_system_score_codex":0.000023607172,"about_ca_system_score_gemma":0.000048117403,"threshold_uncertainty_score":0.9999099},"labels":[],"label_agreement":null},{"id":"W7042504693","doi":"","title":"Playing with the Kersley Players : contemporary folk drama in a British Columbia community a thesis in five acts","year":2010,"lang":"en","type":"dissertation","venue":"Memorial University Research Repository (Memorial University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Folklore; Amateur; Scholarship; Vernacular; Colonialism; Ethnography; Craft; Thematic structure","score_opus":0.03341260611854176,"score_gpt":0.23805982425419336,"score_spread":0.20464721813565162,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7042504693","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7274247,0.00005440685,1.7538956e-7,0.00006844445,0.0031769474,0.0008908164,0.000095468225,0.00006374826,0.26822528],"genre_scores_gemma":[0.8449635,0.00011725165,0.0000067463266,0.00000938086,0.002045031,0.0000028756142,0.0001797188,0.000043885975,0.15263164],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9952298,0.0019544542,0.00033313775,0.000654854,0.0009789639,0.00084880483],"domain_scores_gemma":[0.997,0.0011362587,0.00030347952,0.00067962747,0.0006818565,0.0001988003],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity"],"consensus_categories":[],"category_scores_codex":[0.0013903268,0.00038574444,0.00079361734,0.00096347765,0.006058818,0.0010656366,0.0017498606,0.00054508034,0.00019959112],"category_scores_gemma":[0.00011163658,0.00048073076,0.00023947495,0.00081694755,0.0012793371,0.0010943905,0.0004143836,0.0046218075,0.000016399854],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.047307633,0.0027933114,0.031102188,0.0016830504,0.0025116329,0.028386215,0.76945853,0.00010743858,0.0015554727,0.0079409275,0.10185395,0.0052996776],"study_design_scores_gemma":[0.0061282306,0.0008301467,0.008156105,0.0010337366,0.00016976692,0.000016567612,0.65843236,0.000028273982,0.00010406472,0.00007767283,0.3241102,0.0009128418],"about_ca_topic_score_codex":0.5123047,"about_ca_topic_score_gemma":0.96099794,"teacher_disagreement_score":0.44869325,"about_ca_system_score_codex":0.0009056495,"about_ca_system_score_gemma":0.0015879697,"threshold_uncertainty_score":0.99997133},"labels":[],"label_agreement":null},{"id":"W7042993402","doi":"","title":"Review: The Journal of Dramaturgy, volume 22, issue 2","year":2012,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Volume (thermodynamics); Conversation; Dramaturgy; Process (computing)","score_opus":0.018303204074273948,"score_gpt":0.21840605936234067,"score_spread":0.20010285528806673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7042993402","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77777606,0.1121857,0.00017636991,0.003494197,0.00212039,0.0002572323,0.000061924125,0.00004139483,0.1038867],"genre_scores_gemma":[0.96811193,0.011504729,0.00004480146,0.0005914745,0.0011726061,1.1517972e-7,0.0000061595456,0.000010313177,0.01855787],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992103,0.00008069355,0.00018167647,0.00006326464,0.0002198646,0.00024423224],"domain_scores_gemma":[0.99910307,0.000070956,0.0002968628,0.00020845897,0.00025261732,0.000068050365],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005998541,0.00012003053,0.00029843336,0.00007555709,0.00066398113,0.000027782356,0.00035094857,0.000034944824,0.0046055783],"category_scores_gemma":[0.000023209937,0.00009090491,0.000194706,0.00006262922,0.000554036,0.0006644616,0.000098423014,0.00019178409,0.00025987785],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006002936,0.000093415794,0.0031351577,0.00041647846,0.0002558582,0.000001971063,0.08245067,0.0000025509228,0.0000013787559,0.22445828,0.6887034,0.00042077727],"study_design_scores_gemma":[0.00020094716,0.00007755505,0.0005012851,0.0001557921,0.00021686437,0.000013106897,0.031928554,0.0000023079447,2.3796922e-7,0.16199519,0.8048051,0.000103090206],"about_ca_topic_score_codex":0.0003941099,"about_ca_topic_score_gemma":0.00057697383,"teacher_disagreement_score":0.19033584,"about_ca_system_score_codex":0.000031918218,"about_ca_system_score_gemma":0.000027452197,"threshold_uncertainty_score":0.99630433},"labels":[],"label_agreement":null},{"id":"W7043330945","doi":"","title":"The Sky Is Falling (View 1)","year":2015,"lang":"en","type":"article","venue":"DigitalCommons - Linfield (Linfield College)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sky; Falling (accident); Statement (logic); Night sky; Repetition (rhetorical device); Quarter (Canadian coin)","score_opus":0.06183737430291639,"score_gpt":0.2539600177262391,"score_spread":0.19212264342332272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7043330945","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01670361,0.0030889679,0.00002005722,0.012298621,0.0019240517,0.00029201343,0.000075705946,0.000178998,0.965418],"genre_scores_gemma":[0.9441928,0.00046416532,0.000025947187,0.0029666019,0.0014630466,0.00004998434,0.000010056998,0.000022401236,0.050804988],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99840355,0.000031111795,0.0004836493,0.0002622178,0.00032181284,0.0004976503],"domain_scores_gemma":[0.9984337,0.00047935336,0.00011160084,0.00058492745,0.00022897623,0.00016140459],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002897409,0.00028496393,0.00032710083,0.00006890751,0.0010114252,0.00055016077,0.00050945516,0.00010437572,0.0004864514],"category_scores_gemma":[0.00007533971,0.00019003385,0.00022405178,0.00009531193,0.00026112542,0.0004386625,0.00020332664,0.00035982934,0.00045133592],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000078977704,0.00007913394,0.0010247842,0.00003226441,0.00020329544,0.000017151482,0.013938815,0.000011108809,9.050686e-7,0.57172936,0.37808368,0.03480048],"study_design_scores_gemma":[0.0003592863,0.00015412323,0.000021434093,0.000045942637,0.00002518421,0.0000063894927,0.011679676,0.00007656881,0.00013945614,0.0075040064,0.9796995,0.00028846378],"about_ca_topic_score_codex":0.00022244379,"about_ca_topic_score_gemma":0.003512519,"teacher_disagreement_score":0.9274892,"about_ca_system_score_codex":0.000022929591,"about_ca_system_score_gemma":0.00011546088,"threshold_uncertainty_score":0.77791667},"labels":[],"label_agreement":null},{"id":"W7043513372","doi":"","title":"Toward a Dramaturgical Sensibility: Landscape and Journey","year":2008,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Liquation; Diafiltration; Emperipolesis; Triacetin; Demotion","score_opus":0.04449711306392756,"score_gpt":0.2109157546427679,"score_spread":0.16641864157884034,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7043513372","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9456614,0.00058162946,0.00005366853,0.00048145134,0.00018529191,0.0000794892,0.0000368202,0.000062680316,0.052857514],"genre_scores_gemma":[0.9933302,0.00036313277,0.00008849132,0.000073149764,0.00022256502,1.1578328e-7,0.000010057127,0.000007748078,0.005904574],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992566,0.00003465284,0.00011128918,0.00020065308,0.0001782052,0.000218611],"domain_scores_gemma":[0.99949944,0.00006278757,0.00007588381,0.0001608321,0.000112843365,0.00008822366],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012143451,0.00013494356,0.00028021674,0.00009778755,0.000905627,0.00004155202,0.000118477634,0.00005581988,0.0010903105],"category_scores_gemma":[0.0000113762835,0.00013118904,0.00011573288,0.0000463292,0.00085472525,0.00032938964,0.00011134416,0.00015388802,0.00007144685],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019265807,0.000100055826,0.026353812,0.00011307621,0.00020737293,0.00009961751,0.22036274,0.0000052213754,0.0000021001688,0.7413522,0.011090192,0.000120980214],"study_design_scores_gemma":[0.00091004954,0.00015757511,0.0066950168,0.000022361399,0.00007559934,0.00008334905,0.06631696,0.00008002422,3.6774384e-7,0.87187153,0.053531997,0.00025517854],"about_ca_topic_score_codex":0.00036302552,"about_ca_topic_score_gemma":0.0015038801,"teacher_disagreement_score":0.15404578,"about_ca_system_score_codex":0.000018372355,"about_ca_system_score_gemma":0.00003159543,"threshold_uncertainty_score":0.99982285},"labels":[],"label_agreement":null},{"id":"W7043875085","doi":"","title":"Youth Artists for Justice: Examining Participation in Social Movements and Envisioning Futures through Applied Theatre","year":2019,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Youth participation; Youth studies; Politics; Social movement; Solidarity; Context (archaeology); Collective action; Drama; Reflexivity; Action (physics)","score_opus":0.06805895588176547,"score_gpt":0.36334684041331544,"score_spread":0.29528788453154997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7043875085","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9082761,0.0017845583,0.00005205837,0.00008337411,0.0013675609,0.0011499433,0.000102933605,0.00003310106,0.087150365],"genre_scores_gemma":[0.98884714,0.00065727363,0.000058109148,0.00013735006,0.0017381654,0.00020420186,0.0007458238,0.0000622641,0.007549698],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99803525,0.000045453384,0.00053167983,0.0005399381,0.00027767866,0.00057000027],"domain_scores_gemma":[0.99913925,0.00018493504,0.0003948153,0.00015982777,0.00008238082,0.000038763068],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0002486092,0.00048820378,0.000642968,0.00013604846,0.0019684911,0.0002834218,0.00011465891,0.00024213399,0.00021783412],"category_scores_gemma":[0.0000134544725,0.0004548076,0.000086194486,0.00006298874,0.00012101985,0.00025652206,0.00005541147,0.00030717277,0.000022879878],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00061852654,0.00009328626,0.0005604728,0.0013037403,0.00014161761,6.415027e-7,0.9570849,0.000068083704,0.00016743402,0.016323417,0.00026803388,0.02336986],"study_design_scores_gemma":[0.0018291253,0.00031296973,0.008998237,0.00048947614,0.0006349283,1.279372e-7,0.97805125,0.0002986832,0.00028045845,0.00081112183,0.0076574595,0.00063618907],"about_ca_topic_score_codex":0.00040756594,"about_ca_topic_score_gemma":0.0015604476,"teacher_disagreement_score":0.080571,"about_ca_system_score_codex":0.00006014878,"about_ca_system_score_gemma":0.00005613505,"threshold_uncertainty_score":0.9997904},"labels":[],"label_agreement":null},{"id":"W7044029444","doi":"","title":"Villains, Victims & Vixens: Camp and Late 20th Century Queer Canadian Drama","year":2023,"lang":"en","type":"dissertation","venue":"Scholarship at UWindsor (University of Windsor)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Drama; Taboo; Flourishing; Theme (computing); Queer theory","score_opus":0.01509359391659345,"score_gpt":0.2028642936561201,"score_spread":0.18777069973952665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7044029444","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9162455,0.0014011009,6.8098956e-8,0.00038593003,0.0013905094,0.00030819562,0.00062165566,0.00012295974,0.07952407],"genre_scores_gemma":[0.82279736,0.0020892753,0.00001376948,0.00012709867,0.00036917542,0.000001419457,0.0011628246,0.00008114283,0.17335796],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99805224,0.000082442115,0.00025308123,0.0005576748,0.00041141122,0.0006431372],"domain_scores_gemma":[0.998654,0.00006925941,0.00026783344,0.00038095034,0.00030364413,0.0003243214],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031022355,0.00045830436,0.0006141392,0.000730909,0.0021223857,0.00015560251,0.00043923053,0.000415492,0.0026211846],"category_scores_gemma":[0.000025942081,0.0005233079,0.00024492264,0.00016502663,0.00032372292,0.0006207649,0.00011811111,0.0007204382,0.000807016],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011186454,0.00012305094,0.06691456,0.0018317797,0.0022351202,0.00042252033,0.87769413,0.000013246107,0.00048205556,0.0070742127,0.024249198,0.01784147],"study_design_scores_gemma":[0.0010343295,0.00021092409,0.23007813,0.0006556293,0.00046271065,0.0000047789626,0.14056988,0.000010299646,0.000054356577,0.0005807474,0.6252749,0.0010632937],"about_ca_topic_score_codex":0.07713082,"about_ca_topic_score_gemma":0.88925475,"teacher_disagreement_score":0.8121239,"about_ca_system_score_codex":0.00021590722,"about_ca_system_score_gemma":0.00027924357,"threshold_uncertainty_score":0.999971},"labels":[],"label_agreement":null},{"id":"W7044976776","doi":"","title":"Alumnae Theatre Company: Nonprofessionalizing Theatre in Canada","year":2024,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exposition (narrative); Object (grammar); Football; Clothing","score_opus":0.02405629733575015,"score_gpt":0.21750774712739884,"score_spread":0.1934514497916487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7044976776","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10112896,0.000056386438,0.0000033289523,0.00061973446,0.0010300362,0.00024907416,0.000111082765,0.00014225375,0.89665914],"genre_scores_gemma":[0.98545825,0.013551441,0.000016682723,0.00017588818,0.0003810069,0.00000305144,0.000024353561,0.0000262163,0.00036312809],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99882823,0.000072641684,0.00016778229,0.0003195428,0.00021420959,0.00039758696],"domain_scores_gemma":[0.9995572,0.00011812148,0.000033116838,0.00019937377,0.00004171593,0.000050459246],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000092968185,0.00023230205,0.00025628158,0.0023270184,0.0003696309,0.00008916318,0.00026177612,0.000039623497,0.00048036728],"category_scores_gemma":[0.0000018107745,0.00019537135,0.000092754795,0.0012270286,0.00010182027,0.0005418203,0.00013838024,0.00030777726,0.000047609992],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004001991,0.00029818388,0.013592135,0.0011195128,0.000761114,0.0027480326,0.39844558,0.00010245848,0.000007307417,0.13789666,0.027425382,0.41720346],"study_design_scores_gemma":[0.00028407222,0.00003467888,0.00010236617,0.00029229792,0.000042562857,0.0000040934037,0.02839603,0.00034264819,0.00001808785,0.000007917538,0.9702186,0.00025661726],"about_ca_topic_score_codex":0.9879995,"about_ca_topic_score_gemma":0.9984731,"teacher_disagreement_score":0.94279325,"about_ca_system_score_codex":0.0005413402,"about_ca_system_score_gemma":0.0012818065,"threshold_uncertainty_score":0.79670125},"labels":[],"label_agreement":null},{"id":"W7045372148","doi":"","title":"Anique Jordan : Moving Histories and Discourse = Vidéos Colloque : Discours et histoires en mouvement","year":2019,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Conflation; Politics; Work (physics); Agency (philosophy); Narrative; Public discourse; Historical heritage; Public space","score_opus":0.010962777720660776,"score_gpt":0.23573665208055425,"score_spread":0.22477387435989346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7045372148","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008836968,0.014564369,0.000036005913,0.005510135,0.0052982634,0.0016736125,0.00092649105,0.00034748318,0.9628067],"genre_scores_gemma":[0.06132887,0.0019438071,0.000065296794,0.00091668713,0.002298044,0.0001657675,0.00027112197,0.00020401523,0.9328064],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965732,0.00017906722,0.0008215591,0.0009714805,0.00063709985,0.0008175569],"domain_scores_gemma":[0.9979215,0.00032156266,0.0005169567,0.0008453186,0.0001838721,0.00021075088],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005535945,0.0010830605,0.0013607041,0.00032799228,0.0012515028,0.0004646991,0.00048692204,0.00030217564,0.0032792415],"category_scores_gemma":[0.00003009537,0.0009370377,0.00037599966,0.000040137453,0.0011214355,0.00083112955,0.00038063864,0.0009065106,0.00045320098],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010007635,0.00013028711,0.000056834648,0.0005892719,0.00045742514,0.000039348437,0.1466294,0.000008083157,0.000039954026,0.23675454,0.60519916,0.009995655],"study_design_scores_gemma":[0.00061033544,0.00041585846,0.0001484661,0.00068295235,0.00035913987,0.000011127385,0.009617691,0.000019248204,0.000012942923,0.009176708,0.97776407,0.001181463],"about_ca_topic_score_codex":0.00052985194,"about_ca_topic_score_gemma":0.0124671925,"teacher_disagreement_score":0.37256494,"about_ca_system_score_codex":0.0007294267,"about_ca_system_score_gemma":0.00062811514,"threshold_uncertainty_score":0.999308},"labels":[],"label_agreement":null},{"id":"W7045785759","doi":"","title":"Berkeley Community Theatre December 12, 1965 excerpts","year":2016,"lang":"en","type":"other","venue":"Brandeis Institutional Repository","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Advice (programming); Pulpit; Bit (key); Style (visual arts); Newspaper","score_opus":0.023241408036712506,"score_gpt":0.23733357475288167,"score_spread":0.21409216671616915,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7045785759","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011414031,0.0018100259,0.000009777229,0.00007714898,0.0039448068,0.00024104417,0.0002522042,0.00032717333,0.99219644],"genre_scores_gemma":[0.08192225,0.00042081706,0.000015905494,0.00023484061,0.0061057145,0.000058589547,0.0000832443,0.00016032172,0.91099834],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99860245,0.00013195649,0.00031618195,0.00026164844,0.00037615353,0.00031163017],"domain_scores_gemma":[0.99910295,0.00010635143,0.00012835609,0.0005045436,0.000068065434,0.00008971909],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001419195,0.00039944157,0.00041475985,0.00019041901,0.0019400897,0.00011020016,0.00034966678,0.00020620725,0.008446583],"category_scores_gemma":[0.000007168219,0.0002763708,0.00022767749,0.000018194578,0.0012537931,0.00016496493,0.00013390809,0.00044577365,0.0012010627],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007244678,0.00013982713,0.00026405873,0.00016844399,0.00041939336,0.000031794156,0.0027759278,0.0000011412153,0.000027447833,0.03888671,0.9517213,0.0054914877],"study_design_scores_gemma":[0.00055115734,0.00004025667,0.00017131717,0.0005883738,0.000081511214,0.00004675205,0.00020622803,6.697223e-7,0.00003372183,0.00030961802,0.9975762,0.00039419282],"about_ca_topic_score_codex":0.0029421134,"about_ca_topic_score_gemma":0.01262358,"teacher_disagreement_score":0.0811981,"about_ca_system_score_codex":0.00008891644,"about_ca_system_score_gemma":0.0002331198,"threshold_uncertainty_score":0.9999688},"labels":[],"label_agreement":null},{"id":"W7066876888","doi":"","title":"Johanna Householder : Videoclips: An Annotated Bibliography in Real Time","year":2015,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Annotated bibliography; The arts; Video art; Cultural heritage; Cultural diversity","score_opus":0.04293950527140902,"score_gpt":0.25352205313370746,"score_spread":0.21058254786229844,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7066876888","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008515448,0.003435705,8.501418e-7,0.00027890378,0.0016503602,0.00080057123,0.0007793666,0.00070703926,0.98383176],"genre_scores_gemma":[0.010201649,0.005917201,0.000031761963,0.00069338956,0.004850697,0.0001251015,0.0011400628,0.00034077396,0.97669935],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.995591,0.00019644122,0.0010830472,0.0011041933,0.00085081777,0.0011745398],"domain_scores_gemma":[0.99746823,0.00012334308,0.00043964625,0.001134908,0.0004552989,0.00037858574],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008219102,0.0011338318,0.0014346497,0.006098826,0.00064733875,0.000595025,0.0007366439,0.00050364865,0.0076075],"category_scores_gemma":[0.000011746278,0.00102318,0.0004824361,0.00097128324,0.0008574733,0.0013096642,0.00020347671,0.0010268482,0.006204],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015289627,0.00023261693,0.000105598396,0.00012332958,0.00027706934,0.00009432225,0.02489465,0.0000087377,0.000011565971,0.0034164046,0.9625069,0.008175948],"study_design_scores_gemma":[0.0011661386,0.0006828931,0.00056694867,0.0004697771,0.00018340295,0.00000922834,0.0009541913,0.000050786646,0.000004145633,0.011060637,0.98353654,0.0013153205],"about_ca_topic_score_codex":0.0008860698,"about_ca_topic_score_gemma":0.007984795,"teacher_disagreement_score":0.023940457,"about_ca_system_score_codex":0.000115283314,"about_ca_system_score_gemma":0.00035160614,"threshold_uncertainty_score":0.99922186},"labels":[],"label_agreement":null},{"id":"W7067290707","doi":"","title":"Les relations entre travail et éducation au Québec : le cas de la réforme scolaire primaire et secondaire de 2001","year":2018,"lang":"fr","type":"other","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gender relations; Context (archaeology); Rite of passage","score_opus":0.018512542729265846,"score_gpt":0.26915091395016316,"score_spread":0.2506383712208973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7067290707","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06769122,0.0020446323,0.00007386129,0.0076335897,0.00047323975,0.0003053365,0.00012014765,0.00013182827,0.92152613],"genre_scores_gemma":[0.3256427,0.0005854043,0.00016476901,0.0004379006,0.0010845673,0.00004785321,0.00007097542,0.00010701626,0.67185885],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99830383,0.0002614986,0.00039452864,0.0003297352,0.00014853278,0.00056188257],"domain_scores_gemma":[0.99905133,0.0002206871,0.0002236527,0.00027572864,0.000105256324,0.0001233331],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00052891986,0.00043618292,0.0003959729,0.00016372398,0.0017367512,0.00023474629,0.00019302721,0.00037441726,0.09031836],"category_scores_gemma":[0.000037992064,0.00037998115,0.00019695608,0.000047809528,0.00092599605,0.00034500437,0.000059565493,0.00041999007,0.0015677732],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016302969,0.00023085561,0.033878673,0.0002369724,0.00025377164,0.0000030248439,0.39936462,0.000010608644,0.0000035999922,0.17005593,0.37414563,0.021800015],"study_design_scores_gemma":[0.00031525997,0.00012383875,0.05990869,0.00037192265,0.00015155737,0.000024405574,0.056463514,0.000045304932,0.000016829863,0.0004472871,0.8817128,0.00041860386],"about_ca_topic_score_codex":0.5351708,"about_ca_topic_score_gemma":0.9758013,"teacher_disagreement_score":0.50756717,"about_ca_system_score_codex":0.0014982749,"about_ca_system_score_gemma":0.0071769943,"threshold_uncertainty_score":0.99986523},"labels":[],"label_agreement":null},{"id":"W7070382933","doi":"","title":"Pratiques des TIC et faible littératie : &#13;\\nune critique des dystopies de « l’ère numérique » au Québec","year":2013,"lang":"fr","type":"other","venue":"Archipelago (Université du Québec à Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Perspective (graphical); Identity (music); Field (mathematics); Work (physics); Focus (optics)","score_opus":0.008525241496991754,"score_gpt":0.1888926488272094,"score_spread":0.18036740733021767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7070382933","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6195156,0.039494913,0.0010317935,0.0076063764,0.0004007931,0.000741697,0.0001776806,0.00034798693,0.33068317],"genre_scores_gemma":[0.4687144,0.015305659,0.0005984414,0.0005391525,0.0011938072,0.00007826928,0.000041961503,0.00027986796,0.51324844],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965353,0.0004991831,0.0005722119,0.0007669931,0.0003352987,0.0012910368],"domain_scores_gemma":[0.9975225,0.00064156705,0.00037987114,0.00070098817,0.0003381184,0.00041696432],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts","insufficient_payload"],"category_scores_codex":[0.0003133493,0.0011153072,0.0011055002,0.0005083006,0.003556314,0.00038767015,0.0007798364,0.00043185643,0.0140231],"category_scores_gemma":[0.000103380225,0.0010498373,0.000515739,0.00015803917,0.0033833697,0.0011468446,0.00046465255,0.00093049987,0.0010812981],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011819143,0.0002527542,0.010384217,0.001038486,0.00078543514,0.00015092338,0.7804159,0.000055398406,0.00003528763,0.15206216,0.017086549,0.037614696],"study_design_scores_gemma":[0.0006684762,0.00061997777,0.010121714,0.0011377959,0.00025943157,0.00007967634,0.23365377,0.00023987128,0.000039692495,0.004687886,0.7474146,0.0010771116],"about_ca_topic_score_codex":0.98591137,"about_ca_topic_score_gemma":0.99959755,"teacher_disagreement_score":0.7303281,"about_ca_system_score_codex":0.0018172797,"about_ca_system_score_gemma":0.0033860698,"threshold_uncertainty_score":0.9996965},"labels":[],"label_agreement":null},{"id":"W7070687207","doi":"","title":"<i>Post-Conflict Performance, Film and Visual Arts</i>:<i>Cities of Memory</i>","year":2016,"lang":"en","type":"book","venue":"Research Portal (Queen's University Belfast)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University","keywords":"Relation (database); Focus (optics); The arts; Graphic arts; Visual methods","score_opus":0.026264650694300635,"score_gpt":0.2555639902969511,"score_spread":0.22929933960265045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7070687207","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032016903,0.00026181724,7.558204e-7,0.0005139345,0.00027002743,0.000456557,0.0011215123,0.00008518226,0.9652733],"genre_scores_gemma":[0.08027443,0.0056871865,0.00000475486,0.00005348729,0.0008999894,0.0000031896811,0.00015217587,0.000054009604,0.91287076],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99718404,0.00010330365,0.00036931416,0.00053829636,0.0009947193,0.00081035466],"domain_scores_gemma":[0.99790716,0.00030300586,0.00023494726,0.00035996552,0.00096704555,0.00022784766],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00053468946,0.0004611553,0.00074816943,0.0009231645,0.0012426053,0.00009646151,0.0004420803,0.00025315728,0.004241252],"category_scores_gemma":[0.000020686952,0.00039087338,0.00023617466,0.0000766718,0.003000727,0.0006991603,0.0006588777,0.0008401031,0.00020894792],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012206485,0.00024756376,0.0008036992,0.0030496458,0.0014586247,0.0005037724,0.038613964,0.000001706646,0.0000577241,0.20118809,0.7364304,0.01642418],"study_design_scores_gemma":[0.0007111799,0.00090622884,0.00019583385,0.00061989704,0.000093537936,0.000005508837,0.009921874,0.000002871188,0.00016722725,0.0001740704,0.9867287,0.00047303532],"about_ca_topic_score_codex":0.00078183616,"about_ca_topic_score_gemma":0.00036014608,"teacher_disagreement_score":0.25029835,"about_ca_system_score_codex":0.000119707205,"about_ca_system_score_gemma":0.0006704456,"threshold_uncertainty_score":0.9998543},"labels":[],"label_agreement":null},{"id":"W7071144225","doi":"","title":"Review: The Journal of Dramaturgy, volume 19, issue 2","year":2009,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Conversation; Volume (thermodynamics); Typeface","score_opus":0.015596406440943787,"score_gpt":0.21810886964427795,"score_spread":0.20251246320333416,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071144225","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7192177,0.10827787,0.0002856431,0.022025554,0.0015215813,0.0004276842,0.00008429405,0.00007589398,0.14808379],"genre_scores_gemma":[0.96074176,0.016703896,0.00005719468,0.0019429582,0.0007396106,6.291364e-8,0.000007659314,0.000007704462,0.019799145],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924445,0.00006791801,0.00019343024,0.00008516871,0.00022307012,0.00018593368],"domain_scores_gemma":[0.99910265,0.00005502171,0.00029441708,0.0002172297,0.00027253196,0.000058171514],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042479121,0.00012279846,0.00031513613,0.000085544,0.0007373775,0.000038215843,0.00040420284,0.00003410364,0.002161888],"category_scores_gemma":[0.000026086433,0.00009433736,0.00020465143,0.00007315677,0.00045666602,0.00040224806,0.00005160433,0.0001953218,0.0001257601],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008509289,0.000071980416,0.00028769745,0.00022580242,0.00015438205,0.000008051203,0.054440178,0.000011612281,0.0000014850169,0.2330076,0.7107908,0.00091531343],"study_design_scores_gemma":[0.00019586741,0.00016093966,0.0002495292,0.00013674959,0.00013482943,0.000011478643,0.01589484,0.0000048684988,1.2393114e-7,0.3973002,0.585828,0.00008255741],"about_ca_topic_score_codex":0.00035057976,"about_ca_topic_score_gemma":0.00090865785,"teacher_disagreement_score":0.24152409,"about_ca_system_score_codex":0.000033161352,"about_ca_system_score_gemma":0.000041933923,"threshold_uncertainty_score":0.99875027},"labels":[],"label_agreement":null},{"id":"W7071650108","doi":"","title":"Taking the Measure of Nuit Blanche 2014: Students from Western University’s Inaugural Theatre Studies Cohort Reflect on Their Journey to Toronto’s All-Night Art Extravaganza","year":2015,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Measure (data warehouse); Cohort; Cohort study; Period (music)","score_opus":0.0979967927469251,"score_gpt":0.29076972537514,"score_spread":0.1927729326282149,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071650108","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4200505,0.000099463265,0.000008422067,0.00049817184,0.0006022908,0.0006501563,0.00016182907,0.00011045612,0.5778187],"genre_scores_gemma":[0.97589386,0.021329474,0.000019595815,0.0003173898,0.0004964756,0.0000022535874,0.000020565209,0.000032908905,0.0018874921],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980313,0.0002802735,0.00023905553,0.00043967733,0.00057062524,0.000439036],"domain_scores_gemma":[0.9985417,0.00017197455,0.00025257783,0.00053248584,0.0003790472,0.00012219088],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00040368666,0.00039825845,0.00055172795,0.0012289562,0.0005498303,0.00010474515,0.0009368371,0.00008290475,0.00019046039],"category_scores_gemma":[0.000023081504,0.0002772384,0.0001852444,0.00048301712,0.0002789532,0.0006105821,0.000425434,0.00027503172,0.00009804337],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0020890804,0.00052356994,0.04035685,0.00006604916,0.0043058195,0.00016403175,0.9085011,0.00006427867,0.000019897561,0.002942429,0.027223637,0.0137432935],"study_design_scores_gemma":[0.000996883,0.00049812434,0.0022695686,0.00017157847,0.00031295227,0.0000023117616,0.09802486,0.000003152834,0.00010968917,0.0000031126315,0.89728564,0.00032215068],"about_ca_topic_score_codex":0.046705972,"about_ca_topic_score_gemma":0.43378627,"teacher_disagreement_score":0.870062,"about_ca_system_score_codex":0.0005741317,"about_ca_system_score_gemma":0.00019065164,"threshold_uncertainty_score":0.999968},"labels":[],"label_agreement":null},{"id":"W7071913141","doi":"","title":"Voices of Cultural Memory: Enacting History in Recent Native Canadian Drama","year":2013,"lang":"en","type":"other","venue":"Dépôt institutionnel de l'Université libre de Bruxelles (Université Libre de Bruxelles)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Narrative; Knowledge production; Indigenous; Historiography; Ethnography","score_opus":0.016111419778525624,"score_gpt":0.18662036110554694,"score_spread":0.17050894132702132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071913141","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033669718,0.013867992,0.00005087171,0.0011387378,0.001264594,0.00075651356,0.00057462376,0.00038110223,0.94829583],"genre_scores_gemma":[0.15892501,0.0154766105,0.000578498,0.0009835818,0.0016361182,0.00002135258,0.00052275864,0.00043994607,0.82141614],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969218,0.00022868717,0.00045730168,0.00074768794,0.00041379195,0.0012307656],"domain_scores_gemma":[0.9979201,0.00012239671,0.0006277253,0.0005351254,0.00025459734,0.0005400467],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023330879,0.0008350541,0.0009584309,0.0018215433,0.00089513685,0.0001369696,0.001211414,0.0006928244,0.0143710915],"category_scores_gemma":[0.000037995578,0.0009107816,0.00038153175,0.00038951988,0.0010989507,0.0013225188,0.000368944,0.0009342543,0.00029244483],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032488562,0.00015866796,0.0007997458,0.00040712734,0.0006010806,0.00047399267,0.17748706,0.00032775398,0.000039994986,0.042332627,0.7692887,0.007758354],"study_design_scores_gemma":[0.002295318,0.00009874334,0.0004328723,0.0008011473,0.00021888115,0.000046679554,0.12708095,0.00037951575,0.000051887375,0.00009333528,0.8676111,0.00088957825],"about_ca_topic_score_codex":0.32661027,"about_ca_topic_score_gemma":0.49238163,"teacher_disagreement_score":0.16577138,"about_ca_system_score_codex":0.0037159005,"about_ca_system_score_gemma":0.002049875,"threshold_uncertainty_score":0.9993343},"labels":[],"label_agreement":null},{"id":"W7072316179","doi":"","title":"From Whether to Why: Preparing for the 2025 York Plays","year":2025,"lang":"en","type":"article","venue":"ScholarWorks - WMU (Western Michigan University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wonder; Relation (database); Extant taxon; Event (particle physics); Drama; Work (physics); Head (geology)","score_opus":0.03292565523584524,"score_gpt":0.24420039788651743,"score_spread":0.2112747426506722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7072316179","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72226423,0.0015912085,0.004102528,0.0047244085,0.0029708557,0.0011783404,0.00028464396,0.0002901991,0.2625936],"genre_scores_gemma":[0.8416269,0.00009019185,0.0001455926,0.0024382325,0.0010083184,0.000008869629,0.000022607443,0.000026141643,0.15463316],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990687,0.000040042916,0.00014561969,0.0003270809,0.000105502615,0.00031307162],"domain_scores_gemma":[0.99916506,0.00024645022,0.000055135606,0.0003928597,0.00008181857,0.000058698963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013418811,0.00020198616,0.00021669247,0.0002002086,0.0012752952,0.00035617867,0.0005676353,0.00007197085,0.00019193103],"category_scores_gemma":[0.000014056193,0.00016240762,0.00013799677,0.00014454752,0.00012733179,0.00037247548,0.00026246865,0.00028477758,0.00009478551],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0028790715,0.0003882252,0.05713949,0.0002633313,0.0043885657,0.000026126781,0.48112902,0.0014858452,0.00095547404,0.23420824,0.1844226,0.032714013],"study_design_scores_gemma":[0.00050114054,0.00004580604,0.0011465295,0.00018135735,0.00018787166,1.5525666e-7,0.020968955,0.000022856157,0.00019414785,0.000740719,0.9758048,0.00020563194],"about_ca_topic_score_codex":0.0005943705,"about_ca_topic_score_gemma":0.026433554,"teacher_disagreement_score":0.79138225,"about_ca_system_score_codex":0.000037252164,"about_ca_system_score_gemma":0.000041927673,"threshold_uncertainty_score":0.9913315},"labels":[],"label_agreement":null},{"id":"W7094093745","doi":"","title":"Body Geographic","year":2013,"lang":"","type":"article","venue":"Lincoln (University of Nebraska)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Memoir; Immigration; Lesbian; Demographics; Reflection (computer programming); Identity (music); Tourism; Port (circuit theory)","score_opus":0.010216767079817748,"score_gpt":0.16778252022025691,"score_spread":0.15756575314043916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7094093745","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75781024,0.002703018,0.000026447246,0.0030749082,0.0010123746,0.00054672814,0.00013311289,0.00008080265,0.23461239],"genre_scores_gemma":[0.94317675,0.002502891,0.00011429246,0.00013454804,0.00071159995,8.357295e-7,0.000015328395,0.00001889346,0.053324845],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854654,0.00006026825,0.00023760604,0.00036409948,0.0003089657,0.00048249832],"domain_scores_gemma":[0.9987863,0.000088662906,0.00024784595,0.00038826265,0.00033043814,0.00015853335],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00012127411,0.00029300182,0.0005094769,0.00036808194,0.0014797485,0.00011085408,0.0004949,0.00014946402,0.031039642],"category_scores_gemma":[0.000005020014,0.00033722539,0.0003827373,0.0001789487,0.0012101465,0.0009114391,0.00031447198,0.00027978138,0.0020652693],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00049734133,0.0021711695,0.07899591,0.0017689938,0.0034739748,0.00010757139,0.2500124,0.000052635052,0.0006096253,0.18965632,0.29630357,0.1763505],"study_design_scores_gemma":[0.0013052026,0.0006931206,0.09012919,0.00021398114,0.00032367907,0.0000027770081,0.07713419,0.0005902407,0.000019323881,0.0027115403,0.82625884,0.0006179248],"about_ca_topic_score_codex":0.010159579,"about_ca_topic_score_gemma":0.0032221794,"teacher_disagreement_score":0.52995527,"about_ca_system_score_codex":0.00003029259,"about_ca_system_score_gemma":0.00007511263,"threshold_uncertainty_score":0.999908},"labels":[],"label_agreement":null},{"id":"W7095162597","doi":"","title":"5 The Growth of Agricultural Protection","year":2016,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Agriculture; Protectionism; Developed country; Developing country; Newly industrialized country; Comparative advantage","score_opus":0.01996016308782977,"score_gpt":0.1859889688859359,"score_spread":0.16602880579810614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7095162597","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40099666,0.00009305592,0.000017079878,0.0051476257,0.00038797793,0.00011554725,0.0000039794486,0.00004211693,0.593196],"genre_scores_gemma":[0.9570623,0.000047815374,0.0000014340093,0.000011797751,0.00022832624,0.000008857159,7.6634606e-8,0.0000010679695,0.042638347],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99982643,0.000004898718,0.000052157597,0.000026435831,0.000037996946,0.00005210731],"domain_scores_gemma":[0.99987435,0.000019020568,0.0000177812,0.000032640437,0.00005172153,0.0000044745275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000033300887,0.000026470325,0.000029793391,0.000005482375,0.00021923204,0.000012037936,0.000032639357,0.0000043927803,0.00027488236],"category_scores_gemma":[0.0000041388184,0.0000072338134,0.000021001933,0.000005998705,0.000100266756,0.000073354015,0.00000913009,0.000010665386,0.00004878992],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001448781,0.000010011499,0.00037215135,0.000008738537,0.000032227148,2.530441e-8,0.0074706855,1.7377614e-8,0.0019863166,0.94306695,0.015481755,0.031556617],"study_design_scores_gemma":[0.00038381765,0.0002994067,0.035245586,0.000047515572,0.000017599777,0.0000017488125,0.011882187,6.254561e-7,0.031063573,0.009898825,0.91099566,0.00016343105],"about_ca_topic_score_codex":0.00010576893,"about_ca_topic_score_gemma":0.0008493724,"teacher_disagreement_score":0.9331682,"about_ca_system_score_codex":0.0000029509954,"about_ca_system_score_gemma":0.0000016973464,"threshold_uncertainty_score":0.30097693},"labels":[],"label_agreement":null},{"id":"W7095416123","doi":"","title":"SUMMARY","year":2010,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lease; Principal (computer security); Exhibition; Closing (real estate); Documentation","score_opus":0.018748843208777618,"score_gpt":0.2158958775358322,"score_spread":0.19714703432705458,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7095416123","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12955405,0.00001985297,5.1378555e-7,0.00039385035,0.0007741051,0.000014172397,0.000001980982,0.000051902203,0.86918956],"genre_scores_gemma":[0.8626142,0.000008585707,0.000028624496,0.0003340827,0.0008854847,0.0000021127319,0.0000012231352,0.0000025547977,0.13612314],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998383,0.0000010520573,0.000034133634,0.00003504364,0.000028044627,0.00006345016],"domain_scores_gemma":[0.9999027,0.000008367689,0.000004873679,0.000058796824,0.000013795356,0.000011417806],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000024123538,0.000029644625,0.000032027303,0.000012865132,0.00014263898,0.000028551833,0.0000354109,0.000006699752,0.013982326],"category_scores_gemma":[0.0000012310961,0.000019073947,0.000016792688,0.000003498194,0.00007281694,0.00007363778,0.000012076169,0.0000559753,0.00057335757],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000020845011,0.000009527206,0.0008163762,0.0000026847179,0.0000070112583,4.0134404e-7,0.0073077,1.7289862e-8,0.0001602363,0.8416129,0.137568,0.012513091],"study_design_scores_gemma":[0.00003230541,0.000009449818,0.0002197168,7.0393094e-7,0.0000018397564,3.3322524e-7,0.0008104492,0.0000024941257,0.00014952966,0.001365267,0.99737114,0.00003677393],"about_ca_topic_score_codex":0.000101702,"about_ca_topic_score_gemma":0.0063595106,"teacher_disagreement_score":0.85980314,"about_ca_system_score_codex":5.2099847e-7,"about_ca_system_score_gemma":0.0000029133612,"threshold_uncertainty_score":0.98691905},"labels":[],"label_agreement":null},{"id":"W7096274813","doi":"","title":"Canadian Journal of Practice-Based Research in Theatre Vosters Volume 5.1, 2013 1 IMPACT LAB AND THE HALPRIN LIFE ART PROCESS: A PRACTICE-BASED APPROACH TO CREATIVE, AFFECTIVE, AND POLITICAL","year":2016,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Repatriation; Afghan; Politics; Fell; Realm; Iraq war","score_opus":0.050031463228990845,"score_gpt":0.3243920711222661,"score_spread":0.27436060789327527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7096274813","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24446298,0.0011400726,0.00019962912,0.17656082,0.00012748265,0.0014402572,0.00010181404,0.000022723125,0.57594424],"genre_scores_gemma":[0.996459,0.000049161245,0.00017478765,0.0014206672,0.0002427191,0.00005630229,0.0000013980792,0.000018232908,0.0015777524],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978244,0.000662182,0.0003031227,0.00023338258,0.00035554616,0.00062138407],"domain_scores_gemma":[0.9962487,0.0023156058,0.00011030352,0.00018436926,0.00068516104,0.00045585798],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00258811,0.00019640895,0.0003430987,0.0004609604,0.0004905936,0.00034133252,0.0001641753,0.000055660752,0.00032937323],"category_scores_gemma":[0.0010326201,0.000090111535,0.000060612667,0.00013813275,0.0011662449,0.0008003868,0.000035393037,0.00034536386,0.000023496592],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.023916837,0.0021383273,0.14135604,0.00081726443,0.0017801858,0.00015741191,0.3186783,0.00031100336,0.00004615972,0.27539143,0.20769988,0.027707165],"study_design_scores_gemma":[0.01648621,0.0044698827,0.015679985,0.001053107,0.00034927914,0.00015051759,0.29282832,0.0013131633,0.0001309617,0.0034407855,0.6631059,0.0009919048],"about_ca_topic_score_codex":0.082690686,"about_ca_topic_score_gemma":0.08721789,"teacher_disagreement_score":0.751996,"about_ca_system_score_codex":0.00018584206,"about_ca_system_score_gemma":0.0012869191,"threshold_uncertainty_score":0.929438},"labels":[],"label_agreement":null},{"id":"W7097059881","doi":"","title":"Table of Contents","year":2016,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnography; Interpretation (philosophy); Table of contents; Rendering (computer graphics); Field (mathematics); Table (database)","score_opus":0.042479088475353644,"score_gpt":0.21861363368805678,"score_spread":0.17613454521270314,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7097059881","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.108240955,0.000078432895,0.000011187246,0.0004283647,0.0001856228,0.000021403745,0.0000134103175,0.000017794397,0.89100283],"genre_scores_gemma":[0.8530466,0.00003348918,0.0000048757693,0.000057887457,0.00008970274,0.0000012957023,1.5366385e-7,0.0000015370184,0.14676444],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998289,0.0000017977703,0.00005388941,0.000028592905,0.00003173823,0.00005509382],"domain_scores_gemma":[0.9998892,0.000013588662,0.000012985221,0.000044533666,0.000032803517,0.0000069104785],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000016990274,0.000024591605,0.00005124675,0.000011130602,0.000041653027,0.0000040083833,0.000028071418,0.0000038499534,0.0071919565],"category_scores_gemma":[0.0000020466355,0.0000107925825,0.000014485987,0.0000036034062,0.00007567717,0.00007515194,0.000010517255,0.0000053722374,0.00015087846],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021028933,0.00003240909,0.007600806,0.000014786075,0.000048380625,2.6691194e-7,0.007837466,2.6718864e-8,0.0017474245,0.8660259,0.090988755,0.02568273],"study_design_scores_gemma":[0.00018075609,0.000042043644,0.00040593435,0.000015729474,0.00000351863,1.0025585e-7,0.0011067708,3.0524882e-7,0.0041577164,0.0009800734,0.9930733,0.000033758293],"about_ca_topic_score_codex":0.00012677127,"about_ca_topic_score_gemma":0.00044721842,"teacher_disagreement_score":0.9020845,"about_ca_system_score_codex":0.0000011801018,"about_ca_system_score_gemma":0.000001926026,"threshold_uncertainty_score":0.9937156},"labels":[],"label_agreement":null},{"id":"W7099098738","doi":"","title":"Predicting the need for CT . . .","year":2012,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computed tomography; Clinical Practice; Head (geology); Tomography; Head injury","score_opus":0.04534963391045935,"score_gpt":0.24241674833485893,"score_spread":0.1970671144243996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7099098738","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22851562,0.0005245553,0.000020560721,0.0014084658,0.0010640445,0.00016212961,0.000011723936,0.00007491623,0.768218],"genre_scores_gemma":[0.9690129,0.000010726624,0.000018085299,0.0004929717,0.0025064007,0.000029464476,0.0000017766132,0.000004658526,0.027923023],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997229,0.0000039525125,0.00005611691,0.00002873298,0.000035121415,0.00015316882],"domain_scores_gemma":[0.99982786,0.00007039084,0.000013542901,0.000058459318,0.000016646329,0.0000131274555],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011534153,0.000041467683,0.00004362907,0.000008347674,0.0004935181,0.00003328965,0.000044880857,0.0000030913475,0.00079836877],"category_scores_gemma":[0.0000054623956,0.000019633633,0.000034909608,0.000005464838,0.000052639374,0.0001382201,0.000015260304,0.000025843987,0.000057995414],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013503012,0.00002889535,0.028660873,0.00002477533,0.000068275476,3.8158902e-8,0.11721262,8.713918e-7,0.000008209405,0.71293205,0.12851426,0.012535606],"study_design_scores_gemma":[0.00007496037,0.000019406374,0.00053420576,0.0000026052776,0.000014294572,6.1052043e-7,0.020735875,0.000041919822,0.000078756195,0.00036137897,0.9780961,0.00003988489],"about_ca_topic_score_codex":0.00010961537,"about_ca_topic_score_gemma":0.00030638007,"teacher_disagreement_score":0.84958184,"about_ca_system_score_codex":0.0000028322786,"about_ca_system_score_gemma":0.0000024047451,"threshold_uncertainty_score":0.8741578},"labels":[],"label_agreement":null},{"id":"W7099823277","doi":"","title":"Signature Date","year":2016,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Signature (topology); Information source (mathematics); Transfer (computing); Identification (biology); Noise (video)","score_opus":0.02090167302059531,"score_gpt":0.20914393964402722,"score_spread":0.1882422666234319,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7099823277","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016469916,0.00011880606,0.000014469496,0.0025034668,0.00032551357,0.000022149723,0.000010887485,0.00007215548,0.9804626],"genre_scores_gemma":[0.7961388,0.00004582951,0.000009721603,0.00036507924,0.00047083508,0.0000019391268,5.0900996e-7,0.000002809581,0.20296447],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997895,0.00000277188,0.0000395399,0.00005030773,0.000035950434,0.00008193034],"domain_scores_gemma":[0.99988407,0.000015731124,0.000007437127,0.00006392369,0.000017262706,0.00001158324],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000021634547,0.00003914793,0.0000409026,0.000013543632,0.000110441586,0.000017346782,0.00004184775,0.000008120634,0.0143770855],"category_scores_gemma":[0.0000015431588,0.000016201908,0.000018541583,0.0000039869974,0.00006507107,0.0001192564,0.000015558042,0.000016599748,0.0010272488],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000064446745,0.00000732471,0.00023094915,0.0000030596505,0.000017289112,7.35616e-7,0.00482946,1.8087915e-8,0.00023568064,0.77228355,0.16652697,0.055858504],"study_design_scores_gemma":[0.00008249182,0.000018724684,0.000092052214,0.0000067688648,0.0000026608914,2.0019762e-7,0.00042510618,3.3800447e-7,0.00049658644,0.0014748307,0.99735296,0.000047258036],"about_ca_topic_score_codex":0.000016565458,"about_ca_topic_score_gemma":0.00037918123,"teacher_disagreement_score":0.83082604,"about_ca_system_score_codex":0.0000016136061,"about_ca_system_score_gemma":0.0000025784639,"threshold_uncertainty_score":0.99975055},"labels":[],"label_agreement":null},{"id":"W7100409821","doi":"","title":"Mobile Mapping System- State of the Art and the Future Trends","year":2004,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"State (computer science); Mobile device; State of art; Digital imaging; Digital mapping; Key (lock)","score_opus":0.009479888759780421,"score_gpt":0.19027881913311823,"score_spread":0.1807989303733378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7100409821","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24153434,0.0026412976,0.000007713475,0.0018187523,0.000729747,0.00016128989,0.00002423784,0.00004421067,0.7530384],"genre_scores_gemma":[0.96321356,0.00016553159,0.000005947122,0.00012540106,0.00032098425,0.000014552364,5.7611777e-7,0.0000034577145,0.03614997],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996879,0.000013163769,0.00010169749,0.00005138118,0.00006693043,0.000078896206],"domain_scores_gemma":[0.9998112,0.0000123869195,0.000036577574,0.000111516536,0.000020713349,0.000007616093],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008863501,0.00005838332,0.000102650476,0.00001895005,0.0003193553,0.000032209013,0.00006774611,0.0000068836857,0.00012176361],"category_scores_gemma":[3.987498e-7,0.000021710599,0.000046796853,0.000023195587,0.00026777113,0.000052155956,0.000037228492,0.00004706203,0.00001116242],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004506449,0.000020213081,0.00024585568,0.00014376576,0.00012373168,4.974693e-7,0.27169958,0.000069658454,0.000011933036,0.6838041,0.010352158,0.03348344],"study_design_scores_gemma":[0.0007456047,0.000042297328,0.0005932217,0.000055241886,0.000021264961,0.000003171492,0.062448986,0.000015204955,0.000093822106,0.001223775,0.9346906,0.000066795095],"about_ca_topic_score_codex":0.00011333051,"about_ca_topic_score_gemma":0.0015487043,"teacher_disagreement_score":0.92433846,"about_ca_system_score_codex":0.0000064129804,"about_ca_system_score_gemma":0.000005833936,"threshold_uncertainty_score":0.24562553},"labels":[],"label_agreement":null},{"id":"W7100686284","doi":"","title":"Radical Ambivalence: Engaging Poststructurally with Performance, (Re)Envisioning the Political","year":2016,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Feminism; Political correctness; Intervention (counseling); Field (mathematics)","score_opus":0.016790352236693572,"score_gpt":0.2133329908710261,"score_spread":0.19654263863433255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7100686284","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66210026,0.00006087351,0.000021813534,0.010132064,0.00022178565,0.00008787148,0.0000075151443,0.00009626878,0.32727155],"genre_scores_gemma":[0.98947334,0.00005654555,0.0000639151,0.0015383255,0.000806963,0.000008568721,8.1444006e-7,0.000013683532,0.008037818],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998948,0.000029684485,0.00015792913,0.00016873627,0.00024016896,0.0004554738],"domain_scores_gemma":[0.9994667,0.00017574464,0.00002987045,0.00019868938,0.000058423597,0.00007055619],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00012895186,0.00015208783,0.00013480824,0.000041638057,0.0010341628,0.00009849785,0.00019466243,0.000021085081,0.0047950353],"category_scores_gemma":[0.000011554424,0.000051916115,0.00004579165,0.000026234911,0.00089303823,0.00033274267,0.00006753341,0.0001452473,0.00016833031],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000088010966,0.000014583228,0.011662968,0.00002123677,0.00008010116,0.0000035937348,0.0112826,9.7084e-7,0.00009585771,0.9206485,0.003324516,0.05277706],"study_design_scores_gemma":[0.0026467459,0.0013710922,0.05089556,0.00066746655,0.00017349145,0.00014063616,0.087163374,0.00022188108,0.0037201752,0.0056622955,0.8460508,0.0012864525],"about_ca_topic_score_codex":0.00006787031,"about_ca_topic_score_gemma":0.0002042693,"teacher_disagreement_score":0.9149862,"about_ca_system_score_codex":0.000024249011,"about_ca_system_score_gemma":0.000028501185,"threshold_uncertainty_score":0.99611473},"labels":[],"label_agreement":null},{"id":"W7100826095","doi":"","title":"Canadian Medical Association Submission on Bill S-209, An Act to Amend the Criminal Code (prize fights) Submitted to the House of Commons Standing Committee on","year":2013,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"House of Commons; General partnership; Professional association; Health care; Population; Promotion (chess); Select committee; Public health; Association (psychology)","score_opus":0.04146385331452308,"score_gpt":0.2578031926458463,"score_spread":0.2163393393313232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7100826095","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85124636,0.0000101526575,0.0000034242082,0.07587589,0.00037690965,0.00049413065,0.0001323762,0.000061131905,0.07179964],"genre_scores_gemma":[0.98421097,0.000015643385,0.0000063437524,0.009176086,0.00045222323,0.000039926614,0.000007850995,0.000020018853,0.006070927],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985037,0.00012765951,0.0002455466,0.00015921252,0.0006005132,0.00036338507],"domain_scores_gemma":[0.99878097,0.0003829286,0.00006954297,0.00032237146,0.00015081231,0.00029339714],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005556541,0.00016044635,0.00019815017,0.00012125187,0.0010831008,0.00016423798,0.000355112,0.00006827459,0.007280089],"category_scores_gemma":[0.00009948867,0.00006812383,0.00005700414,0.00007045204,0.000055037435,0.000121333935,0.000047803307,0.0002764562,0.0005053725],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010689975,0.00013786269,0.004657368,0.000013640278,0.0001077099,0.0000027903493,0.11024631,0.000028961129,0.000043876713,0.03582979,0.8384422,0.010382612],"study_design_scores_gemma":[0.0002981251,0.00084301597,0.0211897,0.00009321027,0.00004326572,8.0358484e-7,0.023499744,0.00016869127,0.00045245583,0.00021242304,0.95297444,0.00022413407],"about_ca_topic_score_codex":0.1965701,"about_ca_topic_score_gemma":0.8689601,"teacher_disagreement_score":0.67239,"about_ca_system_score_codex":0.00022163765,"about_ca_system_score_gemma":0.00009798162,"threshold_uncertainty_score":0.99362737},"labels":[],"label_agreement":null},{"id":"W7101425488","doi":"10.1386/atr_00099_2","title":"Moving the centre of socially engaged performance","year":2025,"lang":"en","type":"article","venue":"Applied Theatre Research","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Cognitive reframing; Mentorship; Dominance (genetics); Publishing; Project commissioning; Social responsibility; Point (geometry)","score_opus":0.05786142029699621,"score_gpt":0.30447225628867747,"score_spread":0.24661083599168127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7101425488","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19442321,0.00039391618,0.0000017639313,0.0024212652,0.0001412035,0.00028863532,0.000008671026,0.000035067806,0.80228627],"genre_scores_gemma":[0.98773,0.0003595058,0.000012308426,0.00009819207,0.00037599987,0.000040178988,0.0000035013209,0.0000116262245,0.011368638],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99858534,0.00022020581,0.00021389406,0.00017330285,0.00037912317,0.00042813658],"domain_scores_gemma":[0.99859786,0.0008724891,0.00003547938,0.00031809363,0.00015182828,0.000024260438],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0020766149,0.00011621729,0.0001902271,0.00014823696,0.0025921783,0.000080395424,0.00040340133,0.000038929953,0.00053006655],"category_scores_gemma":[0.000016300175,0.00007128678,0.00006774738,0.00017752935,0.0007941653,0.000068846195,0.00021178403,0.0008044417,0.000107447224],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016290131,0.0000855942,0.0013577506,0.00024851345,0.00017596196,6.4396954e-7,0.085837066,0.000012121917,0.00079877704,0.6788946,0.018976424,0.21344966],"study_design_scores_gemma":[0.00054184766,0.00006557398,0.00142002,0.00013383126,0.000036037174,2.826424e-7,0.118022375,0.000084864594,0.0053713624,0.014204353,0.8599391,0.00018035439],"about_ca_topic_score_codex":0.000188808,"about_ca_topic_score_gemma":0.0006869754,"teacher_disagreement_score":0.84096265,"about_ca_system_score_codex":0.000035906924,"about_ca_system_score_gemma":0.00014978732,"threshold_uncertainty_score":0.99870634},"labels":[],"label_agreement":null},{"id":"W7103259143","doi":"","title":"The Blue Issue","year":2013,"lang":"","type":"article","venue":"DigitalCommons - WayneState (Wayne State University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Poetry; White (mutation); Performance art","score_opus":0.013824376210450979,"score_gpt":0.18335629616469712,"score_spread":0.16953191995424613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7103259143","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25174168,0.0015855076,0.00002183579,0.0045771794,0.0018863569,0.0010370547,0.0007775571,0.00028117737,0.73809165],"genre_scores_gemma":[0.6256061,0.01232489,0.000010403711,0.00020467774,0.0004766089,0.000008667597,0.000076931836,0.000078391604,0.36121333],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99596596,0.00021033015,0.0007403795,0.0007829132,0.0005225347,0.0017779144],"domain_scores_gemma":[0.99662447,0.0007112205,0.00041661484,0.0011379329,0.0006449894,0.00046479556],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["sts","insufficient_payload"],"category_scores_codex":[0.00024142991,0.0009302809,0.0007334367,0.000514875,0.0057592075,0.0027488708,0.001384175,0.00013199053,0.002417469],"category_scores_gemma":[0.000032432734,0.00073324365,0.00051500846,0.0005695505,0.0027718623,0.00327736,0.0008527156,0.00071499374,0.007102073],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005643285,0.00081690465,0.0025085737,0.00043398666,0.0024376877,0.0005080795,0.07774412,0.00030033657,0.000025845191,0.265036,0.31554076,0.33408338],"study_design_scores_gemma":[0.0009205983,0.0004122464,0.00065101206,0.000113773676,0.00015944119,0.000010067781,0.056678332,0.00015178994,0.00007295913,0.0016399847,0.9382385,0.0009513026],"about_ca_topic_score_codex":0.002855741,"about_ca_topic_score_gemma":0.0039411876,"teacher_disagreement_score":0.6226977,"about_ca_system_score_codex":0.00024984637,"about_ca_system_score_gemma":0.00020969448,"threshold_uncertainty_score":0.999942},"labels":[],"label_agreement":null},{"id":"W7103448962","doi":"","title":"Fuddy Meers","year":2002,"lang":"","type":"article","venue":"Digital Commons - Otterbein (Otterbein University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nothing; Bedroom; Drama; Hide and seek; Dream; Performance art","score_opus":0.02617515869004712,"score_gpt":0.1795728763054654,"score_spread":0.15339771761541826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7103448962","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14028086,0.0017374688,0.000047741265,0.004442076,0.0016324526,0.0005030055,0.0011670028,0.00036896442,0.84982044],"genre_scores_gemma":[0.8183134,0.0008211208,0.000015344971,0.00067950983,0.00088380167,0.0000025263719,0.000092965805,0.00009562722,0.17909567],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.995863,0.00016103644,0.0007368878,0.0010475477,0.0006495138,0.0015420007],"domain_scores_gemma":[0.99744236,0.0002971666,0.00035489726,0.0011853607,0.00022919278,0.00049104705],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00013670111,0.0011086324,0.0010320932,0.0010776828,0.0025106291,0.0017913252,0.0014620015,0.00028994214,0.009961295],"category_scores_gemma":[0.00002336869,0.0012059052,0.0008054574,0.0006127829,0.001798294,0.0034951665,0.0009418928,0.000880873,0.0051268283],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007017566,0.0033896111,0.023519102,0.0007880697,0.004067269,0.0027409573,0.09331994,0.00008529194,0.000066090564,0.24504478,0.53049,0.09578717],"study_design_scores_gemma":[0.0017104455,0.00067462056,0.00036238442,0.0002883575,0.00037393844,0.00002915067,0.010768746,0.0002512641,0.00004975815,0.00038523818,0.9836238,0.0014822959],"about_ca_topic_score_codex":0.00023005385,"about_ca_topic_score_gemma":0.0010111673,"teacher_disagreement_score":0.6780326,"about_ca_system_score_codex":0.00034127716,"about_ca_system_score_gemma":0.000045420056,"threshold_uncertainty_score":0.9992449},"labels":[],"label_agreement":null},{"id":"W7108341682","doi":"10.71781/32632","title":"Le Fringe de Montréal : son histoire, l’évolution de sa programmation et son impact dans l’écosystème montréalais (1991-2024)","year":2025,"lang":"fr","type":"dissertation","venue":"Open MIND","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Period (music); Mythology","score_opus":0.01824474191513994,"score_gpt":0.27079232700173633,"score_spread":0.2525475850865964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7108341682","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5499603,0.008340159,0.00008108558,0.00066508586,0.0015384853,0.0013082316,0.0006008356,0.000018335635,0.43748742],"genre_scores_gemma":[0.8573566,0.0014395263,0.0006582456,0.000035128996,0.00071239314,0.0003137636,0.003216322,0.000062526364,0.1362055],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99743503,0.00021541248,0.00067819504,0.00057742506,0.00029549893,0.0007984167],"domain_scores_gemma":[0.99869114,0.00010636811,0.00046435348,0.0003696954,0.00022155656,0.00014685672],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006752241,0.0006161101,0.0007021529,0.00025535168,0.0025439898,0.0010015487,0.00050091505,0.00038360717,0.0012029569],"category_scores_gemma":[0.000050930204,0.00060132367,0.00035371675,0.00014361866,0.0001646471,0.00091720064,0.00013614472,0.0005595748,0.00023017896],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00081562187,0.00068790244,0.003872318,0.00067227427,0.00080486585,0.00003771704,0.25654906,0.00093829655,0.0006031213,0.013518201,0.010394145,0.7111065],"study_design_scores_gemma":[0.0017401583,0.0008685753,0.06665077,0.0023690874,0.0011232333,0.000025172034,0.08131383,0.0062488634,0.001032967,0.0019849176,0.83523744,0.0014049632],"about_ca_topic_score_codex":0.33716038,"about_ca_topic_score_gemma":0.66783255,"teacher_disagreement_score":0.8248433,"about_ca_system_score_codex":0.0015231812,"about_ca_system_score_gemma":0.0010906996,"threshold_uncertainty_score":0.9997101},"labels":[],"label_agreement":null},{"id":"W7108452405","doi":"10.1515/9798855804010-011","title":"9 Daughter-Mother Borderlands in Contemporary Italian American and Italian Canadian Theater","year":2025,"lang":"","type":"book-chapter","venue":"SUNY Press eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Government (linguistics); Indigenous; Ethnic group","score_opus":0.04200948253640104,"score_gpt":0.24557642559858478,"score_spread":0.20356694306218373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7108452405","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002689639,0.0049957735,5.396273e-7,0.00061046385,0.00090567116,0.00093293673,0.0016245344,0.00005754422,0.9881829],"genre_scores_gemma":[0.47520322,0.00057864323,0.000005158701,0.0008687127,0.00046293694,0.000062147454,0.00006279346,0.00008291797,0.5226735],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968079,0.00008451363,0.00090275705,0.00093510136,0.00028754896,0.0009822183],"domain_scores_gemma":[0.99839354,0.00009327304,0.0002884312,0.00072637,0.00012496166,0.00037340136],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022833202,0.001094027,0.0013362342,0.00073396816,0.0008450123,0.00057255,0.00044114585,0.00031158127,0.0010139575],"category_scores_gemma":[0.000004568603,0.00096050586,0.00025331418,0.000013628689,0.00196659,0.0002152853,0.00024581904,0.00076949794,0.00003303076],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005456077,0.00008914888,0.005529745,0.0011593545,0.0018650007,0.00044545604,0.09469655,0.0000014046525,0.0000042828683,0.77464557,0.02873904,0.09227886],"study_design_scores_gemma":[0.0007888183,0.00031248195,0.00041198137,0.0011151211,0.00013481917,0.0000061626824,0.0024465534,0.0000137245415,0.000017906323,0.0017787878,0.99188846,0.0010851532],"about_ca_topic_score_codex":0.5153825,"about_ca_topic_score_gemma":0.7519289,"teacher_disagreement_score":0.9631494,"about_ca_system_score_codex":0.00012372604,"about_ca_system_score_gemma":0.00039303084,"threshold_uncertainty_score":0.99989927},"labels":[],"label_agreement":null},{"id":"W7110833064","doi":"10.5325/ecumenica.18.2.0154","title":"The Performance of Politics and the Politics of Performance: Christopher Grobe, Joy Palacios, and Shannon Steen Weigh in on Where the Field Is and Where We’re Going","year":2025,"lang":"en","type":"article","venue":"Ecumenica","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Calgary","funders":"","keywords":"Politics; Field (mathematics); Table (database); George (robot)","score_opus":0.008370414193730311,"score_gpt":0.22762383933681113,"score_spread":0.21925342514308083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7110833064","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9135328,0.02109056,1.6251705e-7,0.014172501,0.00015024989,0.00023238294,0.000018351087,0.00000829653,0.050794717],"genre_scores_gemma":[0.9557637,0.031459156,0.000004734104,0.0006941469,0.0001388684,0.000014551507,5.948822e-7,0.000008424664,0.011915821],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910384,0.00005413137,0.00031437053,0.00014323679,0.00013494554,0.00024948447],"domain_scores_gemma":[0.99895215,0.0006359189,0.00010373482,0.00023979184,0.00004669339,0.000021714744],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030556443,0.00015940821,0.00025581734,0.00004472026,0.00060572464,0.00006294009,0.0001749822,0.000051492876,0.000093121635],"category_scores_gemma":[0.000015590962,0.00007760174,0.000040109433,0.00004138833,0.0008558777,0.00012242634,0.00016238767,0.00023985558,0.0000016439855],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00054196815,0.00007664369,0.058425084,0.00197792,0.0003035408,8.8781144e-7,0.1409458,0.000007676669,0.000020325539,0.7318332,0.051610123,0.014256817],"study_design_scores_gemma":[0.0016505851,0.0005113337,0.010174611,0.0010810707,0.00010494893,0.0000024491342,0.016074413,0.0011970613,0.00048223324,0.002386459,0.9661158,0.00021905376],"about_ca_topic_score_codex":0.00033085776,"about_ca_topic_score_gemma":0.0009989316,"teacher_disagreement_score":0.91450566,"about_ca_system_score_codex":0.000018683211,"about_ca_system_score_gemma":0.000037238024,"threshold_uncertainty_score":0.46588054},"labels":[],"label_agreement":null},{"id":"W7113725353","doi":"","title":"Enter the Man","year":2012,"lang":"en","type":"article","venue":"DigiNole (Florida State University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Trope (literature); Metaphor; Queer; Movement (music); Metonymy; Queer theory; Period (music); The Imaginary","score_opus":0.019019290561987656,"score_gpt":0.17417830006165866,"score_spread":0.155159009499671,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7113725353","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45898038,0.00012281664,0.000014500447,0.00040192337,0.00089471514,0.00006966472,0.000033232922,0.00007010976,0.5394126],"genre_scores_gemma":[0.9110083,0.00012588254,0.0000024268604,0.00022429429,0.000552384,4.5224442e-7,0.0000060863026,0.000007131695,0.08807305],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999466,0.000016906473,0.000056973637,0.00008142194,0.00008681086,0.00029187297],"domain_scores_gemma":[0.99971837,0.000025186291,0.000029809504,0.00014407493,0.00003410729,0.000048427428],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00004569176,0.000099323,0.00008223564,0.00008085072,0.0005074249,0.00005830945,0.00016615541,0.000010575112,0.00050946645],"category_scores_gemma":[0.0000010051148,0.00006869156,0.00006172109,0.000044839293,0.00018230078,0.0005279233,0.000079149075,0.00008602008,0.00038132933],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013365102,0.00012049997,0.035872247,0.000038889466,0.00031116558,0.000023160987,0.22792709,0.00001341375,0.00002126851,0.6485232,0.06808006,0.018935362],"study_design_scores_gemma":[0.00016252555,0.000019451449,0.0011779752,0.00000557911,0.000023105815,8.0377424e-7,0.009365656,0.0000028644013,0.00010246517,0.00008868612,0.9889466,0.00010428836],"about_ca_topic_score_codex":0.00013237313,"about_ca_topic_score_gemma":0.00031513648,"teacher_disagreement_score":0.92086655,"about_ca_system_score_codex":0.000027996668,"about_ca_system_score_gemma":0.00000800525,"threshold_uncertainty_score":0.55783004},"labels":[],"label_agreement":null},{"id":"W7114159425","doi":"","title":"Rhythm in postdramatic performance process voyages into the work of Mime Omnibus, Dairakudakan and SITI Company","year":2025,"lang":"en","type":"article","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rhythm; Subject (documents); Process (computing); Focus (optics); Work (physics); Key (lock)","score_opus":0.010945208937832346,"score_gpt":0.2309273216752018,"score_spread":0.21998211273736945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7114159425","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90561146,0.0015809746,0.000001609728,0.0013709007,0.00010362841,0.00017006743,0.0000023771172,0.000026001346,0.09113298],"genre_scores_gemma":[0.99259144,0.00026578887,0.000023003893,0.00031577286,0.000068909845,0.000021396276,0.0000023667546,0.000005300465,0.0067060017],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9993702,0.000019999141,0.00023838329,0.000117475094,0.00009207801,0.00016182501],"domain_scores_gemma":[0.99964327,0.000091228336,0.000047695274,0.00014502177,0.000059214624,0.00001354844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015138113,0.000120128345,0.00021412308,0.000092031136,0.00029624815,0.000059803802,0.00011875239,0.000021490341,0.00018703825],"category_scores_gemma":[0.0000071429763,0.00007026855,0.000026110682,0.00010346295,0.00035832846,0.00017525227,0.000064240405,0.00010952465,0.000011566747],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023031114,0.00021947152,0.25187197,0.0023410057,0.00022017452,0.0000032803305,0.5395019,0.00008543449,0.000027630433,0.12941381,0.006509972,0.06957504],"study_design_scores_gemma":[0.0031249283,0.0007921894,0.5289554,0.0043645045,0.00028501087,0.000010804854,0.25988275,0.003164037,0.0035474466,0.021076068,0.17338732,0.0014095542],"about_ca_topic_score_codex":0.0003207137,"about_ca_topic_score_gemma":0.002760695,"teacher_disagreement_score":0.27961916,"about_ca_system_score_codex":0.000009657511,"about_ca_system_score_gemma":0.000024949644,"threshold_uncertainty_score":0.28654683},"labels":[],"label_agreement":null},{"id":"W7115033566","doi":"","title":"Losing Count, Looking Elsewhere: The Rhythms and Rhuthmos of Street Circus Performers in Palermo","year":2025,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"Social Sciences and Humanities Research Council of Canada; McGill University","keywords":"Rhythm; Work (physics)","score_opus":0.017886894170952333,"score_gpt":0.22702868124703846,"score_spread":0.20914178707608613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7115033566","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7367771,0.001974923,8.369578e-9,0.000017908424,0.0010661851,0.00040914238,0.0006894111,0.00004723622,0.25901803],"genre_scores_gemma":[0.9878036,0.0021274567,0.00000956257,0.00013473349,0.00013760645,0.00007487259,0.00022727868,0.00006938905,0.009415529],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974087,0.00013975674,0.0008286071,0.0005786558,0.00047865367,0.0005656318],"domain_scores_gemma":[0.9984727,0.0002907526,0.00046124437,0.00043879362,0.00026536413,0.000071178],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00063029485,0.0005965506,0.0007677473,0.00037056976,0.0017115714,0.00013640865,0.00035932826,0.00028692945,0.00034711233],"category_scores_gemma":[0.000098725715,0.00047467888,0.00021171353,0.00018918765,0.00023099406,0.0005565318,0.00010833418,0.0011561575,0.000016577264],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046491573,0.0002236197,0.0022734387,0.0037032566,0.00090118207,0.000050059643,0.005037086,0.000044997138,0.001198517,0.34251693,0.000046764664,0.64353925],"study_design_scores_gemma":[0.0047599394,0.0008150891,0.020420799,0.012543227,0.0017440238,0.000033225955,0.14138623,0.00015901306,0.013245641,0.03136408,0.7692187,0.0043100715],"about_ca_topic_score_codex":0.0015792858,"about_ca_topic_score_gemma":0.06213583,"teacher_disagreement_score":0.7691719,"about_ca_system_score_codex":0.00019827428,"about_ca_system_score_gemma":0.000066074324,"threshold_uncertainty_score":0.99977046},"labels":[],"label_agreement":null},{"id":"W7115093690","doi":"","title":"A New Performing Arts Centre for the International School of Uganda","year":2023,"lang":"","type":"article","venue":"Central Research and Creativity Online (The Royal Central School of Speech and Drama)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Performing arts; Space (punctuation); The arts; Performance studies; Scenography; Action (physics)","score_opus":0.06503185798881035,"score_gpt":0.3333587973034738,"score_spread":0.26832693931466345,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7115093690","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95798767,0.0077883713,0.000052149735,0.02431382,0.0010170265,0.0017907674,0.0013113847,0.000043145825,0.0056956513],"genre_scores_gemma":[0.9399242,0.017192798,0.00014188462,0.00007610795,0.003820105,0.000017564826,0.00012785132,0.000036495076,0.03866299],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9958245,0.0001219619,0.00069922174,0.00052680884,0.0011371674,0.0016903167],"domain_scores_gemma":[0.99659324,0.001406262,0.00023510477,0.00037692566,0.0005916067,0.0007968897],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013279698,0.0004164888,0.00062967034,0.00020889651,0.001719584,0.0005217792,0.00062911375,0.00014394821,0.0027989747],"category_scores_gemma":[0.0008163094,0.00025143605,0.00028299115,0.0002791786,0.0014535598,0.0003831821,0.00055056426,0.0009308324,0.000033968274],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0071750507,0.0010259054,0.2582022,0.0017124688,0.002370034,0.000035552323,0.017889284,0.00017436729,0.0005741276,0.017068226,0.24974498,0.4440278],"study_design_scores_gemma":[0.005085588,0.002234627,0.27154544,0.0013895778,0.00043276374,0.000011901986,0.05130239,0.013851792,0.002727551,0.007131782,0.64353067,0.00075591914],"about_ca_topic_score_codex":0.0027739871,"about_ca_topic_score_gemma":0.0031373536,"teacher_disagreement_score":0.4432719,"about_ca_system_score_codex":0.0001007416,"about_ca_system_score_gemma":0.00065460004,"threshold_uncertainty_score":0.9999938},"labels":[],"label_agreement":null},{"id":"W7115892341","doi":"10.1525/jrpc.23.2.255","title":"Review: Theater in a Crowded Fire: Ritual and Spirituality at Burning Man, by Lee Gilmore","year":2011,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Spirituality; Meaning (existential)","score_opus":0.028326044095986713,"score_gpt":0.24921239877616336,"score_spread":0.22088635468017664,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7115892341","genre_codex":"empirical","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6972481,0.2963303,5.0740823e-7,0.0010932799,0.00018873715,0.00010107217,0.0000133205895,0.000008948646,0.005015727],"genre_scores_gemma":[0.469454,0.5150823,0.000074469426,0.0048044412,0.00042393102,0.0000031605975,0.000011392835,0.00001521081,0.010131102],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927026,0.000047566493,0.00033432164,0.00009961882,0.000111648,0.00013656355],"domain_scores_gemma":[0.9996349,0.000004568387,0.00016390478,0.00006896083,0.0000662795,0.00006134465],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023855826,0.00013445602,0.00030031154,0.000032346223,0.00020206932,0.000042421845,0.000063587046,0.000052959796,0.00008054247],"category_scores_gemma":[0.000012002915,0.00008010223,0.000073856914,0.000022482389,0.00010044305,0.00021652809,0.000039978873,0.00022977637,0.0000047892304],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014277254,0.00005641965,0.012557493,0.0004306809,0.00006009014,0.000047328573,0.052968305,7.3964415e-8,0.000121241355,0.0021793612,0.92921484,0.0022214048],"study_design_scores_gemma":[0.00045617958,0.00018442229,0.00035772624,0.00086806034,0.000052422245,0.00014372596,0.00087024766,9.543422e-7,0.00004327625,0.0005000714,0.9963999,0.00012305008],"about_ca_topic_score_codex":0.00010042894,"about_ca_topic_score_gemma":0.0003977393,"teacher_disagreement_score":0.2277941,"about_ca_system_score_codex":0.000014170536,"about_ca_system_score_gemma":0.0000046538307,"threshold_uncertainty_score":0.32664743},"labels":[],"label_agreement":null},{"id":"W7116847307","doi":"10.5539/jel.v15n3p118","title":"Cultural Memory and Identity Formation in Performing Arts: The Educational Role of Hue Tuong","year":2025,"lang":"","type":"article","venue":"Journal of Education and Learning","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Mahasarakham University","keywords":"Semiotics; Ethnography; Embodied cognition; Identity (music); Morality; Curriculum; The arts; Cultural identity; Face (sociological concept)","score_opus":0.014468377601983237,"score_gpt":0.2994315797966429,"score_spread":0.2849632021946597,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7116847307","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95387423,0.020629745,0.000006197497,0.00347138,0.00086192874,0.00008786256,8.673889e-7,0.0000013645213,0.021066422],"genre_scores_gemma":[0.9914106,0.0041894168,0.00003539425,0.00014008264,0.0006193561,0.0000035806245,0.000002329543,0.0000036674708,0.003595548],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99897957,0.00011016205,0.0005732741,0.000073434305,0.0001474398,0.0001161234],"domain_scores_gemma":[0.9988689,0.00020082289,0.00050732336,0.000050545517,0.00034169332,0.000030751315],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007540399,0.00010796288,0.00021126478,0.00028457397,0.0008026829,0.00022129768,0.00008249555,0.000037267822,0.00021666453],"category_scores_gemma":[0.00015880073,0.00007493843,0.00005794985,0.00010210344,0.00018373787,0.0015920392,0.00003951372,0.00048433302,0.0000012924747],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012441953,0.00033193192,0.07392875,0.00068414526,0.00015658131,2.6120713e-7,0.6278057,0.00024439493,0.00049422873,0.06187705,0.002173373,0.23217916],"study_design_scores_gemma":[0.00044052186,0.00013751516,0.14271587,0.0012510784,0.00012980794,0.000054168788,0.7766231,0.0005374637,0.00015754026,0.003133857,0.07469411,0.00012500073],"about_ca_topic_score_codex":0.00016705986,"about_ca_topic_score_gemma":0.00041243163,"teacher_disagreement_score":0.23205417,"about_ca_system_score_codex":0.000053064705,"about_ca_system_score_gemma":0.00023554747,"threshold_uncertainty_score":0.6173669},"labels":[],"label_agreement":null},{"id":"W7116989475","doi":"10.5287/ora-xq1mkgw6x","title":"After the Ballets Russes: movement and modernism in British theatre, 1914-1935","year":2021,"lang":"en","type":"dissertation","venue":"Oxford University Research Archive (ORA) (University of Oxford)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Burlesque; Modernism (music); Context (archaeology); Politics; Poetry; Comedy; Dance; Movement (music)","score_opus":0.02236327365632195,"score_gpt":0.23628976737211846,"score_spread":0.2139264937157965,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7116989475","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57274663,0.0010181537,0.000031054835,0.00069964386,0.00019859376,0.00067613414,0.00073511916,0.000029268713,0.42386538],"genre_scores_gemma":[0.83981264,0.030583398,0.00019368247,0.00007716063,0.00017535758,0.0000024040446,0.00082431245,0.00004644442,0.12828462],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974839,0.00033258408,0.0001933014,0.00060775224,0.0006924426,0.0006900267],"domain_scores_gemma":[0.99864453,0.0003114693,0.00014402797,0.00042877576,0.0003177401,0.00015345537],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042392127,0.00030680516,0.00054715975,0.00063493935,0.0016643929,0.00016874039,0.00084351597,0.00015099766,0.0015426957],"category_scores_gemma":[0.000015090474,0.00035303354,0.0002520678,0.00022446725,0.001201586,0.00051894155,0.0007201306,0.0010380597,0.000008518647],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.007642464,0.0012926913,0.024522167,0.0030509026,0.0022326857,0.0032166555,0.7238206,0.00006127264,0.00012047457,0.076528296,0.021906879,0.13560489],"study_design_scores_gemma":[0.0010885659,0.00025089452,0.021612931,0.00060455845,0.000100174395,0.000004550058,0.36368135,0.00020488769,0.000004823953,0.003316704,0.6087302,0.00040035162],"about_ca_topic_score_codex":0.027173206,"about_ca_topic_score_gemma":0.6685231,"teacher_disagreement_score":0.64134985,"about_ca_system_score_codex":0.00015332803,"about_ca_system_score_gemma":0.0003098302,"threshold_uncertainty_score":0.9998922},"labels":[],"label_agreement":null},{"id":"W7117484901","doi":"10.54513/joell.2025.12401","title":"DISCOURSE OF RESISTANCE THROUGH DRAMA IN THE CANADIAN FIRST NATIONS SOCIETY","year":2025,"lang":"","type":"article","venue":"Journal of English Language and Literature","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Resistance (ecology); Poetry; Western culture; Cultural diversity","score_opus":0.005608438522755497,"score_gpt":0.2418308453459642,"score_spread":0.2362224068232087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7117484901","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40807554,0.29257601,0.0000016029878,0.008621949,0.0020760675,0.00023447568,0.0005350214,0.0000040073464,0.2878753],"genre_scores_gemma":[0.9849939,0.007001228,0.000038956056,0.00064891507,0.001736531,0.0000022628699,0.000008656301,0.000005696995,0.0055638812],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901956,0.00006276036,0.00043481417,0.0000968314,0.00017871028,0.00020733663],"domain_scores_gemma":[0.99878705,0.00025225643,0.00021096776,0.0001504131,0.0005621537,0.000037189537],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039617516,0.00015491052,0.00029535842,0.00017600814,0.00085830275,0.00047119556,0.00021678078,0.000111170426,0.00008325864],"category_scores_gemma":[0.00019943123,0.000094039024,0.00019273795,0.0002997924,0.00027607015,0.0005393788,0.000021651227,0.00064122374,1.7185889e-7],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036186484,0.000053573745,0.0005679202,0.00039031592,0.00013525899,0.000049099388,0.9024843,0.0000036156569,9.2066216e-7,0.057764422,0.038306594,0.00020778105],"study_design_scores_gemma":[0.000417107,0.00005234473,0.0006614282,0.0020218876,0.00009142418,0.0000029145929,0.42646906,0.0000016538916,0.000008180849,0.0003668223,0.56982636,0.00008081023],"about_ca_topic_score_codex":0.0036557952,"about_ca_topic_score_gemma":0.69466823,"teacher_disagreement_score":0.69101244,"about_ca_system_score_codex":0.00004780203,"about_ca_system_score_gemma":0.00022056009,"threshold_uncertainty_score":0.66014576},"labels":[],"label_agreement":null},{"id":"W7117875923","doi":"10.24908/jcri.v12i2.20283","title":"Speaking to Monuments and their Ghosts: Performance Art as Ephemeral Knowledge Sharing","year":2025,"lang":"en","type":"article","venue":"Journal of Critical Race Inquiry","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"Queen's University","keywords":"Statue; Memorialization; Ephemeral key; Narrative; Colonialism; Witness","score_opus":0.042753894626912384,"score_gpt":0.34050816844316856,"score_spread":0.2977542738162562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7117875923","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9234835,0.0016671721,0.00009544716,0.004163178,0.0017889261,0.00006264476,0.0000023481782,0.000014751998,0.068722054],"genre_scores_gemma":[0.99148726,0.00021561884,0.00007004618,0.0009555916,0.0013887117,0.0000031928894,3.336338e-7,0.000009930017,0.0058693266],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990687,0.000019637051,0.00039028178,0.00012944808,0.00012528415,0.00026668617],"domain_scores_gemma":[0.99930435,0.0001786567,0.000053173164,0.00010776915,0.00025116673,0.000104908446],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031111602,0.00014931976,0.00029254516,0.00017472332,0.00035458294,0.00017707702,0.00017677833,0.000032055665,0.0003206641],"category_scores_gemma":[0.0001555077,0.00010576992,0.00007795993,0.000053622716,0.0002628467,0.000569403,0.00016578006,0.00026277665,0.00008900559],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010198781,0.00095983327,0.015280127,0.0013902078,0.00060880336,0.0000713064,0.5061477,0.000036329573,0.0007828849,0.2092056,0.10104834,0.16344899],"study_design_scores_gemma":[0.00068337866,0.0008455972,0.002627461,0.0015178416,0.000094766096,0.000051549963,0.04308068,0.00020516962,0.0014146683,0.005807842,0.9433448,0.00032628758],"about_ca_topic_score_codex":0.000007889931,"about_ca_topic_score_gemma":0.000048856775,"teacher_disagreement_score":0.8422964,"about_ca_system_score_codex":0.000055476477,"about_ca_system_score_gemma":0.000040178653,"threshold_uncertainty_score":0.4313172},"labels":[],"label_agreement":null},{"id":"W7118214479","doi":"10.1145/3765766.3787118","title":"10.1145/3765766.3787118","year":2000,"lang":"en","type":"article","venue":"Time to knit","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Session (web analytics); Creativity","score_opus":0.010821391399152738,"score_gpt":0.16911266958449397,"score_spread":0.15829127818534122,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7118214479","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028006604,0.00012835267,1.807509e-8,0.00042460195,0.00000990477,0.00008709768,0.000026464008,0.00012409201,0.9963988],"genre_scores_gemma":[0.0029733577,0.000002178147,0.000007005919,0.00016908479,0.0008029058,0.000014876639,0.000009511796,0.000015141978,0.99600595],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994268,0.000010737263,0.000116581876,0.00012716388,0.00009982427,0.00021891276],"domain_scores_gemma":[0.9997202,0.000019415229,0.000013233556,0.0001598295,0.00003167766,0.000055636105],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00005565922,0.00011295855,0.00013334044,0.00004390556,0.00028636874,0.00007689403,0.00011773594,0.00001809311,0.99850345],"category_scores_gemma":[0.0000027053877,0.00009170776,0.000052042426,0.000027334774,0.00007245407,0.000129768,0.000023409626,0.000056158995,0.98728836],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040508927,0.000022146281,2.1051727e-7,0.000004780643,0.000021726546,0.0000014182424,0.0018661952,0.000005907717,0.0000016967597,0.00010375184,0.50098085,0.4969508],"study_design_scores_gemma":[0.000111103065,0.0001424247,0.000012154045,0.000011883555,0.000013893844,0.0000012325771,0.00003781446,0.000012773689,0.000010420704,0.000025991247,0.9994769,0.00014340921],"about_ca_topic_score_codex":0.000077767916,"about_ca_topic_score_gemma":0.000008792324,"teacher_disagreement_score":0.49849603,"about_ca_system_score_codex":0.000010467183,"about_ca_system_score_gemma":0.000008243497,"threshold_uncertainty_score":0.3739734},"labels":[],"label_agreement":null},{"id":"W7118727515","doi":"10.1353/phx.2025.a978868","title":"Casting the Charition Mime of P.Oxy . 413: Troupe Size and Gender","year":2025,"lang":"en","type":"article","venue":"Phoenix","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Casting; Order (exchange)","score_opus":0.036532872212808355,"score_gpt":0.2479421684918348,"score_spread":0.21140929627902647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7118727515","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8180233,0.0017843838,0.00000402861,0.0006771995,0.00029176977,0.00008009597,0.000018905885,0.00001989739,0.1791004],"genre_scores_gemma":[0.99615043,0.00012982717,0.000010960439,0.00026235622,0.0001912153,0.0000074896725,0.0000014948906,0.0000031367858,0.00324307],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996817,0.0000120231325,0.00009886621,0.000068638554,0.00004812378,0.000090651876],"domain_scores_gemma":[0.9997544,0.00010329376,0.00002690344,0.00007309881,0.000034667446,0.000007596431],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007902865,0.000056518027,0.000087396584,0.000020316616,0.00028621368,0.000029463852,0.00004512386,0.000010650524,0.0003269318],"category_scores_gemma":[0.000014624239,0.000035854046,0.000027659262,0.00001916294,0.00013428957,0.000063567066,0.000033138986,0.000051653227,0.000005460871],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017844616,0.0001245411,0.009558563,0.0007185168,0.00043701072,0.000003252469,0.5832926,0.000005691981,0.0041893735,0.31171304,0.031021314,0.058757618],"study_design_scores_gemma":[0.0011136803,0.00015778988,0.052199773,0.00018156625,0.00025443741,0.000006942524,0.03442203,0.00016055166,0.0034418833,0.024020407,0.8837066,0.00033433668],"about_ca_topic_score_codex":0.0002063331,"about_ca_topic_score_gemma":0.0005208613,"teacher_disagreement_score":0.8526853,"about_ca_system_score_codex":0.0000045231427,"about_ca_system_score_gemma":0.000007739605,"threshold_uncertainty_score":0.3579674},"labels":[],"label_agreement":null},{"id":"W7123432644","doi":"10.5325/haropintrevi.9.1.0018","title":"Drama’s Critical","year":2025,"lang":"en","type":"article","venue":"The Harold Pinter Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Western University","funders":"","keywords":"Drama; Precarity; Meaning (existential); The arts; Pretext; Higher education; Capitalism; Redress","score_opus":0.0380028407277177,"score_gpt":0.31164773585662114,"score_spread":0.27364489512890344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7123432644","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013265155,0.23739138,0.000017265138,0.06205311,0.0009769103,0.00021148376,0.000008971175,0.00006282154,0.6991454],"genre_scores_gemma":[0.60495776,0.12955311,0.000015827813,0.10588084,0.0013462469,0.00018017438,0.0000064519586,0.000021802054,0.1580378],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994881,0.00004351416,0.00017394862,0.00009255635,0.00005786429,0.00014398049],"domain_scores_gemma":[0.99959505,0.00008547985,0.000017485123,0.00024093202,0.000046797042,0.000014267569],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019440726,0.00009199726,0.00019427233,0.000018587043,0.00027083475,0.000064897926,0.00020326852,0.000008932667,0.0045489524],"category_scores_gemma":[0.00003404443,0.000047303332,0.000111178575,0.000026251786,0.00022430618,0.00007585047,0.00007578438,0.00011096412,0.00095913565],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000041408334,0.000015215615,0.00001697594,0.0011847168,0.00004451822,7.1119246e-7,0.002088268,1.2632233e-8,9.101919e-7,0.54075736,0.4318473,0.024039872],"study_design_scores_gemma":[0.00004011531,0.000015796637,0.000021354685,0.0026573709,0.000094688396,0.0000010942224,0.00017391304,0.0000022714512,0.000007701268,0.0030347665,0.9938926,0.00005830787],"about_ca_topic_score_codex":0.000030255407,"about_ca_topic_score_gemma":0.00009482499,"teacher_disagreement_score":0.6048251,"about_ca_system_score_codex":0.0000073929777,"about_ca_system_score_gemma":0.000011268944,"threshold_uncertainty_score":0.99981874},"labels":[],"label_agreement":null},{"id":"W7124765890","doi":"10.3917/lige.129.0243e","title":"Dramaturgy of Sound in the Avant-Garde and Postdramatic Theatre , Mladen Ovadija, McGill-Queen’s University Press, Montréal-London-Ithaca, 2013","year":2014,"lang":"","type":"article","venue":"Ligeia","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Sound (geography); Sound design; Sound production; Drama","score_opus":0.008877442437677047,"score_gpt":0.18634843256006628,"score_spread":0.17747099012238923,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7124765890","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66654354,0.009487186,0.000009220539,0.006698841,0.0011128248,0.0013084763,0.00064620783,0.00007441761,0.31411925],"genre_scores_gemma":[0.9759956,0.009428228,0.000021687321,0.00025776762,0.00035808314,0.0000063729713,0.000012639763,0.000029360572,0.013890274],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978154,0.00033646228,0.0005294072,0.00040165507,0.00034458717,0.0005725215],"domain_scores_gemma":[0.9984614,0.00046873256,0.00028940526,0.0005900867,0.00010297378,0.00008735872],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00045291,0.00044264432,0.0006974174,0.00015667437,0.0010376483,0.00017135874,0.00048692126,0.0001699497,0.00030461536],"category_scores_gemma":[0.000016545537,0.00031630186,0.00017893779,0.00004120896,0.00071013987,0.00043700787,0.00024615065,0.00045364024,0.000060822822],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014302868,0.0011137876,0.017271863,0.0030875406,0.0014430844,0.00009742314,0.58982897,0.00023602371,0.00006151594,0.26481465,0.09023021,0.030384667],"study_design_scores_gemma":[0.0013548825,0.0005273405,0.009845084,0.00038387874,0.00034535234,0.00001403518,0.026445657,0.00051873387,0.00005020425,0.0033718394,0.95662194,0.00052103],"about_ca_topic_score_codex":0.020279374,"about_ca_topic_score_gemma":0.008353748,"teacher_disagreement_score":0.8663918,"about_ca_system_score_codex":0.00004470102,"about_ca_system_score_gemma":0.000025934261,"threshold_uncertainty_score":0.9999289},"labels":[],"label_agreement":null},{"id":"W7126057627","doi":"10.1353/cdr.2025.a980945","title":"Alumnae Theatre Company: Nonprofessionalizing Theatre in Canada by Robin Whittaker (review)","year":2025,"lang":"en","type":"article","venue":"Comparative drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art","score_opus":0.030775549703633085,"score_gpt":0.27762746183065534,"score_spread":0.24685191212702226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126057627","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08980048,0.080114864,0.000008706159,0.005738322,0.001305212,0.0006623027,0.00018693,0.0000541904,0.822129],"genre_scores_gemma":[0.9858612,0.0008472954,0.000010570216,0.0034756025,0.00012837397,0.00007951718,0.00007512082,0.000010552467,0.009511806],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99865973,0.00012913576,0.0003956023,0.00027110102,0.00019014558,0.00035429577],"domain_scores_gemma":[0.9993764,0.00016241972,0.000083248655,0.00023578745,0.0000941075,0.000048029025],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00013165144,0.00026655648,0.0005833908,0.00006807658,0.0004209346,0.000042098385,0.00024925935,0.000026115067,0.0013174312],"category_scores_gemma":[0.0000029115843,0.00019871134,0.00007323225,0.00012384428,0.00015700821,0.00019432722,0.00008927549,0.00027695455,0.00006289669],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037071728,0.00008443622,0.0073653273,0.0002746881,0.000109466135,0.000005481987,0.011354766,0.000019613097,0.000029644103,0.016074438,0.9570995,0.0075455527],"study_design_scores_gemma":[0.00044181335,0.000023555562,0.0017923639,0.0016138977,0.000033694905,6.267931e-7,0.016133038,0.00016206043,0.00015263664,0.00069226406,0.9786871,0.00026696388],"about_ca_topic_score_codex":0.31062418,"about_ca_topic_score_gemma":0.9075819,"teacher_disagreement_score":0.8960607,"about_ca_system_score_codex":0.00023255537,"about_ca_system_score_gemma":0.00045124933,"threshold_uncertainty_score":0.9995955},"labels":[],"label_agreement":null},{"id":"W7126160655","doi":"10.3138/md-68-4-1386","title":"(Re)Playing Kidwell and Sheppard’s <i>Underground Railroad Game</i>","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Seriousness; TRACE (psycholinguistics); Politics; Phenomenon; Power (physics); Publishing","score_opus":0.02120263666132454,"score_gpt":0.23690052995207778,"score_spread":0.21569789329075323,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126160655","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2762143,0.0041135033,0.0003878451,0.0024041294,0.0006827257,0.00015384472,0.000018987632,0.00014068821,0.715884],"genre_scores_gemma":[0.95477664,0.0002800253,0.000033832952,0.0015580755,0.00030985117,0.000016660615,0.0000056283934,0.000013386212,0.043005917],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992111,0.00001854179,0.00017162909,0.00022774916,0.00010481267,0.00026616667],"domain_scores_gemma":[0.9996244,0.00006392394,0.0000334882,0.00019716904,0.00004241657,0.00003865647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008896417,0.00016559982,0.00020731006,0.00008053998,0.0005501777,0.00028767297,0.000114731556,0.00004090708,0.00034806388],"category_scores_gemma":[0.00000722575,0.00014032445,0.00005670105,0.000028151855,0.00021083123,0.00022934996,0.00010315161,0.00013201065,0.00007248038],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024231117,0.00023888572,0.014475655,0.0005842063,0.0006506456,0.000028019042,0.23114097,0.0000968002,0.00038200335,0.41337752,0.13171837,0.2070646],"study_design_scores_gemma":[0.00073640834,0.000058858703,0.00095237716,0.000106565465,0.00007566755,0.0000017022688,0.0063133338,0.0023047542,0.00011270143,0.034360174,0.95465857,0.00031886087],"about_ca_topic_score_codex":0.00026194306,"about_ca_topic_score_gemma":0.0022927977,"teacher_disagreement_score":0.82294023,"about_ca_system_score_codex":0.000022513297,"about_ca_system_score_gemma":0.000023626046,"threshold_uncertainty_score":0.5722265},"labels":[],"label_agreement":null},{"id":"W7126177096","doi":"10.3138/md-68-4-1404","title":"Family, Community, Country, and Race: The State of the Nation Plays of Roy Williams and Clint Dyer","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Trilogy; Drama; Context (archaeology); Metaphor; State (computer science); Race (biology); White (mutation); Ideology","score_opus":0.025630067966734435,"score_gpt":0.24408391227577755,"score_spread":0.21845384430904313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126177096","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9787223,0.0014229487,0.000027536253,0.00061098643,0.00013775103,0.00012509506,0.000057821446,0.000007181004,0.018888421],"genre_scores_gemma":[0.995894,0.0004695985,0.0000028925201,0.0002417537,0.00002761974,0.000004966673,0.0000023674438,0.000003966079,0.003352822],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995824,0.000060316233,0.00014495465,0.000050579016,0.00008950941,0.00007221991],"domain_scores_gemma":[0.9995682,0.000117636875,0.0000654018,0.00017237235,0.000069920956,0.0000064541277],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022205268,0.00006735133,0.00012279113,0.000022790106,0.0004753511,0.00004185381,0.000111181034,0.00001563567,0.000007754731],"category_scores_gemma":[0.000008674654,0.000035362726,0.00002182348,0.000021864806,0.00045138344,0.00006490761,0.00015522641,0.0001281694,4.3308344e-7],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029466045,0.00029343826,0.046497706,0.00092442235,0.00059722376,4.6422426e-7,0.66721714,0.00058859895,0.0014469092,0.14391342,0.0081360275,0.13009],"study_design_scores_gemma":[0.0032351294,0.00051020045,0.30885255,0.0009472038,0.00043082255,0.000003465117,0.057783775,0.026748111,0.003975418,0.22484115,0.3720609,0.0006112796],"about_ca_topic_score_codex":0.0015074065,"about_ca_topic_score_gemma":0.0049690264,"teacher_disagreement_score":0.60943335,"about_ca_system_score_codex":0.000005955852,"about_ca_system_score_gemma":0.000014107922,"threshold_uncertainty_score":0.36560643},"labels":[],"label_agreement":null},{"id":"W7126191434","doi":"10.3138/md-68-4-br01","title":"Rebecca Benzie. <i>Feminism, Dramaturgy, and the Contemporary British History Play</i>","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Historiography; Normative; Reading (process); Close reading; Contemporary history","score_opus":0.018725988410499144,"score_gpt":0.20469740542051987,"score_spread":0.18597141701002073,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126191434","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044117928,0.04356995,0.000037179267,0.002805653,0.0011902655,0.00026277348,0.000038534785,0.00013564446,0.9078421],"genre_scores_gemma":[0.8865853,0.0004181713,0.0000069523053,0.0035003899,0.00031086846,0.000038682643,0.000010116056,0.0000132781,0.109116256],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921435,0.000041186297,0.00021936026,0.00021089295,0.00011502241,0.00019918806],"domain_scores_gemma":[0.9995138,0.00012708531,0.000057178535,0.00022368952,0.000047991387,0.000030251102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015551435,0.00014640848,0.00026315646,0.00004366286,0.00054879586,0.00021382136,0.00017019872,0.000047462858,0.00023872964],"category_scores_gemma":[0.000010170055,0.000112510774,0.00008416589,0.000015474337,0.0009214545,0.00019143365,0.00012086786,0.00019475074,0.000019183579],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019426753,0.000049228835,0.00029896523,0.00008908768,0.00016608354,0.000015960184,0.0995134,0.0000018574365,0.0000093850085,0.23789333,0.6328499,0.028918566],"study_design_scores_gemma":[0.0011967847,0.000023111714,0.00018832042,0.00009206069,0.000034800687,0.000005480652,0.0028805134,0.00023547652,0.000009379589,0.017542494,0.9776438,0.00014777963],"about_ca_topic_score_codex":0.0020276064,"about_ca_topic_score_gemma":0.003025992,"teacher_disagreement_score":0.84246737,"about_ca_system_score_codex":0.0000397184,"about_ca_system_score_gemma":0.00007258939,"threshold_uncertainty_score":0.45880562},"labels":[],"label_agreement":null},{"id":"W7126201275","doi":"10.3138/md-68-4-br07","title":"Theron Schmidt. <i>The Theatricalists: Making Politics Appear</i>","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Identity (music); Key (lock); Identity politics","score_opus":0.021653894520706783,"score_gpt":0.25335078339910866,"score_spread":0.23169688887840187,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126201275","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038055915,0.0031536834,0.00047669883,0.00920513,0.00065817824,0.00018311302,0.000019789597,0.0001536141,0.9480939],"genre_scores_gemma":[0.9474686,0.00007183064,0.000015790627,0.0033722785,0.000745059,0.000017656981,0.0000027312974,0.000012739709,0.048293334],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922466,0.00003272847,0.00016461802,0.00015242648,0.00013089611,0.00029464587],"domain_scores_gemma":[0.99953026,0.00007664325,0.000033528027,0.0002886096,0.000053315296,0.000017670753],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010983353,0.00013595136,0.00014465752,0.00005684631,0.0009148505,0.00022874522,0.00023754028,0.000033659628,0.00038828747],"category_scores_gemma":[0.00000895416,0.00008289198,0.0000851852,0.000046175326,0.0002525452,0.00013464256,0.00010243291,0.00017056592,0.00012830392],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017927845,0.00004152867,0.00046996612,0.000045904708,0.00008194363,0.0000019717052,0.026755415,0.000028274026,0.000016993523,0.92844313,0.014087793,0.03000915],"study_design_scores_gemma":[0.0001658921,0.000022500697,0.00016413568,0.000053243217,0.000040150353,7.380618e-7,0.0025769102,0.00074991793,0.000046019704,0.039293103,0.9567687,0.00011869631],"about_ca_topic_score_codex":0.00013963105,"about_ca_topic_score_gemma":0.00018912282,"teacher_disagreement_score":0.9426809,"about_ca_system_score_codex":0.00003510303,"about_ca_system_score_gemma":0.000028057362,"threshold_uncertainty_score":0.7036383},"labels":[],"label_agreement":null},{"id":"W7126205568","doi":"10.3138/md-68-4-br08","title":"OTAKAR ZICH. <i>Aesthetics of the Dramatic Art: Theoretical Dramaturgy</i>","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; Musical; Translation studies; Empirical evidence; Work (physics)","score_opus":0.009173649838608086,"score_gpt":0.21493839244394602,"score_spread":0.20576474260533795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126205568","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22770649,0.0007260798,0.00031394226,0.005217035,0.001074311,0.0003000158,0.000032998803,0.00009366426,0.7645355],"genre_scores_gemma":[0.97427,0.000038615985,0.000026865551,0.0010611177,0.00013258944,0.000016244769,0.0000028569955,0.000014733091,0.024437018],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99903625,0.000050234747,0.00029538336,0.00016175544,0.00020631339,0.00025005225],"domain_scores_gemma":[0.99924994,0.00009275486,0.00007587151,0.000462237,0.00009343505,0.00002577911],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014331927,0.00016816237,0.0002573394,0.000055061508,0.00039489902,0.00010326975,0.00034319266,0.000053653854,0.00051358383],"category_scores_gemma":[0.000025123676,0.0001013452,0.0001654649,0.000065040906,0.0010991704,0.000079509184,0.00014978339,0.00019271894,0.00009779894],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022853877,0.000072832874,0.00025953344,0.00008553929,0.000055957626,6.874444e-7,0.018575508,0.000022527198,0.00003370802,0.9647853,0.0104785245,0.0056070774],"study_design_scores_gemma":[0.0005524022,0.0000798571,0.00033933908,0.00031123732,0.00015871416,0.0000030942972,0.0020352446,0.00419579,0.0013189093,0.42886394,0.56187546,0.0002659698],"about_ca_topic_score_codex":0.000013691595,"about_ca_topic_score_gemma":0.000110022964,"teacher_disagreement_score":0.7465635,"about_ca_system_score_codex":0.000016530079,"about_ca_system_score_gemma":0.000045241643,"threshold_uncertainty_score":0.5623383},"labels":[],"label_agreement":null},{"id":"W7126222725","doi":"10.3138/md-68-4-1425","title":"Jackie Sibblies Drury and the Violence of Repetition","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Repetition (rhetorical device); Afterlife; Dramaturgy; Gesture; Motif (music)","score_opus":0.010895549839248293,"score_gpt":0.21737860265140369,"score_spread":0.2064830528121554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126222725","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6761471,0.0057984176,0.00013053676,0.002584607,0.00027881918,0.00013552826,0.000016800159,0.000037726208,0.31487048],"genre_scores_gemma":[0.9931051,0.0009247756,0.00000804385,0.00026363233,0.00008671736,0.00001160903,0.0000014525517,0.000002624002,0.0055960026],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99967724,0.000016630418,0.00010493544,0.000074460746,0.000055327975,0.000071430295],"domain_scores_gemma":[0.9997387,0.000066039334,0.000030504398,0.00011514123,0.000043855922,0.0000057943025],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000098757904,0.000054948865,0.00010846892,0.000032330565,0.00023259752,0.000043029107,0.00005980998,0.000012786188,0.00007844003],"category_scores_gemma":[0.0000097366665,0.0000323691,0.000031924348,0.000015347652,0.0004741575,0.000075103686,0.00004639219,0.000045669152,0.000005260681],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013116247,0.000024404106,0.00095566676,0.00011296169,0.00006776694,3.9202035e-7,0.051681872,0.0000111076215,0.000042299656,0.85084504,0.0017763458,0.09435095],"study_design_scores_gemma":[0.0021096896,0.00009674113,0.004469927,0.00075594697,0.00015589505,0.0000016666438,0.017970555,0.0029949527,0.0014300891,0.7260903,0.24365743,0.00026677625],"about_ca_topic_score_codex":0.00013434558,"about_ca_topic_score_gemma":0.00033734913,"teacher_disagreement_score":0.31695807,"about_ca_system_score_codex":0.0000036532958,"about_ca_system_score_gemma":0.000008394136,"threshold_uncertainty_score":0.17889756},"labels":[],"label_agreement":null},{"id":"W7126273165","doi":"10.3138/md-68-4-1356","title":"Out of Place, Out of Control: Transgression in Pearl Cleage’s <i>Bourbon at the Border</i> and <i>Flyin’ West</i>","year":2025,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Marine transgression; Symbol (formal); Nationalism; Interpretation (philosophy); Perspective (graphical); Race (biology); Value (mathematics)","score_opus":0.014236322974205877,"score_gpt":0.2480484063910894,"score_spread":0.23381208341688353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126273165","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87124383,0.00435029,0.00007008564,0.0025084931,0.0004323637,0.00028976574,0.00008196244,0.000023826846,0.120999396],"genre_scores_gemma":[0.98006976,0.0003371847,0.0000035645937,0.0003391178,0.00006847257,0.000014195561,0.0000034781476,0.000010013954,0.019154208],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992031,0.000049864077,0.00028969184,0.00014962249,0.00012998885,0.00017772525],"domain_scores_gemma":[0.9995399,0.00012256716,0.00008378973,0.00018646086,0.000049932143,0.00001731203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018029744,0.00013251173,0.00030681706,0.00006490768,0.00019893826,0.000027270933,0.00011630333,0.000043563894,0.0001327438],"category_scores_gemma":[0.00000809551,0.000085175256,0.00006734677,0.000022668464,0.00034691408,0.00008890989,0.00005875571,0.00012416352,0.000005872607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002877207,0.0006157384,0.052508883,0.0013148707,0.0004948246,0.000008538874,0.761798,0.00053176907,0.0059911185,0.026898123,0.023702327,0.12325859],"study_design_scores_gemma":[0.014422768,0.000879086,0.026250808,0.0017672528,0.0004912822,0.0000023050923,0.03056305,0.006478379,0.0070840344,0.012813023,0.89826787,0.0009801674],"about_ca_topic_score_codex":0.0004142081,"about_ca_topic_score_gemma":0.020458743,"teacher_disagreement_score":0.87456554,"about_ca_system_score_codex":0.0000129882155,"about_ca_system_score_gemma":0.000022461076,"threshold_uncertainty_score":0.9974153},"labels":[],"label_agreement":null},{"id":"W7128431595","doi":"10.1386/ijcm_00140_1","title":"Community Musical Theatre: The Queer Experience","year":2025,"lang":"en","type":"article","venue":"International Journal of Community Music","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Musical; Queer; Power (physics); Lived experience; Inclusion (mineral)","score_opus":0.06451083906488721,"score_gpt":0.3109732068106455,"score_spread":0.2464623677457583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7128431595","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8069944,0.00021737245,0.00006117913,0.0077491156,0.002911358,0.000046115292,0.000008846684,0.000015371288,0.18199629],"genre_scores_gemma":[0.9940248,0.00006481152,0.00001324995,0.0039038653,0.0007129508,0.000003925976,0.0000025625075,0.0000054121488,0.0012683814],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986431,0.000558544,0.00035158778,0.000027276737,0.00030305466,0.00011645203],"domain_scores_gemma":[0.99834853,0.0005973434,0.00016847957,0.00032325534,0.0005372396,0.000025143812],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00082638836,0.0001088942,0.00016858598,0.0001351862,0.001320999,0.00020567628,0.0015394067,0.000024453298,0.0006843301],"category_scores_gemma":[0.00007949059,0.00006592881,0.00015065406,0.00004879037,0.0005890876,0.00030917767,0.00034382247,0.0012577266,0.000015945185],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025487656,0.00059562793,0.0015553554,0.00001953431,0.00068564597,0.000008032019,0.69479686,0.000036456848,0.00013296261,0.13887645,0.097000085,0.06603813],"study_design_scores_gemma":[0.00048604267,0.000119465614,0.0069665406,0.00013400712,0.000041153282,0.00002779972,0.12096043,0.000015133945,0.00013153201,0.017729685,0.85329074,0.00009746037],"about_ca_topic_score_codex":0.001590662,"about_ca_topic_score_gemma":0.0040373895,"teacher_disagreement_score":0.7562907,"about_ca_system_score_codex":0.000056837252,"about_ca_system_score_gemma":0.000059905567,"threshold_uncertainty_score":0.99997914},"labels":[],"label_agreement":null},{"id":"W7128477717","doi":"10.1353/tsu.2020.a977187","title":"Performance Studies in Canada (review)","year":2020,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"","score_opus":0.13545702778691343,"score_gpt":0.2726975523417736,"score_spread":0.1372405245548602,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7128477717","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79565126,0.06717686,9.590095e-8,0.0038493285,0.00085360295,0.00027588793,0.00015504922,0.00005874086,0.1319792],"genre_scores_gemma":[0.9645415,0.030589772,0.0000017121592,0.0041276603,0.00028014582,0.000014308274,0.000017614318,0.00001217702,0.00041509265],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990696,0.00010303392,0.0002531591,0.00016356721,0.00015916213,0.00025147691],"domain_scores_gemma":[0.9995768,0.00012932424,0.000043614506,0.0001267351,0.0000711136,0.000052407933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029864063,0.00015488244,0.0003613222,0.000020180745,0.00014081845,0.000008229829,0.00015352725,0.000008802926,0.0006760412],"category_scores_gemma":[0.00002845135,0.00011376259,0.000030160023,0.000077999524,0.000105559826,0.00012005165,0.00006029691,0.0001258276,0.00011380977],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014615452,0.000032891407,0.4177471,0.002648578,0.00022657838,0.000027597102,0.04342679,0.000058154434,0.0000029294026,0.0003169538,0.47417605,0.061190203],"study_design_scores_gemma":[0.0006133038,0.00021241655,0.123579554,0.001148546,0.00004908583,0.0000026191142,0.013720183,0.00023129159,0.000048002395,0.00002566492,0.8596822,0.00068709865],"about_ca_topic_score_codex":0.696759,"about_ca_topic_score_gemma":0.9914364,"teacher_disagreement_score":0.38550618,"about_ca_system_score_codex":0.000088220266,"about_ca_system_score_gemma":0.00020813098,"threshold_uncertainty_score":0.7402177},"labels":[],"label_agreement":null},{"id":"W7128942410","doi":"","title":"Sighted Assumptions to Blind Imaginings : De-Centring Vision as Unexpected Dramaturgy","year":2025,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Meaning (existential); Meaning-making; Semiotics","score_opus":0.005911966952190228,"score_gpt":0.1934968548850684,"score_spread":0.18758488793287817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7128942410","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79531896,0.003897218,0.00013642627,0.0235047,0.00043511155,0.00026221067,0.000028215085,0.0002783657,0.1761388],"genre_scores_gemma":[0.84310794,0.0005630702,0.00016085115,0.0008619362,0.00018822365,0.000009651788,0.00002028784,0.000016320748,0.15507174],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915934,0.000028002325,0.00012337066,0.00021714777,0.00012371797,0.00034843496],"domain_scores_gemma":[0.9994882,0.00006533221,0.00004860773,0.00019119018,0.00010746025,0.00009926433],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007330694,0.00015711071,0.0001846258,0.00031545467,0.0012366829,0.00008022534,0.0001819132,0.000051507504,0.0007012647],"category_scores_gemma":[0.000013997135,0.00015743356,0.000092910166,0.00018172098,0.00007427018,0.00021284544,0.00020201724,0.00014434404,0.00029279795],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00091460615,0.00021964342,0.0012336684,0.00007570128,0.0005168064,0.0003859145,0.08699683,0.00026925118,0.0024601512,0.3789817,0.47942585,0.048519865],"study_design_scores_gemma":[0.0008103484,0.00007382762,0.0008359514,0.0000813865,0.00009096443,0.0000096720505,0.0060411324,0.00028356424,0.00025625608,0.0012505032,0.9900859,0.00018049548],"about_ca_topic_score_codex":0.004325618,"about_ca_topic_score_gemma":0.046212364,"teacher_disagreement_score":0.51066005,"about_ca_system_score_codex":0.0013998401,"about_ca_system_score_gemma":0.000042211403,"threshold_uncertainty_score":0.97119176},"labels":[],"label_agreement":null},{"id":"W7128944080","doi":"","title":"Somatic Care Performances : Turtle Disco and Tendings","year":2025,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Meaning (existential); Friendship; Improvisation; Set (abstract data type); Meaning-making","score_opus":0.003930084695025933,"score_gpt":0.1528072812784892,"score_spread":0.14887719658346327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7128944080","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78627783,0.03319995,0.000005096606,0.0043427716,0.00025353118,0.00010335741,0.000025103313,0.00008075279,0.17571159],"genre_scores_gemma":[0.9309386,0.002771329,0.000029591278,0.00012473564,0.00010076014,0.000003881141,0.000008231016,0.000006230635,0.06601663],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953395,0.000008628205,0.00007271831,0.0001288823,0.00006932827,0.00018647176],"domain_scores_gemma":[0.99976933,0.000024100604,0.00003322684,0.00010713331,0.000032929514,0.00003325339],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000030045476,0.00011267236,0.00014194893,0.00010867286,0.0010991407,0.00003847209,0.0000959658,0.00002564263,0.00018005143],"category_scores_gemma":[0.0000021161948,0.000094750714,0.00004712801,0.000041054536,0.00013826956,0.00021320405,0.00013174098,0.000070010305,0.000034616885],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018228921,0.00006170641,0.023282086,0.0008739152,0.00054418296,0.00013341577,0.28805357,0.00001953702,0.00020126913,0.38762823,0.122073874,0.17694592],"study_design_scores_gemma":[0.0003160779,0.00004822501,0.0016554999,0.00006997482,0.00009444087,0.000006956292,0.0533856,0.000079504054,0.00009978644,0.00069807045,0.9434201,0.00012576944],"about_ca_topic_score_codex":0.0013450765,"about_ca_topic_score_gemma":0.057132732,"teacher_disagreement_score":0.8213462,"about_ca_system_score_codex":0.0004313917,"about_ca_system_score_gemma":0.000011928379,"threshold_uncertainty_score":0.96007216},"labels":[],"label_agreement":null},{"id":"W7130311429","doi":"10.7202/1123395ar","title":"Fragments Are Enough","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Perception; Vulnerability (computing); Indigenous; Work (physics); SAFER; Reflection (computer programming)","score_opus":0.0136383537842326,"score_gpt":0.216390343133966,"score_spread":0.2027519893497334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130311429","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72437847,0.00027223048,0.0000072670928,0.007570476,0.0015785184,0.00011769881,0.0000139887625,0.00011865948,0.2659427],"genre_scores_gemma":[0.9560857,0.00016788983,0.000014776357,0.008398035,0.00027724373,0.0000335547,0.000005706091,0.000009275869,0.03500782],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993284,0.000007855224,0.00015959525,0.00014480231,0.00010487828,0.0002545139],"domain_scores_gemma":[0.9997,0.00001574529,0.000048364505,0.00017663647,0.00003748908,0.000021726388],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000066165034,0.00013459453,0.00015405526,0.00010819502,0.000504635,0.00008823783,0.00015414383,0.000019633839,0.0012799724],"category_scores_gemma":[0.0000016992653,0.00010928373,0.00004947892,0.000045795397,0.00014924376,0.00026646312,0.00006035961,0.00009978341,0.0005689201],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012053095,0.00015579072,0.12614533,0.00080778496,0.0003160221,0.00000509412,0.041010424,0.000085362,0.00005432808,0.024867306,0.754082,0.05235002],"study_design_scores_gemma":[0.00024984629,0.000028854762,0.011419125,0.00013978442,0.000021828913,5.133959e-7,0.0022940713,0.000078706515,0.00029269682,0.00012353939,0.9851993,0.00015177557],"about_ca_topic_score_codex":0.000051352516,"about_ca_topic_score_gemma":0.00009871766,"teacher_disagreement_score":0.23170725,"about_ca_system_score_codex":0.000029507493,"about_ca_system_score_gemma":0.00001211442,"threshold_uncertainty_score":0.999633},"labels":[],"label_agreement":null},{"id":"W7130350954","doi":"10.7202/1123393ar","title":"Carbon Movements","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Dramaturgy; Meaning (existential); Feeling; Performing arts; Choreography; Openness to experience; Sign language","score_opus":0.011921346039757499,"score_gpt":0.21366684946064798,"score_spread":0.20174550342089048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130350954","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58955866,0.00009685345,0.0000012900717,0.0015991299,0.0009046169,0.00006642392,0.000003105892,0.00006169049,0.40770823],"genre_scores_gemma":[0.94923335,0.00009440021,0.0000061712444,0.0061570834,0.00020457065,0.00002884953,0.0000040267423,0.0000074252407,0.044264123],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941933,0.000005997903,0.00014201083,0.00012138011,0.00009138938,0.0002198642],"domain_scores_gemma":[0.999764,0.000010752817,0.000027916296,0.00015146857,0.000028535494,0.000017328592],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006411574,0.000112425434,0.00011866488,0.00010691525,0.00028323726,0.000059742975,0.00012383141,0.000014426603,0.00053509127],"category_scores_gemma":[0.0000010409436,0.00009207102,0.000035619803,0.000039860144,0.000121845726,0.0001423136,0.000051255596,0.000075579104,0.00012172948],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002966189,0.00030884187,0.29137233,0.0015763362,0.00081423664,0.0000070698584,0.10772722,0.00018428339,0.0004924371,0.06389024,0.36524364,0.16808671],"study_design_scores_gemma":[0.00032607536,0.0000446242,0.0066404254,0.00009735006,0.000019928224,3.1410136e-7,0.0019988471,0.0005109707,0.0007521956,0.00021270737,0.98921925,0.00017728675],"about_ca_topic_score_codex":0.00014841091,"about_ca_topic_score_gemma":0.00012042775,"teacher_disagreement_score":0.62397563,"about_ca_system_score_codex":0.000027592858,"about_ca_system_score_gemma":0.000012421236,"threshold_uncertainty_score":0.58588743},"labels":[],"label_agreement":null},{"id":"W7130374405","doi":"10.7202/1123390ar","title":"Dramaturgies of Accessibility","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Dramaturgy; Normative; Perspective (graphical); Position (finance); Disabled people; Foundation (evidence)","score_opus":0.014049482990527372,"score_gpt":0.24280409371948197,"score_spread":0.2287546107289546,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130374405","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83160067,0.00019469345,0.0000055981895,0.0014728252,0.0006566358,0.000076376724,0.000015985692,0.000051638483,0.1659256],"genre_scores_gemma":[0.9921097,0.000095090145,0.000021383175,0.0011411315,0.00008799501,0.0000143059,0.0000038300177,0.00000482246,0.0065217246],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941045,0.000008850042,0.00021690018,0.0001149019,0.00008750838,0.00016136939],"domain_scores_gemma":[0.99964255,0.000030900053,0.00005848663,0.00019729073,0.000058228918,0.000012527912],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001076199,0.00010028127,0.00017534809,0.00010455182,0.00021636087,0.000045134282,0.00017072553,0.000017408156,0.00071675156],"category_scores_gemma":[0.000003468307,0.00007655695,0.000055373665,0.00005295409,0.0003160058,0.00040084185,0.00006691899,0.00007397005,0.000044406494],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00060518965,0.000402027,0.28806126,0.0059027476,0.00062433694,0.0000019857941,0.10953754,0.00015075733,0.00081402017,0.16038498,0.26712623,0.1663889],"study_design_scores_gemma":[0.0005669332,0.00009579194,0.06229758,0.00035181988,0.000066659806,6.7640025e-7,0.006728371,0.00026729394,0.0066957837,0.0015260201,0.92109114,0.00031194676],"about_ca_topic_score_codex":0.000049311042,"about_ca_topic_score_gemma":0.00008499452,"teacher_disagreement_score":0.6539649,"about_ca_system_score_codex":0.000015077731,"about_ca_system_score_gemma":0.000019932613,"threshold_uncertainty_score":0.7847927},"labels":[],"label_agreement":null},{"id":"W7130389347","doi":"10.7202/1123402ar","title":"Sighted Assumptions to Blind Imaginings","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Meaning (existential); Meaning-making; Blind spot","score_opus":0.019657016704739832,"score_gpt":0.2512454960043293,"score_spread":0.2315884792995895,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130389347","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75759053,0.00008850046,0.000047142697,0.01793227,0.0012163691,0.00019295506,0.00001718982,0.00015559382,0.22275947],"genre_scores_gemma":[0.9440236,0.000049269704,0.00008715497,0.013984998,0.00030213408,0.00007213785,0.000010232205,0.000012230511,0.041458245],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992384,0.00000822107,0.00018693853,0.00017528946,0.0001075495,0.0002836039],"domain_scores_gemma":[0.9996425,0.000025730513,0.000030113186,0.00019226216,0.00006567902,0.000043741726],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008987483,0.00014470682,0.00015551479,0.00024578965,0.0005322892,0.00014226076,0.00017200949,0.000017838396,0.0014663317],"category_scores_gemma":[0.000003287056,0.00012114547,0.000050806175,0.00010152021,0.00013365758,0.00029686818,0.00007360913,0.00011331589,0.0013097227],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020777211,0.00010170145,0.016763091,0.00027766792,0.00020761028,0.0000022483505,0.07701917,0.00013915528,0.0003232351,0.01740156,0.8439859,0.04357088],"study_design_scores_gemma":[0.00034896252,0.000049583967,0.0047675306,0.00009805477,0.000031380805,7.066292e-7,0.0016353977,0.00021491383,0.0003634159,0.00013611963,0.99216497,0.0001889417],"about_ca_topic_score_codex":0.00009711804,"about_ca_topic_score_gemma":0.00016246416,"teacher_disagreement_score":0.18643309,"about_ca_system_score_codex":0.000033287222,"about_ca_system_score_gemma":0.000020619316,"threshold_uncertainty_score":0.99946785},"labels":[],"label_agreement":null},{"id":"W7130410469","doi":"10.7202/1123397ar","title":"Somatic Care Performances","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"The Scarborough Hospital; University of Toronto; Trent University; Concordia University","funders":"","keywords":"Dramaturgy; Friendship; Meaning (existential); Improvisation; Set (abstract data type); Meaning-making; Work (physics)","score_opus":0.00980798533649443,"score_gpt":0.21411116206226638,"score_spread":0.20430317672577195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130410469","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.678123,0.0008397055,0.00000669993,0.0018929604,0.0014186985,0.00015142094,0.000009090672,0.00015609707,0.31740233],"genre_scores_gemma":[0.9841079,0.00027846958,0.000036703535,0.0030711286,0.00033512953,0.00006412375,0.0000139433705,0.00001366037,0.012078928],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99903804,0.000011852805,0.0002527323,0.00019117097,0.0001507668,0.00035544342],"domain_scores_gemma":[0.99955994,0.000026372187,0.00005523966,0.00024937998,0.00007756486,0.000031515046],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000077092984,0.00020295428,0.0002208644,0.00019971014,0.0008258996,0.00014611197,0.00024209064,0.00002778044,0.0010829369],"category_scores_gemma":[0.0000023035327,0.00016010737,0.00007957068,0.00007871729,0.00026237158,0.00048526382,0.000074509655,0.00013592343,0.00058378576],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021505993,0.00014530128,0.151566,0.00600382,0.00048380895,0.000005460928,0.34819597,0.0003540197,0.0001302369,0.029138612,0.16912825,0.29463348],"study_design_scores_gemma":[0.00045798015,0.00009484372,0.0069307815,0.00031572982,0.000061753344,0.0000016415684,0.026357032,0.0006168394,0.0009324081,0.00013074659,0.9637676,0.00033267218],"about_ca_topic_score_codex":0.000055024488,"about_ca_topic_score_gemma":0.00017251786,"teacher_disagreement_score":0.7946393,"about_ca_system_score_codex":0.000051927,"about_ca_system_score_gemma":0.00003618258,"threshold_uncertainty_score":0.9998302},"labels":[],"label_agreement":null},{"id":"W7130419722","doi":"10.7202/1123394ar","title":"Through My Lens","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Power (physics); Lens (geology); Representation (politics); Citizen journalism; Through-the-lens metering; Reflection (computer programming)","score_opus":0.023737860907559537,"score_gpt":0.23316470158818178,"score_spread":0.20942684068062226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130419722","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34978855,0.000288641,0.000019724486,0.011402591,0.0014682764,0.00010724663,0.0000099049785,0.00013863335,0.63677645],"genre_scores_gemma":[0.9516527,0.0003714718,0.00003667284,0.017006055,0.00034243497,0.000030376226,0.0000065105473,0.000010495141,0.030543286],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931747,0.000007826695,0.00016545026,0.00014799845,0.00009290561,0.0002683757],"domain_scores_gemma":[0.9997283,0.000020972047,0.00003249326,0.00017195666,0.000036424874,0.00000985212],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006327634,0.00013721256,0.00015299964,0.00007140296,0.00051916094,0.00008274658,0.0001491712,0.000019981913,0.001237001],"category_scores_gemma":[0.0000015551241,0.00010939932,0.00005752196,0.000048916434,0.00022572292,0.00051363505,0.000056817204,0.000105919265,0.00061914494],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000070393595,0.00006710959,0.012130642,0.0004225645,0.00017342345,0.000002025445,0.058731753,0.000046578443,0.00006342388,0.10533358,0.8019031,0.021055378],"study_design_scores_gemma":[0.00020553645,0.000033861674,0.0013557589,0.00007661261,0.000022310755,7.4376715e-7,0.0019131752,0.0000709176,0.0004631036,0.00031297602,0.99540234,0.00014263809],"about_ca_topic_score_codex":0.000097114105,"about_ca_topic_score_gemma":0.00012998101,"teacher_disagreement_score":0.6062332,"about_ca_system_score_codex":0.000025112957,"about_ca_system_score_gemma":0.000017382035,"threshold_uncertainty_score":0.999676},"labels":[],"label_agreement":null},{"id":"W7130642696","doi":"10.5817/cejcs2023-18-10","title":"A post-colonial Canadian in Cairo and Kraljevo : theatre, interculturality and politics in BoxWhatBox 2023","year":2023,"lang":"en","type":"article","venue":"The Central European journal of Canadian studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interculturality; Politics; Process (computing); Intercultural relations; Interculturalism","score_opus":0.03710191424719081,"score_gpt":0.2369354180616861,"score_spread":0.1998335038144953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130642696","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95571554,0.004734307,7.526603e-9,0.020309914,0.0005176967,0.00010257785,0.000110444475,0.0000058719525,0.018503657],"genre_scores_gemma":[0.9924378,0.005378878,0.0000017854711,0.0008392043,0.00047608514,0.0000010476199,0.000002146468,0.00001273099,0.00085036416],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986586,0.00019370938,0.00034988456,0.00010391982,0.0000974222,0.000596461],"domain_scores_gemma":[0.9993854,0.00007747162,0.000071940354,0.000077996345,0.00010388443,0.00028326808],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006472054,0.00015229789,0.00027696238,0.0006506318,0.0004255383,0.000106911655,0.00015079751,0.000013608179,0.00003107778],"category_scores_gemma":[0.000057579844,0.00009581577,0.00004431701,0.00016418629,0.00044542603,0.00017744146,0.000054303404,0.00025432147,0.00001286481],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010205653,0.000020211852,0.04313757,0.00012753421,0.00047585485,0.0021876364,0.8634292,0.000029740078,0.000018332474,0.021588938,0.047174748,0.02170821],"study_design_scores_gemma":[0.0007019075,0.00022338003,0.43802446,0.00024908688,0.000050920025,0.000084810024,0.11348998,0.000010776959,0.000003049752,0.0005429756,0.44638485,0.00023377893],"about_ca_topic_score_codex":0.6803352,"about_ca_topic_score_gemma":0.99611723,"teacher_disagreement_score":0.7499392,"about_ca_system_score_codex":0.00018477972,"about_ca_system_score_gemma":0.00017701334,"threshold_uncertainty_score":0.39072537},"labels":[],"label_agreement":null},{"id":"W7132636533","doi":"","title":"Reimagining North America under NAFTA: Mexico and Quebec’s theatre networks, a case-study","year":2021,"lang":"es","type":"article","venue":"e_Buah","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Exposition (narrative); Government (linguistics); Perspective (graphical); Indigenous","score_opus":0.020782088006291725,"score_gpt":0.24180341115701065,"score_spread":0.22102132315071893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132636533","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9292871,0.023171049,0.00004317517,0.0029997067,0.0014090278,0.00037495507,0.00008665997,0.00013890442,0.042489428],"genre_scores_gemma":[0.9828339,0.0017318024,0.000024975543,0.0010308737,0.001993459,0.00002816761,0.000030725176,0.000049662285,0.012276393],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99824685,0.00015332189,0.0003705027,0.00051249133,0.00020131675,0.0005154913],"domain_scores_gemma":[0.99906117,0.00016923336,0.0001234906,0.00040449007,0.00012973916,0.000111887355],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000096910815,0.00039886712,0.0005316849,0.00007784873,0.0014377702,0.0008559346,0.00010773336,0.00005661323,0.0009238131],"category_scores_gemma":[0.0000066879543,0.0003023883,0.0001227527,0.0001127993,0.0004075522,0.0002970912,0.00027487118,0.00044240293,0.00008182743],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014099457,0.0011024973,0.47569507,0.0002779173,0.002226892,0.010912197,0.27210945,0.0010373435,0.0000034846187,0.006623066,0.03606444,0.19380666],"study_design_scores_gemma":[0.0007834428,0.00029697994,0.012058043,0.00013706424,0.00040654803,0.0005247243,0.23604634,0.0005360937,0.0000025192328,0.000064502616,0.7485752,0.0005685338],"about_ca_topic_score_codex":0.021451307,"about_ca_topic_score_gemma":0.17606282,"teacher_disagreement_score":0.71251076,"about_ca_system_score_codex":0.00004036617,"about_ca_system_score_gemma":0.00009729633,"threshold_uncertainty_score":0.99998945},"labels":[],"label_agreement":null},{"id":"W7132875205","doi":"","title":"The perceived value of drama by young people in coming to an understanding of personal self","year":2003,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Bibliothèque et Archives nationales du Québec","funders":"","keywords":"Drama; Value (mathematics); Qualitative research; Work (physics); Value judgment; Narrative","score_opus":0.02935497576843665,"score_gpt":0.2966703316209044,"score_spread":0.26731535585246774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132875205","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9451683,0.0013072517,0.000012171847,0.00023066724,0.00068837067,0.00041830458,0.0000496701,0.000012687659,0.052112553],"genre_scores_gemma":[0.9884791,0.001158458,0.000027454074,0.000023386083,0.00010881833,0.000020498303,0.00006413901,0.00003941539,0.010078732],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981703,0.00015483006,0.0005473825,0.00030713185,0.00038775138,0.00043256299],"domain_scores_gemma":[0.99900126,0.00023236482,0.00034668663,0.00022277988,0.00012609852,0.00007078267],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00039071683,0.00036416747,0.0006372806,0.0001773318,0.0011540648,0.0001330319,0.0002403563,0.00013100366,0.0003293826],"category_scores_gemma":[0.000025091274,0.00029429406,0.00015729817,0.00014470579,0.00017677473,0.00016883123,0.000029896084,0.00031599033,0.0000048239754],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002498286,0.0001413888,0.0032849924,0.00042101924,0.00016086255,4.879226e-7,0.9714389,0.000029208084,0.0016745749,0.021998193,0.00048433917,0.00011619513],"study_design_scores_gemma":[0.00047419753,0.00048051952,0.0052094003,0.00050477486,0.00014253863,0.0000012166645,0.9893612,0.00046723557,0.00043648828,0.00014786962,0.002421269,0.00035324765],"about_ca_topic_score_codex":0.0051992717,"about_ca_topic_score_gemma":0.05003834,"teacher_disagreement_score":0.04483907,"about_ca_system_score_codex":0.0001648941,"about_ca_system_score_gemma":0.00013217719,"threshold_uncertainty_score":0.99995095},"labels":[],"label_agreement":null},{"id":"W7132877282","doi":"","title":"Tactical Dramaturgies: Media, the State, and the Performance of Place-Based Activism","year":2021,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Performative utterance; Precarity; Politics; State (computer science); Solidarity; Marxist philosophy; Social movement; Ideology; Localism; Agency (philosophy)","score_opus":0.015880662848069847,"score_gpt":0.2717201727289247,"score_spread":0.25583950988085485,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132877282","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9511332,0.010568075,0.0000021268465,0.002666297,0.001397884,0.0005434166,0.000048447073,0.000019201932,0.033621352],"genre_scores_gemma":[0.9506442,0.010412968,0.000009133036,0.00021059989,0.0005249939,0.00008879161,0.00008782688,0.00004452038,0.037976958],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9978334,0.00025700373,0.0005232683,0.00036949437,0.00056074886,0.00045610455],"domain_scores_gemma":[0.99603623,0.0025061904,0.0005019475,0.0005408755,0.00035202035,0.000062711784],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00061604864,0.00052649697,0.00083556026,0.00009312988,0.001635301,0.00036289234,0.0003433753,0.00015864533,0.001708955],"category_scores_gemma":[0.00011028183,0.00027038998,0.0002440191,0.00012406571,0.0021285918,0.00021839896,0.00009472561,0.0009099028,0.00003076636],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0039598066,0.00012912377,0.00017906426,0.0016534431,0.00066864595,0.0000051374673,0.97596014,0.0001736547,0.000051715575,0.009048071,0.0019762875,0.006194933],"study_design_scores_gemma":[0.0047270926,0.00052702153,0.0029339185,0.001772952,0.0011806684,0.00001050487,0.82975465,0.005977457,0.005477293,0.00028576783,0.14637074,0.0009819425],"about_ca_topic_score_codex":0.00094569096,"about_ca_topic_score_gemma":0.002579283,"teacher_disagreement_score":0.14620548,"about_ca_system_score_codex":0.00003072773,"about_ca_system_score_gemma":0.0003671789,"threshold_uncertainty_score":0.99997485},"labels":[],"label_agreement":null},{"id":"W7132882325","doi":"","title":"Pirandello&apos;s Dramaturgy of Time","year":2017,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Temporality; Phenomenology (philosophy); Dramaturgy; Consciousness; Perception; Subject (documents)","score_opus":0.04204856510178415,"score_gpt":0.3471911752947294,"score_spread":0.3051426101929453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132882325","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22191362,0.005494155,5.90492e-7,0.00018595549,0.0019641302,0.0003005763,0.00007000649,0.000035597506,0.7700354],"genre_scores_gemma":[0.41098952,0.0027591558,0.0000059326135,0.000025333606,0.0009830054,0.000013908741,0.00023577982,0.00004708505,0.5849403],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981833,0.000044662444,0.00053913856,0.00039395143,0.0003765325,0.0004624079],"domain_scores_gemma":[0.9977743,0.000092403396,0.0009226602,0.00075913477,0.00037009327,0.000081429265],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020218489,0.0005627008,0.001037046,0.00018401959,0.0016020307,0.00029019217,0.0005165759,0.0002886367,0.018865211],"category_scores_gemma":[0.000027835558,0.0004903773,0.00041565046,0.000027571734,0.00052893534,0.00025342335,0.000054916072,0.00040772773,0.0011939383],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010980594,0.00028419055,0.00009745992,0.0023459208,0.0012516421,0.000018640832,0.9110324,0.000013950937,0.001069685,0.010948139,0.039416507,0.03242342],"study_design_scores_gemma":[0.000861987,0.0004845197,0.00021108513,0.0012688026,0.00060650305,0.0000032708122,0.062428884,0.0001241496,0.00287564,0.0004662811,0.92985004,0.0008188424],"about_ca_topic_score_codex":0.002529165,"about_ca_topic_score_gemma":0.0022719651,"teacher_disagreement_score":0.89043355,"about_ca_system_score_codex":0.000025716517,"about_ca_system_score_gemma":0.00014924227,"threshold_uncertainty_score":0.9997548},"labels":[],"label_agreement":null},{"id":"W7132891047","doi":"","title":"Interviewing the mothers of invention: A qualitative analysis of women theatre practitioners in Toronto","year":2004,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ideology; Interview; Institution; Ethnography; Qualitative research; Politics; Drama","score_opus":0.04711194289666097,"score_gpt":0.3947988674169988,"score_spread":0.34768692452033784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132891047","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83599997,0.006758656,0.0000073538336,0.0003408358,0.00031644863,0.00037126124,0.000065129796,0.000008923784,0.1561314],"genre_scores_gemma":[0.99088126,0.002923832,0.0000135448845,0.000045767672,0.00008539811,0.000101960664,0.00015632319,0.000023111796,0.005768804],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977983,0.00038320618,0.0008591152,0.000273342,0.00034966908,0.00033632902],"domain_scores_gemma":[0.9980529,0.000283109,0.0010471127,0.00032312857,0.00025443154,0.000039293423],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011642836,0.00033125238,0.001045067,0.00036192496,0.00026083676,0.000046524907,0.000244352,0.00009242983,0.0061145257],"category_scores_gemma":[0.000028222013,0.00023898462,0.0005294846,0.000408722,0.00036654682,0.00034724956,0.000035684036,0.00022797636,0.000005537976],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029159323,0.00017770164,0.00013969354,0.0006758055,0.0047424976,6.796255e-7,0.97063977,0.0004014474,0.00003805751,0.021455716,0.000037235284,0.0013997947],"study_design_scores_gemma":[0.00040365098,0.00028630803,0.00096528576,0.0009171334,0.0015065124,1.552978e-7,0.9911137,0.000065840584,0.00008737329,0.00091050257,0.003517178,0.00022634852],"about_ca_topic_score_codex":0.07788451,"about_ca_topic_score_gemma":0.26520818,"teacher_disagreement_score":0.18732367,"about_ca_system_score_codex":0.00091583177,"about_ca_system_score_gemma":0.00016838132,"threshold_uncertainty_score":0.994794},"labels":[],"label_agreement":null},{"id":"W7132900764","doi":"","title":"&quot;The Amusement World&quot;: Theatre as Social Practice in Eighteen-Nineties Toronto","year":2006,"lang":"en","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Eli Lilly and Company","keywords":"Amateur; Context (archaeology); Meaning (existential); Performance studies; Opera; Situated; Performance art; Social practice; Amusement","score_opus":0.016792047359861617,"score_gpt":0.31546598403777887,"score_spread":0.29867393667791725,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132900764","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03808238,0.010339767,9.645028e-8,0.0030021602,0.0015559103,0.00040041606,0.000020153162,0.000081259925,0.9465179],"genre_scores_gemma":[0.17240274,0.0014994314,0.000014485069,0.0005556227,0.0041580335,0.000179963,0.00042315718,0.0000695429,0.820697],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984125,0.0000963562,0.00035576022,0.0003040356,0.00041890406,0.00041245084],"domain_scores_gemma":[0.9991299,0.00018764692,0.00027215068,0.00024288581,0.00014057568,0.000026845717],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022606127,0.00040452715,0.00040873245,0.000100736426,0.0009451634,0.0002532503,0.00026812733,0.0000920141,0.004010393],"category_scores_gemma":[0.000013650595,0.00028504792,0.00015428688,0.000059949998,0.00013496645,0.00033397734,0.00004051569,0.00039010344,0.00024007476],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000281623,0.00013982091,0.000045626577,0.00013458483,0.00018079154,0.000013005092,0.66608375,0.000003660481,0.000005596854,0.043814156,0.2780982,0.011199177],"study_design_scores_gemma":[0.0002094283,0.00006265132,0.00032709746,0.00007843262,0.000118446034,7.729988e-7,0.29863882,0.0000011764638,0.00003800254,0.00030515154,0.6999566,0.00026341344],"about_ca_topic_score_codex":0.051240157,"about_ca_topic_score_gemma":0.71727645,"teacher_disagreement_score":0.6660363,"about_ca_system_score_codex":0.00017566617,"about_ca_system_score_gemma":0.00009164834,"threshold_uncertainty_score":0.9999602},"labels":[],"label_agreement":null},{"id":"W7132909583","doi":"","title":"Recollection of an Audience: Style, Experience, and Change in the Study of Theatre Spectatorship","year":2020,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Perception; Scholarship; Narrative; Conversation; Transformative learning; Presentational and representational acting; Perspective (graphical); Recall; Experiential learning; Interpretation (philosophy)","score_opus":0.06390493971617561,"score_gpt":0.3423186818821448,"score_spread":0.2784137421659692,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132909583","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96707433,0.0011550641,8.6735966e-8,0.0001166781,0.00046424716,0.0012765082,0.0000118896705,0.000010934078,0.029890247],"genre_scores_gemma":[0.99698097,0.0013303228,0.000003794613,0.000031555053,0.0004363011,0.00021665546,0.000019800276,0.000020218733,0.00096037594],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99826056,0.00024378282,0.000501795,0.00038010607,0.00037311655,0.0002406258],"domain_scores_gemma":[0.99904144,0.00010765739,0.00042272345,0.00027149438,0.00011495284,0.00004170595],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002956328,0.00032734263,0.0006103455,0.00024447194,0.00052524445,0.000072325965,0.00026389747,0.00009170418,0.0003668994],"category_scores_gemma":[0.000016034359,0.00022880847,0.00006890731,0.0003530648,0.00025487418,0.00029341844,0.000038639566,0.00031232036,0.000002276238],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004375587,0.00052189454,0.0092498865,0.0003091742,0.00005689416,0.0000039570837,0.98402536,7.5192736e-7,0.000034640976,0.00055280793,0.000030812254,0.004776268],"study_design_scores_gemma":[0.0005631701,0.003625555,0.070988394,0.00018462633,0.000108254935,0.0000012628277,0.92235434,0.00007258857,0.00017453286,0.0000523148,0.0016596762,0.00021527703],"about_ca_topic_score_codex":0.009537064,"about_ca_topic_score_gemma":0.058414567,"teacher_disagreement_score":0.061738506,"about_ca_system_score_codex":0.000020744139,"about_ca_system_score_gemma":0.000039920353,"threshold_uncertainty_score":0.9970585},"labels":[],"label_agreement":null},{"id":"W7132915453","doi":"","title":"Trauma talk: theorizing violence and victimization in contemporary performance","year":2002,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Depiction; Argument (complex analysis); Variety (cybernetics); Identification (biology); Presentation (obstetrics); Cycle of violence; Domestic violence","score_opus":0.03818954131780964,"score_gpt":0.2818756684158666,"score_spread":0.24368612709805695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132915453","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7985579,0.023813037,0.000004513208,0.00012416941,0.00087860646,0.00047132067,0.00001588336,0.000053342348,0.17608126],"genre_scores_gemma":[0.93360645,0.046680797,0.000019626359,0.00007999276,0.0004913423,0.00006369339,0.00014585993,0.00005716613,0.018855061],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99800587,0.00008521998,0.00060359476,0.00055467425,0.00028042134,0.00047021674],"domain_scores_gemma":[0.99907184,0.000104085026,0.00035543257,0.00025752257,0.00013324826,0.00007788145],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027358162,0.0005863151,0.0006564608,0.00035784085,0.0009704248,0.00025756113,0.00018464474,0.00023825743,0.0013928543],"category_scores_gemma":[0.000015057197,0.000556946,0.00009267829,0.00014662364,0.0002898135,0.0006795577,0.000047497542,0.0005556822,0.00007323496],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00062279886,0.00022936321,0.010896703,0.0020320164,0.00015820374,0.000025086636,0.7867795,0.00018515039,0.00006329334,0.004863924,0.00040386812,0.19374007],"study_design_scores_gemma":[0.004957475,0.002006959,0.041970156,0.026900982,0.00034439325,0.000032967484,0.76761097,0.026616324,0.0020119327,0.00095962407,0.12250309,0.004085109],"about_ca_topic_score_codex":0.0010670613,"about_ca_topic_score_gemma":0.0015363293,"teacher_disagreement_score":0.18965496,"about_ca_system_score_codex":0.000060833336,"about_ca_system_score_gemma":0.000052646228,"threshold_uncertainty_score":0.9996882},"labels":[],"label_agreement":null},{"id":"W7132927220","doi":"","title":"&quot;Acts of Resistance&quot;: Reclaiming Native Womanhood in Canadian Aboriginal Theatre.","year":2016,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Vector Institute","funders":"","keywords":"Indigenous; Resistance (ecology); Identity (music); Politics; Representation (politics); Legislation; Face (sociological concept)","score_opus":0.016085878093737148,"score_gpt":0.3082003351346039,"score_spread":0.29211445704086675,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132927220","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28667432,0.005815427,5.9341676e-7,0.001276092,0.0016895519,0.0005274125,0.00029594722,0.000025765581,0.7036949],"genre_scores_gemma":[0.83192754,0.00441427,0.000020866082,0.000064956526,0.00089581613,0.00006876211,0.00014026661,0.0000779795,0.16238953],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99645406,0.0001481938,0.00088737434,0.0006874048,0.00051433744,0.0013086338],"domain_scores_gemma":[0.99780864,0.0002619065,0.00064162636,0.0005053437,0.00047196867,0.00031052722],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005059231,0.00078854815,0.0011332745,0.0010608709,0.0012831391,0.0001347316,0.0004559641,0.0003491375,0.0030777717],"category_scores_gemma":[0.000036089506,0.00065634755,0.00025942855,0.00025881326,0.00042004013,0.00041647285,0.000025112997,0.00064217753,0.00014819135],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009940767,0.00012823044,0.0040938165,0.0012058906,0.00045986552,0.00006688268,0.86704934,0.0000036857177,0.00012194988,0.11885542,0.002703388,0.00431746],"study_design_scores_gemma":[0.0009577987,0.0002423826,0.0035440826,0.004174901,0.00016628405,0.000001470957,0.23580909,0.0000042987385,0.0011935155,0.0013268554,0.7516912,0.0008880964],"about_ca_topic_score_codex":0.3588239,"about_ca_topic_score_gemma":0.9856417,"teacher_disagreement_score":0.74898785,"about_ca_system_score_codex":0.0006790344,"about_ca_system_score_gemma":0.0018469619,"threshold_uncertainty_score":0.9995888},"labels":[],"label_agreement":null},{"id":"W7132959194","doi":"","title":"Un/Disciplined Performance: Nonprofessionalized Theatre in Canada&apos;s Professional Era","year":2010,"lang":"en","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"China Atomic Energy Authority; State Key Laboratory of Advanced Optical Communication Systems and Networks; University of Toronto; Thompson Rivers University","keywords":"Amateur; Drama; Context (archaeology); Political theatre; Scholarship; Professionalization; Theatre studies; Theatre director; Episteme","score_opus":0.02035973515382726,"score_gpt":0.3160168593677356,"score_spread":0.29565712421390833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132959194","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77282375,0.00051479245,2.200242e-8,0.00086742436,0.006229119,0.00033835587,0.000046336536,0.00003896329,0.21914123],"genre_scores_gemma":[0.7369872,0.00019470062,0.000019249761,0.00016095559,0.001125213,0.00014269071,0.0009406637,0.000053649113,0.26037574],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981468,0.00004933287,0.00042897015,0.00036402585,0.00051272154,0.00049817085],"domain_scores_gemma":[0.9991498,0.0000852147,0.00022833068,0.0003030658,0.000148938,0.000084679916],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001684896,0.00044422923,0.00054357096,0.0001669629,0.0007797999,0.000050814695,0.00031284135,0.00020961136,0.009943482],"category_scores_gemma":[0.000007305306,0.00032517858,0.00009640277,0.000074096715,0.00007626425,0.00015634118,0.000063089436,0.0013410074,0.00010005118],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002602628,0.00043498797,0.012650491,0.002254886,0.00038987497,0.000065278684,0.80199784,0.000021352922,0.0005114208,0.008154178,0.0991283,0.07178876],"study_design_scores_gemma":[0.0021443858,0.00012120567,0.049485516,0.001936127,0.00013827455,0.000004034749,0.2775531,0.00016922859,0.0011243131,0.0005207499,0.66529304,0.0015099891],"about_ca_topic_score_codex":0.5252305,"about_ca_topic_score_gemma":0.99425614,"teacher_disagreement_score":0.56616473,"about_ca_system_score_codex":0.0001892445,"about_ca_system_score_gemma":0.0022565771,"threshold_uncertainty_score":0.99992},"labels":[],"label_agreement":null},{"id":"W7132963322","doi":"","title":"Long Term Impact and Sustainability of Theatre for Development Projects in Ghana","year":2024,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Sustainability; Social impact assessment; Interview; Psychological intervention; Social sustainability; Participatory action research; Citizen journalism; Qualitative research; Community development","score_opus":0.027052103479225768,"score_gpt":0.3447877355768365,"score_spread":0.31773563209761074,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132963322","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97571737,0.012205488,0.0000037253974,0.0001598342,0.00040309466,0.0017464372,0.000039687122,0.000021500628,0.009702885],"genre_scores_gemma":[0.9805427,0.00043956016,0.000022294606,0.0000060295383,0.00020613671,0.00021962752,0.0001623431,0.000041835134,0.018359479],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983669,0.00003318489,0.0005222365,0.00044406723,0.00017490628,0.0004586863],"domain_scores_gemma":[0.99916,0.0001283696,0.00018267217,0.00019443536,0.0002815696,0.00005293273],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00035616205,0.0004548292,0.00067411235,0.0003426662,0.00034196422,0.00013993296,0.00011383322,0.00015141851,0.00017174083],"category_scores_gemma":[0.00002230459,0.00034585482,0.00017479381,0.00009677176,0.00020369353,0.00014056529,0.00006231212,0.00025075334,0.0000037358502],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00068677246,0.00014451463,0.016153615,0.017556014,0.00036108628,0.000006221496,0.91748446,0.0000043104023,0.000008257873,0.0012596961,0.00019511752,0.04613993],"study_design_scores_gemma":[0.0011007645,0.0010600952,0.073740035,0.0030690664,0.0004010963,0.000002945774,0.9072194,0.00010659947,0.0010550738,0.00093504915,0.010365591,0.00094427355],"about_ca_topic_score_codex":0.0014311478,"about_ca_topic_score_gemma":0.02507612,"teacher_disagreement_score":0.057586417,"about_ca_system_score_codex":0.00026226777,"about_ca_system_score_gemma":0.00084544986,"threshold_uncertainty_score":0.9998993},"labels":[],"label_agreement":null},{"id":"W7132965844","doi":"","title":"Acting Out(side) the Canadian Multicultural &quot;Script&quot; in Toronto&apos;s Ethno-cultural Festivals","year":2016,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Scholarship; Charter; Dramaturgy; Negotiation; Government (linguistics)","score_opus":0.07143776541248427,"score_gpt":0.37195995995999676,"score_spread":0.3005221945475125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132965844","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47621018,0.0066293315,1.3594386e-7,0.005565198,0.0064790654,0.0010715071,0.00013049517,0.00008117645,0.5038329],"genre_scores_gemma":[0.6964536,0.0011943256,0.000009801292,0.00035552637,0.0024542166,0.00012375199,0.00020534525,0.000069649686,0.29913384],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99563795,0.00027159296,0.0009290806,0.0008279536,0.0006246609,0.0017087415],"domain_scores_gemma":[0.9974914,0.00034963764,0.0005820135,0.00060085906,0.00062300696,0.00035303584],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005724109,0.0011676548,0.0010389786,0.00016359151,0.005346171,0.0011124099,0.000763917,0.00054138986,0.0053571393],"category_scores_gemma":[0.00020753592,0.0006510683,0.0004375322,0.000091677546,0.00058621337,0.0011903292,0.00010378759,0.0011515458,0.0006717078],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016304442,0.000041587133,0.0005610197,0.00019674792,0.00031229085,0.000025671763,0.9736877,0.0000040783466,0.00057495147,0.0026509864,0.0069537503,0.014828164],"study_design_scores_gemma":[0.00070431374,0.00012122979,0.0044170567,0.0010872406,0.00019249262,0.000005563278,0.67856914,0.000022154378,0.00046608932,0.00003363098,0.313391,0.0009900946],"about_ca_topic_score_codex":0.9218781,"about_ca_topic_score_gemma":0.99916744,"teacher_disagreement_score":0.30643722,"about_ca_system_score_codex":0.0021656584,"about_ca_system_score_gemma":0.00055392104,"threshold_uncertainty_score":0.99992454},"labels":[],"label_agreement":null},{"id":"W7132979636","doi":"","title":"Moving Beyond Recognition Politics: Constructing Diasporic Theatre Spaces for South Asian Women in Canada","year":2024,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Solidarity; Conceptualization; South asia; Colonialism; Postcolonialism (international relations); Placemaking","score_opus":0.01830521829948683,"score_gpt":0.25556826323675985,"score_spread":0.23726304493727302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132979636","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8391725,0.0046245344,9.883647e-7,0.00038270303,0.004431471,0.0007807379,0.00068089,0.000052169435,0.149874],"genre_scores_gemma":[0.96889895,0.0005368355,0.00005090697,0.000108673725,0.0023444367,0.0003327452,0.00066620123,0.00012064374,0.026940612],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9968144,0.0000502019,0.00072253344,0.0006755523,0.00035212396,0.0013851465],"domain_scores_gemma":[0.99873114,0.00024556814,0.0003870482,0.00024184499,0.0002054612,0.00018892437],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032850384,0.00070805434,0.0009086304,0.00045443568,0.00084400596,0.0003985071,0.00019919746,0.00018710682,0.0012477449],"category_scores_gemma":[0.00003964006,0.0006832476,0.00018777781,0.00016686053,0.0001435651,0.0002422716,0.00005185709,0.0006505162,0.00005357907],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013851063,0.000022901064,0.0017031612,0.00314275,0.0003600977,0.000025175083,0.9363994,0.000010912556,0.000009039922,0.0038297332,0.0005834389,0.053774882],"study_design_scores_gemma":[0.00051329564,0.00014735732,0.00044838444,0.0014138703,0.00025104123,0.0000047216636,0.97079915,0.000115133684,0.00011174523,0.005398259,0.019979652,0.0008174198],"about_ca_topic_score_codex":0.7826622,"about_ca_topic_score_gemma":0.9756131,"teacher_disagreement_score":0.1929509,"about_ca_system_score_codex":0.0015588092,"about_ca_system_score_gemma":0.0024023724,"threshold_uncertainty_score":0.99966526},"labels":[],"label_agreement":null},{"id":"W7132990786","doi":"","title":"Black Box Exposures: Enriching Public Engagement with Human-Data Relations Through Intermedial Performance Strategies","year":2021,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Natural Sciences and Engineering Research Council of Canada","keywords":"Praxis; Metaphor; Representation (politics); Black box; Salient; Space (punctuation); Humanism; Public engagement","score_opus":0.10118669344872123,"score_gpt":0.34727806917624615,"score_spread":0.24609137572752493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132990786","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6659656,0.003187473,0.00012482006,0.00063801935,0.0017640612,0.0006387647,0.00011651671,0.00014794497,0.32741678],"genre_scores_gemma":[0.9040555,0.0050793504,0.0002164411,0.00010368681,0.002669888,0.00010825125,0.006657625,0.00012504857,0.080984235],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99569845,0.00027081245,0.0009659049,0.0012073464,0.00087402115,0.0009834795],"domain_scores_gemma":[0.9966466,0.00023755681,0.0007514215,0.0016348005,0.00060154207,0.00012809728],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005982621,0.0010310566,0.00096472306,0.0002760727,0.0050113723,0.0025477824,0.001150079,0.00029047226,0.007153173],"category_scores_gemma":[0.000053249707,0.00087480765,0.00018819222,0.00025360344,0.00084689807,0.0037172446,0.0005149301,0.0017209017,0.0002737308],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019417754,0.00034165368,0.0015035827,0.0013942053,0.0013894187,0.000029721967,0.9291061,0.00014448584,0.00007851853,0.05244411,0.010351508,0.0030225269],"study_design_scores_gemma":[0.0008446763,0.0007396935,0.002366003,0.0013788455,0.0005809255,0.00000499608,0.74353456,0.00018541796,0.0000943023,0.0001899717,0.24903521,0.0010454023],"about_ca_topic_score_codex":0.0009913946,"about_ca_topic_score_gemma":0.031729657,"teacher_disagreement_score":0.24643253,"about_ca_system_score_codex":0.00014250864,"about_ca_system_score_gemma":0.00091604004,"threshold_uncertainty_score":0.9993703},"labels":[],"label_agreement":null},{"id":"W7132992886","doi":"","title":"Community-engaged Theatre Audiences","year":2021,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Meaning (existential); Audience reception; Servant; Multitude; Order (exchange); Theatre studies; Political theatre; Face (sociological concept); Participant observation","score_opus":0.058705460456334874,"score_gpt":0.323359339524716,"score_spread":0.2646538790683811,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132992886","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41142216,0.010904991,8.0528105e-7,0.0005993696,0.002775701,0.0002175289,0.00003862391,0.00008092051,0.5739599],"genre_scores_gemma":[0.6945116,0.005528029,0.000014716839,0.00017595898,0.0012050483,0.000045947265,0.00059211126,0.000052633157,0.29787394],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9946919,0.0032685143,0.0005280459,0.00040974957,0.00043866996,0.0006631317],"domain_scores_gemma":[0.9971733,0.0012182031,0.00035246057,0.00076462317,0.00037677053,0.00011460734],"candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0018417544,0.0007255909,0.0009196986,0.00018424398,0.02147705,0.0006440902,0.0005886313,0.0002596052,0.0131801525],"category_scores_gemma":[0.00014057381,0.00062985637,0.00041107368,0.00015170437,0.00053826446,0.00027663985,0.00016220055,0.006572109,0.000552948],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009540235,0.00021403149,0.00015315045,0.0007831734,0.00043895008,0.000012976891,0.9719662,0.000005507386,0.00010593978,0.0039398,0.0096703945,0.012614444],"study_design_scores_gemma":[0.00022605891,0.00021671927,0.00047272912,0.0006320432,0.00024348423,0.0000027669741,0.6581654,0.000009496453,0.00042721324,0.00020511744,0.33889604,0.00050294504],"about_ca_topic_score_codex":0.006567613,"about_ca_topic_score_gemma":0.05266412,"teacher_disagreement_score":0.32922566,"about_ca_system_score_codex":0.00005881422,"about_ca_system_score_gemma":0.00022913987,"threshold_uncertainty_score":0.99961525},"labels":[],"label_agreement":null},{"id":"W7133001106","doi":"","title":"Seeking a Right to the City in Toronto: Youth, Pedagogy, Pandemic, and Performance","year":2022,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Vector Institute","funders":"Office of International Science and Engineering; Social Sciences and Humanities Research Council of Canada","keywords":"Context (archaeology); Ethnography; Gentrification; Identity (music); Affordance; CONTEST; Drama; Narrative; Negotiation; Embodied cognition; Commodification","score_opus":0.03410201953657785,"score_gpt":0.3377282992057953,"score_spread":0.3036262796692174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133001106","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84557676,0.012841702,8.2695567e-7,0.00049390254,0.0017070101,0.0006620331,0.000076371354,0.00004345593,0.1385979],"genre_scores_gemma":[0.91886324,0.011159357,0.0000050148356,0.00030283892,0.00090335845,0.00016728225,0.0001400095,0.000045171735,0.068413705],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977589,0.00012429593,0.00048616418,0.0005828302,0.0004039022,0.00064389117],"domain_scores_gemma":[0.9990515,0.000121353536,0.00023017057,0.0004170495,0.00008610881,0.00009381508],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00063834863,0.00055016705,0.00060574425,0.00011658798,0.0027295563,0.00027269695,0.00040527168,0.00013346321,0.012661782],"category_scores_gemma":[0.000017059781,0.00040674966,0.000121316014,0.00009980291,0.00016006718,0.00033385956,0.00026547894,0.0007856765,0.00004354808],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035172128,0.00005241757,0.020801166,0.00027841152,0.00009464928,0.0000034878371,0.96226245,0.0000099413755,0.000008970912,0.0009322517,0.0005000184,0.01470453],"study_design_scores_gemma":[0.00037173668,0.00037870673,0.03043238,0.00028126972,0.00014285101,0.000004879055,0.7161895,0.00012554154,0.000013398138,0.000017110946,0.25149295,0.00054968725],"about_ca_topic_score_codex":0.042740576,"about_ca_topic_score_gemma":0.494325,"teacher_disagreement_score":0.45158443,"about_ca_system_score_codex":0.0003722616,"about_ca_system_score_gemma":0.00013737081,"threshold_uncertainty_score":0.9998384},"labels":[],"label_agreement":null},{"id":"W7133004602","doi":"","title":"They Kiss: How Intimacy Directors Translate Intimate Stage Directions","year":2023,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interview; Conversation; Affect (linguistics); Conversation analysis; Work (physics); Moment (physics)","score_opus":0.035723855746264147,"score_gpt":0.32887652400677164,"score_spread":0.2931526682605075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133004602","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7091564,0.005613894,0.0000041226244,0.002320056,0.013459709,0.001177869,0.00069273874,0.0012746131,0.2663006],"genre_scores_gemma":[0.41866547,0.018047795,0.000021606998,0.000039210503,0.0013095058,0.00017441697,0.00083145994,0.0002179333,0.5606926],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968304,0.00014462428,0.0005992012,0.0008654501,0.0005352002,0.0010250993],"domain_scores_gemma":[0.99815404,0.00024882553,0.0004581013,0.00061363325,0.0003426693,0.00018271632],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034361877,0.0010738982,0.0011231884,0.0006396846,0.0029547373,0.0010334948,0.0004384321,0.00031693844,0.005255674],"category_scores_gemma":[0.000041601335,0.0009619228,0.00059571816,0.0002709143,0.0003223832,0.0005251371,0.00007636275,0.0009638634,0.001728396],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003202207,0.00020467899,0.00029140542,0.0017362931,0.0016109666,0.000031420714,0.9416759,0.000050376664,0.00041282288,0.0046870336,0.0132948,0.035684068],"study_design_scores_gemma":[0.0005250323,0.0002489596,0.0022756893,0.0007080252,0.00066961953,0.0000015619325,0.26959562,0.00018700573,0.00062094955,0.00022535665,0.72370464,0.0012375322],"about_ca_topic_score_codex":0.010532809,"about_ca_topic_score_gemma":0.047091823,"teacher_disagreement_score":0.7104099,"about_ca_system_score_codex":0.00010016053,"about_ca_system_score_gemma":0.00014433094,"threshold_uncertainty_score":0.99928313},"labels":[],"label_agreement":null},{"id":"W7133005290","doi":"","title":"Out of the Fringes: An Intersectional Feminist Analysis of Postsecondary Acting Training in English Canada","year":2022,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Intersectionality; Privilege (computing); Context (archaeology); Psychological intervention; Higher education; Transparency (behavior); Qualitative research; Power (physics); Qualitative property; Power structure","score_opus":0.03130154230732351,"score_gpt":0.296879201133769,"score_spread":0.26557765882644546,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133005290","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.867691,0.00037481874,1.1715527e-7,0.000042421547,0.003185432,0.00013618455,0.0003826037,0.00000732324,0.1281801],"genre_scores_gemma":[0.99237245,0.000052267245,0.0000023726047,0.000053828866,0.00030744163,0.000020948202,0.00032635138,0.000023272018,0.006841054],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99817336,0.00012466832,0.0006761037,0.00030553134,0.00044685404,0.00027347103],"domain_scores_gemma":[0.99845624,0.00023949848,0.00077369524,0.00028937834,0.00020382371,0.000037374866],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00033789573,0.00028726057,0.00077400455,0.00041955482,0.0007255981,0.000043509797,0.00035230035,0.00007071393,0.006754871],"category_scores_gemma":[0.00006620125,0.0002512504,0.00031805778,0.0003398903,0.00016084389,0.00011912641,0.00008758233,0.0006261108,1.5757634e-7],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001605524,0.00004934707,0.0073324516,0.00021990664,0.0016269868,0.0000017435643,0.9865032,0.00070249016,0.0000464141,0.00097367977,0.00012680648,0.0022564463],"study_design_scores_gemma":[0.00017421936,0.00012334342,0.012561552,0.00017920941,0.0008985952,2.2221134e-7,0.9545998,0.0002010164,0.00018697407,0.0000081512635,0.030834505,0.00023240369],"about_ca_topic_score_codex":0.60427696,"about_ca_topic_score_gemma":0.99525183,"teacher_disagreement_score":0.39097485,"about_ca_system_score_codex":0.00022226361,"about_ca_system_score_gemma":0.0011674399,"threshold_uncertainty_score":0.999994},"labels":[],"label_agreement":null},{"id":"W7133013188","doi":"","title":"A critical analysis of Cirque du Soleil, 1987-2001","year":2002,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cirque; Interpretation (philosophy); Semiotics; Meaning (existential); Emblem","score_opus":0.03317788145869711,"score_gpt":0.3253773520473617,"score_spread":0.2921994705886646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133013188","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50811064,0.008550872,0.000031511656,0.0010301755,0.0017193849,0.0002746253,0.00023890736,0.00005216168,0.47999173],"genre_scores_gemma":[0.8949086,0.005043398,0.00002374647,0.00010518648,0.0010212137,0.000032931108,0.0003380163,0.00004547208,0.098481424],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974876,0.000093150855,0.00076617417,0.0005098385,0.0004841538,0.0006590818],"domain_scores_gemma":[0.99800515,0.00035292376,0.00033008555,0.00048522907,0.0006884175,0.00013818895],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022840673,0.00057667424,0.0014805725,0.00086360704,0.0011648687,0.00026415163,0.0002946475,0.00027391932,0.039876696],"category_scores_gemma":[0.00011536648,0.0005337483,0.0009186848,0.00045195778,0.0007872258,0.00021654714,0.000054096105,0.00042595397,0.00025936193],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003132715,0.0008659624,0.0025654293,0.0016501448,0.010773505,0.000032085263,0.8869277,0.00018037084,0.00020823587,0.06437106,0.028455857,0.003656332],"study_design_scores_gemma":[0.0009770967,0.0011328098,0.012094612,0.0010244879,0.03668664,0.000004740064,0.46541974,0.010104671,0.0008589607,0.000472606,0.4690094,0.0022142266],"about_ca_topic_score_codex":0.0038272943,"about_ca_topic_score_gemma":0.018662153,"teacher_disagreement_score":0.44055355,"about_ca_system_score_codex":0.00005373714,"about_ca_system_score_gemma":0.00008153219,"threshold_uncertainty_score":0.9997114},"labels":[],"label_agreement":null},{"id":"W7133016419","doi":"","title":"On Genealogy: Inheriting Fault Lines in Canadian Theatre Criticism","year":2022,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Theatre criticism; Blueprint; Performing arts; Drama; Stanislavski's system; Theatre studies; Theatre director","score_opus":0.027330851484694867,"score_gpt":0.3197987300590389,"score_spread":0.29246787857434403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133016419","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5514425,0.00478782,6.774682e-8,0.0016681021,0.002356623,0.00036767896,0.0002030106,0.000037485956,0.43913668],"genre_scores_gemma":[0.900311,0.0016137138,0.000006182344,0.0011548499,0.0013625185,0.00018011611,0.00070165447,0.000099684374,0.09457027],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971524,0.00014476417,0.00057249324,0.0006061624,0.00035723424,0.0011669338],"domain_scores_gemma":[0.99889034,0.00021964143,0.00016817672,0.00036061183,0.00013238714,0.00022882147],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032110486,0.000637028,0.0007087259,0.0007543335,0.0024171555,0.00024954008,0.00034385547,0.00023885527,0.020415472],"category_scores_gemma":[0.00004302199,0.00065344427,0.00020371692,0.00016925603,0.00015881089,0.00013658286,0.00005472875,0.0011397739,0.00022882505],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029993663,0.00019791462,0.0017759642,0.00096130616,0.00022661973,0.00027617416,0.89273626,0.00046283015,0.00004167056,0.07031129,0.009824699,0.022885356],"study_design_scores_gemma":[0.00040757682,0.00034213497,0.0008121041,0.00043012865,0.00007241902,0.0000040143896,0.35482115,0.0001901385,0.000046887068,0.0007710486,0.64140105,0.00070135115],"about_ca_topic_score_codex":0.7950632,"about_ca_topic_score_gemma":0.9881031,"teacher_disagreement_score":0.63157636,"about_ca_system_score_codex":0.00043767423,"about_ca_system_score_gemma":0.00066464016,"threshold_uncertainty_score":0.9995917},"labels":[],"label_agreement":null},{"id":"W7133023188","doi":"","title":"That Other Side of Our Province: Finding Crisis, Isolation, Rurality and Place in Northwestern Ontarian Theatre","year":2022,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"University of Toronto","keywords":"Thunder; Rurality; Indigenous; Conversation; Drama; Work (physics); Bay","score_opus":0.02960435416724799,"score_gpt":0.30523749309913634,"score_spread":0.27563313893188834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133023188","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96479326,0.0030480826,0.0000018587026,0.0012184463,0.0008269215,0.0007115374,0.000184986,0.000028659892,0.029186219],"genre_scores_gemma":[0.9653693,0.0007439742,0.000014373387,0.000106556356,0.00029104864,0.000055697532,0.00025519088,0.000055159686,0.033108726],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99793345,0.00015876682,0.0005925218,0.00050572417,0.0003863699,0.00042315846],"domain_scores_gemma":[0.9988355,0.00009590024,0.00058766484,0.0003403443,0.00008156438,0.00005903863],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00038916076,0.00051098946,0.00074756675,0.00028820883,0.00087241235,0.00016473027,0.00021596902,0.00015678439,0.0014309236],"category_scores_gemma":[0.000005682994,0.00047223107,0.00014879025,0.0000926188,0.00007896672,0.00037818038,0.00011109292,0.00056873856,0.000009999694],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00068121916,0.00015803061,0.1482746,0.001132049,0.00022768645,0.000008179727,0.8445008,0.00014703907,0.000031296622,0.0017812083,0.0011071722,0.0019507689],"study_design_scores_gemma":[0.0008302479,0.0002853974,0.037589345,0.0004457686,0.00019514526,0.000002919049,0.8913899,0.000086802334,0.00012533282,0.00016272077,0.06828395,0.0006024538],"about_ca_topic_score_codex":0.096291766,"about_ca_topic_score_gemma":0.66000575,"teacher_disagreement_score":0.563714,"about_ca_system_score_codex":0.0001478522,"about_ca_system_score_gemma":0.0002272827,"threshold_uncertainty_score":0.99977297},"labels":[],"label_agreement":null},{"id":"W7133025294","doi":"","title":"&quot;Fitful excellences&quot;: the Great Canadian Theatre Company and English-speaking Ottawa theatre, 1975--1983","year":2004,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mandate; Appeal; Resistance (ecology); Politics; Drama; Period (music)","score_opus":0.01906421222159636,"score_gpt":0.25844183204220295,"score_spread":0.2393776198206066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133025294","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26907808,0.026428029,0.0000011767328,0.0019531049,0.004364436,0.0011734371,0.00022743706,0.00014362611,0.6966307],"genre_scores_gemma":[0.9197704,0.008865574,0.000015956,0.0005743141,0.0045377607,0.000116682895,0.00036332215,0.00017143555,0.06558454],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949443,0.00024523592,0.0009859966,0.0012178163,0.00078011875,0.0018265632],"domain_scores_gemma":[0.9968824,0.00041666513,0.00056364393,0.0010435926,0.0005274361,0.00056626677],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.00062213844,0.0015798323,0.0013784823,0.0005648565,0.0069182483,0.0014555637,0.0009867372,0.0005367369,0.005701715],"category_scores_gemma":[0.000028033588,0.0011073633,0.00049370655,0.00028951076,0.0012893706,0.0005702274,0.00014378654,0.001558839,0.00033068075],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001705151,0.00008499747,0.0035333587,0.0007175979,0.0007449328,0.000059273254,0.9411244,0.00011159064,0.0000087043245,0.017842554,0.006241211,0.029360889],"study_design_scores_gemma":[0.0007702701,0.00027722266,0.0015149999,0.0011395824,0.0005881493,0.000016369948,0.31503975,0.000056724748,0.000059222388,0.00036746706,0.6790419,0.0011282967],"about_ca_topic_score_codex":0.557427,"about_ca_topic_score_gemma":0.92672366,"teacher_disagreement_score":0.6728007,"about_ca_system_score_codex":0.0003511151,"about_ca_system_score_gemma":0.001019411,"threshold_uncertainty_score":0.99969494},"labels":[],"label_agreement":null},{"id":"W7133026983","doi":"","title":"Performing Technology: Mapping Interface Metaphors and Interactive Dramaturgies","year":2022,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Interface (matter); Process (computing); Digital media; Digital art; User interface; New media; Motion (physics); Computer technology; Emerging technologies","score_opus":0.018458273903542804,"score_gpt":0.3107998094889252,"score_spread":0.2923415355853824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133026983","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8736932,0.03197617,0.0000116110705,0.0010241107,0.0030805403,0.00055455015,0.000046004745,0.0002023205,0.08941149],"genre_scores_gemma":[0.8663367,0.0062470213,0.00008206887,0.000052748743,0.00031895138,0.00018476661,0.000105523744,0.00008365929,0.12658855],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99765736,0.00007519335,0.0005613018,0.0007352211,0.00033128483,0.00063961535],"domain_scores_gemma":[0.99861604,0.00018374255,0.00054701866,0.00038392266,0.00019771549,0.00007155644],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027686034,0.0007767374,0.00095644704,0.0010029721,0.0032386575,0.00046799786,0.00038460566,0.00024889086,0.009335999],"category_scores_gemma":[0.000054362492,0.0007359295,0.00021157425,0.00022977083,0.00053733506,0.0005549801,0.00052190723,0.0017229441,0.0000981769],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003249727,0.00006985469,0.00036143637,0.00078215863,0.0010728191,0.000015007505,0.9442675,0.000014499694,0.00035369274,0.0069972677,0.0010873934,0.04465341],"study_design_scores_gemma":[0.00022624596,0.00023895135,0.00009664136,0.00046688877,0.00022601697,0.000014802691,0.608495,0.00012264277,0.0009929201,0.00021156439,0.3883892,0.000519114],"about_ca_topic_score_codex":0.00073144503,"about_ca_topic_score_gemma":0.000828224,"teacher_disagreement_score":0.3873018,"about_ca_system_score_codex":0.00016606782,"about_ca_system_score_gemma":0.00009435145,"threshold_uncertainty_score":0.99950916},"labels":[],"label_agreement":null},{"id":"W7133032847","doi":"","title":"Travelling with Harriet&apos;s House","year":2013,"lang":"en","type":"article","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Racism; Politics; Performance art; Work (physics)","score_opus":0.047007544135179234,"score_gpt":0.2733399496192037,"score_spread":0.22633240548402447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133032847","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74522144,0.00027755293,0.00001939507,0.0012056204,0.00014105246,0.000115193216,0.0000014295831,0.00017001673,0.2528483],"genre_scores_gemma":[0.94011223,0.00006628908,0.000089832996,0.00025552834,0.0005071313,0.000020505078,9.33532e-7,0.000021050322,0.0589265],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99958354,0.000006098533,0.00006177306,0.00009281892,0.0000805077,0.00017523236],"domain_scores_gemma":[0.99976563,0.000016660206,0.000023759727,0.00011279798,0.000046378133,0.000034782606],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000028238377,0.00009236045,0.00009821195,0.00002523657,0.0002627283,0.00011159485,0.00006117081,0.00001277968,0.005103713],"category_scores_gemma":[0.0000012108928,0.000059407765,0.00002403706,0.000017209533,0.0001139314,0.00016051672,0.000011992765,0.0000696371,0.0012023533],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004355252,0.00005946664,0.001886736,0.00006341969,0.00013635788,0.000005888366,0.8762117,0.000024941532,0.00021344904,0.031928305,0.07668569,0.012740492],"study_design_scores_gemma":[0.0003078498,0.00019134553,0.0010900116,0.000037984395,0.000025505371,0.000002880198,0.066732615,0.0000695502,0.0006416969,0.0003647236,0.9302907,0.00024510873],"about_ca_topic_score_codex":0.0012292898,"about_ca_topic_score_gemma":0.0010418852,"teacher_disagreement_score":0.85360503,"about_ca_system_score_codex":0.0000061440064,"about_ca_system_score_gemma":0.000008737112,"threshold_uncertainty_score":0.9995753},"labels":[],"label_agreement":null},{"id":"W7133041354","doi":"","title":"&quot;Sounding Nature, Sounding Place&quot;: Alternative Performance Spaces, Participatory Experience, and Ritual Performance in R. Murray Schafer’s Patria Cycle","year":2010,"lang":"en","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Ethnography; Citizen journalism; Soundscape; Agency (philosophy); Perception; Architecture; Performativity","score_opus":0.035041868991188885,"score_gpt":0.3231111900700326,"score_spread":0.2880693210788437,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133041354","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92612666,0.0023228028,5.904092e-7,0.00005595852,0.004235807,0.0004477805,0.00002635399,0.00011715971,0.06666691],"genre_scores_gemma":[0.9618812,0.0025269173,0.000039388065,0.000072372306,0.0017240612,0.00021157603,0.00014595679,0.00009089597,0.033307616],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99720806,0.00007157115,0.0005574091,0.0007213999,0.00054547406,0.0008960834],"domain_scores_gemma":[0.99873936,0.0001464988,0.00041258,0.00039482708,0.00015327966,0.00015344763],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00049531687,0.0007086362,0.00076674257,0.0005272611,0.0012589277,0.00043282175,0.00038771424,0.0004720453,0.0006593457],"category_scores_gemma":[0.000059889917,0.0006414051,0.00011609242,0.00015105418,0.0004248921,0.00096116593,0.00010670936,0.0020909393,0.00009684856],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000704129,0.00011877904,0.031206239,0.00089971203,0.00016234683,0.00001754505,0.95290995,0.000066337976,0.00027240868,0.008104197,0.00061732705,0.004921025],"study_design_scores_gemma":[0.0036404273,0.00084287365,0.037808947,0.0028440105,0.000319474,0.000026410964,0.57760054,0.003584602,0.005125039,0.00048428212,0.36404905,0.0036743789],"about_ca_topic_score_codex":0.0005573426,"about_ca_topic_score_gemma":0.010078293,"teacher_disagreement_score":0.37530944,"about_ca_system_score_codex":0.00013599408,"about_ca_system_score_gemma":0.00012206893,"threshold_uncertainty_score":0.99960375},"labels":[],"label_agreement":null},{"id":"W7133050565","doi":"","title":"Considering Process: Investigating Practice and Methodology in Filipinx Canadian Theatre Creation","year":2022,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Action (physics); Process (computing); Action research; Knowledge creation; Theatre studies","score_opus":0.11731310223411875,"score_gpt":0.3974211651121162,"score_spread":0.2801080628779975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133050565","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5798785,0.011139225,0.0000013741562,0.0042947116,0.0010840604,0.00074199226,0.000050567472,0.000044831904,0.40276474],"genre_scores_gemma":[0.9786951,0.003544684,0.00080435316,0.0011646295,0.0006214467,0.0003098948,0.00047027072,0.00008875378,0.014300875],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9975548,0.00056747807,0.00051684055,0.00054589997,0.00024046242,0.0005745215],"domain_scores_gemma":[0.99776363,0.0012619055,0.0004145094,0.00020185643,0.00018631305,0.00017180288],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010527059,0.00044027533,0.0006142134,0.000550315,0.0018846068,0.0002364604,0.0001409835,0.00018998573,0.0037219203],"category_scores_gemma":[0.00071290834,0.0004657316,0.00005830008,0.00017654177,0.00029654714,0.0004886152,0.000051995496,0.00092048617,0.000014126951],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010874949,0.000027239636,0.002701515,0.0008306054,0.00014872715,0.000028855693,0.9766149,0.00020832827,0.000041968393,0.008797862,0.00037949692,0.010111788],"study_design_scores_gemma":[0.00033674215,0.00017265735,0.0007506045,0.0003469064,0.00019256867,0.000024853254,0.7926337,0.00025548463,0.000080637656,0.0010831868,0.20367412,0.00044851901],"about_ca_topic_score_codex":0.53304464,"about_ca_topic_score_gemma":0.8866546,"teacher_disagreement_score":0.3988166,"about_ca_system_score_codex":0.0002136908,"about_ca_system_score_gemma":0.00095117954,"threshold_uncertainty_score":0.99977946},"labels":[],"label_agreement":null},{"id":"W7133064009","doi":"","title":"I Do It Because It’s Cool: The Positive Impact of Theatre Production and Design Courses in the Ontario Curriculum","year":2024,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Curriculum; Production (economics); Curriculum development; Emergent curriculum; Curriculum theory","score_opus":0.03671972677744653,"score_gpt":0.32859927782689513,"score_spread":0.2918795510494486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133064009","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9503717,0.00949212,0.0000012187847,0.0051316353,0.0014106181,0.0017400593,0.00006612769,0.000019514055,0.03176704],"genre_scores_gemma":[0.9706561,0.0037335148,0.000004323258,0.00008743537,0.0007123964,0.00011312775,0.000080910664,0.000038773404,0.024573447],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99797994,0.00029475606,0.00045567844,0.00047114157,0.00039943712,0.0003990464],"domain_scores_gemma":[0.99869365,0.00031219175,0.00030023715,0.00040068675,0.0002570934,0.00003615586],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00078926753,0.0005638168,0.0005551956,0.00018875084,0.00095289596,0.00046685117,0.00028377865,0.0001441771,0.000719124],"category_scores_gemma":[0.000029697256,0.00027553522,0.00026449526,0.000176271,0.0005108215,0.00026480376,0.000050113344,0.00084164547,0.0000345887],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044604208,0.00018937832,0.002019414,0.00024732354,0.0006180484,0.000008811986,0.96092,0.0001662713,0.00002331138,0.0012208243,0.032994505,0.0011460629],"study_design_scores_gemma":[0.00025780324,0.0012342152,0.01689853,0.002281304,0.0011759015,0.000029648541,0.9591676,0.00006492301,0.00015726365,0.00043740135,0.017813709,0.00048172564],"about_ca_topic_score_codex":0.15987475,"about_ca_topic_score_gemma":0.56799424,"teacher_disagreement_score":0.4081195,"about_ca_system_score_codex":0.00018069606,"about_ca_system_score_gemma":0.0003950435,"threshold_uncertainty_score":0.99996966},"labels":[],"label_agreement":null},{"id":"W7133065255","doi":"","title":"Reading the Theatre: A Lens-Based Method for Understanding Theatre Companies and their Facilities","year":2021,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Theatre director; Mandate; Theatre studies; Work (physics); Set (abstract data type)","score_opus":0.09316139464491503,"score_gpt":0.3336702888030446,"score_spread":0.2405088941581296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133065255","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11609747,0.10552853,0.03196666,0.02545756,0.0096309865,0.007957242,0.0038565332,0.0007055084,0.6987995],"genre_scores_gemma":[0.9433091,0.0040403563,0.00045012686,0.0005387995,0.0015582207,0.00038155777,0.0007333426,0.0001636093,0.048824847],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9971911,0.00028380525,0.0006106772,0.00077343127,0.0003062665,0.00083474634],"domain_scores_gemma":[0.9957136,0.0030021989,0.00037491744,0.00057705794,0.00025050182,0.000081740094],"candidate_categories":["metaepi_narrow","sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.00083869166,0.0010022011,0.0012288933,0.00021487297,0.0052732825,0.0011061897,0.00032831158,0.00026099282,0.0007164298],"category_scores_gemma":[0.00003194579,0.00062242453,0.0005657618,0.0001248173,0.00068347756,0.00028516547,0.0000873346,0.00060238776,0.0000078946],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006879592,0.00007134848,0.00007179703,0.0026155654,0.0011887779,0.0000027295239,0.8602618,0.00013478605,0.00024331489,0.117936015,0.0029661907,0.013819745],"study_design_scores_gemma":[0.0006409388,0.00028512324,0.000015061627,0.00086511933,0.00040647644,0.0000055307714,0.765804,0.002616765,0.00078475784,0.0056856433,0.22225888,0.0006317281],"about_ca_topic_score_codex":0.0022726401,"about_ca_topic_score_gemma":0.012129463,"teacher_disagreement_score":0.8272117,"about_ca_system_score_codex":0.00017756848,"about_ca_system_score_gemma":0.00025486335,"threshold_uncertainty_score":0.99993074},"labels":[],"label_agreement":null},{"id":"W7133071870","doi":"","title":"&quot;getting it straight&quot;: Ambivalent Misalignment and the Kinship Idiom in the Drama of Sharon Pollock","year":2014,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto","keywords":"Ambivalence; Drama; Kinship; Pollock","score_opus":0.028738232202554427,"score_gpt":0.3006139515023183,"score_spread":0.27187571929976384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133071870","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7565533,0.0076266476,0.0000030192843,0.008183771,0.0009004633,0.001250001,0.000043862834,0.000021376642,0.22541757],"genre_scores_gemma":[0.96750116,0.0027273714,0.000008264027,0.00059362315,0.0010003024,0.00010215501,0.00007532016,0.000048272952,0.0279435],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9967738,0.0004902328,0.0009101805,0.00050340017,0.000713543,0.0006088921],"domain_scores_gemma":[0.99776906,0.000739312,0.00071373355,0.0005905078,0.00012847505,0.00005889166],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0016754366,0.0006490313,0.0009256537,0.00017073964,0.0012217591,0.00038747056,0.00060394837,0.00019398057,0.0010580388],"category_scores_gemma":[0.00005792743,0.00036322058,0.00030335976,0.00011098437,0.00079198845,0.00012838852,0.00010198895,0.00066383363,0.00003289017],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00067115267,0.00013446492,0.00093255896,0.0011946097,0.00028843468,0.000003964095,0.93374413,0.000022473769,0.00011093118,0.05474536,0.004954834,0.003197087],"study_design_scores_gemma":[0.003497599,0.0005848613,0.009108631,0.00216351,0.00075263315,0.000007088803,0.8396302,0.00031633317,0.0009115398,0.0013482363,0.14078741,0.0008920066],"about_ca_topic_score_codex":0.003663305,"about_ca_topic_score_gemma":0.008318801,"teacher_disagreement_score":0.2109479,"about_ca_system_score_codex":0.000051637642,"about_ca_system_score_gemma":0.00006661019,"threshold_uncertainty_score":0.999882},"labels":[],"label_agreement":null},{"id":"W7133073389","doi":"","title":"Speaking Truth to Historiography: The Power of Dramaturgy in Making Relationships Between Indigenous and Settler Peoples","year":2022,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Dramaturgy; Historiography; Indigenous; Politics; Power (physics); Mythology","score_opus":0.03620963721615811,"score_gpt":0.3035406581374702,"score_spread":0.2673310209213121,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133073389","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9641017,0.009414353,0.0000017004179,0.00044070152,0.0011442633,0.00057459733,0.000071428265,0.000022677088,0.0242286],"genre_scores_gemma":[0.9956451,0.0006901488,0.000023882754,0.000037046942,0.00031799678,0.00006289607,0.00013466796,0.000051882766,0.0030363987],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9980021,0.00021775553,0.000586357,0.00038912488,0.00038594828,0.0004186768],"domain_scores_gemma":[0.9982115,0.00085322856,0.00045784228,0.0003338845,0.00009553754,0.000048028363],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00060846645,0.00039754488,0.0006264663,0.00074474775,0.0021225323,0.00014257127,0.0002778133,0.00013874727,0.0015159458],"category_scores_gemma":[0.00007771387,0.0003256003,0.00015892037,0.00035698342,0.00016922427,0.00014660071,0.00012760457,0.00091574364,0.000010978021],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012164451,0.000031402407,0.049439665,0.00026232225,0.00017128396,0.0000027142778,0.94307035,0.000043243985,0.0000037321327,0.004274181,0.00018151171,0.002397926],"study_design_scores_gemma":[0.00019155277,0.00019065532,0.20669408,0.00039305844,0.00018544681,0.0000012309896,0.67889893,0.0000013109973,0.000007420248,0.00028175703,0.112795986,0.00035856076],"about_ca_topic_score_codex":0.0040159556,"about_ca_topic_score_gemma":0.029369459,"teacher_disagreement_score":0.26417145,"about_ca_system_score_codex":0.000120027915,"about_ca_system_score_gemma":0.00012493775,"threshold_uncertainty_score":0.9999196},"labels":[],"label_agreement":null},{"id":"W7133092622","doi":"","title":"Placefull Spaces: Queer Women and Non-Binary Artists Resisting an Emptied Stage","year":2018,"lang":"","type":"dissertation","venue":"TSpace","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Jackman Humanities Institute, University of Toronto","keywords":"Queer; Context (archaeology); Queer theory; Space (punctuation); Neutrality","score_opus":0.025647450535013203,"score_gpt":0.30518454538570877,"score_spread":0.27953709485069556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133092622","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8801788,0.0017918772,0.0000024851024,0.000153825,0.0013338949,0.0005046038,0.000105044775,0.00010363008,0.115825854],"genre_scores_gemma":[0.6601482,0.0008205034,0.00008666381,0.000093765164,0.0018274076,0.000093220195,0.00022766087,0.00009645096,0.33660614],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9969274,0.00011396958,0.0005879291,0.0009024341,0.00043544045,0.0010328757],"domain_scores_gemma":[0.99810386,0.00012707192,0.00054215884,0.0006087453,0.00032119526,0.0002969565],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00055073696,0.00086335867,0.0009221187,0.00028719538,0.0029161552,0.0008687182,0.000285993,0.00032335237,0.00584451],"category_scores_gemma":[0.000035946003,0.00080478523,0.00011469714,0.00009160715,0.00062657014,0.00060633256,0.00012992836,0.0005444229,0.00026816668],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015275598,0.00013201566,0.0011808504,0.0016393638,0.0003300883,0.000029631652,0.98514694,0.0000052353766,0.0003984663,0.0013547809,0.0064597493,0.0017952947],"study_design_scores_gemma":[0.00095695,0.002101273,0.005757121,0.00082973734,0.00015553151,0.0000030540655,0.695678,0.00031473822,0.00025172136,0.00020853641,0.29247236,0.0012710047],"about_ca_topic_score_codex":0.0022743323,"about_ca_topic_score_gemma":0.014541664,"teacher_disagreement_score":0.289469,"about_ca_system_score_codex":0.00014666015,"about_ca_system_score_gemma":0.0001759199,"threshold_uncertainty_score":0.9994403},"labels":[],"label_agreement":null},{"id":"W7133786065","doi":"10.32773/cejn9889","title":"From Whether to Why: Preparing for the 2025 York Plays","year":2025,"lang":"","type":"article","venue":"ROMARD","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Perspective (graphical); Agency (philosophy); Work (physics)","score_opus":0.03836495146856516,"score_gpt":0.275418789796875,"score_spread":0.23705383832830984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133786065","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06391244,0.03023246,0.0015297356,0.020246826,0.011661763,0.0026519804,0.0010806363,0.00016778383,0.8685164],"genre_scores_gemma":[0.83201456,0.000629181,0.0001370995,0.0043688957,0.0046206503,0.00037024327,0.000017327908,0.00003822453,0.15780379],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99860096,0.00003459753,0.00035873085,0.0003915388,0.00015135607,0.00046283068],"domain_scores_gemma":[0.9985945,0.0006776943,0.00007025828,0.00052435434,0.00008191248,0.000051252468],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022622453,0.00029699714,0.0003760051,0.00008168622,0.001824806,0.00045246352,0.00041737696,0.00008254856,0.0018123854],"category_scores_gemma":[0.0000305856,0.00020315149,0.00025027842,0.00007970394,0.00014768733,0.00011814204,0.00026942042,0.00017462864,0.0002731691],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039778897,0.000059471473,0.00058173214,0.00011929231,0.0011024104,4.736515e-7,0.08011529,0.00013012186,0.000040726514,0.03417582,0.8455639,0.03771298],"study_design_scores_gemma":[0.00044060618,0.00013441709,0.0007097953,0.00037944695,0.00036928063,1.00737964e-7,0.011743148,0.00037533353,0.00021656432,0.0041756593,0.98120695,0.00024871025],"about_ca_topic_score_codex":0.0027180193,"about_ca_topic_score_gemma":0.0071209804,"teacher_disagreement_score":0.76810217,"about_ca_system_score_codex":0.000051449508,"about_ca_system_score_gemma":0.0000700797,"threshold_uncertainty_score":0.9994747},"labels":[],"label_agreement":null},{"id":"W7134360810","doi":"","title":"The Lemon Princess","year":2005,"lang":"en","type":"article","venue":"PubMed Central","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"","score_opus":0.020548765733448476,"score_gpt":0.2035991024193868,"score_spread":0.18305033668593834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134360810","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42750257,0.0018084709,0.0000037243724,0.008403569,0.0024906672,0.00023039327,0.000011909528,0.00010708048,0.5594416],"genre_scores_gemma":[0.97164595,0.00029896933,0.0000064666856,0.00026772445,0.00430808,0.000048936705,0.0000017030186,0.0000057284283,0.023416452],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905354,0.00001004915,0.00009098562,0.00007141111,0.000090793896,0.00068324833],"domain_scores_gemma":[0.99977905,0.000025544881,0.000022862872,0.000096204996,0.00001246469,0.000063883235],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013603177,0.00006462903,0.00005573214,0.000010053681,0.0006121144,0.00013636085,0.00012116687,0.000009399013,0.00023074965],"category_scores_gemma":[0.0000063298794,0.00003614804,0.00003830931,0.000010249305,0.00014976111,0.00015273433,0.000024792453,0.00006666228,0.000089686764],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031806572,0.00003677454,0.009110121,0.000008130447,0.000055646018,8.7704734e-7,0.032409716,0.000018710838,8.909818e-7,0.25783858,0.03862687,0.6618619],"study_design_scores_gemma":[0.00009253917,0.000005940837,0.027533688,0.0000017060655,0.000006415805,5.2684527e-7,0.0009807801,0.000017429216,0.000061863044,0.00026451814,0.97097546,0.000059114922],"about_ca_topic_score_codex":0.00003484705,"about_ca_topic_score_gemma":0.004023615,"teacher_disagreement_score":0.9323486,"about_ca_system_score_codex":0.000036364043,"about_ca_system_score_gemma":0.00001263409,"threshold_uncertainty_score":0.4707951},"labels":[],"label_agreement":null},{"id":"W7134408450","doi":"","title":"Quarter of an Inch","year":2021,"lang":"","type":"article","venue":"ScholarsArchive  (Brigham Young University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Drill; Platoon; Foot (prosody); Clothing","score_opus":0.013362096460577146,"score_gpt":0.2037227172738976,"score_spread":0.19036062081332045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134408450","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5356727,0.0007710647,0.00003143064,0.0001911309,0.0009824996,0.00014270637,0.00048875087,0.000046098186,0.46167362],"genre_scores_gemma":[0.9466991,0.001027661,0.00025204688,0.00007910925,0.00059497147,3.9018656e-7,0.000100672376,0.00003155166,0.051214498],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975744,0.0004409235,0.00038804047,0.0006278632,0.00038260117,0.000586157],"domain_scores_gemma":[0.9982064,0.00010507504,0.0002320417,0.0006749608,0.0005599649,0.00022157091],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019445542,0.0003953103,0.0005888344,0.0005153798,0.001458408,0.0003041913,0.0005361418,0.00011857284,0.0038784766],"category_scores_gemma":[0.000021024809,0.0004299562,0.00034703247,0.00033966676,0.000940385,0.0019135377,0.00037403003,0.000699012,0.0001624717],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010505661,0.0018792773,0.021024005,0.00064429804,0.0020113692,0.0019472875,0.16579768,0.000030214262,0.0052072546,0.7802965,0.0027742167,0.017337305],"study_design_scores_gemma":[0.0025925383,0.0010939989,0.021349907,0.00044117385,0.000713328,0.00006687524,0.09296735,0.00015229861,0.004185874,0.004624423,0.8707359,0.0010763616],"about_ca_topic_score_codex":0.00053362804,"about_ca_topic_score_gemma":0.0034590035,"teacher_disagreement_score":0.86796165,"about_ca_system_score_codex":0.000085158696,"about_ca_system_score_gemma":0.0004266861,"threshold_uncertainty_score":0.9998416},"labels":[],"label_agreement":null},{"id":"W7135938293","doi":"","title":"4 poetic contributions to poetry session Somme Shrouds; Caillteanas; Silent Freedom; Virtual Edgework","year":2019,"lang":"en","type":"article","venue":"Research Portal (Queen's University Belfast)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Poetry; Session (web analytics); Reading (process); George (robot)","score_opus":0.021324000184264412,"score_gpt":0.2790319546683583,"score_spread":0.2577079544840939,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7135938293","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7300258,0.000071041606,0.000057766712,0.0084668035,0.0010593643,0.0009813475,0.00086728093,0.00020031833,0.25827026],"genre_scores_gemma":[0.87460065,0.0001417615,0.00001771178,0.00011465629,0.000671189,0.0000034384893,0.00008353793,0.000022730115,0.12434431],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972909,0.00021124509,0.00022940307,0.00047983,0.0008273125,0.00096128776],"domain_scores_gemma":[0.99811155,0.00024593642,0.00006574546,0.00048245827,0.0007111425,0.0003831947],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005413307,0.0002529273,0.00036031226,0.00054652157,0.001738381,0.00015082689,0.00050211267,0.00012039523,0.0077588777],"category_scores_gemma":[0.00007517579,0.00023688229,0.00017458953,0.00035276337,0.00050218607,0.00054647546,0.000633889,0.00073234254,0.0033285446],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005392917,0.00056807266,0.011135976,0.000113560855,0.00037645787,0.00038263475,0.026890185,0.00020677134,0.00023488801,0.5957107,0.36152533,0.0023161222],"study_design_scores_gemma":[0.0011154725,0.0009770204,0.0043338174,0.00022234641,0.000041135576,0.000003435427,0.057839055,0.00003259305,0.0001580571,0.00029283937,0.9345402,0.00044404218],"about_ca_topic_score_codex":0.003704256,"about_ca_topic_score_gemma":0.0008164391,"teacher_disagreement_score":0.59541786,"about_ca_system_score_codex":0.00029601445,"about_ca_system_score_gemma":0.00025011355,"threshold_uncertainty_score":0.9995612},"labels":[],"label_agreement":null},{"id":"W7135983073","doi":"","title":"Mirth and matter","year":2012,"lang":"cs","type":"dissertation","venue":"Digital Repository (National Repository of Grey Literature)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Witch; Depiction; Event (particle physics); Czech; Period (music); Entertainment; Point (geometry)","score_opus":0.00860110525419693,"score_gpt":0.22195751615104373,"score_spread":0.2133564108968468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7135983073","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4149371,0.02002575,6.4871125e-7,0.000046617253,0.0045046327,0.00034382366,0.00050932716,0.00004663523,0.55958545],"genre_scores_gemma":[0.76692784,0.00012569819,0.000014228951,0.00006925043,0.003784169,0.000039993727,0.0010921215,0.00007230961,0.22787441],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9961741,0.00008253808,0.0012900707,0.00071403984,0.0012188894,0.0005203374],"domain_scores_gemma":[0.99619114,0.0002504823,0.0009838508,0.00038338068,0.0019607272,0.00023040631],"candidate_categories":["metaepi_narrow","sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.00014607208,0.00082637556,0.0008319468,0.00042638587,0.0013016833,0.002205074,0.0003144208,0.0004771863,0.00010646757],"category_scores_gemma":[0.00004450415,0.00074006256,0.00045077276,0.0001272341,0.00061726826,0.0026705393,0.00010695836,0.0006182654,0.000086023894],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.003454564,0.0029801643,0.49172097,0.014480303,0.0059127533,0.00032235013,0.2992435,0.0000188208,0.0106894225,0.08968527,0.07303682,0.008455061],"study_design_scores_gemma":[0.0013857796,0.00075904635,0.337153,0.005644491,0.00084153237,0.00076308084,0.0071864063,0.000032328695,0.007432509,0.0015638764,0.63446355,0.0027744214],"about_ca_topic_score_codex":0.000057440127,"about_ca_topic_score_gemma":0.000020177413,"teacher_disagreement_score":0.5614267,"about_ca_system_score_codex":0.00012233296,"about_ca_system_score_gemma":0.00022150725,"threshold_uncertainty_score":0.9999985},"labels":[],"label_agreement":null},{"id":"W7139202855","doi":"","title":"Ten Mile Lake","year":2015,"lang":"","type":"article","venue":"Hollins Digital Commons (Hollins University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mile; Reading (process); Table (database); Quarter (Canadian coin)","score_opus":0.04818388739455535,"score_gpt":0.2046757426597932,"score_spread":0.15649185526523784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139202855","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17326163,0.0010906548,0.000056796078,0.00093247974,0.0015085323,0.0003938602,0.0039390405,0.00028777344,0.81852925],"genre_scores_gemma":[0.8081385,0.0006783092,0.000025160436,0.00013513041,0.001006608,0.0000014558191,0.00027432866,0.00006755179,0.18967296],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99690276,0.00010559385,0.0005645639,0.0007502128,0.00060968765,0.0010671604],"domain_scores_gemma":[0.9973113,0.00017660679,0.0002783208,0.00092093524,0.00058053166,0.00073233905],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021065405,0.0007866626,0.0008768478,0.0009799342,0.0017162842,0.0012760187,0.0010862618,0.0002678607,0.00095101673],"category_scores_gemma":[0.000044996315,0.00081134203,0.00057090336,0.0007726451,0.001404712,0.0027913467,0.00080563064,0.0007210023,0.002460647],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0030109452,0.0057067033,0.0623011,0.0004364583,0.0034272785,0.0027067603,0.12125572,0.00097647816,0.0000055071787,0.48477063,0.27231675,0.043085672],"study_design_scores_gemma":[0.0023655747,0.00089282985,0.00031047364,0.0001374135,0.00028996402,0.000017695646,0.03037369,0.00012855224,0.000015755102,0.00059389306,0.96386963,0.001004538],"about_ca_topic_score_codex":0.00023462359,"about_ca_topic_score_gemma":0.012710034,"teacher_disagreement_score":0.6915529,"about_ca_system_score_codex":0.00023773566,"about_ca_system_score_gemma":0.00042091633,"threshold_uncertainty_score":0.9999623},"labels":[],"label_agreement":null},{"id":"W7139211340","doi":"","title":"SUNSHINE ‘89","year":2018,"lang":"en","type":"article","venue":"UNM’s Digital Repository (University of New Mexico)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bourgeoisie; Order (exchange); Work (physics); Period (music); Set (abstract data type)","score_opus":0.02120914042470443,"score_gpt":0.1908322310838261,"score_spread":0.16962309065912168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139211340","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22155173,0.00022390175,0.000054094813,0.00030232978,0.0004922369,0.00006631,0.000028868917,0.00009234922,0.7771882],"genre_scores_gemma":[0.81819135,0.000014036416,0.000030538988,0.00004397482,0.00056067813,6.295904e-8,0.0000047191656,0.0000073856468,0.18114728],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938446,0.000008316271,0.000102441074,0.00016909912,0.00016375944,0.00017193545],"domain_scores_gemma":[0.999474,0.000027793745,0.000086925196,0.00020052955,0.00012484728,0.0000859092],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000026286833,0.00012455878,0.00021971556,0.000061011986,0.00051311514,0.00009207061,0.00021450398,0.00003430407,0.0010033346],"category_scores_gemma":[0.0000051184074,0.00011904883,0.00016821944,0.000041421998,0.000585407,0.00080151693,0.000101663456,0.00006673296,0.0001794901],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00085771363,0.0005589492,0.017605742,0.00016091898,0.003689145,0.00016406455,0.2647905,0.000010421592,0.00054485764,0.10809345,0.5650548,0.03846949],"study_design_scores_gemma":[0.00041631615,0.0004418566,0.001866209,0.000027553948,0.00022637685,0.000010726058,0.011899237,0.000014986584,0.000563091,0.0015852428,0.9827274,0.0002210231],"about_ca_topic_score_codex":0.00078040897,"about_ca_topic_score_gemma":0.0010619129,"teacher_disagreement_score":0.5966396,"about_ca_system_score_codex":0.000023607172,"about_ca_system_score_gemma":0.000048117403,"threshold_uncertainty_score":0.9999099},"labels":[],"label_agreement":null},{"id":"W7139236142","doi":"","title":"EDITORIAL","year":2019,"lang":"it","type":"article","venue":"Cineca Institutional Research Information System (Tor Vergata University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Kaleidoscope; Order (exchange); Period (music); Happening","score_opus":0.04384946343370622,"score_gpt":0.2541389228487181,"score_spread":0.21028945941501187,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139236142","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0303739,0.00009584062,0.000050118448,0.00032112846,0.09226396,0.00091395254,0.0010102035,0.00014880004,0.8748221],"genre_scores_gemma":[0.92182845,0.00019574135,0.000011064092,0.00003829432,0.045039017,0.000004648295,0.00033393048,0.000012731405,0.0325361],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99634606,0.00020608249,0.0005237228,0.00029312132,0.0019200841,0.0007109134],"domain_scores_gemma":[0.9967603,0.00019587894,0.0002051884,0.00049826613,0.0020939207,0.00024641544],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0011943995,0.00029507818,0.00038287457,0.0014081242,0.0027206985,0.0005814307,0.00073729845,0.00024157947,0.0022436813],"category_scores_gemma":[0.00009704908,0.00028862632,0.00017664628,0.0006238245,0.0007182345,0.0059791985,0.00047799983,0.0007617739,0.023108479],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004432223,0.000032879238,0.0004048228,0.0007639317,0.0001493794,0.000008851529,0.0058546583,0.00023851627,0.0000075337325,0.73549855,0.25625163,0.00034599652],"study_design_scores_gemma":[0.001835828,0.00027229908,0.00032246186,0.000541261,0.000030506535,0.0000070018637,0.034897007,0.00051007554,0.000014467183,0.00001889331,0.9612405,0.00030974008],"about_ca_topic_score_codex":0.00072482193,"about_ca_topic_score_gemma":0.000060905004,"teacher_disagreement_score":0.8914546,"about_ca_system_score_codex":0.001519318,"about_ca_system_score_gemma":0.0013504621,"threshold_uncertainty_score":0.9999566},"labels":[],"label_agreement":null},{"id":"W7139472746","doi":"","title":"Harmonia","year":2021,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Point (geometry); Task (project management); Key (lock)","score_opus":0.02563639589841887,"score_gpt":0.21677430838195352,"score_spread":0.19113791248353465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139472746","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00033489216,0.0146751525,0.0000053409403,0.00087148004,0.0044141174,0.0003621812,0.0003748279,0.00030252352,0.9786595],"genre_scores_gemma":[0.003462955,0.00197788,0.00003278821,0.0014672799,0.008153758,0.00006606214,0.0004954125,0.00016817018,0.9841757],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99701697,0.00006275533,0.0006946337,0.0008277947,0.00058100617,0.0008168358],"domain_scores_gemma":[0.99814904,0.0001302244,0.00029880798,0.00092590967,0.00030792487,0.00018811367],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002393294,0.0008582842,0.0010812331,0.00022163753,0.0011455107,0.0005396687,0.0004957858,0.00031764936,0.06691372],"category_scores_gemma":[0.000015804551,0.0007754068,0.00059686374,0.000048783833,0.0006223821,0.00038397516,0.00025558096,0.0009230294,0.012658226],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002290734,0.00006542106,0.000006770998,0.00017844855,0.00037512393,0.00009177566,0.01777817,7.907821e-7,0.0000062534764,0.058485538,0.9029022,0.020086642],"study_design_scores_gemma":[0.00043702638,0.00015005488,0.00005333592,0.00047403728,0.0002580566,0.000017939677,0.0011067119,0.0000063785556,0.000021016867,0.0077463584,0.9887899,0.0009391388],"about_ca_topic_score_codex":0.000084024345,"about_ca_topic_score_gemma":0.0021218897,"teacher_disagreement_score":0.08588779,"about_ca_system_score_codex":0.00015521554,"about_ca_system_score_gemma":0.00042199128,"threshold_uncertainty_score":0.9994697},"labels":[],"label_agreement":null},{"id":"W7139659856","doi":"","title":"Swimming in air (creative writing component): the role of the imagination from a scriptwriting and performance viewpoint in Peter pan (1904), The emperor's new clothes (1934) and The small poppies (1989) (dissertation component)","year":2012,"lang":"en","type":"dissertation","venue":"UWA Profiles and Research Repository (University of Western Australia)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Imaginary; Reading (process); Clothing; Creative work; Creativity; Character (mathematics); Creative writing","score_opus":0.045829548104855844,"score_gpt":0.2759303364124385,"score_spread":0.23010078830758268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139659856","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9934457,0.003511757,2.2109359e-7,0.00068419625,0.00010517682,0.00066746224,0.000018679446,0.0000065744352,0.0015602451],"genre_scores_gemma":[0.9941806,0.0008242401,0.000012502347,0.0000086203645,0.00013581425,0.0000074143877,0.000032540163,0.000012265428,0.0047859726],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9984878,0.00041595547,0.0002905475,0.0002278479,0.00031789372,0.0002599932],"domain_scores_gemma":[0.998989,0.00034500865,0.00029416668,0.00018388506,0.0001549768,0.000032999465],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007522651,0.00018626741,0.0003211503,0.00012493494,0.0012666659,0.00010602805,0.00028868674,0.00007592721,0.000011188379],"category_scores_gemma":[0.000013850579,0.00010472289,0.00006557061,0.00007833332,0.0010962263,0.00036420854,0.00015144367,0.0005478721,8.303347e-7],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000901806,0.00007807382,0.36567408,0.0007312739,0.00018217838,0.0000037450518,0.6109806,0.0000043957266,0.0044696005,0.0039001382,0.00003381975,0.013040318],"study_design_scores_gemma":[0.0004893732,0.000047941005,0.7054421,0.0009158975,0.000057019293,0.0000033036276,0.2905859,0.00013799994,0.0016780762,0.00018402876,0.00035954217,0.000098859644],"about_ca_topic_score_codex":0.03561741,"about_ca_topic_score_gemma":0.014312841,"teacher_disagreement_score":0.339768,"about_ca_system_score_codex":0.000035497498,"about_ca_system_score_gemma":0.00003984349,"threshold_uncertainty_score":0.9742298},"labels":[],"label_agreement":null},{"id":"W7140012549","doi":"","title":"I Will Answer by the Mouth of (Your) Can(n)on(s)! Indigenous Theatre’s Riposte to Quebec’s Literary Canon","year":2024,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Canon; Indigenous culture; George (robot)","score_opus":0.0059887641801897205,"score_gpt":0.16043745841569768,"score_spread":0.15444869423550794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7140012549","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85121334,0.06401958,0.0000071494196,0.025578223,0.00076657254,0.00043887921,0.0011307049,0.00017317141,0.056672383],"genre_scores_gemma":[0.8483365,0.0009585106,0.000005109733,0.00082053035,0.00034158182,0.0000085547235,0.000032081927,0.000027729728,0.14946938],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905914,0.000037763835,0.00014202853,0.00022791968,0.00020385609,0.00032926913],"domain_scores_gemma":[0.9994717,0.00007154643,0.00004318511,0.00027901653,0.00004934785,0.00008518167],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009367009,0.0002023186,0.00021482601,0.00014936039,0.0007172677,0.0000654843,0.00026116034,0.00004724126,0.0003693353],"category_scores_gemma":[0.0000019966958,0.00014044829,0.00012945039,0.00010750843,0.00012741916,0.00021753405,0.00011828363,0.00016842996,0.000098567616],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019182159,0.0000601094,0.00018106643,0.00008798558,0.0003787026,0.00022635324,0.39526471,0.00005470182,0.00013901804,0.02915202,0.35811448,0.216149],"study_design_scores_gemma":[0.00017175687,0.00018782214,0.00011281014,0.00009125227,0.000091454356,0.000017467932,0.00851077,0.000023535786,0.00017613657,0.00050445355,0.98992914,0.00018342027],"about_ca_topic_score_codex":0.07111804,"about_ca_topic_score_gemma":0.5725856,"teacher_disagreement_score":0.63181466,"about_ca_system_score_codex":0.0009341832,"about_ca_system_score_gemma":0.00006391717,"threshold_uncertainty_score":0.9350675},"labels":[],"label_agreement":null},{"id":"W7140147784","doi":"10.64166/yd2e4t41","title":"Theatricality","year":2006,"lang":"","type":"article","venue":"MiKAN","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec","funders":"","keywords":"Focus (optics); Field (mathematics); Scope (computer science); Interpretation (philosophy); Subject (documents); Perspective (graphical)","score_opus":0.01666729414266705,"score_gpt":0.21519649148173106,"score_spread":0.19852919733906402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7140147784","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16392963,0.0075481487,0.0000082394445,0.0016578926,0.0012100454,0.00014238889,0.000110739595,0.00007814987,0.82531476],"genre_scores_gemma":[0.9225581,0.0002863941,0.000013846689,0.00022282866,0.0051452396,0.000007953809,0.000015501832,0.000017797362,0.071732305],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986888,0.000047301393,0.00035581563,0.00025676872,0.00019806862,0.0004532087],"domain_scores_gemma":[0.99947417,0.000052510073,0.00007347619,0.00028538212,0.00006707358,0.000047387257],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015553314,0.00024326256,0.00028729133,0.00006817489,0.0010797865,0.00024058754,0.00015938624,0.00006450086,0.0073435204],"category_scores_gemma":[0.0000028310415,0.00019316011,0.00018807843,0.000059072958,0.0004061339,0.00016259398,0.00007360228,0.0001793234,0.0013033401],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009211132,0.00057721767,0.014755148,0.00017902123,0.00015073155,0.000019702313,0.017245054,0.000016311958,0.000039169576,0.6260431,0.30337054,0.03751196],"study_design_scores_gemma":[0.0002936409,0.00011194054,0.007848557,0.000024522637,0.000078709105,0.0000019380195,0.0014936734,0.000032673426,0.000099707635,0.007441125,0.9822928,0.0002807399],"about_ca_topic_score_codex":0.003964598,"about_ca_topic_score_gemma":0.0024094163,"teacher_disagreement_score":0.7586285,"about_ca_system_score_codex":0.00003638488,"about_ca_system_score_gemma":0.00002707141,"threshold_uncertainty_score":0.9994743},"labels":[],"label_agreement":null},{"id":"W7140150774","doi":"","title":"Drama, Theatre and Performance Education in Canada: Classroom and Community Contexts","year":2015,"lang":"en","type":"book","venue":"Open MIND","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Community education; Higher education; Qualitative research; Performance studies","score_opus":0.041492485018411074,"score_gpt":0.2581044462848164,"score_spread":0.2166119612664053,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7140150774","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2724891,0.0021509472,5.6244303e-9,0.00009406352,0.00023548862,0.00025498972,0.000102044854,6.602907e-7,0.72467273],"genre_scores_gemma":[0.41539356,0.0004896185,0.000011065241,0.00010204023,0.00024073568,0.000014334765,0.00011217315,0.000015278107,0.5836212],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993001,0.0000623843,0.00021564147,0.00015363701,0.0001092133,0.00015899219],"domain_scores_gemma":[0.9994828,0.000073907795,0.00009912679,0.00020740254,0.000074584255,0.00006214821],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029561942,0.00020021675,0.0003394402,0.0000576616,0.00045937556,0.00020443884,0.00022092645,0.00005924639,0.0006945448],"category_scores_gemma":[0.000004042585,0.00016735418,0.000012379029,0.000008862563,0.00019186678,0.00027124517,0.000246792,0.0005146867,0.000029486537],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049108578,0.00003436956,0.0033511634,0.00009616683,0.00003867712,0.0000012573139,0.042467352,2.2305815e-7,1.0686196e-7,0.00030746046,0.06914174,0.88451236],"study_design_scores_gemma":[0.00028225884,0.00010770551,0.002107291,0.0003491769,0.000031917687,0.000004375232,0.014503551,0.000006093551,0.0000015224208,0.00051201676,0.9818687,0.00022540464],"about_ca_topic_score_codex":0.6552399,"about_ca_topic_score_gemma":0.99552965,"teacher_disagreement_score":0.91272694,"about_ca_system_score_codex":0.0002772736,"about_ca_system_score_gemma":0.004129894,"threshold_uncertainty_score":0.7604779},"labels":[],"label_agreement":null},{"id":"W7144068495","doi":"10.24794/00001459","title":"The Teaching of Theatre Studies in Community College in Canada","year":2006,"lang":"ja","type":"article","venue":"Institutional Repositories DataBase (IRDB)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Community college; College English; Higher education; Doctoral studies","score_opus":0.03153070240582995,"score_gpt":0.2665059577666165,"score_spread":0.23497525536078656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7144068495","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89595115,0.019249374,8.307844e-7,0.0006327478,0.004665947,0.00033510028,0.004040358,0.000016350046,0.075108126],"genre_scores_gemma":[0.9964311,0.0010936045,0.000024746823,0.0000542612,0.0011654189,0.00004371433,0.00018129525,0.000013524815,0.0009923116],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99725854,0.00045875713,0.0010124074,0.00023716365,0.000568283,0.00046484778],"domain_scores_gemma":[0.99756694,0.0013525075,0.00025783747,0.00057212263,0.00021052628,0.000040070732],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0009586418,0.00033298507,0.0005262508,0.00012555819,0.0039098524,0.00009027414,0.00045023463,0.000049617407,0.000011832499],"category_scores_gemma":[0.00016661805,0.00024034378,0.000080111335,0.00016762994,0.0016524465,0.0005910769,0.0003983158,0.00096784235,0.0000028561612],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005568497,0.0006662643,0.12630408,0.0010693931,0.0004037717,0.0004404866,0.030603789,0.001251854,0.00012622478,0.8010336,0.036723446,0.00082020025],"study_design_scores_gemma":[0.0013470777,0.00014283837,0.02733756,0.0028444836,0.000099879566,0.000058881786,0.22650719,0.00012861536,0.00055719336,0.0014570107,0.7388925,0.00062679476],"about_ca_topic_score_codex":0.9781934,"about_ca_topic_score_gemma":0.9974573,"teacher_disagreement_score":0.79957664,"about_ca_system_score_codex":0.0012774196,"about_ca_system_score_gemma":0.0019380455,"threshold_uncertainty_score":0.99738693},"labels":[],"label_agreement":null},{"id":"W7148287275","doi":"10.3138/tric-2025-0019","title":"Lewis, William W. <i>Experiential Spectatorship: Immersion, Participation, and Play During Times of Deep Mediatization</i>","year":2025,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Perspective (graphical); Government (linguistics); Period (music); Exposition (narrative); Feature (linguistics)","score_opus":0.021270667261236113,"score_gpt":0.286853305252752,"score_spread":0.2655826379915159,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7148287275","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8456208,0.0024783562,0.000002643042,0.0010311108,0.00034564204,0.0002097532,0.00003537289,0.000010252082,0.15026607],"genre_scores_gemma":[0.9989472,0.00037948298,0.0000044906624,0.000036129895,0.00014303651,0.000028481387,0.000009146318,0.0000073455126,0.0004447111],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988155,0.00011952702,0.00024433644,0.00015588192,0.00033362987,0.00033116428],"domain_scores_gemma":[0.9994247,0.00024269077,0.00003116663,0.0001419895,0.0001021895,0.000057242454],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031701216,0.00009009841,0.00017167105,0.00019652728,0.0003490965,0.00003299723,0.00011407866,0.00001886447,0.00060076185],"category_scores_gemma":[0.000010310715,0.000075966534,0.00001653109,0.00017664464,0.00026191972,0.00012345791,0.000082113205,0.0001436524,0.0000030049828],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007899265,0.000300974,0.57923824,0.0018030956,0.0005273418,0.000069087495,0.20218137,0.0004965323,0.0007688052,0.05275429,0.06004072,0.10102962],"study_design_scores_gemma":[0.004831911,0.00037240854,0.07287737,0.0012771542,0.000114248825,0.0000039429533,0.27349314,0.0016040797,0.035283428,0.013098298,0.5958038,0.0012401848],"about_ca_topic_score_codex":0.5604326,"about_ca_topic_score_gemma":0.9551342,"teacher_disagreement_score":0.5357631,"about_ca_system_score_codex":0.00017754937,"about_ca_system_score_gemma":0.00056267803,"threshold_uncertainty_score":0.6577921},"labels":[],"label_agreement":null},{"id":"W7148353769","doi":"10.3138/tric-2025-0021","title":"Five Tools: A Corporeal Mime Perspective on the Roots of Expression in the Body","year":2025,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Research Canada","funders":"","keywords":"Perspective (graphical); Expression (computer science); Performativity; Relation (database); Focus (optics)","score_opus":0.076097400366277,"score_gpt":0.33248452526865274,"score_spread":0.25638712490237575,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7148353769","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2539009,0.0004961488,7.114074e-8,0.010543673,0.00011015224,0.00036741167,0.00006290281,0.0000035305752,0.73451525],"genre_scores_gemma":[0.9986932,0.00013930982,7.414793e-7,0.00025588146,0.000114125374,0.00007681638,0.0000027257931,0.0000051257343,0.00071202544],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9984336,0.0003955438,0.00017614885,0.00015523045,0.00049973576,0.00033977928],"domain_scores_gemma":[0.9978951,0.0016519184,0.000027967184,0.00030902663,0.000096723044,0.000019250612],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009839652,0.000097457305,0.00016236918,0.00016500833,0.00033029684,0.00004734877,0.00041845633,0.00001907785,0.00018629163],"category_scores_gemma":[0.000023821463,0.0000476256,0.000032453427,0.0002073839,0.00030423744,0.00006724352,0.000090316345,0.00047727698,0.000004180039],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00095353456,0.00030247713,0.0076645273,0.00016057854,0.000117724594,0.00012132174,0.12125218,0.00010793374,0.00021516014,0.59748524,0.23169705,0.039922267],"study_design_scores_gemma":[0.00081253314,0.00035238365,0.014073583,0.0010307843,0.000011076317,0.0000015540938,0.67658716,0.00016320116,0.001156494,0.05225305,0.25334778,0.00021039943],"about_ca_topic_score_codex":0.9424781,"about_ca_topic_score_gemma":0.9918531,"teacher_disagreement_score":0.74479234,"about_ca_system_score_codex":0.0005074271,"about_ca_system_score_gemma":0.00096845266,"threshold_uncertainty_score":0.25404096},"labels":[],"label_agreement":null},{"id":"W7148379981","doi":"10.3138/tric-2024-0011","title":"Unjuried, Uncensored, Uncurated: Rethinking Canadian Fringe Festival Mandates in the Twenty-First Century","year":2025,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Mandate; Space (punctuation); Ideal (ethics); Queer; Photography","score_opus":0.053083370189599244,"score_gpt":0.2953825521827498,"score_spread":0.24229918199315054,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7148379981","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28639665,0.002714385,5.7197937e-8,0.024207355,0.0007699236,0.0005078544,0.00014587298,0.000018393828,0.6852395],"genre_scores_gemma":[0.99751085,0.0008742165,0.0000029690018,0.0006106086,0.00025512386,0.000058130427,0.000023352875,0.0000137300885,0.00065104594],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99748313,0.00030463975,0.00029508126,0.0002869066,0.0005888647,0.0010413544],"domain_scores_gemma":[0.99878556,0.00061920896,0.000025267396,0.00036724357,0.00009300286,0.00010974121],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014017157,0.00018711091,0.00023402451,0.00052777975,0.0011125003,0.0002014411,0.0006203185,0.000046041016,0.00032196747],"category_scores_gemma":[0.000016456735,0.00012937852,0.00003346746,0.0004897354,0.00031068167,0.00014977955,0.00010729891,0.000929177,0.000018585913],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046928032,0.00016745561,0.24465299,0.00080954045,0.00026049497,0.0016318101,0.1478073,0.00054188404,0.000007567489,0.17488022,0.27170497,0.15706651],"study_design_scores_gemma":[0.00034057233,0.000031927444,0.0029078035,0.0003858847,0.000006328633,0.0000021496876,0.04282316,0.00008446994,0.000012714987,0.0050759586,0.9481648,0.00016419117],"about_ca_topic_score_codex":0.999285,"about_ca_topic_score_gemma":0.9999883,"teacher_disagreement_score":0.71111417,"about_ca_system_score_codex":0.0017100965,"about_ca_system_score_gemma":0.0036934174,"threshold_uncertainty_score":0.8556565},"labels":[],"label_agreement":null},{"id":"W7148399532","doi":"10.3138/tric-2025-0018","title":"Whittaker, Robin C. <i>Alumnae Theatre Company: Nonprofessionalizing Theatre in Canada</i>","year":2025,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Narrative; Exposition (narrative); Face (sociological concept); Object (grammar)","score_opus":0.061364511993228676,"score_gpt":0.31024148736422913,"score_spread":0.24887697537100045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7148399532","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15817235,0.0049518268,3.735113e-7,0.010906022,0.0012915977,0.0006381281,0.00021305108,0.00002934031,0.8237973],"genre_scores_gemma":[0.9967378,0.00036214193,0.00000810868,0.0007843315,0.00033808575,0.00011938961,0.000034377805,0.000036018202,0.0015797466],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99568224,0.0005178485,0.0006560295,0.0005342467,0.0011050384,0.0015045869],"domain_scores_gemma":[0.9981376,0.0008865238,0.00005967915,0.0005965281,0.00013684852,0.00018281952],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0011151141,0.0003684695,0.00063080044,0.00049663964,0.00080255105,0.00010393524,0.00074549776,0.00006314508,0.0008369746],"category_scores_gemma":[0.000005504664,0.00029822296,0.00006763934,0.00062175357,0.000276493,0.00026484675,0.00031758906,0.0012343241,0.00001779957],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00054298696,0.00023290394,0.21427965,0.00086117047,0.00024936607,0.0006976649,0.009964501,0.00074701227,0.00007783954,0.022640092,0.40843952,0.34126732],"study_design_scores_gemma":[0.0011336376,0.000046163077,0.0031909766,0.001266826,0.000013415366,0.0000039795705,0.08261068,0.00049351226,0.0001561879,0.0040122047,0.90660596,0.00046645198],"about_ca_topic_score_codex":0.9999154,"about_ca_topic_score_gemma":0.9999982,"teacher_disagreement_score":0.83856547,"about_ca_system_score_codex":0.004821101,"about_ca_system_score_gemma":0.020466119,"threshold_uncertainty_score":0.999947},"labels":[],"label_agreement":null},{"id":"W7151866697","doi":"10.7202/1124491ar","title":"Rising Tide Theatre Festival: Trinity, 2024. A Tidy Package by Amy House and Bernardine Stapleton","year":2023,"lang":"en","type":"article","venue":"Newfoundland and Labrador Studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Performance art","score_opus":0.036028884419583365,"score_gpt":0.2751335641930071,"score_spread":0.23910467977342376,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7151866697","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9627056,0.015716303,0.0000014110894,0.003003952,0.0007322888,0.00022845955,0.0002566067,0.0004070301,0.016948337],"genre_scores_gemma":[0.94703496,0.023591833,0.000011143761,0.000275298,0.00096704264,0.000031063795,0.00002561653,0.000050638213,0.028012393],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871904,0.00004880231,0.00025415365,0.00035104743,0.00020267438,0.00042426566],"domain_scores_gemma":[0.99932057,0.00028435077,0.000075803044,0.00016667522,0.00006372716,0.00008887342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023563359,0.0003170964,0.0005006679,0.00012601416,0.0012569849,0.00025131862,0.00008453666,0.000043136624,0.00009204933],"category_scores_gemma":[0.00002473792,0.00022034798,0.00006588789,0.00010737439,0.00050271314,0.0002590772,0.00023140905,0.0001837356,0.00007036198],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024357285,0.00012918719,0.12920104,0.00070442836,0.0014578677,0.00008636899,0.15039094,0.0000023992266,0.00020731198,0.0054627834,0.606112,0.10600209],"study_design_scores_gemma":[0.001399843,0.00036254586,0.012719225,0.00018024945,0.00018026822,0.000012481544,0.041418526,0.00002163067,0.000027792954,0.0017785326,0.9414264,0.00047250596],"about_ca_topic_score_codex":0.0028059578,"about_ca_topic_score_gemma":0.0135655105,"teacher_disagreement_score":0.3353144,"about_ca_system_score_codex":0.000028148388,"about_ca_system_score_gemma":0.0000131089155,"threshold_uncertainty_score":0.9667838},"labels":[],"label_agreement":null},{"id":"W7151964476","doi":"10.1353/tsu.2006.a986144","title":"S even W ays of L ooking at the A merican S ociety for T heatre R esearch","year":2006,"lang":"en","type":"article","venue":"Theatre Survey","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Ballet; Performance art; Ballet dancer","score_opus":0.04903060020199531,"score_gpt":0.2698907797840619,"score_spread":0.22086017958206658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7151964476","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7564872,0.0018015228,0.000032931603,0.0010460047,0.00039700992,0.00058116735,0.0010746779,0.000074116026,0.23850538],"genre_scores_gemma":[0.98635125,0.000059243353,0.000019364703,0.0000744721,0.00061269244,0.00004137912,0.00010304428,0.000024559557,0.012713978],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988041,0.0001476468,0.00025672995,0.00018036534,0.00021666869,0.00039448054],"domain_scores_gemma":[0.9988239,0.00062555005,0.000081861865,0.0002951168,0.00014819414,0.000025394274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011303967,0.0001581689,0.00027896886,0.000039943003,0.00085860415,0.000043019787,0.00021797868,0.000028525745,0.0006388294],"category_scores_gemma":[0.000010808784,0.000094385265,0.00017008578,0.00007147132,0.00046878957,0.00008043939,0.00011119242,0.00009514155,0.00003202573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001718567,0.0005694401,0.34647754,0.0005553566,0.0009848693,0.0000030179547,0.10420485,0.0002526651,0.001559146,0.045124564,0.40626153,0.092288435],"study_design_scores_gemma":[0.0011156513,0.00050288043,0.090129554,0.000074405354,0.000106402236,0.000003695912,0.007934639,0.0001428025,0.0020089552,0.0032832713,0.8941878,0.00050990615],"about_ca_topic_score_codex":0.017957693,"about_ca_topic_score_gemma":0.07296736,"teacher_disagreement_score":0.48792627,"about_ca_system_score_codex":0.000038128175,"about_ca_system_score_gemma":0.00003758467,"threshold_uncertainty_score":0.98858184},"labels":[],"label_agreement":null},{"id":"W7154571674","doi":"10.34051/j/2026.51","title":"Maestro, directed by Bradley Cooper. 2023.","year":2024,"lang":"","type":"article","venue":"Music and Musical Performance An International Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Mount Allison University","funders":"","keywords":"","score_opus":0.0239240450839926,"score_gpt":0.25832743064833635,"score_spread":0.23440338556434376,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7154571674","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9270517,0.009471818,0.000044253902,0.0024546331,0.016621972,0.00017654352,0.00043658595,0.00016960312,0.043572873],"genre_scores_gemma":[0.9396304,0.024330812,0.000036923277,0.0017014213,0.015568395,0.000014493756,0.00011776858,0.000060187216,0.018539602],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969908,0.00008166196,0.0007935869,0.00058984995,0.0008526725,0.00069144485],"domain_scores_gemma":[0.99869734,0.00009304186,0.00015352336,0.00021101673,0.00044308012,0.00040197294],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045903152,0.00054096006,0.00046188332,0.00036086343,0.0014355829,0.0035182487,0.0006149671,0.00016557236,0.013308658],"category_scores_gemma":[0.00002033874,0.00042914395,0.00022550169,0.00013624105,0.0008092754,0.0031085846,0.00023250417,0.0012642087,0.0004670938],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00055474835,0.000502788,0.0015377587,0.00023726499,0.0014342937,0.0002795021,0.029760346,0.00002468137,0.00031569917,0.014325635,0.41039062,0.54063666],"study_design_scores_gemma":[0.0007817177,0.0008976255,0.003551852,0.0007739142,0.00017676111,0.0006075108,0.0017430246,0.014921123,0.000040252817,0.00024445055,0.97563905,0.0006227055],"about_ca_topic_score_codex":0.00015382291,"about_ca_topic_score_gemma":0.00014709344,"teacher_disagreement_score":0.5652484,"about_ca_system_score_codex":0.00015140219,"about_ca_system_score_gemma":0.0002090324,"threshold_uncertainty_score":0.9998644},"labels":[],"label_agreement":null},{"id":"W7155094910","doi":"10.59236/ijea14r1","title":"Playbuilding as Qualitative Research: A Participatory Arts-Based Approach","year":2013,"lang":"","type":"article","venue":"International journal of education and the arts","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Citizen journalism; Qualitative research; Participatory action research; Autoethnography; Research methodology; Peer evaluation; Visual research; Teaching method","score_opus":0.3046554281435411,"score_gpt":0.5012250228059719,"score_spread":0.19656959466243085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155094910","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81597877,0.0071730902,0.00011533412,0.043870565,0.005195712,0.00043301494,0.0000123589325,0.000007992756,0.12721315],"genre_scores_gemma":[0.9905754,0.00070577115,0.0001422176,0.0016857983,0.002910633,0.00006305182,0.0000040761506,0.000014607102,0.0038984995],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9974192,0.00057904416,0.0007142983,0.00016063749,0.0008569134,0.00026990325],"domain_scores_gemma":[0.99563825,0.000971351,0.0005210358,0.00015039457,0.002576852,0.00014210789],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0031879342,0.00017619597,0.00028550168,0.00041433412,0.0007604164,0.00081992894,0.0004177069,0.000045127126,0.0017717577],"category_scores_gemma":[0.00040512442,0.00011013234,0.0001682666,0.00007139299,0.0013329504,0.0007151861,0.00008532708,0.00049874675,0.00015235566],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00050221814,0.00069893245,0.00019330248,0.00003583984,0.00054042466,0.0000019832594,0.4659167,0.00004758377,0.000023836983,0.4874085,0.029349074,0.015281635],"study_design_scores_gemma":[0.0024543472,0.0003599373,0.0007148194,0.0005312226,0.00011137939,0.00007998468,0.5185195,0.0008360008,0.00014461897,0.08976276,0.38624066,0.00024474275],"about_ca_topic_score_codex":0.0005375552,"about_ca_topic_score_gemma":0.000034434084,"teacher_disagreement_score":0.3976457,"about_ca_system_score_codex":0.00009731794,"about_ca_system_score_gemma":0.00055801135,"threshold_uncertainty_score":0.99914074},"labels":[],"label_agreement":null},{"id":"W7155528287","doi":"10.59236/ijea9n2","title":"Teacher as Performer","year":2008,"lang":"","type":"article","venue":"International journal of education and the arts","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Performative utterance; Performing arts; Performativity; Performance studies; Politics; Teaching method","score_opus":0.025923264212169544,"score_gpt":0.2920762387073696,"score_spread":0.26615297449520003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155528287","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.714195,0.008648938,0.0000042883103,0.025821505,0.008837012,0.00007835079,0.000003613969,0.0000029406006,0.24240837],"genre_scores_gemma":[0.92619,0.011104536,0.000014239677,0.0022269306,0.006392162,0.0000033852937,0.0000017251075,0.00000870463,0.054058287],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998864,0.000056771933,0.00048021766,0.000086064654,0.0003919537,0.000121019926],"domain_scores_gemma":[0.9985036,0.00012567492,0.000420013,0.00009341829,0.0007877696,0.0000695044],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00038664686,0.00013768823,0.00020690191,0.00016097531,0.0005915145,0.00017636978,0.0002784287,0.0000308783,0.004472955],"category_scores_gemma":[0.00008836329,0.000080791324,0.00016499544,0.000023188628,0.0007229765,0.00048163024,0.000052975294,0.000256095,0.00014490202],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016771009,0.0010854508,0.0074175554,0.000021125612,0.001506846,0.000021881167,0.41400146,0.000008522048,0.000011999493,0.30309623,0.17033844,0.1008134],"study_design_scores_gemma":[0.001507826,0.00014094723,0.004101941,0.00012767465,0.00009228382,0.0014161734,0.024941264,0.000025964868,0.000033304706,0.0065870504,0.9609046,0.000120975215],"about_ca_topic_score_codex":0.00016062503,"about_ca_topic_score_gemma":0.000031237872,"teacher_disagreement_score":0.79056615,"about_ca_system_score_codex":0.000039851468,"about_ca_system_score_gemma":0.00034189216,"threshold_uncertainty_score":0.9964371},"labels":[],"label_agreement":null},{"id":"W7160041038","doi":"10.3138/ctr.204.013","title":"Smile with Me: Discovering Care in Performance","year":2025,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"","score_opus":0.011254741939022142,"score_gpt":0.2170275030174472,"score_spread":0.20577276107842504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7160041038","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014894396,0.25044268,2.8470953e-7,0.0010906026,0.000197433,0.0003214429,0.00003715234,0.000021134614,0.73299485],"genre_scores_gemma":[0.92088693,0.07328231,0.0000066301704,0.0020703168,0.000118429765,0.00007023592,0.000018193963,0.000012421376,0.0035345561],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993145,0.00001765767,0.0001623624,0.00015230842,0.000060173013,0.00029301664],"domain_scores_gemma":[0.9996459,0.00001320131,0.000022720647,0.00021207926,0.00003665484,0.00006945378],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007310062,0.00014204119,0.0002718394,0.00013354761,0.00026005573,0.00004268927,0.00013712424,0.000017173144,0.00051300327],"category_scores_gemma":[0.0000021048172,0.00009923707,0.00004468466,0.00011468434,0.0000896207,0.0001564347,0.000016572896,0.00011495544,0.00006274702],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022975928,0.00001658844,0.023213873,0.016338626,0.00011745622,0.00003425462,0.031101191,0.000023584533,5.757722e-7,0.032429222,0.020776253,0.8759254],"study_design_scores_gemma":[0.0001197343,0.000039084276,0.00087583374,0.007910399,0.000042577798,0.0000015947744,0.0031552932,0.000004245919,0.0000045241454,0.00001969095,0.98768467,0.000142374],"about_ca_topic_score_codex":0.03397301,"about_ca_topic_score_gemma":0.79952085,"teacher_disagreement_score":0.9669084,"about_ca_system_score_codex":0.00017211896,"about_ca_system_score_gemma":0.0003125013,"threshold_uncertainty_score":0.97245985},"labels":[],"label_agreement":null},{"id":"W7160170852","doi":"10.3138/ctr.204.014","title":"Toni’s Fridge—Playing with Care","year":2025,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"","score_opus":0.01689468978793437,"score_gpt":0.23201839466988805,"score_spread":0.21512370488195368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7160170852","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004188386,0.3195167,7.3939384e-7,0.0028136955,0.00022011196,0.00023557426,0.00005344633,0.00003095417,0.67670995],"genre_scores_gemma":[0.8466764,0.10989913,0.00005021362,0.021721821,0.0007135865,0.00015466393,0.000083619445,0.000043171738,0.02065739],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993,0.000021720281,0.00014948219,0.0001619678,0.00006697295,0.00029988238],"domain_scores_gemma":[0.9995049,0.000019857174,0.000026659984,0.00025228082,0.00008354458,0.00011271304],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006447148,0.00015517185,0.00028338877,0.000103115846,0.00059432973,0.00006289388,0.00014744795,0.00002042686,0.0012404593],"category_scores_gemma":[0.0000031454117,0.00010595408,0.000073340045,0.000081762686,0.00010452809,0.00009076434,0.000014431559,0.00010720729,0.00016394668],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009342306,0.000009252318,0.0033941232,0.008589378,0.00024621622,0.000042476055,0.014450124,0.000001468169,4.868101e-7,0.10864444,0.21565224,0.6489605],"study_design_scores_gemma":[0.00008121923,0.000026222626,0.000088311725,0.0043437085,0.000120739016,0.000002504379,0.002277913,6.35647e-7,0.0000021340572,0.00005374533,0.99286467,0.00013819689],"about_ca_topic_score_codex":0.038349703,"about_ca_topic_score_gemma":0.67964965,"teacher_disagreement_score":0.84625757,"about_ca_system_score_codex":0.00011983491,"about_ca_system_score_gemma":0.00036329273,"threshold_uncertainty_score":0.99967253},"labels":[],"label_agreement":null},{"id":"W7161836962","doi":"10.82308/29059","title":"Theatre and the materialities of communication","year":2006,"lang":"en","type":"dissertation","venue":"","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Metaphor; Situated; Subject (documents); Relation (database); Focus (optics); New media; Liveness; Field (mathematics); Digital media","score_opus":0.013195553855700289,"score_gpt":0.2224220783260872,"score_spread":0.20922652447038692,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161836962","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13314702,0.003065936,4.6719503e-8,0.00016352741,0.00027669565,0.000112912385,0.000033639415,0.000016314129,0.8631839],"genre_scores_gemma":[0.81799227,0.0011228682,0.0000049850655,0.000028136494,0.00018039251,0.000022186156,0.00033472004,0.000008351519,0.18030608],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999635,0.000031077863,0.0001681879,0.000049426202,0.00006230006,0.000054036074],"domain_scores_gemma":[0.99963903,0.00005813552,0.00009631273,0.0001512721,0.000051629282,0.0000035990001],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000094655574,0.000089555884,0.00018713018,0.000027299562,0.00025783767,0.00006604915,0.00008793597,0.000030198618,0.00052256376],"category_scores_gemma":[0.0000010461434,0.000045420904,0.000040470815,0.000005415054,0.00032225432,0.000052060805,0.0000145186405,0.000051377032,0.0000063880484],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015092085,0.000008573579,0.000026254422,0.00017214523,0.0000591518,2.8053293e-8,0.10277054,1.5673974e-7,0.0000042560873,0.8834821,0.010498851,0.0028270497],"study_design_scores_gemma":[0.0010367658,0.000039990533,0.0008719107,0.00026927298,0.0002549565,6.0420956e-7,0.24000207,0.0000069351026,0.00068637804,0.041117087,0.71544194,0.0002720867],"about_ca_topic_score_codex":0.0053840037,"about_ca_topic_score_gemma":0.023817485,"teacher_disagreement_score":0.84236497,"about_ca_system_score_codex":0.0000022985605,"about_ca_system_score_gemma":0.0000075529656,"threshold_uncertainty_score":0.9939953},"labels":[],"label_agreement":null},{"id":"W7164256409","doi":"","title":"Sharon Pollock's Historical Drama and Dramaturgy","year":2004,"lang":"ja","type":"article","venue":"Institutional Repositories DataBase (IRDB)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dramaturgy; Drama; Espionage; Pollock; Similarity (geometry)","score_opus":0.01892886428368963,"score_gpt":0.23046063208145304,"score_spread":0.2115317677977634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164256409","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64446026,0.07349381,0.00034827198,0.012903036,0.048066467,0.0012432444,0.005885262,0.0007119503,0.2128877],"genre_scores_gemma":[0.97750986,0.0020183863,0.00037046146,0.00038604529,0.009433817,0.00004304876,0.0004969692,0.000039681112,0.009701727],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99712616,0.000047710317,0.0007129603,0.0007387225,0.0007358377,0.00063862524],"domain_scores_gemma":[0.99852276,0.000110105844,0.00021913598,0.00057592447,0.00028394462,0.0002881023],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00020497697,0.00056507444,0.00056325085,0.00019029043,0.0035289307,0.0007411297,0.00030479985,0.0001864014,0.0002859524],"category_scores_gemma":[0.000116195406,0.0005072874,0.00018065031,0.00014481034,0.0013005411,0.0016192079,0.00042137553,0.00055732444,0.00019628914],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005089139,0.0005596846,0.0014635513,0.00055973756,0.000458301,0.0006049156,0.019142246,0.00010276364,0.00059806387,0.94805723,0.026643703,0.0013008794],"study_design_scores_gemma":[0.0012653063,0.00029417314,0.0011168394,0.00066708634,0.00021517492,0.00031848723,0.001875651,0.000014703216,0.00064477895,0.0010847487,0.99179804,0.00070502516],"about_ca_topic_score_codex":0.008494922,"about_ca_topic_score_gemma":0.0015327764,"teacher_disagreement_score":0.96515435,"about_ca_system_score_codex":0.0012343046,"about_ca_system_score_gemma":0.0005699954,"threshold_uncertainty_score":0.99973786},"labels":[],"label_agreement":null},{"id":"W7164749992","doi":"10.21608/shak.2024.508766","title":"Spatial Montage Rhythm: Reading Concrete Poetry Through Eisensteinian Montage Theory and Multimodal Spatial Poetics","year":2024,"lang":"ar","type":"article","venue":"Mağallaẗ Al-Dirāsāt Al-Insāniyyah wal-Adabiyyah /Mağallaẗ Al-Dirāsāt Al-Insāni yyaẗ wa Al-Adabiyyaẗ","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Poetry; Poetics; Free verse","score_opus":0.015236759427053222,"score_gpt":0.2520859856626926,"score_spread":0.23684922623563937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164749992","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7351598,0.06237826,0.0010137479,0.03009758,0.03223755,0.014499137,0.014832221,0.009644592,0.10013708],"genre_scores_gemma":[0.8715314,0.021378389,0.0030092641,0.023291627,0.014914323,0.0014199411,0.0030722003,0.004507562,0.056875274],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.94259125,0.0043764766,0.013409631,0.014552011,0.009973955,0.015096671],"domain_scores_gemma":[0.97021043,0.005195779,0.005506487,0.010263541,0.0035833346,0.0052404483],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","open_science","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"category_scores_codex":[0.008342858,0.01499433,0.013709767,0.004526488,0.011927765,0.009623736,0.006968738,0.0051769232,0.011999201],"category_scores_gemma":[0.0015825324,0.0147142,0.0066842614,0.0038992793,0.010032412,0.0057039154,0.007008244,0.013207594,0.0071723587],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.021633038,0.0044648442,0.010071102,0.009536566,0.023722628,0.02017723,0.1407591,0.0026025733,0.028815659,0.028765813,0.53873813,0.1707133],"study_design_scores_gemma":[0.018278312,0.007543787,0.0047843433,0.0074220817,0.0067771156,0.002422643,0.019013956,0.033653006,0.004850255,0.0033230092,0.8728417,0.019089777],"about_ca_topic_score_codex":0.052512012,"about_ca_topic_score_gemma":0.03848865,"teacher_disagreement_score":0.33410355,"about_ca_system_score_codex":0.00446258,"about_ca_system_score_gemma":0.003900775,"threshold_uncertainty_score":0.99935913},"labels":[],"label_agreement":null},{"id":"W7164892214","doi":"10.1080/17153379.2013.12556939","title":"Communities of Imagination: Contemporary Southeast Asian Theatres.","year":2013,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Southeast asia; Southeast Asian studies; South asia; East Asia","score_opus":0.024974500464999907,"score_gpt":0.21359954701418268,"score_spread":0.18862504654918277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164892214","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004198179,0.00080911134,0.0000063362563,0.00091369654,0.00032421653,0.00018164223,0.000070542126,0.00007997087,0.9934163],"genre_scores_gemma":[0.9923562,0.000045311084,0.00002580728,0.000011144164,0.00026127236,0.000039615697,0.000029843603,0.00001580795,0.007215004],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993335,0.000044144093,0.00022931762,0.00008214726,0.00014072635,0.00017017005],"domain_scores_gemma":[0.99942684,0.000048275524,0.000087106004,0.00025531033,0.0001457853,0.000036709927],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009245624,0.00013910806,0.000213556,0.00009077454,0.00031721208,0.00008508568,0.00015918624,0.000023162176,0.0044261767],"category_scores_gemma":[0.0000023933217,0.00010558498,0.00008145024,0.000029937626,0.00066595315,0.00038149778,0.000046802677,0.0001059179,0.00044484733],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032819884,0.00015345188,0.0072275717,0.0001575182,0.00017182209,0.0000014612549,0.7391079,0.0000016303396,0.000037878122,0.17535965,0.060136512,0.017611757],"study_design_scores_gemma":[0.00019227223,0.00006324031,0.0003542201,0.00004140529,0.000009392973,0.0000012592338,0.9222942,0.00003189813,0.00005214974,0.0023473513,0.07448189,0.00013074059],"about_ca_topic_score_codex":0.0010853874,"about_ca_topic_score_gemma":0.0004353831,"teacher_disagreement_score":0.988158,"about_ca_system_score_codex":0.000008978868,"about_ca_system_score_gemma":0.000023096809,"threshold_uncertainty_score":0.9964839},"labels":[],"label_agreement":null},{"id":"W7164930371","doi":"10.1080/17153379.2005.12554272","title":"Developing Zeami: The Noh Actor’s Attunement in Practice.","year":2005,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Attunement; Work (physics); Point (geometry)","score_opus":0.03316824942060339,"score_gpt":0.2578660226393551,"score_spread":0.2246977732187517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164930371","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026521038,0.0007161697,0.000015780322,0.010061266,0.00048022802,0.00016139774,0.000006353709,0.000051747018,0.9858549],"genre_scores_gemma":[0.9935634,0.00043634683,0.00019869796,0.00016001769,0.00085093314,0.000034353583,0.000004210599,0.000011740803,0.0047403015],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991953,0.000035761703,0.00020220301,0.00014357113,0.00015900309,0.00026417815],"domain_scores_gemma":[0.99957716,0.00012302477,0.00006430458,0.00017170375,0.000042626365,0.000021160222],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025894432,0.00012652727,0.0001228001,0.000053566506,0.00038975687,0.00010140157,0.00013189731,0.000021262302,0.000762099],"category_scores_gemma":[0.000015724736,0.00007947653,0.000041890387,0.000043156175,0.00014201447,0.00033720495,0.000052617997,0.00014452497,0.00055382843],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000738352,0.00014066519,0.00094836456,0.00003807273,0.00014780287,0.000007981073,0.52237576,0.000044955417,0.000017194003,0.35386103,0.029739061,0.09260528],"study_design_scores_gemma":[0.00011427816,0.000016288968,0.000090573274,0.000018223807,0.000009565397,0.0000013304524,0.35049927,0.000018101588,0.00003507429,0.000119933975,0.6489855,0.00009183467],"about_ca_topic_score_codex":0.00010288243,"about_ca_topic_score_gemma":0.0032655848,"teacher_disagreement_score":0.9909113,"about_ca_system_score_codex":0.00008644967,"about_ca_system_score_gemma":0.000034875713,"threshold_uncertainty_score":0.83444494},"labels":[],"label_agreement":null},{"id":"W748026673","doi":"","title":"ENG 3606-001: High Society Modern Drama","year":2005,"lang":"en","type":"article","venue":"The Keep (Eastern Illinois University)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; History; Philosophy; Art; Visual arts","score_opus":0.017566363362255984,"score_gpt":0.1794376954471595,"score_spread":0.16187133208490354,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W748026673","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7341866,0.0004197624,0.00016001011,0.0035171725,0.0004996651,0.00019369455,0.000076928765,0.00022082974,0.26072538],"genre_scores_gemma":[0.85950816,0.00026331565,0.000037634265,0.00051438663,0.0012516567,6.077358e-7,0.000011835636,0.000016013159,0.1383964],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991402,0.00003833267,0.00012284414,0.00020415129,0.00017204694,0.00032240959],"domain_scores_gemma":[0.99945194,0.000049440172,0.00007022577,0.0002866896,0.00008581565,0.00005591041],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008942088,0.00018643239,0.00018228835,0.000068678986,0.0010033534,0.00009587168,0.00039346717,0.00004789288,0.0009406809],"category_scores_gemma":[0.0000013093829,0.00013858522,0.00016425201,0.00006162621,0.00034807282,0.00040069126,0.0001656694,0.00020112142,0.000672517],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002875221,0.00041829684,0.0016665182,0.00009729477,0.0010142204,0.000029560926,0.4103044,0.0012124169,0.000119917706,0.30999196,0.018416159,0.25644174],"study_design_scores_gemma":[0.00066165684,0.00005094438,0.00013107562,0.000019987254,0.000097749835,0.0000016973486,0.0094110565,0.001665485,0.000057064743,0.0007170361,0.9869507,0.00023557639],"about_ca_topic_score_codex":0.0004756391,"about_ca_topic_score_gemma":0.002187448,"teacher_disagreement_score":0.9685345,"about_ca_system_score_codex":0.00006516256,"about_ca_system_score_gemma":0.000019232524,"threshold_uncertainty_score":0.9999726},"labels":[],"label_agreement":null},{"id":"W758758287","doi":"10.1353/tj.2013.0079","title":"Enacting History ed. by Scott Magelssen and Rhona Justice-Malloy (review)","year":2013,"lang":"en","type":"article","venue":"Theatre Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Economic Justice; Hegemony; Value (mathematics); Sociology; Media studies; Cultural history; Aesthetics; History; Art; Anthropology; Political science; Law","score_opus":0.018060326422743495,"score_gpt":0.21557644309972546,"score_spread":0.19751611667698196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W758758287","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07428905,0.48756933,0.000010468028,0.0036851892,0.0022093735,0.0002778597,0.00001536413,0.00008719341,0.4318562],"genre_scores_gemma":[0.6372026,0.30880997,0.00015757757,0.0049412004,0.006647379,0.000029144827,0.000009314279,0.000075290125,0.04212752],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902964,0.000055079872,0.00029428,0.00012964554,0.00017868164,0.0003126961],"domain_scores_gemma":[0.999443,0.000073977964,0.00014488834,0.00012208465,0.00009431513,0.00012172337],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027425203,0.00018431628,0.0002715398,0.00005590574,0.000585015,0.00010270657,0.00013552335,0.000028883578,0.012369556],"category_scores_gemma":[0.000010804217,0.00012916586,0.000084135856,0.000012540646,0.00018303648,0.0005503593,0.0000504633,0.00035740354,0.0003963538],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000070717056,0.000024071316,0.00019905821,0.00024613563,0.000057248875,0.0000045406555,0.0061652865,2.0627792e-7,0.00015555891,0.00029793452,0.93022174,0.06262113],"study_design_scores_gemma":[0.00023165271,0.000094353716,0.00013203081,0.00046942596,0.00018497628,0.00011386128,0.005066593,0.000014758214,0.000015804482,0.00019916832,0.9932754,0.000201949],"about_ca_topic_score_codex":0.00020233553,"about_ca_topic_score_gemma":0.00008694026,"teacher_disagreement_score":0.56291354,"about_ca_system_score_codex":0.00007996113,"about_ca_system_score_gemma":0.00003565836,"threshold_uncertainty_score":0.98853326},"labels":[],"label_agreement":null},{"id":"W759241247","doi":"10.1353/mdr.2002.0017","title":"Performing Democracy: International Perspectives on Urban Community-Based Performance ed. by Susan C. Haedicke and Tobin Nellhaus (review)","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.026840002570360184,"score_gpt":0.23216102693444451,"score_spread":0.20532102436408434,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W759241247","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8049093,0.03118862,0.00003117712,0.005038302,0.00046317212,0.00031229085,0.00010233447,0.0001594748,0.15779532],"genre_scores_gemma":[0.9663297,0.023752578,0.0000276935,0.0019558747,0.0004279652,0.000028114002,0.000048399193,0.000027708546,0.00740198],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892336,0.000068946494,0.00023730943,0.00022249021,0.0002530901,0.00029477742],"domain_scores_gemma":[0.99936223,0.000096454656,0.000087496315,0.00028072984,0.00010413165,0.00006893953],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022346489,0.00025052179,0.00026513787,0.000090822985,0.0013259962,0.000117729396,0.00026732485,0.000040843675,0.0019933684],"category_scores_gemma":[0.0000141904975,0.00020964621,0.00007680052,0.000028622886,0.00033662326,0.00034743684,0.00007957653,0.00044461398,0.00012852898],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012231602,0.0007200155,0.006433885,0.00079514214,0.00021825639,0.0000063371617,0.22343163,0.000053128475,0.0000663078,0.0036528013,0.64615095,0.11834925],"study_design_scores_gemma":[0.0011489801,0.0006524458,0.00044041296,0.0009975997,0.00008009918,0.000009263266,0.012634108,0.026248066,0.00017130755,0.00018729224,0.9568026,0.00062782736],"about_ca_topic_score_codex":0.00009973088,"about_ca_topic_score_gemma":0.000058228725,"teacher_disagreement_score":0.31065166,"about_ca_system_score_codex":0.000064802596,"about_ca_system_score_gemma":0.000009958517,"threshold_uncertainty_score":0.99997413},"labels":[],"label_agreement":null},{"id":"W768284786","doi":"","title":"Introduction Maryrose Casey and William Peterson","year":2011,"lang":"en","type":"article","venue":"Australasian drama studies","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology; Transformative learning; Publishing; Media studies; Law; Political science; Pedagogy","score_opus":0.05613420100400177,"score_gpt":0.25050350754172984,"score_spread":0.19436930653772808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W768284786","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.876445,0.0031143846,0.0000011983341,0.0031890771,0.002070774,0.00023384174,0.000029389534,0.00018774736,0.11472862],"genre_scores_gemma":[0.976824,0.001011132,0.000100299585,0.000103120256,0.0021610009,0.000023977678,0.000004006019,0.000015070633,0.01975738],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991872,0.000020892257,0.0001813942,0.00024477058,0.00009264995,0.00027315103],"domain_scores_gemma":[0.99964696,0.000021920656,0.000058252535,0.00015142464,0.00007610626,0.000045309425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008977325,0.0001945831,0.0002409992,0.00007336631,0.0005736628,0.00005757109,0.00006236855,0.000027293783,0.0006396024],"category_scores_gemma":[0.000015771282,0.00014914975,0.000049186583,0.000029787592,0.00064033014,0.00034547556,0.00006656715,0.00011427242,0.00012897987],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014189989,0.00013791265,0.015768107,0.00027272184,0.00093365315,0.000059446033,0.61818016,4.1393977e-7,0.000052826777,0.053766605,0.2788482,0.031838078],"study_design_scores_gemma":[0.0005048514,0.00061720156,0.027857691,0.000061394356,0.00019308533,0.000052344825,0.12923813,0.000001479444,0.0004988464,0.0032254565,0.837261,0.0004884821],"about_ca_topic_score_codex":0.00012048642,"about_ca_topic_score_gemma":0.0009127109,"teacher_disagreement_score":0.55841285,"about_ca_system_score_codex":0.000019722118,"about_ca_system_score_gemma":0.0000054129387,"threshold_uncertainty_score":0.7003198},"labels":[],"label_agreement":null},{"id":"W77426024","doi":"","title":"Metadrama and Themes in Stoppard's Rosencrantz and Guildenstern Are Dead/LE THEATRE DES YUAN ET LES THEMES DANS ROSENCRANTZ AND GUILDENSTERN SONT MORTS DE TOM STOPPARD","year":2007,"lang":"fr","type":"article","venue":"Canadian social science","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; HAMLET (protein complex); Absurdism; Tragedy (event); Confusion; Identity (music); Literature; Limelight; Stanislavski's system; Philosophy; Art; Aesthetics; Sociology; Psychoanalysis; Psychology","score_opus":0.022873712514655108,"score_gpt":0.2553838833881687,"score_spread":0.23251017087351358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W77426024","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9163498,0.021929711,0.000013304855,0.0031795555,0.00034549483,0.00028619452,0.00023235017,0.000028106608,0.057635475],"genre_scores_gemma":[0.9932864,0.0025609108,0.000100075784,0.00054189214,0.00048126868,0.000010046978,0.000003369948,0.000029177045,0.0029868644],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99718606,0.000113608316,0.0003682958,0.0005944698,0.00032756117,0.0014099741],"domain_scores_gemma":[0.9988048,0.00014544744,0.00013191933,0.00020385631,0.00012593406,0.00058805506],"candidate_categories":["metaepi_narrow","sts"],"consensus_categories":["sts"],"category_scores_codex":[0.0013893781,0.00039633023,0.00048778462,0.0003073727,0.0033740308,0.0006310198,0.00033714634,0.0001698333,0.000032656528],"category_scores_gemma":[0.00004569782,0.00035915876,0.00007471307,0.00021831132,0.005758788,0.0007676667,0.00017674493,0.00032330476,0.0000027742635],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030183845,0.00003598189,0.59533846,0.00014444342,0.00005893983,0.00015535472,0.2645834,0.0000020522696,0.0001932557,0.053564757,0.00036177094,0.08553138],"study_design_scores_gemma":[0.0007782583,0.00015093571,0.5214958,0.00044699197,0.000116438474,0.00011191614,0.3535579,0.0000986366,0.00016980934,0.0058047026,0.116428405,0.0008401606],"about_ca_topic_score_codex":0.25771517,"about_ca_topic_score_gemma":0.85981566,"teacher_disagreement_score":0.60210055,"about_ca_system_score_codex":0.00030176452,"about_ca_system_score_gemma":0.00043833288,"threshold_uncertainty_score":0.99988604},"labels":[],"label_agreement":null},{"id":"W818702747","doi":"","title":"(Dis)Embodied Authority in White Rabbit, Red Rabbit","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rabbit (cipher); White (mutation); New Zealand white rabbit; Embodied cognition; Lagomorpha; Art; Visual arts; Biology; Philosophy; Computer science; Epistemology; Ecology; Biochemistry","score_opus":0.025879904361206033,"score_gpt":0.2377851697279879,"score_spread":0.2119052653667819,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W818702747","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009306967,0.07629089,0.0000010869642,0.01211527,0.0005771151,0.00046315612,0.00006604617,0.000058166806,0.90949756],"genre_scores_gemma":[0.9145202,0.062769875,0.000033077737,0.00939154,0.001718019,0.00012610857,0.00008859485,0.00006277687,0.011289776],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984933,0.00014975762,0.00039354723,0.0002818865,0.00012684905,0.00055463135],"domain_scores_gemma":[0.99911946,0.000046590103,0.000071120405,0.00042480975,0.000050928593,0.0002871077],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006232358,0.00024962172,0.00058718177,0.00017084803,0.00036848325,0.00006890075,0.0002524707,0.000053647545,0.0045243395],"category_scores_gemma":[0.000027598202,0.00020116555,0.0001539894,0.00009807555,0.00014053455,0.00016701031,0.000026806116,0.00023546262,0.0006471771],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016792954,0.000047548892,0.009704119,0.004221052,0.000106302075,0.00003537883,0.010672397,0.000002795851,0.0000020611005,0.15516561,0.34511274,0.4749132],"study_design_scores_gemma":[0.00018377071,0.000038844573,0.0005986472,0.0016980759,0.000055207132,0.0000039484275,0.00022848361,0.000012598908,0.0000014347628,0.0012726805,0.9956393,0.0002669694],"about_ca_topic_score_codex":0.028003708,"about_ca_topic_score_gemma":0.7620606,"teacher_disagreement_score":0.91358954,"about_ca_system_score_codex":0.00013592868,"about_ca_system_score_gemma":0.00015143373,"threshold_uncertainty_score":0.99638563},"labels":[],"label_agreement":null},{"id":"W846360934","doi":"","title":"Two Short Devised Theatre Pieces based on The Trojan Women","year":2011,"lang":"en","type":"article","venue":"Opus: Research & Creativity (Indiana University – Purdue University Fort Wayne)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Trojan; Computer science; History; Computer graphics (images); Computer security; Visual arts; Artificial intelligence; Art","score_opus":0.10538509076763286,"score_gpt":0.26081868000718184,"score_spread":0.15543358923954897,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W846360934","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4678747,0.000016798005,0.000030708383,0.00078737736,0.00009537389,0.00053756137,0.00027892465,0.00011133796,0.53026724],"genre_scores_gemma":[0.970985,0.00016506427,0.000059387436,0.000095581716,0.00021874336,0.0000022482964,0.000036229434,0.000028684291,0.028409062],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99623626,0.00065831403,0.00016373475,0.0006519933,0.0010505624,0.0012391219],"domain_scores_gemma":[0.9976379,0.00057071086,0.00008362637,0.00083436276,0.00048457776,0.00038880378],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001629953,0.00039601023,0.00045194564,0.0009260036,0.0047030305,0.00015159411,0.0013220366,0.00011647941,0.0055257785],"category_scores_gemma":[0.000052662486,0.0003331699,0.00030071932,0.0005306735,0.0017486749,0.0009837943,0.0004539763,0.00087623624,0.00036051427],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.007582903,0.0027785087,0.1413581,0.000319584,0.0018873502,0.0017211147,0.37769827,0.00010294361,0.00009392821,0.38668287,0.042524908,0.037249517],"study_design_scores_gemma":[0.0014158284,0.0010507527,0.008617585,0.00014693882,0.00010876531,0.0000025446484,0.2003555,0.00034175444,0.00026236774,0.00043273295,0.7866613,0.00060387555],"about_ca_topic_score_codex":0.009853846,"about_ca_topic_score_gemma":0.022326384,"teacher_disagreement_score":0.74413645,"about_ca_system_score_codex":0.0010455139,"about_ca_system_score_gemma":0.00049597526,"threshold_uncertainty_score":0.999912},"labels":[],"label_agreement":null},{"id":"W856702370","doi":"10.13016/m2fk8k","title":"Sound and Documentary in Cardiff and Miller's 'Pandemonium'","year":2015,"lang":"en","type":"dissertation","venue":"Digital Repository at the University of Maryland (University of Maryland College Park)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Miller; Art history; Cartography; Art; History; Geography; Biology; Ecology","score_opus":0.007577398246075779,"score_gpt":0.1695178531395819,"score_spread":0.16194045489350611,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W856702370","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77823377,0.0024148654,3.388429e-7,0.00010267246,0.00022593021,0.00021478982,0.00044736263,0.000013322424,0.21834697],"genre_scores_gemma":[0.879183,0.00094645325,0.0000040992554,0.000009266133,0.00005948226,8.705732e-8,0.0002409268,0.000011637912,0.119545065],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989785,0.00005996288,0.00016531345,0.00031669726,0.00027570897,0.00020385128],"domain_scores_gemma":[0.9992056,0.0001259536,0.00023617972,0.00021531056,0.00012141126,0.00009554588],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00012631467,0.00025773435,0.0005407124,0.00018105621,0.00080575456,0.000041759224,0.0002569164,0.00013778874,0.00016553774],"category_scores_gemma":[0.000003952872,0.00024528615,0.00013657786,0.00006235631,0.0007051469,0.00044891625,0.00025072967,0.0001932125,0.000006120419],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0339058,0.0009121625,0.12284496,0.004426248,0.0048393477,0.002245167,0.497254,0.000058048747,0.00021458646,0.004387641,0.30203813,0.02687389],"study_design_scores_gemma":[0.0048001264,0.00058153406,0.032496408,0.00044345824,0.0008062721,0.00007708616,0.37855944,0.00005634386,0.00003297331,0.0016648165,0.579588,0.00089353794],"about_ca_topic_score_codex":0.0032476427,"about_ca_topic_score_gemma":0.027659712,"teacher_disagreement_score":0.27754986,"about_ca_system_score_codex":0.000092236274,"about_ca_system_score_gemma":0.000077186436,"threshold_uncertainty_score":0.99999994},"labels":[],"label_agreement":null},{"id":"W875690701","doi":"10.3138/md.2015.58.2.272","title":"Alan Read. <i>Theatre in the Expanded Field: Seven Approaches to Performance</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Argument (complex analysis); Field (mathematics); History; Performance art; Sociology; Media studies; Art history","score_opus":0.12662786604441975,"score_gpt":0.2408126339465467,"score_spread":0.11418476790212695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W875690701","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62060606,0.00020268802,0.00002059909,0.004695061,0.0002110798,0.0002194426,0.0000068486497,0.000046820347,0.3739914],"genre_scores_gemma":[0.9920211,0.000019098961,0.0000307175,0.0019123503,0.000655665,0.00007618886,0.000008560518,0.000013488774,0.0052628373],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991426,0.000040542887,0.00016288251,0.00017244226,0.00020225806,0.0002792909],"domain_scores_gemma":[0.9995741,0.000044824566,0.00002565307,0.0002773008,0.00002386101,0.000054239277],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028284476,0.00014679114,0.00016805879,0.00005948446,0.00020623523,0.00012574106,0.00026420297,0.00003638105,0.00009793776],"category_scores_gemma":[0.000006041358,0.00009030095,0.00004321508,0.000046373032,0.000058828726,0.00019373052,0.000062600484,0.00015173454,0.00013944434],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017075655,0.00012155358,0.006964072,0.000040087645,0.000031832595,0.000006784316,0.8120645,0.0002948989,0.0000051455654,0.006443786,0.036725834,0.13713075],"study_design_scores_gemma":[0.00087953,0.0005994584,0.00084664323,0.00006952274,0.000028935547,0.000012933522,0.057961725,0.002497901,0.00016607606,0.0068390667,0.9296626,0.0004356293],"about_ca_topic_score_codex":0.00030259107,"about_ca_topic_score_gemma":0.0023877008,"teacher_disagreement_score":0.89293677,"about_ca_system_score_codex":0.00002168697,"about_ca_system_score_gemma":0.000025310232,"threshold_uncertainty_score":0.36823657},"labels":[],"label_agreement":null},{"id":"W875700405","doi":"10.3138/md.2015.58.2.279","title":"Scott T. Cummings and Erica Stevens Abbitt, eds. <i>The Theatre of Naomi Wallace: Embodied Dialogues</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Performance art; Art history; Art; History; Philosophy; Epistemology","score_opus":0.03316516124718505,"score_gpt":0.22622974574556917,"score_spread":0.19306458449838412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W875700405","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6260604,0.008501092,0.000043604756,0.0044064224,0.000859938,0.00040080212,0.00011567784,0.00012863721,0.3594834],"genre_scores_gemma":[0.99041945,0.0002774156,0.0000297562,0.00042226218,0.00057215977,0.000014137449,0.000009108009,0.000022514516,0.008233177],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990784,0.000039558625,0.00022500861,0.00018470563,0.00020783053,0.0002645086],"domain_scores_gemma":[0.99940103,0.00006932538,0.00008842002,0.00026231367,0.00010816386,0.0000707525],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021524703,0.00017855337,0.00028307692,0.000044217577,0.00031958165,0.00009812098,0.00017519474,0.000042172007,0.000063615065],"category_scores_gemma":[0.000010831816,0.000111509326,0.000069467445,0.000028410284,0.00038863387,0.00016360078,0.0001240021,0.00013237308,0.000046715908],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047079436,0.0002242487,0.0037740432,0.0002090177,0.00035005691,0.000011381579,0.73851407,0.000070341695,0.0002621992,0.030680215,0.12954028,0.09589334],"study_design_scores_gemma":[0.0008696379,0.00030358488,0.00013363316,0.00006008327,0.000092783,0.000006261369,0.008760713,0.00060051464,0.00023575404,0.016275292,0.97236574,0.00029598398],"about_ca_topic_score_codex":0.0006275345,"about_ca_topic_score_gemma":0.0017221717,"teacher_disagreement_score":0.8428255,"about_ca_system_score_codex":0.00002200378,"about_ca_system_score_gemma":0.00003549573,"threshold_uncertainty_score":0.45472184},"labels":[],"label_agreement":null},{"id":"W918138490","doi":"10.15210/interfaces.v14i2.6759","title":"Orientalismo Canadian way: uma performance político-burlesca","year":2015,"lang":"en","type":"article","venue":"Americanae (AECID Library)","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Sociology; Philosophy","score_opus":0.023696222056075675,"score_gpt":0.2024994838690287,"score_spread":0.17880326181295303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W918138490","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.634573,0.0004251112,0.0000010440081,0.0026649367,0.0009869988,0.000119784796,0.00007638057,0.00016699811,0.3609858],"genre_scores_gemma":[0.97187424,0.00019091484,0.000112382164,0.0037449987,0.0012545225,0.000026635522,0.00008096247,0.00005350484,0.022661814],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985651,0.000031028405,0.0002539897,0.0002814689,0.00024313027,0.000625317],"domain_scores_gemma":[0.99897313,0.000023192673,0.00008355799,0.00035067726,0.00005281699,0.0005166408],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00006469495,0.0002632901,0.0003016085,0.00023476488,0.0005009123,0.00011548055,0.00034878985,0.00003794579,0.00401844],"category_scores_gemma":[0.000008786126,0.00022332002,0.00008359655,0.00016992025,0.00050942885,0.001456997,0.00009092247,0.00016960216,0.0010586478],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055976383,0.000059802183,0.27426687,0.000027298283,0.00013229762,0.00004158292,0.033546682,0.000015782049,0.000001864201,0.048798442,0.58577824,0.057275157],"study_design_scores_gemma":[0.00030254497,0.0003135583,0.03025451,0.00002337815,0.00002589282,0.000005653652,0.007749866,0.00010845513,0.00009201983,0.00028497467,0.96043783,0.00040131182],"about_ca_topic_score_codex":0.4888608,"about_ca_topic_score_gemma":0.06070243,"teacher_disagreement_score":0.42815837,"about_ca_system_score_codex":0.00007815168,"about_ca_system_score_gemma":0.00030431003,"threshold_uncertainty_score":0.99971914},"labels":[],"label_agreement":null},{"id":"W919596178","doi":"","title":"The Lab 6.0 : High Early : Gary Pearson","year":2006,"lang":"fr","type":"book","venue":"Art Gallery of Greater Victoria eBooks","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"BATES; Pearson product-moment correlation coefficient; Entertainment; Media studies; Visual arts; Art; Sociology; Engineering; Statistics; Mathematics; Aeronautics","score_opus":0.014922803612780762,"score_gpt":0.19667190502678739,"score_spread":0.18174910141400663,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W919596178","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041400716,0.00074054365,0.0000016266663,0.0004498929,0.0075313975,0.0005003691,0.00032068233,0.000095649426,0.9489591],"genre_scores_gemma":[0.2051175,0.00024753224,0.000013400581,0.00007793264,0.0076351636,0.000051648127,0.00006952351,0.00010385347,0.78668344],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968775,0.00015556753,0.0009704131,0.000536209,0.0006082038,0.00085213856],"domain_scores_gemma":[0.997952,0.00029848854,0.0004912188,0.00081449555,0.00033585817,0.00010792816],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00036883188,0.00082472723,0.0009292787,0.000156961,0.002190068,0.00031652892,0.0005998253,0.00033787685,0.0008932501],"category_scores_gemma":[0.0000053189688,0.00057480636,0.0005252323,0.000018812752,0.0021763882,0.00015811666,0.00027923987,0.0006248566,0.0010871238],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005825667,0.000096465505,0.0037313625,0.00061877054,0.0019973668,0.000075310294,0.037468325,0.0000036564836,0.000036298487,0.27972466,0.6698492,0.005816022],"study_design_scores_gemma":[0.0006017526,0.0005927016,0.005290791,0.0005639076,0.00033499708,0.000007194663,0.00028505386,0.0000018242863,0.00011905485,0.004615561,0.9869514,0.0006357236],"about_ca_topic_score_codex":0.0016074093,"about_ca_topic_score_gemma":0.003608337,"teacher_disagreement_score":0.31710225,"about_ca_system_score_codex":0.00014544789,"about_ca_system_score_gemma":0.0001959864,"threshold_uncertainty_score":0.99969065},"labels":[],"label_agreement":null}]}